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Journal articles on the topic 'Nigerian drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Iyorza, Stanislaus, and Patience Abu. "NIGERIAN TELEVISION DRAMA SERIES AND AUDIENCE REACTIONS: A SEISMOLOGY EVALUATION." Jurnal Sosialisasi: Jurnal Hasil Pemikiran, Penelitian dan Pengembangan Keilmuan Sosiologi Pendidikan, no. 1 (July 30, 2020): 47. http://dx.doi.org/10.26858/sosialisasi.v0i1.14491.

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The objective of this study is to find answers to evaluate reactions of the audience to the Nigerian television drama series in Nigeria, giving attention to how the programmes are making waves and the extent to which the audience has invested their knowledge, time and interest in them. Seismology is the study of effects or waves created by a dramatic piece, the entire theatrical event or radio or television programme. This discourse assumes that the Nigerian television drama series may not be evoking the desired reactions from their audience. The problem of this study is the uncertainty surrou

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2

Bardi, John Ndubuisi. "An Evaluation of Dramatic Elements in Selected Television Advertisements in Nigerian Media Space." International Journal of Current Research in the Humanities 27, no. 1 (2024): 402–13. http://dx.doi.org/10.4314/ijcrh.v27i1.25.

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This study evaluates the dramatic elements in selected advertisements in Nigerian television media space between April and July, 2022. It has been noticed that a lot of advertisements in Nigerian television media space make use of drama to project their messages. The research methods that were employed in this study are mainly content analysis, observation and literary analysis. The study discovers that almost all advertisements are dramatic, because they make use of one dramatic element or the other to project the advert messages. It is concluded that Nigerian advertising agencies are adepts

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3

Roy-Omoni, Alex. "Modern Nigerian Drama and its Generation of Playwrights." Tropical Journal of Arts and Humanities 2, no. 2 (2020): 8–17. https://doi.org/10.47524/tjah.v2i2.4.

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Many scholars have written on the beginning and development of modern Nigerian drama. This paper is an attempt to do same, with reference to the views expressed, divergent as they are, by these scholars, on the beginning and development of Nigerian drama from its inception to the present. These views are matched so that the forms of modern Nigerian drama and the different generations of Nigerian playwrights are re-visited, for proper documentation and reference.

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Dr, Christian Chidi Ukagu, and Nkem Godslove Chidi-Ukagu Dr. "SATIRE AND SOCIAL CRITICISM IN "NEW PIKIN 1&2" AND "NAIJA NINJA"." SGI-JOURNAL OF SOCIAL SCIENCE AND HUMANITIES 2, no. 6 (2020): 58–67. https://doi.org/10.5281/zenodo.5701308.

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There is indeed a paucity of formalist criticism on contemporary Nigerian television dramas. Quite often, Nigerian television drama scholars, critics, and aficionados tend to focus so much attention on the exegesis of the contents of Nigerian television dramas without caring much about the aspect of the techniques through which meanings can be unlocked. Granted, as some have argued, that content is very central in art criticism, but equally important is the aspect of technique, for, in essence, the technique remains the sole vehicle for conveying meaning to the audience; as well as for giving

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Edebor, Solomon. "Nigerian Christian Drama: A Reconstruction of History." Àgídìgbo: ABUAD Journal of the Humanities 4, no. 1 (2016): 45–58. http://dx.doi.org/10.53982/agidigbo.2016.0401.05-j.

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This paper examines the history and development of Nigerian Christian drama from its earliest time till date. The paper affirms Agoro 's position on the continuation of theatre in the Church after the exit of Hubert Ogunde contrary to Adedeji's submission, but notes the negative impacts of his untimely departure. Besides, the paper shows the factors responsible for the emergence of independent Christian drama groups, and generally indicates a particular trend in terms of changes in the role of Christian drama at different phases of its development in Nigeria. The study concludes that although

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جبر, رباب. "Trickster in Nigerian Postcolonial Drama." مجلة الآداب والعلوم الإنسانیة 91, no. 5 (2020): 1161–73. http://dx.doi.org/10.21608/fjhj.2020.38768.1031.

