Department of Creative Arts

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    Open Access
    The 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.
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    Open Access
    Conlict And Conflict Resolution On The Stage.
    (Faculty of Arts, University of Lagos, Akoka, Lagos, Nigeria., 2005) Ezenwanebe, O.C.
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    Open Access
    Feminism & Nigerian Theatre.
    (Grand Orbit Communications & Emhai Press/Port Harcourt., 2005) Ezenwanebe, O.C.
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    Open Access
    Towards 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.
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    Open Access
    The 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.
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    Open Access
    Towards 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.
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    Open Access
    Feminist Consciousness and Nigerian Theatre.
    (2006-04) Ezenwanebe, O.C.
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    Open Access
    Trends 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.
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    Open Access
    Trauma 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.
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    Open Access
    The 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.
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    Open Access
    Theatre training in the Nigeria University system : a critical assessment of selected design and technology courses at Ibadan and Lagos
    (African Peformance Review, 2008-01-01) Oni, D.
    From the early 1960s, when the first institution for the training of theatre artistes and practitioners in Nigeria was established at the University of Ibadan, the Nigerian University system has witnessed the establishment of Departments of Theatre Arts, Performing Arts and Creative Arts, all concerned with the training of graduates in theatre arts. Prominent among these universities are the Departments of Theatre Arts at the Universities of Ibadan, Calabar, Nsukka, Maiduguri and Abuja, the Departments of Creative Arts at the Universities of Port Harcourt and Lagos and the Department of Performing Arts at the University of Ilorin. The paper examines the curriculums of the universities of Ibadan and Lagos in the areas of design and technology, with a view to assessing their adequacies. In essence, the paper attempts to relate the development of theatre practice in Nigeria to the training provided by the universities in the areas of design and technology.
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    Open Access
    Context and nature of contemporary Nigerian (Nollywood) film industry.
    (Africa through the Eye of the Camera, 2008-01-07) Oni, D.
    The presentation looks at the development and issues in the development of the Nigerian Video film industry tracking the major landmarks in what Haynes has described as the major contemporary Nigerian art form. The presentation also investigate the recent trends in the financing of Nollywood films and assesses the impact of the new funding on the making and distribution of Jeta Amata's Amazing Grace and Amstel Malta's Sitanda.
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    Open Access
    The 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.
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    Open Access
    Striking 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
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    Open Access
    Negotiating Youth Identity in a Transnational Context in Nigeria
    (Routledge Publishers, 2009) Oni, D.; Omoniyi, T; Scheld, S
    Russell 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.
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    Open Access
    The Use of African Traditional Art Symbols and Motifs
    (LAP LAMBERT Academic Publishing GmbH & Co. KG, 2010) Awogbade, M.; Ibenero, I.
    Full text attached
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    Open Access
    Comparative Study of Formal and Non Formal Training in Adire Production
    (LAP LAMBERT Academic Publishing, 2010) Awogbade, M.; Sodipo, O. E.
    Staff Pubications
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    Open Access
    Popular Songs, Literary Texts: A Linguistic Approach to the Music of 2Face Idibia
    (Association of Nigerian Musicologists, 2010) Oikelome, A.O
    Staff Publications
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    Open Access
    "Pop Goes the Gospel"- The Growth of Gospel Music in Nigeria
    (International Journal of Multi-disciplinary Research (ijmrl), 2010) Oikelome, A.O
    The 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.
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    Open Access
    DEVELOPMENTS 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.