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- ItemOpen AccessThe Changing Fortunes of the Cinema in Post-Colonial Lagos(Urban Generations: Post Colonial Cities. A Publication of the Faculty of Letters and Human Sciences- Rabat, 2004-08-09) Oni, D.Urban generations in post-colonial cities have been characterized by the development of certain monuments, architectural edifices and socio-cultural infrastructural facilities. Most of these have, overtime, become dilapidated or are close to going into extinction, through their relevance to the urban milieu is not in question. Restoration of these legacies, in particular the cinema, would assist in the sustainable socio-cultural linkages of at least the immediate urban community.
- ItemOpen AccessConlict And Conflict Resolution On The Stage.(Faculty of Arts, University of Lagos, Akoka, Lagos, Nigeria., 2005) Ezenwanebe, O.C.
- ItemOpen AccessFeminism & Nigerian Theatre.(Grand Orbit Communications & Emhai Press/Port Harcourt., 2005) Ezenwanebe, O.C.
- ItemOpen AccessTowards the Development of Theatre Practice: The Design/Technology Dimension(Nigerian Theatre Journal: A Journal of the Society of Nigerian Theatre Artistes, 2005-04-08) Oni, D.This paper examines the practice of theatre in Nigeria and looks at in declining fortunes. It attempts a historical overview of theatre practice and observes that the question of the viability of theatre was not in dispute until the advent of the Nigerian video industry. How did this adversely affect the practice of theatre? What are the reasons that can be adduced for this development? Why is theatre practice on th decline? The paper attempt to decipher the problems and offer suggestions on the way forward; which, in the opinion of this writer, rests on the need for the repackaging of theatrical productions by paying more attention to the design and technology aspect of production.
- ItemOpen AccessThe Representation of Women in Nigerian Theatre:(2005-06) Ezenwanebe, O.C.The paper is an evaluation of the various forms of representation of women in Nigerian theatre and of the methods used by the playwrights ill representing them, This is aimed at examining the response of Nigerian theatre to the glaring issues of injustice and oppression against women in the society. In order to achieve the above aim, the roles of significant female characters in some selected Nigerian stage plays of Wole Soyinka, J.P Clark, Ola Rotimi, Zulu Sofola, Femi Osofisan, Tess Onwueme', Bode Osoyin, Hope Eghagha, Ahmed Yerima etc will be analysed to find out in whose favour and for whose betterment the characters fight for. Often the characters are made to fight for a general humanist concern or worst still to maintain and perpetuate the traditional practices that oppress them. The argument in this paper is that for a sustainable development of theatre in the present democratic dispensation, theatre must respond to the groaning of Nigerian women under injustice and social oppression as well as their quest for freedom. Nigerian theatre has done well in asserting the dignity of African and consequently Nigerian culture, it is equally doing well in peaking for the masses by repudiating the excesses of men in power, it can equally do the same for women. The task should not be left in the hands of Playwrights (who are mostly women) and theatre artists.
- ItemOpen AccessTowards The Development Of Theatre Practice in Nigeria:(Concept Publications Limited, Lagos, 2005-06) Oni, D.This paper examines the practice of theatre in Nigeria and looks at its declining fortunes. It attempts a historical overview of theatre practice and observes that the question of the viability of theatre was not in dispute until the advent of the Nigerian video industry, How did this adversely affect the practice of theatre? What are the reasons that can be adduced for the development? Why is theatre practice on the decline? The paper attempts to decipher the problems and offer suggestions on the way forward; which in the opinion of this writer,rests on the need for the repackaging of theatrical productions by paying more attention to the design and technology aspects of production.
- ItemOpen AccessFeminist Consciousness and Nigerian Theatre.(2006-04) Ezenwanebe, O.C.
- ItemOpen AccessTrends and Considerations in the Aesthetics of Stage Lighting Design(Technical Theatre Practice in Nigeria: Trends and Issues. Center for Black and African Arts and Civilization (CBAAC). Lagos, 2006-06-15) Oni, D.In most artistic efforts theory has always followed practice at a respectable distance. However, in the case of stage lighting, the theories relating to the art did not follow the usual pattern of events. For as Bellman (1967:295) asserts ….. the main body of theory applying to modern stage lighting design, Even to the whole of modern stage design, preceded not only the practice, But also the technology by some odd 20 years The history and explication of the theoretical framework for the evolution of modern stage lighting concepts began with the rebellion against the “well-made play” when Europe was rife, in the middle of the nineteenth century, with fermenting new ideas concerning arts, painting, music, architecture and theatre. In general, these ideas bordered on a revolution that”could be typified as antitraditional, anticonventional and antiornamental” (Bellman, 1967:295). The new concepts advanced a revolutionary approach that deviated from perceiving things from the traditional and conventional way. New approaches were experimented upon that sought to conceive art beyond its ornamental attributes.