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7

Eni, Kenneth Efakponana, and Blessing Adjeketa. "Shifting Ideological Conceptions of Gender and the Challenge of Characterisation in Nigerian Drama." Cankaya University Journal of Humanities and Social Sciences 18, no. 2 (2024): 480–87. https://doi.org/10.47777/cankujhss.1458281.

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Drama has, over the years, portrayed issues of gender inequality and agitations, from Aristophanes’ Lysistrata, J. P. Clark’s The Wives Revolt, Ola Rotimi’s Our Husband Has Gone Mad Again, Fred Agbeyegbe’s The King Must Dance Naked, Tracie Uto’s Our Wives Have Gone Mad Again, Irene Salami-Aguloye’s Sweet Revenge, More Than Dancing to Ama Ata Aidoo’s Anowa by the Ghanaian writer. The list of plays x-raying gender and feminist issues is endless. Drama has thus portrayed gender issues in its complexities, limiting itself majorly to the male-female binary in gender discusses. Using the psychoanaly

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8

Eziechine, Augustine Obiajulu, and Jude Aigbe Agho. "Democracy, Gender Issues and Women Empowerment in Nigeria: Reflections on Selected Nigerian Feminist Drama." Journal of Gender Related Studies 4, no. 1 (2023): 1–10. http://dx.doi.org/10.47941/jgrs.1296.

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Purpose: Gender inequality has thrived in Nigeria for too long. Feminist scholars therefore feel that there is urgent need to change the status quo through feminist inputs and this led to the present persistent advocacy for women empowerment. Drama has been mostly deployed as a means of expressing this new trend of discourse. Thus, Nigerian writers, especially feminist dramatists, consciously reflect in their works the frightening realities of the prevailing socio- political and economic situations in the country, drawing the attention of the masses, especially the female gender to the inequal

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9

Tsebee, Kenneth Asor. "Evaluation of Nigerian Television Authority’s Drama Programmes on Child Abuse among Residents of Abuja Municipal Area Council Federal Capital Territory Nigeria." Asian Journal of Advanced Research and Reports 18, no. 7 (2024): 56–66. http://dx.doi.org/10.9734/ajarr/2024/v18i7685.

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Emotional abuse is a behavior that impairs a child's emotional development or sense of self-esteem. It may include threats, constant criticism as well as withholding love, support or guidance. Child prostitution is not only a cause of death and high morbidity of millions of children, but a gross violation of their rights. Hence, the aim of this study is to examine the perception and exposure of the residents of Abuja Municipal Area Council, on Nigerian Television Authority Drama Programmes on Child Abuse. A survey research design was adopted which was carried out in Abuja Municipal Area Counci

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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.

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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, w

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Oloruntoba-Oju, Omotayo. "FromAlarinjotoArugba: continuities in indigenous Nigerian drama." African Identities 11, no. 4 (2013): 395–406. http://dx.doi.org/10.1080/14725843.2013.863143.

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Amaefula, Rowland Chukwuemeka. "Eco-Drama, Multinational Corporations, and Climate Change in Nigeria." Journal of Contemporary Drama in English 10, no. 1 (2022): 183–98. http://dx.doi.org/10.1515/jcde-2022-0012.

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Abstract Oil explorations by multinational corporations in Nigeria have grave consequences on the ecosystem. Gas flaring, oil spillage, and other forms of land and water pollution seriously degrade the natural environment as well as displace Nigerians from their homes and traditional occupations. Pollution has caused increased flooding, erosion, and dearth of both food and fishes, leading to poverty and hidden hunger, among other problems. More destructive is the reactionary disposition of the Nigerian state to climate change and ecological disasters. Beside the provision of make-shift structu

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Chris Ajibade, Adetuyi,. "Thematic Preoccupation of Nigerian Literature: A Critical Approach." English Linguistics Research 6, no. 3 (2017): 22. http://dx.doi.org/10.5430/elr.v6n3p22.

