PROBLEMS AND PROSPECTS OF MOVIE MAKING IN NIGERIA’S NOLLYWOOD

ABSTRACT

Welcome to the world of the Nigerian Film Industry Nollywood. An ever dynamic and wave making industry but perpetually lacking in details that make a film truly a work of planning, though wave making, the movie industry suffers from market saturation, cut – throat and sterile competition. The policy thrust of Nollywood is to promote positive social transformation and build relationship between cultures and national development rather Nollywood producers tend to consider the financial benefits as the ‘De-goal’, thus bringing to bear several problems and challenges encountered in Nollywood. Chapter One of this project focuses on the general introduction of the work; Chapter Two is a literature review concerning what other people have said about Nollywood productions; Chapter Three reveals the problems and challenges encountered in Nollywood; Chapter Four portrays the unprofessional acting in Nigeria and Chapter Five concludes the project work coupled with recommendations as regards the problems facing Nollywood. The researcher’s aim is to proffer possible solutions to the virus eating deep into Nollywood.

TABLE OF CONTENTS

Title Page –       –       –       –       –       –       –       –       –       –       i

Certification     –       –       –       –       –       –       –       –       –       ii

Dedication       –       –       –       –       –       –       –       –       –       iii

Acknowledgement    –       –       –       –       –       –       –       –       iv

Abstract   –       –       –       –       –       –       –       –       –       –       vi

Table of Contents     –       –       –       –       –       –       –       –       vii

CHAPTER ONE

1.1      General Introduction

1.2      Background of the Study

1.3      Statement of Problem

1.4      Study Objective

1.5      Justification of Study

1.6      Significance of Study

1.7      Research Methodology

1.8      Definition of Terms

CHAPTER TWO

2.1   Introduction

2.2   Literature Review

2.3   Brief Review of Kiabara: Journal of Humanities

2.4   Nollywood Syndrome

CHAPTER THREE

Problems and Challenges Facing Movie-Making in Nigeria

3.1   Introduction

3.2   The Bandwagon Syndrome

3.3   Movie Financing

3.4   Unplanned Scripting

3.5   “The Ban 2004”

3.6   “The Selling Face Syndrome”

3.7   Technical Challenges

3.8   The Nigerian Audience

CHAPTER FOUR

Actors and Acting in Nigeria

4.1   Introduction

4.2   Professional Actor/Acting (Defined)

4.3   Nollywood’s Star Syndrome and it’s Militating Factors

CHAPTER FIVE

5.1   Summary and Conclusion

5.2   Prospects of Nollywood

5.3   Recommendations

Works Cited

appendices

CHAPTER ONE

1.1      GENERAL INTRODUCTION

“… Bollywood, Dollywood, Hollywood and now…. Proudly presenting from the stable of the Giant of Africa…. Nollywood”

Undoubtedly, “Nollywood”, Nigerian’s motion picture industry phenomenon, sprouting from the electronic media has brought about tremendous social change to the Nigerian society. This change is synonymous with development, progress and evolution. It involves rapid or gradual alteration in the pattern of relationships within a society. The concept of social change entails alteration of values, attitudes and traits as a result of prevailing social conditions such as bribery and corruption, prostitution, cultism, child trafficking, drug abuse, examination malpractice, tribalism, nepotism, sexual harassment etc. These remarkable changes, to a great extent are attributed to the Nollywood actor – his celebrity status and box office hit – major components of the Nigerian feature film presentation.

Succinctly put, the Nollywood actor is the veritable social instrument, which transports messages through forms, spectacle and symbols and also has the power to arouse such emotions that the viewers of Nigerian Home Video respond to. The Nollywood actor is the medium of communication between change and the society.

Bringing to bear problems facing Nigerian’s Nollywood, this thesis is a deliberate attempt to elucidate and perhaps, furnish the reader within depth details of the challenges facing Nigeria’s Nollywood, with emphasis.

i.            On the dictatorship of executive producers

ii.          The militating factors against the Nollywood actors

iii.        Consequences of his stardom

iv.         And problems facing movie making in Nigeria.

Indeed, the provision of this thesis will help proffer possible solutions and perhaps make useful suggestions.

1.2      BACKGROUND TO THE STUDY

Although the emergence of the Nigerian celluloid film production is traced to the beginning of the twentieth century 1903 to be precise. This research focuses Nigerian’s Nollywood with emphasis on it theatrical motives.

Today, we are accustomed to seeing theatrical presentations in many forms: not only in live performances on stage but also in films, in television, Video Cassette Recorder (VCR) and even CD rams on computer screens. Another issue, worthy of mention is that television, tapes, films etc. are all products of the past ten decades and theatre has existed since the origin of man. Live theatre was only a film and theatre is the performer-audience relationship. However, in film, we are always in the presence of an image, never a live-person.