- ItemOpen AccessTrauma and the Art of Dramatizing History:(Adonis and Abbey Publishers Limited, SE11 4XZ, London, United Kingdom, 2007-09) Ezenwanebe, O.C.The literature of any nation is a key to unlock its past, view its present and have an insight into its future. This is because there is an intricate relationship between art and life.Theatre, among other arts, responds more promptly to social issues and events. History is therefore a viable subject matter for drama. The playwright as a social and psychological being is alive to the issues and events, which impinge on his personality and helps to form his conception of the world. This paper evaluates the complex relations of history, psychology and drama. The aim is to critically examine how the playwright demonstrates the influences of traumatic historical experiences as seen in the way he represents them on the stage. The paper proposes that: traumatic history rarely escapes the creative impulse; traumatic experiences shapes a playwright's view of the world and; this can be seen in the dramatic works informed by such events and experiences. To further the above arguments, Wole Soyinka's Madmen and Specialists, a play on the Nigerian Civil War 1967-1970, which is also his personal response to it, is analysed to unravel the relationship between the dramaturgy and the experience. Other relevant materials like his novel The Mall Died, a record of his prison experiences as a result of his role in the war, will also be analysed.
- ItemOpen AccessThe Language Of Terror And The Terror Of Language In Postmodernist Drama.(University of Lagos Press, University of Lagos Akoka, Yaba - Lagos Nigeria., 2008) Ezenwanebe, O.C.
- ItemOpen AccessThe Feminist Ambivalence In Africa Dramas:(2008-07) Ezenwanebe, O.C·African women have relentlessly expressed their predicament within the framework of African traditional culture as oppressive and hence unacceptable. Literature has proved to be one of the forms through which their collective aspiration for equity and justice is being constructively expressed within a literary ideology commonly known as Feminism. Many Nigerian literary artists like - Buchi Emecheta, Flora Nwapa, Zulu Sofola, Tess Onwueme, Akachi Adimora-Ezeigbo, Stella Oyedepo, etc have in various ways articulated the oppressive condition of women .in the context of the Nigerian environment. In all, African feminist literary critics have identified some forms of representation that distort the African conception of feminist ideology. This paper offers a critical examination of some of the distortions in the dramatization of feminist ideals in Nigerian theatre. How do Nigerian female playwrights envisage the issue of feminist oppression and liberation within the context of Nigerian traditional culture? To answer the above question, the role of the female protagonists in Tess Onwueme's two plays: Ona in The Broken Calabash and Wazobia in The Reign of Wazobia, are critically analysed. A close examination of the plays reveals Tess Onwueme's ambivalence to some key feminist principles, and this is deduced from the ambiguous relationship between concern and dramaturgy or theme and technique as well as intention and its realization.
- ItemOpen AccessStriking Expressions: Theatre and Culture in National Development(Society of Nigeria Theatre Artists (SONTA): National Secretariat, Department of Theatre Arts, University of Maiduguri, Nigeria, 2008-07-09) Oni, D.Theatre and cinema. Tradition, innovation and change in contemporary Nigerian theatre ; Theatre, culture and change management in Nigeria: Theatre education and spectatorial participation as key to the activism and societal consciousness of the change mantra ; FESTAC 77 and the Nigerian national theatre legacy ; The role of creative arts in a society's quest for peaceful environment ; Theatre training in the Nigerian university system: A critical assessment of selected design and technology courses at Ibadan and Lagos ; Lighting: Beyond illumination ; Development of design and technology in the Nigerian theatre: From Ibadan to Nassarawa ; Design and technology considerations in contemporary Nigerian theatre performances: A critical assessment ; Scenography and dramatic atmosphere in Ukala's The Placenta of Death ; Producing Osofisan's Midnight Hotel and Tegonni: Challenges for the design team ; Multiculturalism and the predicament of African and African diaspora dramatists ; Historiographic representations of Africans and diasporan Africans in theatrical works: Performance paradigms of Walcott, Aidoo and Onwueme in perspective ; Ebenezer Obey and his musical activities in Lagos state ; The changing fortunes of the cinema in post-colonial Lagos
- ItemOpen AccessNegotiating Youth Identity in a Transnational Context in Nigeria(Routledge Publishers, 2009) Oni, D.; Omoniyi, T; Scheld, SRussell Potter’s concept of ‘resistance vernaculars’ () is evident in the style and lyrics of Lágbájá, a Nigerian musician who is currently popular among African youth at home and abroad. Youth identities based in Lágbájá’s music would appear to be a mere mimicry of US hip‐hop. We demonstrate that Lágbájá’s work is not an imitation of an American resistance vernacular, however. Lágbájá’s music emphasises themes of hybridity and global cultural diversity. His music provides Nigerian youth with a means to break into other worlds and markets, as well as a way to access that which is global. His music also complements efforts by Nigerian political leaders to facilitate an African renaissance. In this light, Lágbájá’s music is a complex form of a resistance vernacular. Potter’s concept is useful for considering the political dimensions to this music; however, it is limited for shedding light on Nigerian youth, their concerns and the role that popular youth music plays in the developing nation‐state. This discussion is based on interviews conducted with Lágbájá in 2005 and an analysis of his musical style and lyrics.
