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Journal articles on the topic 'Dance Nigeria'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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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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3

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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4

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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5

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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6

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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7

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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8

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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11

Fernandez, Michael Oladipupo. "Dance pedagogy and entrepreneurship: a study of Footprints Arts Ambassadors, Lagos." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 447–59. http://dx.doi.org/10.4314/ejotmas.v7i1-2.30.

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This work examines the pedagogy of dance and entrepreneurship in the society. In other words, it seeks to engender dynamic essence between theory and practice, dance scholar and choreographer, and their impact on students/dancers with respect to teaching dance as a career for profit making against art for art sake. The teaching approaches provide for managing dance establishments as well as the art and act of dancing. In doing this, we adopted the managerial system of the Footprints Arts Ambassadors in Lagos, Nigeria as a prototype. We apply some fundamental tools of entrepreneurship that determine efficiency and effectiveness of a particular approach to business to empower the trainees. In the deductive method, we carefully derived some assertions and information that would later become helpful for this study through the structured one-on-one interview held with the director of Footprints Arts Ambassadors. In analytical method, we did cursory analysis of dance pedagogy and entrepreneurial study as well as review related literatures, magazines and journals. We identified some pedagogical yardsticks and entrepreneurial approaches which have been used in successfully managing the fledging dance company. We also discovered some considerable factors to establishing a successful arts entrepreneurial company in Nigeria.We found that economic and social trend, as well as some personal entrepreneurial attributesplay key role in an entrepreneur’s approach to arts and theatre management. Therefore, we conclude that, whatever approach, style or operation mode a dance/theatre entrepreneur chooses; his aim should be for the success and development of both individuals and company. Thus, we recommend that dance scholars and practitioners update their teaching approach to making dance pedagogy a viable and self-reliant endeavour, rather than being a tool for entertainment, body therapy and cultural propagation alone.This will undoubtedlyposition dance on the same pedestrian with other art forms globally making wave in the entertainment industrytoday. Keywords: Dance pedagogy, Entrepreneurship, Trainees, Footprints Arts Ambassadors, Management

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Nwauzor, Uzoma Hyacinth. "Agbacha Ekuru Nwa Dance: A Study of Performance Ethics for Music Students in Colleges of Education." Journal of Education and Practice 5, no. 1 (June 2, 2021): 36–48. http://dx.doi.org/10.47941/jep.581.

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performances and providing the theoretical framework for the study of general music education by students in colleges of education. To promote the baseline from which dance performance is produced to enhance cultural heritage and the structure with which all aspects of social events are finally understood. The need for increased awareness and participation in dance is apparent. In tertiary institutions, the study of dance as an academic course virtually does not exist. Dance should be given the attention it deserves in the curriculum for the promotion of sustainable development in creating jobs for the youths. Methodology: Participant observation-adopting this survey is very necessary due to the nature of the research, it is a practical performance that involved dance groups. There are varieties of approaches to research in any field of investigation. Using the descriptive method is aimed at obtaining information concerning the current status of Agbacha ekuru nwa dance as it is expressed in the traditional setting. This is important in understanding the dance similarities among the groups selected from each of the 3 local government areas in Mbaise. The data collected for this project are obtained through oral interviews, observation, personal contact, and participation. Observation and participation in dance rehearsal are very necessary for future performance with the students. Uzoigwe (1998) explained that the descriptive method allows for better acceptance and understanding of all music elements discovered during research. Results: Traditional dance is a part of life evolution, memory, and history, it is integral with the communities of the peoples' culture. And because communities re-shape and re-model folk music in line with changing tradition, ideals, and social interaction, it should be used to educate the people on the ills and goodwill of the society. Given the multiplicity of social performances in Nigeria, it will be possible to agree that the people's total culture is subsumed with music and dance and that it has become very important in promoting and developing our cultural heritage. Unique contribution to theory, practice and policy: There is the need for us to revive our cultural heritage by ensuring that those subjects which teach and safeguards morals, norms and value system are given attention in school curriculum to revamp the fallen standard of education, cultural ideologies, and judgment regarding the way we see ourselves. This will lead to a drastic change in our attitude and behaviour. To better attract the interest of learners, the curriculum has a part to play; this is by designing a solid structure for the dance program in all levels of education in Nigerian schools. The nature of dance, as well as students' interest, will be captured and aimed at revitalizing general music education in our schools providing a balance between intellectual tasks and social interaction. This will be a way of expanding knowledge and skills for future use as a form of integrating cultural heritage into our educational system. Using Agbacha ekuru nwa dance as a case study will be beneficial to students because if all organizational principles are applied to teaching and learning it will provide structured performance ethics towards achieving collective objectives. Dance is teamwork and should be organized as such. One of the benefits is creativity in performance; talent development could be formed where students, lovers of music, and the larger society can function very well in creating dance. This will be one of the most valuable courses to enhance human personality.