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Nigerian literature takes "matter" from the realities of Nigerian living conditions and value systems in the past and present. In the Nigerian society the writer, be it a novelist, dramatist or poet is a sensitive "questioner" and reformer; as all literature in a way is criticism of the human condition obtainable in the society it mirrors. The writer often cannot help exposing the bad and the ugly in man and society. Thus much of Nigerian literature is a deploration of the harsh and inhuman condition in which the majority of Nigerians live in i.e. poverty, misery, political oppression, economi

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Nzewunwa, Nwanna, and Samson O. O. Amali. "An Ancient Nigerian Drama: The Idoma Inquest." International Journal of African Historical Studies 20, no. 3 (1987): 520. http://dx.doi.org/10.2307/219705.

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Over, William. "Redefining political drama: Onwueme and Nigerian society." Contemporary Justice Review 13, no. 2 (2010): 173–89. http://dx.doi.org/10.1080/10282581003748263.

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Muhammad, Usman, Kabiru Yusuf, and Abubakar Abdullahi Achiba. "Evaluating the Effectiveness of Dramatic Approaches in Improving Oral Communication Skills among Arabic Language Students of Colleges of Education in North Central Zone Nigeria." IOSR Journal of Humanities and Social Science 29, no. 9 (2024): 06–15. http://dx.doi.org/10.9790/0837-2909050615.

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Recent literature highlights a widespread issue of poor oral competence and communication skills among Arabic language students in Nigerian institutions of higher learning. Contributing factors, including the use of inappropriate teaching methods, have been identified. This study explores the impact of using drama techniques to enhance Arabic oral communication skills among students in Colleges of Education across North Central Nigeria. A pre-experimental design was utilized, with one group serving as the experimental group and the other as the control group. The intervention took place during

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Alabi, Oluwafemi Sunday. "An Exploration into the Satiric Significance of Abuse in Selected Nigerian Drama." Revista Alicantina de Estudios Ingleses, no. 35 (July 28, 2021): 143. http://dx.doi.org/10.14198/raei.2021.35.07.

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A general survey of the contemporary Nigerian theatre and drama reveals that several contemporary Nigerian dramatists have harnessed the art of abuse—invectives— as a device for conveying meanings in their works and achieving their satiric goals. These dramatists create characters that engage abuse to articulate the thematic concerns of their drama, accentuate the conflicts in them, and establish the socio-cultural and political setting of their drama. Although extant works on satiric plays have focused on the use of language, and other satiric devices such as grotesque, irony, burlesque, innu

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18

Oladele, Babajamu. "Perspective of Military Literatis in Nigerian Literature." International Journal of Sub-Saharan African Research 3 (March 28, 2025): 496–507. https://doi.org/10.5281/zenodo.15101466.

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<strong>Background</strong>: Literature in its three main genres of prose, poetry and drama aims at projecting Information, thriller, suspense, aesthetic pleasure and inspirations to readers amongst others. The Nigeria kind of Military literatures are publications produced by military writers in form of prose, poetry and drama to help educate the public about the virtues of the military profession. Creative writing in the military is given little or no attention because of the restricted nature of military information materials. <strong>Objective</strong>: The objective of this study is to pro

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19

Ibude, Isaac Osakpamwan. "African Art Music and the Drama of Christian Worship among Baptists in Nigeria." East African Journal of Traditions, Culture and Religion 2, no. 1 (2020): 72–82. http://dx.doi.org/10.37284/eajtcr.2.1.226.

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Church music is purpose-driven and functional art. The search for authentic African experience in Christian worship among Nigerian Baptists brought about the introduction of art music compositions into the drama of worship. The paper discusses the development and contextualisation of Baptist worship by the inclusion of new music(s) written, composed and performed by Africans for the purpose of the liturgy, serving as a voice within the culture. The research adopted an ethnographic research design. Data were collected from published works and recorded art music compositions, content analysis of

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20

Henry, Leopold Bell-Gam, and Dike Nwachuku Emmanuel. "Nigerian Television Drama Programmes for Children: A Life Size Puppet Use Advocacy." NDỤÑỌDE : Calabar Journal of The Humanities 13, no. 1 (2018): 228–48. https://doi.org/10.5281/zenodo.1467903.