- ItemOpen AccessThe Use of African Traditional Art Symbols and Motifs(LAP LAMBERT Academic Publishing GmbH & Co. KG, 2010) Awogbade, M.; Ibenero, I.Full text attached
- ItemOpen AccessComparative Study of Formal and Non Formal Training in Adire Production(LAP LAMBERT Academic Publishing, 2010) Awogbade, M.; Sodipo, O. E.Staff Pubications
- ItemOpen AccessPopular Songs, Literary Texts: A Linguistic Approach to the Music of 2Face Idibia(Association of Nigerian Musicologists, 2010) Oikelome, A.OStaff Publications
- ItemOpen Access"Pop Goes the Gospel"- The Growth of Gospel Music in Nigeria(International Journal of Multi-disciplinary Research (ijmrl), 2010) Oikelome, A.OThe subject of gospel music has generated intellectual discourse researchers in the field of ethnomusicology. This is due to the sporadic development of the genre and the unique position it occupies in the field of popular music in Nigeria. Furthermore, the music has witnessed several innovations from music artistes leading to its transformations over the years. A musical genre that was initially the exclusive reserve of the church has now become an entertainment form that has received wide acceptance both within and outside the shores or Nigeria. The paper therefore discusses the factors responsible for the growth and development of this genre. It will also examine the role of globalization in the development of gospel music in Nigeria and x-ray the numerous foreign and local styles used in bringing about the development of the music in the popular" music scene.
- ItemOpen AccessDEVELOPMENTS IN THE THEORY AND PRACTICE OF CONTEMPORARY NIGERIAN DRAMA AND THEATRE A FESTSCHRIFT IN HONOUR OF DAPO ADELUGBA(Alpha Crownes Publishers, 2011) Oni, D.When the idea was proposed to publish this collection of tributes and essays in honour of Professor Dapo Adelugba, it was enthusiastically embraced by several scholars, theatre artists, critics and teachers; all friends, colleagues and students of the celebrant. However, despite the great display of affection and honour accorded Adelugba, no one could imagine the volume of contributions: tributes flooded major Nigerian newspapers and magazines, all dripping with encomiums and adulations; essayists and critics from Nigeria and abroad swamped the seminar venue of University of Lagos, turning the forum which was planned to be, at most, an assembly into a huge two-day conference; and several other contributions were sent to the editors, months after the celebrations.
- ItemOpen AccessThe Power of Art in Our Living Space(Recacd Publishers, 2012) Ogunfuwa, T.O.The study focuses on the power of art in the development of human space. There is a great emphasis on the various approaches that are adopted in the visual art to create from nature. These different approaches are used to advance concrete arguments on how arts have been used for sustainable growth of mankind. Part of the key words in the text: Living Space is positioned as the overall axis where human existence begins and ends. More importantly, there is a focus on the relationship that exists between the living space, art, science and technology. The artistic method that can be used to solve the environmental degradation in the south-south region of Nigeria is also mentioned. The varied points raised in the article are reinforced with a simple five-blank verse poem. The symbolic implication of the recurring five in the poem is that the brain and the mind can project and conceive good and bad ideas, but without the imput of the five fingers in both the left and right hands, nothing tangible can come out of the human thought.
- ItemOpen AccessTradition, Innovation and Change in Contemporary Nigerian Theatre(ANZCA Conference 2012, Adelaide, South Australia, 2012-07) Oni, D.Contemporary Nigerian Drama and Theatre has undergone various changes in recent times from its traditional mode of the Alarinjo Theatre (Adedeji, 1969) to Western style performances which started in the late 19th Century with the concerts, cantatas and native air operas (Echeruo, 1977). From these early beginnings, the theatre developed with the emergence of Hubert Ogunde on the theatre scene in 1945 (Clark, 1980). From that period until the early 1990’s the theatre survived with performances mainly among the major ethnic groups, particularly the Yoruba Travelling Theatres (Jeyifo, 1984). Other organizations and establishments including universities in Nigeria, cultural centres of Art Councils and private production organizations followed in the involvement in theatrical productions (Oni, 1985, 2002). The paper notes that theatrical performances and the theatre started to merge with the production of celluloid films when Wole Soyinka produced Kongi’s Harvest in 1970. This was followed with the works of such theatre producers as Ade Afolayan and Moses Olaiya and others. It was however the foray of Hubert Ogunde, regarded as the father of modern Nigerian Theatre, that the film medium started to have a truly new dimension. This paper investigates the transition from the traditional/modern live theatre to film/video formats in the Nigerian theatre scene (Haynes, 1997) culminating in the UNESCO ranking of the Nigerian film industry as the second largest in the world. The paper examines the various trends that have occasioned these changes and the innovations that it has brought to the Nigerian theatrical scene.