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Ene, Offiong Amaku. "Dramatic features of the Abang Dance Performance of the Efiks of Nigeria." International Journal of English Literature and Social Sciences 4, no. 4 (2019): 1123–30. http://dx.doi.org/10.22161/ijels.4433.

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Jakawa, Rahila L. "Dance of the New Beginning: Jubilee as a Vision for New Community." Transformation: An International Journal of Holistic Mission Studies 36, no. 2 (April 2019): 61–75. http://dx.doi.org/10.1177/0265378819844879.

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God’s purposeful design is for humanity to flourish. Over the years, one of the greatest problems confronting Nigeria, and indeed Africa, has been poverty. Poverty has denied many the right to enjoy the life God designed for them. It has brought untold misery to many people. Many have been enslaved even in their ancestral lands by the rich because of poverty induced by injustice. Poverty, especially in Nigeria, is not due to lack of human and natural resources but to sheer greed leading to unequal distribution of wealth, imbalanced opportunities for empowerment and corruption. As a result, the scourge of poverty continues to affect people. This article looks at ways of interpreting and using the principles of jubilee in Leviticus 25 to build a new community that transforms humanity. It argues that the principles of jubilee, which include an invitation to partnership with God and humanity, faithful stewardship, equal economic and political opportunities, forgiveness of debts, love and concern for ecology, are germane in addressing the problem of poverty.

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Amiriheobu, Frank, Victor Ordua, Ekperi Watts, and George Owunari. "“END-SARS”AGITATION IN NIGERIA: A CORRELATIVE DISCOURSE OF UZO NWAMARA’S DANCE OF THE DELTA." International Journal of Innovative Research in Arts, Education and Technology 2, no. 1 (January 5, 2021): 1–11. http://dx.doi.org/10.48028/iiprds/ijiraet.v2.i1.01.

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Until recent time, the Nigerian space is besieged with issues emanating from “End-SARS” agitation, masterminded by some aggrieved youths who publicly protest to seek redress in fundamental issues that are affecting the Nigerian front in the 21st century. These issues include police brutalities, corrupt governance, hardship, weak political system, incessant killings, poverty, tribalism, divide, and rule system, and suffering. Their means of agitation include public demonstrations, blockade of governmental establishments, and disruption of governmental and non-governmental economic and social activities. This further paves room for hoodlums to acerbate their heinous and malicious acts, which includes likes of youth restiveness, shop breaking, theft, looting, and destruction of properties. These malicious dichotomies unequivocally increase the pain, suffering, hunger, and death of the people and threaten the existence of the Nigerian state. The study, therefore, aims at identifying the cause and effect of “End-SARS” agitation in the Nigerian space, drawing reference from Uzo Nwamara’s Dance of the Delta. To achieve this, Textual Analytical Approach and Social and Behavioural Change Communication Theory are employed as guides. Uzo Nwamara as a new generational Nigerian playwright strives in his plays to address issues of terrorism, youth restiveness, political bigotry, and tribal sentiments. Amongst the major suggestions, the study insists that job opportunities should be made available to the Nigerian youths as that would help decrease the rate of crime which paves room for the establishment of SARS and other crime-related agencies that are positioned to tackle crimes in the Nigerian state.

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Adigun, Olalekan Waheed. "Repression of the Neo-Biafra Movement – Measures, Responses, and Consequences." Journal of Social Science Studies 5, no. 2 (May 22, 2018): 132. http://dx.doi.org/10.5296/jsss.v5i2.13180.

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This paper analyses the measures, reactions, and consequences of the repression of the neo-Biafra movement in Nigeria using longitudinal qualitative research. To go about this, the paper looks at the political context within which the movement operates, it objectives, and its activities are described. The movement started in September 1999 in reaction to perceived marginalisation and victimisation of Nigerians of Igbo ethnic origins by the state. The movement has had visible impacts on Nigeria’s democratic experience, and by extension, the political system. The Nigerian state responded with several measures, including the deployment of military troops in what is known as “Operation Python Dance II” (or Egwu Eke II) as part of measures to cope with the movement’s activities. The paper observed other measures of repression adopted by the state and how the activists have changed or adapted their responses to state repression. The paper also observed that these measures have had several consequences on the resilience of the activists.

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Collins, John. "The early history of West African highlife music." Popular Music 8, no. 3 (October 1989): 221–30. http://dx.doi.org/10.1017/s0261143000003524.