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Abstract Observed inability of any indigenous Nigerian television drama production for children in achieving continental or international recognition till date has motivated this study. Investigating reasons that may be adduced for the success or failure of efforts in this medium since the inception of television in Nigeria is the problem of study.The purpose is to motivate improvement towards indigenous life size puppet productions and use for children television drama productions in Nigeria. The study aims at improving television broadcast for children through motivating craftsmanship in lif

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21

Lakoju, Tunde. "Literary Drama in Africa: the Disabled Comrade." New Theatre Quarterly 5, no. 18 (1989): 152–61. http://dx.doi.org/10.1017/s0266464x00003043.

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NTQ has given considerable coverage to forms of popular theatre for conscientization and development in the so-called Third World. By contrast with such community-oriented, audience-involving activities, is there a function for conventional ‘literary’ drama, on the western model, which can probably only reach relatively comfortable and literate middle-class audiences? Tunde Lakoju examines two such plays – I Will Marry When I Want by the Kenyan playwright Ngugi Wa Thiongo (London: Heinemann, 1982), and The Trials of Brother Jero by the Nigerian dramatist Wole Soyinka (Oxford University Press,

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22

Nwahunanya, Chinyere. "Nigerian drama and the theatre of the absurd." Neohelicon 21, no. 2 (1994): 169–89. http://dx.doi.org/10.1007/bf02093250.

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23

Eziechine, Augustine O., and Queen Esene. "Women and the Quest for a New Narrative inContemporary Nigerian Drama: An Examination of Irene Isoken Agunloye's Sweet Revenge and Tracie ChimaUtoh- Ezeajugh'sNneora: An African Doll's House." European Journal of Linguistics 2, no. 2 (2023): 63–74. http://dx.doi.org/10.47941/ejl.1386.

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Purpose: This paper seeks to examine the presentation of the images of women in Nigerian drama. Many female playwrights in Nigeria believe that women are misrepresented in plays written by men. Their claim is that the images of women as presented in the literary works of most male playwright are not true reflection of women in real life. In the early Nigerian drama, mostly written by men, women were usually portrayed as weak, inferior, and unimportant personalities. The women are generally quiet and subdued and their primary functions revolve around the family. Even in contemporary times, most

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Eziechine, Augustine Obiajulu, and Queen Esene. "The Quest for Female Political Leadership in Nigeria: Irene Salami-Agunloye’s Vision in More Than Dancing." International Journal of English Language and Linguistics Research 12, no. 3 (2024): 1–9. http://dx.doi.org/10.37745/ijellr.13/vol12n319.

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Nigerian women writers are becoming more and more deeply committed to the mistreatment of women in their country. The writers, particularly the female playwrights, use their creations to confront the problem of Nigerian women's political alienation. Their writings shed light on a number of sociopolitical concerns intended to elevate democratic principles and sound administration in Nigeria. However, this paper takes a critical excursion into Irene Salami-Agunloye’s More Than Dancing to establish the possibility of using drama as a means of projecting the quest for female political leadership i

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Imo, Edward Egbo. "The “Chauvinistic” Men of Julie Okoh: Victims of Feminist Bias." Journal of Gender and Power 10, no. 2 (2018): 53–71. http://dx.doi.org/10.14746/jgp.2018.10.003.

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The paper interrogates Julie Okoh’s sense of commitment to the feminist struggle. Using her plays as case studies, the paper presents Okoh as one of the most passionate, emotional and bias feminist playwrights in Nigeria. The argument canvassed in this paper includes that in Okoh’s dramaturgy, women are portrayed far better than their men counterpart. The research is fundamentally literary in methodology and qualitative in approach with some of Okoh’s selected plays as primary source materials. The major finding in the study is that Okoh is one of the few Nigerian playwrights that have demonst

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Schulze–Engler, Frank. "Civil Society and the Struggle for Democratic Transition in Modern Nigerian Drama: Ken Saro–Wiwa's and Wole Soyinka's." Matatu 33, no. 1 (2006): 267–91. http://dx.doi.org/10.1163/18757421-033001034.

