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Relevant bibliographies by topics / Dance Nigeria

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Academic literature on the topic 'Dance Nigeria'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Dance Nigeria"

1

Abakporo, Princewill C. "Dance and content issues: implications for contemporary indigenous dance in Nigeria." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 72–82. http://dx.doi.org/10.4314/ejotmas.v7i1-2.5.

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Many traditional dances have witnessed downturn in patronage to occasion academic debates geared towards reviving interest in indigenous performances and live theatres in Nigeria. It is within this context that this article closely look at content issues in Nigerian indigenous dance from a diachronic perspective and observed that the seeming dwindling patronage for certain Nigerian indigenous dances is as a result of the inability of indigenous dance creators and performers to package indigenous dance products to reflect popular tastes in contemporary times. Also, it is observed that content issues in art are indicators that human society is constantly in a state of flux and that as humanity responds to these changing realities; art must do the same to remain relevant to the society within a particular period. Drawing on this, the study concludes that Nigerian indigenous dance space could be enlivened when its contents are at par with dominant societal realities and respond to prevailing societal conditions within the time of its creation while retaining its structures and form as a cultural document for the people. It recommended that the approach, packaging, and performance of indigenous dances from formalist and philosophical aesthetic consciousness will aid in the malleability of traditional dance contents to satisfy changing societal and audience needs. Keywords: Traditional dance, Indigenous dance art, Nigeria Content issues, Patronage

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Iyeh, Mariam A., and Godwin Onuche. "A syncretic analysis of the duality of dance as art and science." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 98–109. http://dx.doi.org/10.4314/ejotmas.v7i1-2.7.

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This paper examines the duality of dance as both art and science. It argues on the premise that only the manifestations of dance as an art form has been explored whilst its scientific manifestations have been arguably ignored. It avers that duality is seen in the processes involved in dance choreography. In doing this, it maintains that dance as an art often manifests in the intuition and creativity involved during the creation of dances while dance as science manifests itself during the execution of movements. It argues that the traditional practitioners of dance in Nigeria and Africa are generally aware of the scientific nature of dance, which they adhere to unconsciously while creating dances without knowing it has a scientific posturing. The article insists that intelligence displayed in dance choreographies attests to the above claims. The study uses syncretism and Humphrey-Weidman theory of dance composition as theoretical moorings to contend that the Agbaka dance of the Igala people of Kogi State in North Central Nigeria expresses and displays the scientific nature of dance. Consequently, the dance form is examined from the physiological, psychological and biomechanical perspectives, informing the conclusion that dance practitioners in Nigeria should engage in a conscious exploration and admittance of dance as both art and science. Keywords: Syncretism, Art, Science, Duality of dance, Biomechanics, Agbaka dance

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Tume, Tosin Kooshima. "Choreographic metaphors of political terrorism and counter-terrorism in Arodan Dance Theatre." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 335–47. http://dx.doi.org/10.4314/ejotmas.v7i1-2.22.

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In Nigeria, the deliberate intimidation and exploitation of the common man by the ruling class, for political aims, has reached endemic proportions. These strategic intimidations come in diverse forms, and clearly qualify as acts of terrorism. In the Yoruba worldview, ‘Arodan’ is a cautionary concept which is employed by the elders to curb the excesses of troublesome children. However, it has evolved to be a two-edged sword which could either be used for both corrective andcurative aims, or manipulated for punitive and evil purposes. Arodan, a dance workshop performance by the students of the Department of Theatre and Media Arts, FUOYE, is built on the Yoruba conceptual frame of ‘Arodan’. The dance theatre is a metaphor which explores the ‘Arodan’ concept to identify Nigerian politicians as the ‘elders’, and the common man as the ‘troublesome child.’ Deploying the social identity theory (SIT), this article, examines the use of choreographic metaphors to enact the forms, features, and effects of political terrorism within the Nigerian space in the Arodan performance. It finds that thedesperate yearnings which stem from selfish political interests are cloaked under terrorist acts in Nigeria. In conclusion, the paper affirms that the resolutions simulated in Arodan – national reorientation, political awareness, vigilance, and collective will should be deployed as proactive measures to counter political terrorism in the country at developmental crossroads. Keywords: Political terrorism, SIT, Arodan dance theatre, Choreographic images, Nigeria

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Ugolo, C. E. "The State of Dance Research in Nigeria." Dance Research Journal 26, no. 2 (1994): 71. http://dx.doi.org/10.2307/1477938.

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Nwaru, Christian Ikechukwu. "Synergism of Dance Theory and Practice: The Requisite for Dance Development in Nigeria." Art and Design Review 02, no. 04 (2014): 85–90. http://dx.doi.org/10.4236/adr.2014.24011.