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Highlife is one of the myriad varieties of acculturated popular dance-music styles that have been emerging from Africa this century and which fuse African with Western (i.e. European and American) and islamic influences. Besides highlife, other examples include kwela, township jive and mbaqanga from South Africa, chimurenga from Zimbabwe, the benga beat from Kenya, taraab music from the East African coast, Congo jazz (soukous) from Central Africa, rai music from North Africa, juju and apala music from western Nigeria, makossa from the Cameroons and mbalax from Senegal.

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Clark, Augustina T. "Law of the dance: legal and regulatory framework for promoting appropriate music content in Nigeria." Journal of Sustainable Development Law and Policy (The) 6, no. 1 (January 13, 2016): 297. http://dx.doi.org/10.4314/jsdlp.v6i1.13.

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Adéoyè, Michael Adérèmí. "Old wine, new bottle: Theatre design and transnational hybridity in lóbà dance of Adó–Èkìtì, Nigeria." Dance, Movement & Spiritualities 5, no. 2 (September 1, 2018): 207–18. http://dx.doi.org/10.1386/dmas.5.2.207_1.

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20

Danfulani, Umar. "Rituals as Dance and Dance as Rituals. The Drama of Kok Nji and Other Festivals in the Religious Experience of the Ngas, Mupun and Mwaghavul in Nigeria." Scripta Instituti Donneriani Aboensis 16 (January 1, 1996): 27–58. http://dx.doi.org/10.30674/scripta.67222.

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Chadic-speakers perform annual festivals of the ancestors, kok nji; cropping kop; harvesting, dyip and hunting kwat, which are usually accompanied by dancing, singing and other numerous rites and rituals. These ritual dramas symbolically and overtly express the religious experience, feelings and emotions that are deeply buried in the religious consciousness of the people. This article intends to provide a vivid description of some of these festivals, particularly those of the Ngas, Mupun and Mwaghavul.

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Unegbu, Vincent Enyeribe. "Citizensâ€™ Most Used Media of Interaction with the Local Governments in Nigeria." Information Management and Business Review 5, no. 2 (February 28, 2013): 73–82. http://dx.doi.org/10.22610/imbr.v5i2.1029.

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Information is a powerful instrument to prevent crimes if properly disseminated. Sources and channels of information play important roles in its utilization. It is on this backdrop that this survey was carried out to ascertain the appropriate media and channels to convey local governmentsâ€™ information to the citizens. Thirteen local governments in Imo State, one of the 36 states of Nigeria, were surveyed with the use of questionnaire. Out of 1840 selected respondents, 1785 returned their questionnaire. The data generated were analyzed using Statistical Package for Social Sciences and the results were presented in discrete figures, percentages, and graphs. The study revealed that over 60 percent of the respondents got information about their local government from verbal/oral sources, radio broadcasts, schools, churches or mosques, traditional rulers and ward councillors. The sources of information were mediated because they were from local government employees who dance to the tune of their employers. The paper recommended that village youth leaders and women leaders should be involved in information dissemination in the localities.

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Ayobade, Dotun. "Invented Dances, Or, How Nigerian Musicians Sculpt the Body Politic." Dance Research Journal 53, no. 1 (April 2021): 5–22. http://dx.doi.org/10.1017/s0149767721000048.

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AbstractPopular dances encapsulate the aliveness of Africa's young. Radiating an Africanist aesthetic of the cool, these moves enflesh popular music, saturating mass media platforms and everyday spaces with imageries of joyful transcendence. This essay understands scriptive dance fads as textual and choreographic calls for public embodiment. I explore how three Nigerian musicians, and their dances, have wielded scriptive prompts to elicit specific moved responses from dispersed, heterogenous, and transnational publics. Dance fads of this kind productively complicate musicological approaches that insist on divorcing contemporary African music cultures from the dancing bodies that they often conjure. Taken together, these movements enlist popular culture as a domain marked by telling contestations over musical ownership and embodied citizenship.

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Gobo, Blessing Ngowari, Chris N. Ngwu, and Mina Ogbanga. "The Effects of Cultural Practices and Knowledge Systems on Community Development." Management Insight - The Journal of Incisive Analysers 16, no. 02 (December 25, 2020): 9–16. http://dx.doi.org/10.21844/mijia.16.2.2.

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Culture and knowledge systems are important for community development. Culture characterizes us as human-beings and members of a community. A country rich, strong and powerful country as Nigeria is made up of diverse cultural practices, ethnic groups and knowledge systems that help in shaping her day-to-day live and activities. Knowledge systems held by most communities are based on their experience and adaptation to their culture, education, crafts, religion, theatre, natural resources management arts, dance and music. This paper adopted the secondary data design in eliciting relevant information to buttress the topic considered. The purpose of this paper is to attempt the effects of cultural practices and knowledge systems on community development. In conclusion, this paper suggests that community leaders, policymakers and relevant bodies must take up actions that preserve these cultural practices and knowledge systems that help in community development.