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In the wake of new democratic movements in Africa, the dynamic of democratic transition has become a key issue not only for the social sciences but also for literary studies. The following essay analyses the seminal role of the politics of civil society in two contemporary plays, Ken Saro–Wiwa's and Wole Soyinka's , reading them against the background of the turmoil undergone by Nigerian society in the 1980 s and 90 s. Not only have both authors been heavily involved as 'public intellectuals' in Nigeria's democratic transition, but they have also satirically highlighted the shortcomings of con

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Onwueme, Tess Akaeke. "Visions of Myth in Nigerian Drama: Femi OsofisanVersusWole Soyinka." Canadian Journal of African Studies / Revue canadienne des études africaines 25, no. 1 (1991): 58–69. http://dx.doi.org/10.1080/00083968.1991.10803878.

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Olusegun, Oladele Jegede. "Language, Power Dynamics, and Societal Hierarchies in Post-Osofisan Nigerian Drama." SSAR Journal of Arts Humanities and Social Sciences (SSARJAHSS) 1, no. 2 Sept-Oct (2024): 56–63. https://doi.org/10.5281/zenodo.14732894.

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<strong>Abstract:</strong><strong> </strong>This paper argues that in post-Osofisan Nigerian drama, language serves as both a tool for reinforcing power dynamics and a medium for subverting societal hierarchies. Through an examination of key works by playwrights such as Wole Soyinka and Femi Osofisan, the paper explores how language functions to perpetuate or challenge class, gender, and ethnic inequalities. It asserts that language in these plays is not merely a means of communication but a strategic instrument through which characters explore, contest, and redefine societal structures.

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Eziechine, Augustine Obiajulu. "An evaluation of the dramatic aesthetics of Ikenge and Ifejioku festivals of Ossissa people of Delta State." IKENGA International Journal of Institute of African Studies 22, no. 3 (2021): 1–16. http://dx.doi.org/10.53836/ijia/2021/22/3/005.

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This paper evaluates the dramatic aesthetics of the Ikenge and Ifejioku festivals of Ossissa people of Ndokwa-East Local Government Area of Delta State, Nigeria. The study, which is a survey of the performance tradition, critically analyses the controversy surrounding the views of African dramatic scholars (the evolutionists and the relativists) on the question of what constitutes drama in the context of Nigerian traditional performances. This controversy arose as a result of Aristotle’s concept of drama with its emphasis on imitation, plot, dialogue, conflict, etc. Based on this concept, Ruth

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Agbetuyi, Olayinka. "Authority and Moral Conflicts in the Films of Adébáyọ Fálétí: Àfọ̀njá, Gáà, Ṣawo Ṣẹ̀gbẹ̀rì and the Yorùbá Cosmopolis". Yoruba Studies Review 3, № 2 (2021): 1–13. http://dx.doi.org/10.32473/ysr.v3i2.129990.

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In this piece, I examine the role of authority in Yorùbá society and how au[1]thority is subverted by moral conflicts generated in the political evolution of the Yorùbá state from city state to empire, leading to disastrous consequences in the society at large as presented in the films of Adébáyọ Fálétí, specifically in Àfọnjá (2002), Basọrun Gáà (2004) and Ṣawo Ṣẹgbẹ ̀ rì̀ (2005). I argue that such pains and pangs of transformation are not unique to Yorùbá society but mirror similar political evolutions in other societies such as Rome and Greece. Such political upheavals led to the celebrated

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Adjeketa, Blessing. "Eurocentric(ism) and Folk(ism) in Edegborode Festival Performance." مجلة بيت المشورة, no. 4 (August 30, 2023): 26–41. http://dx.doi.org/10.33001/18355/imjct0410.

