Creative Arts-Scholarly Publications

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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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    THE NATIONAL THEATRE AND THE SEARCH FOR A COLLECTIVE IDENTITY OF THE NIGERIAN NATION STATE
    (National Theatre Monograph Series: A Publication of the National Theatre, Nigeria, 2022-09-10) Oni, D.
    While the capacity of Nigerian art forms to promote national unity has been emphasized and acknowledged by scholars and critics, the part that The National Theatre of Nigeria specifically can play in this process has not received appropriate scholarly attention. Apart from newspaper articles, there is very little and no detailed study about the crucial role of The Nigerian National Theatre as space and place in promoting national unity. Hence, it is this gap in the knowledge production about the National Theatre that this study seeks to fill. The proposed study would be divided into seven (7) sections. The first section provides an overview of what the study is all about as well as the conversation into which it enters. The second section would be devoted to the conceptualization of the fundamental terminologies of the study. The study, for example, differentiates and at the same time establishes a confluence between the National Theatre as a structure, place, and space on one hand; and the National theatre as the performative acts of a nation on stage with an audience on the other. The need for this is to demonstrate how both the physical and imagined space are symbiotic and can together be exercises in nation building. The third section, offers a brief explication of what Henri Lefebvre’s theory of space is all about and its relevance to this critical intervention. The fourth section is a sort of background to the fundamental argument of the study; it underscores the urgent need for/of a collective identity in the face of national disintegration. But what nation in the face of disintegration is to be built-up? In what sense should Nigeria as a nation-state be understood? Is it in terms of the space it occupies in relation to boundary markers and cartographic placements or how the inhabitants of the space and placement see themselves? And if the latter is what is of utmost signification, how should the inhabitants see themselves? Answers to these questions dovetail into the fifth section entitled “The Vision Behind the National Theatre and the National Troupe of Nigeria.” It is curious that it is the same Section of the Law that sets-up the National Theatre that also established the National Troupe of Nigeria. Accordingly, this section of the study argues that the vision behind the setting-up or establishment of the National Theatre as space and place, and the National theatre as performative gesture in the same spatio-temporal articulation of the law is an enactment for a unitary/common purpose of national unity. Art as a performative gesture needs a space from which it could speak; and The Nigerian National Theatre as a structure is such a space. Conversely, space in isolation has no meaning without what inhabits or occupies it. It is, however, against the backdrop of this established vision as enunciated in section five that the sixth section entitled “The Role of the National Theatre in Nigeria’s Collective Identity” goes on to revisits in detail Henri Lefebvre’s theory of space to highlight “what has been” and “what should be” the role of The National Theatre. The seventh and final section is the “Conclusion,” which recaps and hammers on the arguments/findings of the study.
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    Open Access
    The 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.
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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
    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.