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Ozah. "Moninkim: A Symbiotic Performance of Ritual, Music, and Dance by the Ejagham People of Nigeria and Cameroon." Ethnomusicology 59, no. 3 (2015): 421. http://dx.doi.org/10.5406/ethnomusicology.59.3.0421.

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Nwakego, Orajaka Sussan, and Emmanuel Umezinwa. "African Music and the Search for a New Musical Paradigm: A Study of Ikorodo Dance Group of Orba Enugu State, Nigeria." Open Journal of Political Science 05, no. 02 (2015): 128–34. http://dx.doi.org/10.4236/ojps.2015.52015.

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Jovita, Daniel A., K. Venkateswarlu, and Ezeugwu C. Clifford. "Effect of Aerobic Dance Exercise on Blood Pressure of Normotensive Pregnant Women Diagnosed with Gestational Diabetes at Federal Medical Centre, Owerri, South East Nigeria." Indian Journal of Physiotherapy and Occupational Therapy - An International Journal 9, no. 4 (2015): 124. http://dx.doi.org/10.5958/0973-5674.2015.00158.6.

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Röschenthaler, Ute. "Transacting Obasinjom: The Dissemination of a Cult Agency in the Cross River Area." Africa 74, no. 2 (May 2004): 241–76. http://dx.doi.org/10.3366/afr.2004.74.2.241.

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AbstractDuring the twentieth century, Obasinjom became one of the best known and most effective cult agencies in the Cross River area of Cameroon and Nigeria. This paper aims at reconstructing the history of Obasinjom and some of its variants. Unlike many other witch-hunting cults, Obasinjom usually did not disappear after accomplishing the immediate job for which it was acquired. The owners additionally desired to possess the institution because it created wealth, influence and prestige for them as well as their village as a whole. Obasinjom and other cult agencies (as well as women's and men's societies and dance associations) spread from village to village across ethnic or language boundaries. Along with their dissemination, something of their identities and agency diffused and was incorporated into their histories over time and space. As intellectual property they were owned by the buying village and at the same time remained the property of the selling village. Obasinjom, as well as more important institutions, created decentralised networks of owners who had no definite knowledge of all the other participants. The recently formed pan-Obasinjom association, however, has changed this situation and, at least among some owners, created a feeling of identity and a greater sense of unity.

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Okoronkwo, Chikezie, Esther Oladejo, Gibson Okorafor, and Okoronkwo Chibuzor. "VALUE OF DIRGE IN THE MUSICAL CULTURE OF COMMUNITIES: A STUDY OF ARONDIZUOGU." International Journal of Development Strategies in Humanities, Management and Social Sciences 11, no. 1 (March 25, 2021): 1–12. http://dx.doi.org/10.48028/iiprds/ijdshmss.v11.i1.01.

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Music is one activity that has continued to represent so many things to different people in different societies of the world. It presents itself in different styles and is used for different purposes. The mournful and slow type is often used in burials, funerals and spirit-cultural functions to depict the degree of reverence, attachment and affection to the parties involved in the ceremony. This paper examined the use of dirge in Arondizuogu South East Nigeria. It explained the several connections of the music to religious organizations as well as heathens and Christians who must use the music in appropriate circumstances not withstanding their faith. The paper relied on interviews and questionnaires as well as statistical techniques in analyzing the nature of the dance and the implication of participation thereof. It concludes that dirge is a unique song that could be danceable or otherwise but a required necessity in the passage of the soul to the great beyond. The paper recommends that people of all classes irrespective of race should pay attention to the lyrics, rhythm and voice of the music to appreciate the importance and participate actively as a means of respecting the dead and the God of the dead.

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Okosun, Edward. "A review of the stratigraphy of Dange Formation (Paleocene), Northwestern Nigeria." Newsletters on Stratigraphy 21, no. 1 (January 1, 1988): 39–47. http://dx.doi.org/10.1127/nos/21/1989/39.

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30

Essien, Edet. "Theater for development in contemporary Nigeria: problems and prospects." International Journal of Humanities and Innovation (IJHI) 3, no. 1 (March 31, 2020): 17–21. http://dx.doi.org/10.33750/ijhi.v3i1.66.

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Theater has become more popular over the years. It is generally known to people as a building designed for the performance of plays, dances, etc. This paper is aimed at espousing the pertinence of theater in national development, especially in a developing African nation-state like Nigeria. In doing this, the paper identifies and discusses the exploitable prospects and problems that go along with the deployment of theater in enhancing Nigeria’s development. The paper concludes that despite the challenges, theater plays a vital role to play towards creating a reliable, effective, and responsive representative institution and in advancing the frontiers of development of the Nigerian society.