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This essay analyses the Edegborode Annual Festival Performance of Sapele, Delta state, Nigeria, as one among the many dramatic performances in Africa, with economic values, vis-à-vis the possibility of adapting the festival into contemporary folk drama using Sam Ukala’s Folkism eight (8) Laws of Aesthetic Response. There is no doubt about the tourism potential and the economic values present in many Nigerian festival Performances. However, the question of whether traditional African performances can be classified as drama or not still lingers. Adopting traditional African performances into mod

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Olaniyan, Modupe Elizabeth. "SYMBOLISM IN THE DRAMA OF JP CLARK AND FEMI OSOFISAN." Imbizo 5, no. 1 (2017): 71–81. http://dx.doi.org/10.25159/2078-9785/2831.

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The interpretation of literary texts in African drama has become a hazardous task for many readers (especially non-African readers). It is often difficult to go beyond the superficial literal meanings of a text. Readers often take what characters say as what they mean and do and, unfortunately, most dramatists do not usually provide explanatory notes at the end of such texts to aid the readers’ understanding. Hence, the aim of this article is to embark on an analysis of the works of John Pepper Clark and Femi Osofisan (both Nigerian dramatists) to see how they have used symbolism in their play

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King, Bruce, and Chris Dunton. "Make Man Talk True: Nigerian Drama in English since 1970." World Literature Today 67, no. 3 (1993): 659. http://dx.doi.org/10.2307/40149513.

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Adeoti, Gbemisola. "Adaptation in contemporary Nigerian drama: The example of Ahmed Yerima." Journal of Adaptation in Film & Performance 4, no. 2 (2011): 115–28. http://dx.doi.org/10.1386/jafp.4.2.115_1.

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Nwabueze, P. Emeka. "J.P. Clark'ssong of a goat:An example of Nigerian Bourgeois drama." World Literature Written in English 28, no. 1 (1988): 35–40. http://dx.doi.org/10.1080/17449858808589040.

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Okoye, Chukwudi M. C., and Chibuike M. Abunike. "Cultural transposition and challenges of policy making: a review of select Nigerian television series." UJAH: Unizik Journal of Arts and Humanities 20, no. 3 (2020): 119–32. http://dx.doi.org/10.4314/ujah.v20i3.7.

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Cinematic entertainment, it is safe to say, cannot be wished away. Indeed, as a child of necessity, the film and by extension the Televised Drama-series industry have come a long way. However, African countries like Nigeria today continue to grapple with issues of Genre, Form, Cultural imperialism and so on. This hasconsequently raised questions on issues of policy making and realistic interpretation as expressed by film scholars and critics and as observed through the eyes of the regular viewer. Furthermore, the issues of cinematic language or style, raises another concern as this is capable

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Peter, O. Aihevba, and E. Odia Clement. "A Critical Study of the Multifarious Uses of Music and Song in Femi Osofisan's Midnight Hotel." International Journal of Integrative Humanism Vol 10, no. 2 (2018): 6–15. https://doi.org/10.5281/zenodo.3250115.

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<strong>Abstract</strong> This paper is focused on critically evaluating the potential and power of music and song in the theatre craft. The paper critically examines the various roles music and song play in Osofisan’s Midnight Hotel play. Music and song in this play have been, summoned by Osifisan in the quest for experimentation and a radical ideological presentation of the socio-political ills in the post-colonial Nigeria. In this play, Osofisan subverts the Nigerian political and historical background to create a comic operatic satire. In this experimental work, music and song play a

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Mbachaga, Desen Jonathan. "Of innocuousness and insolence: A dialogue on commitment in Nigerian drama." UJAH: Unizik Journal of Arts and Humanities 17, no. 1 (2016): 168. http://dx.doi.org/10.4314/ujah.v17i1.9.

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Onwueme, Tess Akaeke. "Visions of Myth in Nigerian Drama: Femi Osofisan versus Wole Soyinka." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 25, no. 1 (1991): 58. http://dx.doi.org/10.2307/485556.