ORIGIN OF THEATRE

It will be pertinent to highlight the origin of the theatre. According to one of the great theatre authorities, Oscar Brockett in History of the Theatre, the most widely accepted theory of the origin of theatre, championed by anthropologists in the late nineteenth and early twentieth centuries, envisions theatre as emerging out of myth and ritual (1).

Thus, the strongest element in the twenty-year span of Nigerian celluloid film production was the work of the artistes from the Yoruba travelling theatre tradition, and they still dominate at least numerically, current video production. In the same vein, it is more conspicuous that Nigerian Video Film Production emanated from the theatre (Nigerian Video Films 22).

Adesanya Afolabi in Jonathan Haynes (ed) Nigerian Video Films posits that:

… The imperative need to produce film gave rise to intellectual movement initiated by a handful of writers and private film and performing arts graduates, not only in reaction to and rejection of alien cultural domination but also to reinstate our own cultural heritage and re-orientate our own people suffering from colonial mentality (13).

Here, he established the fact that the involvement of the Yoruba travelling theatre practitioners in motion picture production led to the evolution of an indigenous cinema movement in Nigeria.

HISTORY OF NOLLYWOOD

Film practice in Nigeria, like other media of mass communication and entertainment is a colonial inheritance. During the colonial era, film sponsorship, production and exhibition had deliberately been oriented in favour of government sponsored documentary films. Commercial production was left in the hands of private enterprise. The first film audience was born in Nigeria in 1903 with screening of the first film by Messer Balboa of Barcelona, Spain under the management of Herbert Macaulay at the captain Glover memorial Hall, Lagos. The gate takings were three shillings.

Government sponsored oriented film production started in 1929 in an attempt to contain an outbreak of a plague within the Lagos protectorate. The initiative to use film as a medium of public enlightenment and instruction on the vectors of the plague was the brainchild of William Sellers, the chief Health officer, Federal Department of Health. Sellers employed film to illustrate to the people of the Lagos protectorate the ways in which rats carry the disease and also enlisted their cooperation in eliminating the plague bearing rats. This public enlightenment programme was timely in curtailing the spread of the false rumor and superstition on the causes of the epidemic in the protectorate. The success of this experimentation led the colonial administration to adopt film as a medium of instruction in what was then a largely pre-literate society (Shaka, 12).

As part of the British Colonial government’s instructional cinema programme, film production was introduced into most Anglophone African countries. This useful perception to aid development and modernization in what were then largely illiterate societies resulted in the establishment of Colonial Film Unit (C.F.U) in 1939, but was first established in Nigeria in 1946 and later the Federal Film Unit (F.F.U) in 1947. Some documentary films produced during the colonial period are Empire Day Celebrations in Nigeria (1948), Small Pox (1950), Leprosy (1950), Port Harcourt Municipal Council Elections (1950) and Queen Elizabeth II’s Visit to Nigeria (1948).

In 1958, Nigeria attempted a feature film called Fincho. Some have claimed that this film by Sam Zebba is the first feature film of Nigeria (Mgbejume, 65). Not many people accepted Mgbejume’s claim because there is very little information to substantiate his claims. Another film, Son of Africa is not accepted as the first Nigerian features film because the funding was Lebanese. Also the theme of the film was not treated from the Nigerian perspective.

As a result of the colonial film orientation, post-colonial film production in Nigeria emerged in 1970 and there was independent film practice, which were wholly Nigerian produced films. Like most independent practices, film productions had several challenges although enjoyed a momentary boom between 1970 and the mid-1980s. Thus, the general economic downturn in Nigeria necessitated the introduction of practitioners.

Kongi’s Harvest was the first major full – length Nigerian feature film produced by Francis Oladele. This film featured Nigerian actors with indigenous thematic thrust. Other films joined the track. Thing Fall Apart (1971) by Ola Balogun and Amadi, the first indigenous film in Igbo language shot in 1975 also by Ola Balogun; Bisi-Daughter of the River (1977) by Jab Abu; Kanta of Kebbi (1978) by Halriu Adamu and The Mask (1979) by Eddie Ugbomah.

The film industry witnessed a lot of growth in the late 1970s and early 1980s. Most films produced during this period were by Yoruba travelling practitioners who turned moviemakers, some notable names amongst them are Herbert Ogunde, Ade Afoloyan (Ade Love) and Moses Olaiya (Baba Sala). Due to economic depreciation at about the mid-1980s, the industry started witnessing a decline. The only major film shot in the country in 1990 was a film titled Mister Johnson by Bruce Beresford, although this film cannot be said to be Nigerian owing to the fact that the director, technical crew and funding were not Nigerian.