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Arlt, Veit. "The Union Trade Company and Its Recordings: An Unintentional Documentation of West African Popular Music, 1931–1957." History in Africa 31 (2004): 393–405. http://dx.doi.org/10.1017/s0361541300003569.

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This paper introduces a unique collection of roughly 700 historical recordings of African popular music generated by a Swiss trading company, which today is located at the archives of mission 21 (formerly Basel Missioin) in Basel. The music was recorded and distributed by the Union Trade Company of Basel (UTC) during the 1930s and 1950s in the Gold Coast and Nigeria. The collection represents a rich resource for the study of African history and cultures and caters for the growing interest shown by social historians of Africa in everyday life and accordingly in leisure activities and consumption.As music and dance undoubtedly play an important role in African social and religious life, they have received much attention and there is a longstanding tradition of ethnomusicological research that has led to a great number of sound collections. The historian interested in the “modern” and “postmodern” or in popular culture, however, tends in many cases to be frustrated by the material contained in these archives. The ethnographic collectors often showed a blind eye to the modernizing forces within the African musical cultures they researched and concentrated on documenting what they perceived as the “original” or “traditional.” Furthermore the collection and documentation of the popular music of the day was rarely on the agenda of national research institutions and archives in postcolonial Africa. In the case of Ghana at least three initiatives have resulted in important collections of music that go beyond a narrow ethnographic documentation. The first, by Prof. Kwabena Nketia at the Centre of African Studies at the University of Ghana, features a mixture of field recordings and a few commercial records. The others focus specifically on the commercial and popular. These are the Gramophone Records Museum in Cape Coast, discussed below by its founder Kwame Sarpong and the Bokoor African Popular Music Archives Foundation (BAPMAF) of John Collins in Accra.

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Suell, David Thomas. "Leave the Dead Some Room to Dance: Postcolonial Founding and the Problem of Inheritance in Wole Soyinka’s A Dance of the Forests." Political Theory 48, no. 3 (October 3, 2019): 330–56. http://dx.doi.org/10.1177/0090591719878403.

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In this essay, I examine Nigerian playwright Wole Soyinka’s A Dance of the Forests in order to think through political founding. Viewing founding from the postcolonial context, I explore how members of a political community negotiate among the multiple pasts that continue to affect them, and what kind of institutions and actors are best equipped to pursue this critical part of the founding project. Situating Soyinka’s account against competing narratives of the postcolonial condition, I demonstrate how he uses Yoruba philosophy and cosmology to reframe the challenges and potentials of founding, and I illustrate how political actors should respond to these by adopting the role of “citizen-artists” who can learn from past struggles and overcome their overwhelming legacies. Read as a dramatic intervention into Nigerian democratic politics and as a work of political theory, A Dance offers a lens through which to interrogate founding within and beyond the postcolony.

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Sadoh, Godwin. "Intercultural Creativity in Joshua Uzoigwe's Music." Africa 74, no. 4 (November 2004): 633–61. http://dx.doi.org/10.3366/afr.2004.74.4.633.

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AbstractThis essay presents Joshua Uzoigwe as a Nigerian intercultural composer. A short biography of the composer shows the influence of two cultur—Nigerian (Igbo/Yoruba) and European—on his creative outputs. Uzoigwe's experience in the two cultures has enabled him to compose music which is indisputably a synthesis of Nigerian and European musical idioms. His works are classified into five categories, while the creative style exhibits purely original compositions and works in which Nigerian musical elements are directly utilised. A discussion of Uzoigwe's music includes elements of tonal organisation, elements of dance, elements of musical conception and instrumentation. The issue of bi-culturalism, national identity and the search for a Nigerian audience are some of the problems Uzoigwe attempts to solve in his compositions.

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Nazareth, Peter, and Dubem Okafor. "The Dance of Death: Nigerian History and Christopher Okigbo's Poetry." World Literature Today 72, no. 4 (1998): 885. http://dx.doi.org/10.2307/40154427.

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Ogunsanwo, Olatubosun. "The Dance of Death: Nigerian History and Christopher Okigbo's Poetry (review)." Research in African Literatures 32, no. 4 (2001): 213–15. http://dx.doi.org/10.1353/ral.2001.0108.

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36

Emezi, Herbert O. "A Bibliography of African Music and Dance—The Nigerian Experience, 1930–1980." A Current Bibliography on African Affairs 18, no. 2 (December 1985): 117–47. http://dx.doi.org/10.1177/001132558601800204.