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Abe, Olanipekun Emmanuel. "Yoruba Oral Traditions and Communal Aesthetics in Olu Obafemi’s Selected Drama." Àgídìgbo: ABUAD Journal of the Humanities 12, no. 2 (2025): 576–89. https://doi.org/10.53982/agidigbo.2024.1202.40-j.

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The history of African oral literature is located in oral tradition which is tied to communal living. African oral literature is a conglomerate of communal traditions that reflect African culture, experiences, and societies. Studies affirmed that Olu Obafemi’s ideological stance and investigation of the society is revolutionary and is geared towards seminal social change. This paper examines the aesthetics of oral literature, and explores the society through the prism of Olu Obafemi’s Naira Has No Gender and Scapegoats and Sacredcows by highlighting the different explication of oral forms port

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Eziwho Emenike, Azunwo. "DRAMA AS REMEDY FOR A NATIONAL MALADY: CORRUPTION AND ITS ANTIDOTE IN “HENRY HIDDEN TREASURE AND UBE REPUBLIC”." Kampala International University Interdisciplinary Journal of Humanities and Social Sciences 2, no. 3 (2021): 92–108. http://dx.doi.org/10.59568/kijhus-2021-2-3-07.

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The injurious consequences of bad government in most African States cannot be overstressed. The sad realities are reflective in Nigeria body politic; which is characterized by maladministration, vicious economic recession, electoral manipulation, armed insurgencies, terrorism, insecurity, poverty, internal displacements, violence and deaths. Thus making Nigeria look like a failed state. This paper therefore reassesses the effects of bad governance on Nigeria using Henry Leopold’s two short plays: Hidden Treasure and Ube Republic as moral critique of the unwholesome state of affairs in Nigeria.

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ASIWAJU, Jumoke Helen. "An Assessment of the Nigeria Police Force by Yorùbá Female Novelists: A Sociological Approach." Global Academic Journal of Linguistics and Literature 10, no. 06 (2024): 141–50. http://dx.doi.org/10.36348/gajll.2024.v06i03.006.

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The Nigeria Police Force whose duty is to protect the citizens and also enforce law and order in the society has unfortunately become tainted by corruption and other vices. It is common for police officers to accept bribes, often in form of money, in the course of their duties. For example, if an offender cooperates by bribing the officers, they will escape punishment while an innocent person may be unjustly arrested and subjected to legal actions. Furthermore, Police officers betray one another, extort motorists on highways, supply weapons to criminals and act as godfathers to criminals in a

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Binebai, Benedict. "Voice Construction in the Postcolonial Text: Spivakian Subaltern Theory in Nigerian Drama." African Research Review 9, no. 4 (2015): 206. http://dx.doi.org/10.4314/afrrev.v9i4.16.

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Richards, Sandra L. "Toward a Populist Nigerian Theatre: the Plays of Femi Osofisan." New Theatre Quarterly 3, no. 11 (1987): 280–88. http://dx.doi.org/10.1017/s0266464x00015268.

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Though his work is as yet less familiar in Europe and the USA than that of Wole Soyinka. Femi Osofisan, while acknowledging a discipleship to his predecessor, is more concerned with specific social issues than with universalized themes, and is pre-eminent among contemporary Nigerian playwrights in combining a radical perspective with a recognition of the importance of cultural traditions. In this article. Sandra L. Richards explores his work in terms of the way that its social analysis elicits an active response from its audiences, through the reshaping of recognizable forms – ‘whodunits witho

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Mark Gasper, Tekena. "Approaches to Play Directing in Contemporary Nigerian Theatre: A Study of Segun Adefila and Bolanle Austen-Peters." Journal of Contemporary Drama in English 7, no. 2 (2019): 314–32. http://dx.doi.org/10.1515/jcde-2019-0022.