The limelight of today’s Nollywood as acclaimed by many is the video film Living in Bondage (1992) produced by Kenneth Nnebue, proprietor of Nek Video Links. This fact is often countered by some because since the mid-1980s the Yoruba have been packaging video films. However, these films never enjoyed the enormous success attributed to Living in Bondage which indeed was a box office hit. It must however be stated here that the production of the film Living in Bondage brought about the much needed revolution in the video film industry as significant development and improvement has been the order of the day since its debut.

1.3      STATEMENT OF PROBLEM

According to the late theatre guru, Professor Ola Rotimi

…the problem however is the will to start the process of change. It is the parable of a Jewel deep at the bottom of a well. Though everyone knows how to crane a neck over the well and point to the Jewel but the problem is someone going down the well and getting the Jewel up but everyone turns around and walks away.

Many Nigerian audience and most especially theatre practitioners criticize the Nigerian feature film industry (Nollywood) in a most negative way but very few are willing to stand up tall to impact change in our own Nollywood. The image of the Nollywood Executive producers and star actors which has been so battered has drawn much criticism from the Nigerian audience. These stars the so-called ‘selling faces’ could be egocentric and also arrogant to co-workers such as directors, costumiers, production managers etc. out of greed and quest for quick wealth (money), some may become unfaithful. One of such acts of unfaithfulness is that of collecting artiste fee from several producers. This oftentimes brings about clashes often with very negative effects. Such star-culprits may therefore be faced with the dilemma of grappling with the often-cumbersome schedule of productions handling two or three at the same time. On the other hand, Executive producers, mostly moneybags with sole commercial interests, also have their own share of the blame. As financiers of Nollywood films they have overwhelming influence in the industry. However, because most of them are mostly non-professionals and as such not knowledgeable in the ethics of the discipline, attempts to dictate the tune for Nollywood lead often to unprofessional decisions.

This project is basically aimed at bringing to the fore the various problems facing Nigeria’s movie industry. It behooves the researcher therefore to unveil cause(s) and seek for possible solutions to curb these militating factors eating deep into Nollywood.

1.4      STUDY OBJECTIVE

This thesis is aimed at bringing out the problems as it concerns Nollywood. Thus, the exercise concerns itself with their Modus Operandi, reaction to issues and rationale for its behavioural pattern. It is also aimed at improving the image of the movie industry, which is not very much appreciated by some learned Nigerian audience. This study attained the height of ‘stardom’ a different orientation to the profession and encourages a sense of sincere professionalism.

1.5      JUSTIFICATION OF STUDY

Acting is as old as man. Man has observed and learnt in various ways to mime, dance and express his feelings. It is perhaps, for this need not only to communicate but also to do so at the cheapest and shortest possible tone, and with maximum effect that all efforts to improve further the arts of the theatre through the new film technology has come to be. This has given rise to the invention of modern and the state of the art communication gadgets among which the latest of those inventions in the film industry. The film industry all over the world is an industry to reckon with especially American’s motion picture industry-Hollywood from which Nigeria has borrowed a leaf.

Nollywood has taken the forefront in home entertainment in Nigeria, having replaced celluloid film for numerous reasons. The purpose of communication being to foster harmonious living, progress, entertain, inform, educate, elevate or ridicule for correctional purpose etc.

1.6      SIGNIFICANCE OF STUDY

The world is a global village where communication is fast changing day – by – day, giving way to what is referred to as dynamism in communication. And the artiste being the mirror of the society has from time immemorial helped to shape society. Again, theatre’s effectiveness in development communication depends very much on the proficiency of the practitioner. In Theatre – for – Development (TFD), the proficiency should not only be in the creation of highly polished productions of great aesthetic merit; the practitioner must also have clarity of what development and development communication entails. Thus, the Nigerian actor has a very important role in national development because he is a communicator. The society sees himself in the actor because he is the mirror of the society.

Suffice it to say that the Nigerian motion picture phenomenon (Nollywood) has remained one of the most effective means of communication in Nigeria and its environs. Thus, its projection to its viewers is expected to have high intellectual value and enriching fruitful experiences for shaping positively the society at large.

1.7      RESEARCH METHODOLOGY

This research work is based on literary and artistic methodologies. Also, references are made to both primary and secondary sources. Most of the secondary sources are materials from the library, journals and internet. Interviews with some Theatre practitioners have also formed the basis for making assertions.

1.8      DEFINITION OF TERMS

For a better comprehension of this research, it is pertinent to define some operative words and technical terms in the content and form in which they are used with regards to this study.

ACTING: Oxford Advanced Learner Dictionary defines acting as the activity or profession, performing in plays or films/movies etc. (Hornsby 95). Also, the Longman Modern English Dictionary puts it thus “the act of performing in plays or films”. Sam Dede, a leading Nigerian Theatre Practitioner also defines “acting as the act of lending the body and soul to an imaginary character”.