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Akas, Nicholas Chielotam, and Martha Chidimma Egenti. "Semiotics in indigenous dance performances: Ekeleke dance of Ekwe people of Nigeria as paradigm." OGIRISI: a New Journal of African Studies 12, no. 1 (July 21, 2016): 214. http://dx.doi.org/10.4314/og.v12is1.14.

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Gore, Georgiana. "Dance in Nigeria: The Case for a National Company." Dance Research: The Journal of the Society for Dance Research 4, no. 2 (1986): 54. http://dx.doi.org/10.2307/1290726.

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KLEIN, DEBRA L. "Allow Peace to Reign: Musical Genres of Fújì and Islamic Allegorise Nigerian Unity in the Era of Boko Haram." Yearbook for Traditional Music 52 (October 12, 2020): 1–22. http://dx.doi.org/10.1017/ytm.2020.5.

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AbstractA proliferation of popular music genres flourished in post-independence Nigeria: highlife, jùjú, Afrobeat, and fújì. Originating within Yorùbá Muslim communities, the genres of fújì and Islamic are Islamised dance music genres characterised by their Arabic-influenced vocal style, Yorùbá praise poetry, driving percussion, and aesthetics of incorporation, flexibility, and cultural fusion. Based on analysis of interviews and performances in Ìlọrin in the 2010s, this article argues that the genres of fújì and Islamic allegorise Nigerian unity—an ideology of tolerance, peaceful coexistence, and equity—while exposing the gap between the aspiration for unity and everyday inequities shaped by gender and morality.

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Igbokwe, Ubochi Stella. "The Significance of Ìrìráábú Musical Satire in the Ékpè Dance Festival Amongst the Obohia-Ndoki People of Nigeria." Yearbook for Traditional Music 50 (2018): 119–40. http://dx.doi.org/10.5921/yeartradmusi.50.2018.0119.

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Ékpè can be understood as a spirit-manifest or masquerade as well as a festival, and Ìrìráábú is a part of the music performed during the Ékpè dance festival. The Ékpè dance festival is part of my cultural heritage—I am part of this culture and have been an active participant-observer in this festival since my childhood.

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Aluede, Charles O., and Emmanuel A. Eregare. "Dance Without Music: An Academic Fable and Practical Fallacy in Nigeria." Anthropologist 8, no. 2 (April 2006): 93–97. http://dx.doi.org/10.1080/09720073.2006.11890941.

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Dissertations / Theses on the topic "Dance Nigeria"

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Abiona, Oladoyin Olubukola. "What I Do When I Dance: Foregrounding Female Agency in the Dance Culture in Nigeria." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1621977769335732.

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Ubom, Enobong Isaac. "The socio-economic values of traditional music and dance in Nigerian development /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11301715.

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Thesis (Ed.D.) -- Teachers College, Columbia University, 1992.
Typescript; issued also on microfilm. Sponsor: William Sayres. Dissertation Committee: Maryalice Mazzara. Includes bibliographical references (p. 173-183).

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Lassibille, Mahalia. "Danses nomades : mouvements et beauté chez les WoDaaBe du Niger." Paris, EHESS, 2004. http://www.theses.fr/2004EHES0179.

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Dans une vie de dispersion , les WoDaaBe du Niger, Peuls pasteurs nomades, se retrouvent lors des réunions d'hivernage et dansent. Pourquoi la danse est-elle au centre du rassemblement de la société ? Cette recherche mène une analyse anthropologique avec des techniques de la danse, à partir des mouvements accomplis et des conceptions des WoDaaBe. La première partie décrit les différentes danses réalisées. La deuxième comprend une comparaison entre elles. Les points communs établis permettent d'envisager la définition de la danse du point de vue des WoDaaBe et de considérer les relations existant entre danse et société. Néanmoins, les danses sont différenciées et hiérarchisées par les WoDaaBe. L'analyse de cette hiérarchie amène à définir une valeur essentielle, la beauté. La dernière partie de ce travail porte sur la beauté chez les WoDaaBe, sa dimention identitaire, ses significations et son devenir de la danse. Cette étude conduit alors à déconstruire la catégorie de danse africaine
In a life of scattering, the WoDaabe of Niger, pastoral nomads which belong to the Peul, meet together during dry season and dance. Why is dance in the centre of the gathering of society? This research unertakes an anthropologic analysis with techniques of dance, from the movements and the woDaaBe representations. The first part describes the different wodaabe dances. The second part compares them. The mutual characteristics make it possible to define dance from the wodaabe viewpoint and to consider the relations between dance and society. Nevertheless, the dances are differentiated and treated on a hierarchical basis by the Wodaabe. The analysis of this hierarchy brings to define an essential value, beauty. The third part of this work studies the beauty in the Wodaabe, its relation with identity, its meanings, and what it becomes during dance. This study then leads to question the category of african dance

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Onyeji, Christian. "The study of Abigbo choral-dance music and its application in the composition of Abigbo for modern symphony orchestra." Thesis, 2002. http://hdl.handle.net/2263/29002.