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Abstract Documentation remains one of the major challenges of the Nigerian theatre; as a result many theatrical performances have gone into oblivion. Studies have been conducted that have given birth to the many approaches to play production and theories of directing in the Nigerian theatre. However, most of these studies focused on directors in educational theatres, as many directors outside the academia seem not to have attracted much scholarly interest in terms of documentation. This research documents the directorial approaches of two Nigerian directors – Segun Adefila and Bolanle Austen-P

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Kafewo, Samuel Ayedime. "Discussion, Intervention, Processing: Theatre and Citizenship in Nigeria." New Theatre Quarterly 25, no. 2 (2009): 178–86. http://dx.doi.org/10.1017/s0266464x0900027x.

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A defining characteristic of ‘Theatre for Development’ is its ‘unfinished’ quality, whereby plays or scenarios remain more or less ongoing dialogues. In the following article, Samuel Ayedime Kafewo discusses the relationship between the fiction of the performance and the reality of the performed issues in one drama based on this technique, concerned with the divisive issue of citizenship rights in Nigeria. What is the role of processing and intervention in encouraging new attitudes towards the citizenship issues tackled in the project? What are the strengths and weaknesses of the methodologies

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Oki, Olumide J. "The Greatest Dramatist: A Comprehensive Exploration of Mike Bamiloye's Perspective on Jesus Christ in the Context of Theatrical Expression." International Journal of Humanities Social Science and Management (IJHSSM) 4, no. 1 (2024): 639–52. https://doi.org/10.5281/zenodo.10656376.

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This study delves into the intriguing connection between theology and theatrical expression in Christian literature, with a particular focus on the contributions of Nigerian Christian filmmaker and playwright, Mike Bamiloye.The research centers on Bamiloye's unique perspective on portraying Jesus Christ as the Greatest Dramatist through theatrical means, primarily examining his book, "Is Drama in the Bible?". The exploration begins by providing an overview of Bamiloye's background and multifaceted contributions to Christian drama, emphasizing its potential to reveal the core relationship betwe

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Folorunsho, Mikail Adebisi, and Rabiu Olayinka Iyanda. "Challenges and Strategies of Teaching Arabic and French Literature in Nigeria." TRANS-KATA: Journal of Language, Literature, Culture and Education 2, no. 2 (2022): 84–92. http://dx.doi.org/10.54923/transkata.v2i2.45.

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The issue of appropriate methodology for suitable teaching of literature of Arabic and French in Nigerian schools has continued to receive attention from educationists on how to make it more beneficial to society. Literature is to be for life’s sake; therefore, its teaching should be able to assist in solving day-to-day problems. This paper discovered and discussed the obstacles militating against effective Arabic and French language literature teaching. It discovered the prominent obstacles confronting effective teaching of the literature of these languages to be the shortage of competent tea

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Folorunsho, Mikail Adebisi, and Rabiu Olayinka Iyanda. "Challenges and Strategies of Teaching Arabic and French Literature in Nigeria." TRANS-KATA: Journal of Language, Literature, Culture and Education 2, no. 2 (2022): 84–92. http://dx.doi.org/10.54923/jllce.v2i2.35.

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The issue of appropriate methodology for suitable teaching of literature of Arabic and French in Nigerian schools has continued to receive attention from educationists on how to make it more beneficial to society. Literature is to be for life’s sake; therefore, its teaching should be able to assist in solving day-to-day problems. This paper discovered and discussed the obstacles militating against effective Arabic and French language literature teaching. It discovered the prominent obstacles confronting effective teaching of the literature of these languages to be the shortage of competent tea

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Idogho, Joseph Agofure, and Onyinye Chris Aneke. "Revitalising African Indigenous storytelling in education: The Unity School, Agbarho experience." International Journal of Current Research in the Humanities 28, no. 1 (2025): 501–14. https://doi.org/10.4314/ijcrh.v28i1.37.

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This study examines the role of African Indigenous narrative art in the Cultural and Creative Arts CCA Curriculum of Nigerian Junior Secondary School focusing on educational drama. The research examines how students learn in educational, cultural and moral values through this art form. The paper reveals that African indigenous narrative art facilitates comprehensive individual growth capability development, selfreliance, empathy, collaboration and interpersonal connections. This study employs a case study design, experiment with an intervention programme in a workshop setting at Unity School A

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