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Okereke, Emmanuel. "Female 'Weight' in the Nigerian Fiction: Iyayi's ‘Violence’ and Ibezute's ‘Dance of Horror’." English Studies at NBU 4, no. 1 (June 30, 2018): 61–79. http://dx.doi.org/10.33919/esnbu.18.1.5.

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This article is a masculinist examination of Festus Iyayi’s Violence and Chukwuma Ibezute’s Dance of Horror. The article despises the ideological stance of some feminists – that women are unfairly treated in society and in literature by men. It explores women’s relationship with men and contends that every woman is in control of her man and society around her. The article shows how women use marriage, love, sex, their body, social status, kitchen and cradle influence to hold men to ransom. The article, however, recommends that men should not act on their women’s unverifiable and manipulative claims. In all, the article concludes that women are oppressive and exploitative to men.

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Ojaide, Tanure. "Poetry, Performance, and Art: Udje Dance Songs of Nigeria's Urhobo People." Research in African Literatures 32, no. 2 (2001): 44–75. http://dx.doi.org/10.1353/ral.2001.0058.

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Daniel, J. A., E. I. Nwaogu, S. C. Okoli, and E. A. Nzeribe. "Acute effect of aerobic dance exercise on blood pressure of normotensive pregnant Nigerian women." International Research Journal of Medicine and Medical Sciences 7, no. 1 (February 2019): 28–33. http://dx.doi.org/10.30918/irjmms.71.19.013.

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Drewal, Margaret Thompson. "Yoruba Dance: The Semiotics of Movement and Body Attitude in a Nigerian Culture (review)." Research in African Literatures 31, no. 3 (2000): 201–2. http://dx.doi.org/10.1353/ral.2000.0080.

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OYEDEJI, Oluwole A., and Gabriel O. Adeyemi. "Evaluation of Shale Around Dange, Northwestern Nigeria as Raw Material for Drilling Mud." Earth Science Research 8, no. 1 (January 27, 2019): 19. http://dx.doi.org/10.5539/esr.v8n1p19.

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Shale exposed around Dange northwestern, Nigeria was studied. The aim was to determine the grade, quality and usability of the shale as drilling mud using its physico-chemical and the rheological characteristics. Sixty-one (61) samples were collected from exposed sections and pits. Major elements such as SiO2, Al2O3, MgO and CaO were determined. X-ray diffraction method was employed for the qualitative identification of the minerals in the shale. Cation Exchange Capacity and Exchangeable cations were determined using the Methylene Blue Absorption and Ammonium Acetate Saturation Methods respectively. Grain-size distribution and Atterberg Limits tests were also conducted. Apparent Viscosity, Plastic Viscosity and Yield point were calculated from readings obtained on a multi-speed Fann viscometer. The dominant clay mineral observed is smectite (71%) implying good expansive potential. Dominant oxides were SiO2 (42.60-57.50%), Al2O3 (12.00-16.70%), CaO (0.43-12.50%). Exchangeable cations obtained were Na+ (0.48-6.67), Ca2+ (14.03-34.50) and K+ (0.42-1.95) meq/100g clay. Liquid and plastic limits ranged from 69.40-86.00% and 30.10-36.10% respectively giving a Plasticity Index of 39.40-52.60%. The samples plot close to Ca-montmorillonite on the clay identification chart. The viscosity increased on addition of 7-10% sodium carbonate. It has good sodium exchange potential. In the natural state, it does not meet the API/OCMA specifications. However, its rheological properties improved significantly on treatment with sodium carbonate thus confirming its suitability as raw material in drilling mud.

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Chukwuma Okoye, James. "The Eucharist in African Perspective." Mission Studies 19, no. 1 (2002): 159–72. http://dx.doi.org/10.1163/157338302x00242.

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AbstractIn this article, Nigerian James Chukwuma Okoye explores the idea of an inculturated African Eucharist. After a discussion of the possibility of a truly African Eucharist according to Catholic teaching, Okoye outlines several elements that would need to be present in any Eucharist that would claim to be authentically African: it would be a sacrifice that would maintain the "ontological balance" between God and human beings; it would be richly communal in nature; it would function as an access to mystical power; it would have a healing role in the community; it would be a liturgy that would be celebrated in word, song, body movements and dance. Okoye then briefly discusses the Zairean rite of Eucharist as a concrete example of a eucharistic celebration that is rooted both in the Roman Rite as well as in local, African traditions.

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Afolabi, Olusegun Emmanuel. "Social Inequalities as Determinantof Variations in Parental Expectation for Involvement in Education of Learners with Special Needs (SENs) in Nigeria." Resocjalizacja Polska 11 (December 13, 2016): 211. http://dx.doi.org/10.22432/pjsr.2016.11.14.