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This thesis is divided into two main parts. Part one is the presentation of the ethnomusicological research study on Abigbo choral dance music, and indigenous music type found in the Mbaise area of Ibgo land in Nigeria. This part is made up of three chapters. Chapter one present the research out line for this work, which contains the Background of the study, personal motivation for the study, need for the study, methodology and value of the study. Chapter two presents a study of Abigbo music and the musicians. In this chapter, the researcher discussed the socio-cultural and creative milieu of Abigbo musicians, the creative performance process, the theoretical content of Abigbo music, and the artistic criticism as well as social aesthetics normative in Abigbo music appreciation. Chapter three of the work discussed transcription and analyses of traditional Ibgo music. Some problems of transcription and analyses in Ibgo music are argued from the perspectives of other writers and the researcher’s experience. The transcription and analysis techniques are then applied to selection Abigbo music repertory. This part of the thesis is, therefore, an Ethnomusicological study of Abigbo music and musicians in which identifiable musical elements, compositional principles and the stylistic forte of Abigbo choral-dance music are discussed. The research-study enables the researcher to identify seminal compositional materials for the modern symphony orchestra composition deriving from the creative principles of Abigbo music. Part two of this work is, essentially, an original creative work for the modern symphony orchestra applying the musical elements, compositional principles and style of Abigbo choral-dance music. This part is in three chapters: four, five and six. Chapter four is the composition of “Abigbo for Modern Symphony Orchestra”. It is a three movement orchestral work in contrasting tempi, in which the second movement introduces a male chorus with the orchestra. Chapter five is a detailed analysis of the work and its compositional procedure. Chapter six presents the conclusions and projections emanating from the study. Part II then presents a perspective in the creative continuum of African music informed by Abigbo choral-dance music. It is a study of Abigbo choral-dance music of the Mbaise people in Igbo land of Nigeria and the application of its elements, compositional principles and style in the composition of modern art music for a modern symphony orchestra.
Thesis (DMus)--University of Pretoria, 2006.
Music
DMus
unrestricted

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Izu, Benjamin Obeghare. "Music and associated ceremonies displayed during Ugie (festival) in the Royal Court of Benin Kingdom, Nigeria." Diss., 2012. http://hdl.handle.net/10500/6721.

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This study examines the Oba of Benin Royal Ugie ceremonies, which is an annual religious and cultural event celebrated by the Benin speaking people of Edo State, Nigeria. As a communal and spiritual activity, the Oba and people of Benin kingdom mark the Ugie festivals with Musical and dance performances. Within this context, the study adopts the historical and participant approaches as its method of contending that some events during the Oba of Benin Royal Ugie festival ceremonies are colorful theatrical performances. The organizational structure of the Oba of Benin Palace as it relates to the observance of Ugie festival ceremonies is also discussed in this research. This study also examines the role Ewini music plays in the various Oba of Benin Royal Ugie festival ceremonies, thereby looking at its origin, socio-cultural context, formation procedure, instrumentation, and organizational set-up. This research also recommends different ways in which music practitioner can benefit by applying a theatrical approach to the study of these royal Ugie ceremonies and its music and also the ability of the festival ceremonies to continue to act as an instrument of stability and unity for the people of Benin kingdom, by bringing people from different walks of life together during the performance at Ugie ceremonies. For clarity, all non-english words are defined in the glossary section on page 73.
Art History, Visual Arts & Musicology
M.Mus.

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Books on the topic "Dance Nigeria"

1

Enekwe, Ossie Onuora. Theories of dance in Nigeria: An introduction. Nsukka: Afa Press, 1991.

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2

Ofeimun, Odia. Nigeria the Beautiful: Poems for dance drama. Lagos: Hornbill House of the arts, 2011.

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3

Okafor, Dubem. The dance of death: Nigerian history and Christopher Okigbo's poetry. Trenton, NJ: Africa World Press, 1998.

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4

Newington, Nina. Where bones dance: An English girlhood, an African war. Madison: Terrace Books, 2007.

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5

Dance of the heart: Poems. Lagos: Malthouse Press, 2007.

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The crippled dancer. London: Heinemann, 1986.

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Unigwe, Chika. Night dancer. Leicester: Ulverscroft, 2014.

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Figures in a dance: The theater of Yeats and Soyinka. Trenton: Africa World Press, 2003.

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9

Ajayi, Omofolabo S. Yoruba dance: The semiotics of movement and body attitude in a Nigerian culture. Trenton, NJ: Africa World Press, 1998.

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Nomads who cultivate beauty: Woõdaaõbe dances and visual arts in Niger. Uppsala, Sweden: Nordiska Afrikainstitutet, 2001.

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Book chapters on the topic "Dance Nigeria"

1

Hunter, Lynette. "Constellation: Engaging with Radical Devised Dance Theatre: Keith Hennessy’s Sol Niger." In Performance, Politics and Activism, 132–53. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137341051_9.

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Duru, Adaobi Vivian, Emeka Lucky Umejei, and Ikechukwu W. Eke. "Weaponizing Music for Political Contestation and Rivalry in Nigeria." In Advances in Religious and Cultural Studies, 185–200. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7295-4.ch010.

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This chapter examines the performative turn in Nigeria's political landscape through an analysis of YouTube videos involving three leading politicians in the country. It argues that Nigerian political actors use dance and music as strategies to wield power. The videos analyzed are the “Conqueror Dance” of Olusegun Obasanjo, a former Nigerian president; the “Elephant Dance” by Bola Ahmed Tinubu, national leader of the ruling All Progressives Congress (APC); and Senator Dino Melaye's “Ajekun Iya Ni Oje.” The authors employed the critical discourse analysis as the conceptual framework and drew on Norman Fairclough's three-dimensional model as the analytical framework to examine the messages inherent in the songs, thus providing insight into the way Nigerian politicians use musical performances to propagate political inequality and abuse of power. The findings suggest that political actors in Nigeria employ tropes as performative devices to entrench mockery, intimidation, threat, vainglory, name-calling, political war and conquest, and imperialism.

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Tume, ’Tosin Kooshima. "From Television to the Streets The rise & rise of dance-based advertising in Nigeria." In African Theatre: Contemporary Dance, 90–112. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787443150.006.

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Osumare, Halifu. "Dancing in Africa." In Dancing in Blackness. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056616.003.0006.

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Chapter 5 records the author’s bold move to Ghana, West Africa for nine months to study and research the basis of black dance in the Americas. She studies the curriculum of the School of Music, Dance, and Drama (SMDD) at the University of Ghana, Legon, under the ethnomusicologist Dr. Kwabena Nketia and the dance ethnologist Professor Albert Opoku. She examines the development of the internationally touring Ghana Dance Ensemble. She also explores her personal relationships with other African Americans and Ghanaians to further interrogate race and blackness from the point of view of living in West Africa. She reminisces about how her dance fieldwork in five regions of Ghana and her excursion to Togo and Nigeria broadened her perspective on herself as African American in Africa.

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Kowal, Rebekah J. "Staging Diaspora." In Dancing the World Smaller, 120–63. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190265311.003.0003.

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Chapter 3 focuses on the artistic, cultural and political significance of Sierra-Leonean choreographer Asadata Dafora’s work in the mid-1940s. The first part of the chapter examines the import of three African dance festivals that Dafora directed and produced at Carnegie Hall on behalf of the African Academy of Arts and Research (AAAR), a pro-nationalist and anti-colonialist organization founded by Nigerian students living in New York City at the time. Seen in this light, Dafora’s performance of diaspora makes visible practices of black creativity and resistance, seeking to bridge Africanist solidarities toward the formation of a black American identity defined in global terms. The second part of the chapter analyzes the importance of a tour Dafora took with his dance company, Shogola Oloba African Dance Group, across the American South and Midwest, performing “Africa” for largely African American audiences on the eve of the civil rights movement.

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"AFRICAN DANCE IN DIASPORA: THE EXAMPLES OF NIGERIAN YORUBA BÀTÁ AND DÙNDÚN." In Trends in Twenty-First-Century African Theatre and Performance, 385–406. Brill | Rodopi, 2011. http://dx.doi.org/10.1163/9789401200820_020.

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"DANCE MOVEMENT ANALYSIS AS PSYCHO-DIAGNOSTIC TOOL IN MODERN NIGERIAN MEDICAL PRACTICE: AN INTRODUCTION." In Trends in Twenty-First-Century African Theatre and Performance, 291–302. Brill | Rodopi, 2011. http://dx.doi.org/10.1163/9789401200820_015.

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"CELEBRATION AS AESTHETIC DEVICE IN CONTEMPORARY NIGERIAN DANCE PRODUCTIONS: HUBERT OGUNDE’S DESTINY AS EXAMPLE." In Trends in Twenty-First-Century African Theatre and Performance, 407–17. Brill | Rodopi, 2011. http://dx.doi.org/10.1163/9789401200820_021.

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