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Mimo iż zaangażowanie rodziców w edukację swoich dzieci na całym świecie zyskuje coraz większą popularność, niewiele systematycznych badań koncentruje się na oczekiwaniach rodziców uczniów ze specjalnymi potrzebami edukacyjnymi (SPE) w zakresie zaangażowania w kształcenie w edukacji włączającej. Niniejsza praca, oparta na literaturze, z wykorzystaniem modelu ekologicznego oraz modelu Hoover-Dempsey i Sandlera (1995) jako ram teoretycznych i pojęciowych, ma na celu zbadanie przyczyn różnic w oczekiwaniach rodziców w zakresie ich zaangażowania w edukację uczniów z SPE w Nigerii. Pytanie badawcze brzmi: czy cechy strukturalne rodziny, takie jak: płeć, stan cywilny i wykształcenie rodziców mają znaczący wpływ na oczekiwania rodzicielskie w zakresie udziału w edukacji włączającej w Nigerii? Wykorzystując ilościową metodę badawczą w badaniu zebrano dane od rodziców 372 uczniów z SPE z 10 regularnych szkół podstawowych w Ibadan, Stan Oyo w Nigerii. Zastosowano instrument badający zakres zaangażowania rodziców w edukację włączającą (PII). Badania wykazały, że następujące czynniki społeczno-kulturowe i gospodarcze: stan cywilny, wykształcenie i płeć rodziców wpływają na oczekiwania co do ich zaangażowania w edukację uczniów z SPE w Nigerii. Wynika z nich także wskazówka dla rządu i resortu edukacji, aby wspierały działania i programy zachęcające rodziców do uczestniczenia w procesie nauczania dzieci poprzez tworzenie dla nich grup wsparcia, w których mogliby dzielić się swoją wiedzą i współpracować ze szkołą w edukacji włączającej swoich dzieci.

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Ibe-Lamberts, Kelechi, Daudet Ilunga Tshiswaka, Ifeyinwa Onyenekwu, Andiara Schwingel, and Juliet Iwelunmor. "Dance and Hometown Associations are Promising Strategies to Improve Physical Activity Participation Among US Nigerian Transnational Immigrants." Journal of Racial and Ethnic Health Disparities 5, no. 2 (April 14, 2017): 253–60. http://dx.doi.org/10.1007/s40615-017-0365-x.

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45

Ibrahim, Abdulhamid B., and E. Kogi. "RETROSPECTIVE STUDY OF MALARIA PREVALENCE IN SELECTED HOSPITALS IN ZARIA, NIGERIA." FUDMA JOURNAL OF SCIENCES 4, no. 4 (June 11, 2021): 26–33. http://dx.doi.org/10.33003/fjs-2020-0404-462.

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A retrospective study of laboratory records in selected hospitals in Zaria was carried out to determine the trend of malaria prevalence between 2001 and 2005. Data was obtained from the following selected hospitals: St Luke’s Anglican Hospital, Wusasa, Salama Infirmary, Saidu Dange railway Hospital and Sick Bay, Ahmadu Bello University, Main campus, Samaru. The selection of the hospitals was based on their geographical location and sizes. The prevalence was consistently high over the years; 2001–44.1%, 2002–59.45%, 2003–59.35%, 2004–58.30% and 2005–64.25%. There was no significant difference (P>0.05) between malaria infection in males and females. Infection rates were significantly higher in children than adults (P<0.05) in all hospitals sampled except Salama Infirmary. Sick Bay in the main campus, Samaru had the least prevalence consistently over the five years period – 2001-27.0%, 2002-26.3%, 2003-21.8%, 2004-25.9% and 2005-33.2%. No clear seasonal variation over the years was observed. The study clearly showed consistent high prevalence over the five years period. Record keeping was useful as it provided data bur devoid of specific ages of attendees. Specific ages of hospital attendees rather than “children” or “adults” should be recorded and other demographic variables such as occupation and other socio-economic proxies should be included in laboratory record books

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46

Ogunsanwo, Olatubosun. "BOOK REVIEW: Dubem Okafor.THE DANCE OF DEATH: NIGERIAN HISTORY AND CHRISTOPHER OKIGBO'S POETRY, Trenton: Africa World P, 1998." Research in African Literatures 32, no. 4 (December 2001): 213–15. http://dx.doi.org/10.2979/ral.2001.32.4.213.

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47

Aluede, C. O., and D. B. Ekewenu. "Healing Through Music and Dance in the Bible: Its Scope, Competence and Implications for the Nigerian Music Healers." Studies on Ethno-Medicine 3, no. 2 (July 2009): 159–63. http://dx.doi.org/10.1080/09735070.2009.11886355.

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48

Iduh, M. U., T. I. Spencer, K. Mohammed, K. M. Garba, F. O. Ashcroft, U. S. Nataala, and W. H. Mubarak. "Bacteriological Examination of Drinking Water from Different Sources in Sokoto State Nigeria." Journal of BioMedical Research and Clinical Practice 1, no. 4 (November 23, 2018): 241–47. http://dx.doi.org/10.46912/jbrcp.68.

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A total of 50 water samples comprising; 20 well water, 15 sachet water, 10 borehole water and 5 river water samples, were obtained from Wamakko, Dange-shuni and Wurno local government areas in Sokoto Central, Sokoto West and Sokoto East, Nigeria respectively between March and May 2015. They were analyzed using membrane filtration and pour plate techniques for faecal coliforms count and total coliform count respectively. The total coliform count for all the sources ranged between 0 and 3.28 × 102 with a total mean of 1.11 × 10,2 that of faecal coliform count was found to range between 0 and 92 with a mean total count of 12.58. Among the bacteria isolated and identified, Escherichia coli had the highest total prevalence of 233 (40.31%) and occurring in all the water samples. Klebsiella spp had 99 (17.13%) occurring in all the sources, Salmonella spp 43 (7.44%) occurring in all the sources except for borehole, Pseudomonas species 88 (15.22%) occurring in all the sources, Staphylococcus aureus with 115 (19.90%) occurring in all the sources except for borehole. However, the pHs for all the samples were found to be within the range of 6.51 to 8.0 which are within WHO acceptable range of 6.0 to 8.5. From this study, it is obvious that the water sources from the areas under study are bacteriologically unfit for drinking purposes. These samples with high total coliform count are of concern and calls for urgent and stringent measures aimed at ensuring a safer drinking water for the populace.

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Ibrahim, Binta Fatima. "The appropriation of linguistic forms for better cognitive comprehension of the Nigerian pragmatic literature." Babel. Revue internationale de la traduction / International Journal of Translation 56, no. 2 (August 13, 2010): 119–28. http://dx.doi.org/10.1075/babel.56.2.02ibr.

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The propensity of the English language to absorb native nuances by the African writers should be seen as a worthwhile stylistic device, despite the position of English language. Its adaptability to natural flavours should therefore be aimed at the writers’ intention to reach a wider audience. This also means that the attempt by writers to decolorize through literature the polluted African culture god through the use of appropriate notions and local nuances. The technique has, however, been to put on record traditional ways of life, the peoples’ customs, communal activities such as festivals, ceremonies, rituals, myths, folktales, proverbs, music, dance, songs, etc. in order to remind the African reader about the importance of these crucial aspects of the tradition in addition to the appropriation of language use. Hence most African writings can be said to have their foundations in the cultural heritage of their various groups. through the use of what one may call technically implanted African English, African coinages, direct translation, proverbs, local idioms transfers of mother tongues, local insertions/ect. Hence it is not enough to use the sociological and residual approaches to literature. The formalist and pragmatic approaches should also be considered paramount in the writing of African literature. For the choice of diction, narrative technique and the entire pragma-aesthetic implications of the African man’s speech is important to the reader of African literature, if he is to understand the theme

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MOSOBALAJE, ADEBAYO. "The Transition from a Mythopoeic to a Populist Aesthetic in Selected Political Plays of Wole Soyinka." Matatu 47, no. 1 (August 22, 2016): 71–95. http://dx.doi.org/10.1163/18757421-90000396.

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The study examines the movement of Wole Soyinka from mythopoeic dramatic strategies to a realistic populist aesthetic in selected political plays. It also examines the cause(s) of the movement, analyses the formal pattern engendered by it, and discusses the portrayal of the military in governance in the political plays, with a view to establishing the impact of the metamorphosis on the revolutionary tenor of the plays. Three of Soyinka’s political plays are selected for analysis. The first, A Dance of the Forests, represents Soyinka’s experimentation with the mythic imagination among the pre-Civil War works from the 1960s to the early 1970s; the second, Madmen and Specialists, a Civil-War play, constitutes the watershed and middle ground in the dramaturgic metamorphosis of the playwright; and the third, Opera Wọ́nyọ̀sí, a post-Civil-War political satire, begins the history-informed plays of the mid-1970s and onwards. Using a close-reading technique, the essay argues that the personal involvement of Soyinka in the Nigerian Civil War of 1967–70, coupled with the effects of the war, his consequent incarceration, and the demands made on him by Marxist critics to employ a populist aesthetic, led the playwright to the realization that the political comprador did not heed the warnings in the mythinfused political plays of the early phase of his career, most probably because of the relative inaccessibility of their hieratic idiom. There arose a strong need to communicate in simple, accessible language addressing contemporary history. This dramaturgic movement has a positive impact on the revolutionary tenor of the plays.

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