FILM: Oxford Advanced Learners Dictionary defines film as a roll or sheet of thin flexible plastic that is sensitive to light for use in photography. In relation to the movie world, it is the making of motion picture (Hornsby, 975).

SYNDROME: According to Oxford Learners Dictionary, syndrome is defined as a set of opinions or a way of behaving that is typical of a particular type of person, attitude or social problem (6th edition 1216).

STAR: Oxford Advanced Learner’s Dictionary defines the star as a performer, a famous and excellent singer, sports player etc. a person who has the main part or one of the main parts in a film/movie play.

NOLLYWOOD: www.goggle.com search defines Nollywoood as Nigerian home – video film phenomenon. New York times Nollywood as Nigerian’s home-grown film industry. It is also known as Multi-billion naira film industry. Nollywood is the local parody of Hollywood.

THEATRE: According to John Gassner, the Theatre is simply the act of ‘acting out’ something. It does not even need a special building and stage for it can take place in a threshing circle, in a street or any piece of ground (17).

Also is an attempt to explain the meaning of theatre as it relates to human living, Jerzy Growtowski opines to the academic thus: “The theatre is a place where an actor recites a written text, illustrates it with series of movements in order to make it more easily understood” (20).

Edwin Wilson in his book The Theatre Experience observes that “theatre is art, and as such it mirrors or reflect life” (1) theatrical performance changes from moment to moment as the audience encounters a series of shifting impressions and stimuli. It is a kaleidoscopic adventure through which the audience passes with each instant, a direct, immediate experience. Edwin Wilson also suggests that people go to the theatre for different purposes. Some go to ease the tension they get from their jobs and homes, thus they seek an ‘escape’ from every day cares. They look for something, which will be amusing and will perhaps include music, dancing, costume etc. on the other hand; people want to be stimulated and challenged both intellectually and emotionally. A theatre even can entertain, offer an escape, provoke thought, inspire, educate, challenge and delight.

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Tags: PROBLEMS AND PROSPECTS OF MOVIE MAKING IN NIGERIA’S NOLLYWOOD

PROBLEMS AND PROSPECTS OF MOVIE MAKING IN NIGERIA’S NOLLYWOOD

ABSTRACT

Welcome to the world of the Nigerian Film Industry Nollywood. An ever dynamic and wave making industry but perpetually lacking in details that make a film truly a work of planning, though wave making, the movie industry suffers from market saturation, cut – throat and sterile competition. The policy thrust of Nollywood is to promote positive social transformation and build relationship between cultures and national development rather Nollywood producers tend to consider the financial benefits as the ‘De-goal’, thus bringing to bear several problems and challenges encountered in Nollywood. Chapter One of this project focuses on the general introduction of the work; Chapter Two is a literature review concerning what other people have said about Nollywood productions; Chapter Three reveals the problems and challenges encountered in Nollywood; Chapter Four portrays the unprofessional acting in Nigeria and Chapter Five concludes the project work coupled with recommendations as regards the problems facing Nollywood. The researcher’s aim is to proffer possible solutions to the virus eating deep into Nollywood.

TABLE OF CONTENTS

Title Page –       –       –       –       –       –       –       –       –       –       i

Certification     –       –       –       –       –       –       –       –       –       ii

Dedication       –       –       –       –       –       –       –       –       –       iii

Acknowledgement    –       –       –       –       –       –       –       –       iv

Abstract   –       –       –       –       –       –       –       –       –       –       vi

Table of Contents     –       –       –       –       –       –       –       –       vii

CHAPTER ONE

1.1      General Introduction

1.2      Background of the Study

1.3      Statement of Problem

1.4      Study Objective

1.5      Justification of Study

1.6      Significance of Study

1.7      Research Methodology

1.8      Definition of Terms

CHAPTER TWO

2.1   Introduction

2.2   Literature Review

2.3   Brief Review of Kiabara: Journal of Humanities

2.4   Nollywood Syndrome

CHAPTER THREE

Problems and Challenges Facing Movie-Making in Nigeria

3.1   Introduction

3.2   The Bandwagon Syndrome

3.3   Movie Financing

3.4   Unplanned Scripting

3.5   “The Ban 2004”

3.6   “The Selling Face Syndrome”

3.7   Technical Challenges

3.8   The Nigerian Audience

CHAPTER FOUR

Actors and Acting in Nigeria

4.1   Introduction

4.2   Professional Actor/Acting (Defined)

4.3   Nollywood’s Star Syndrome and it’s Militating Factors

CHAPTER FIVE

5.1   Summary and Conclusion

5.2   Prospects of Nollywood

5.3   Recommendations

Works Cited

appendices

CHAPTER ONE

1.1      GENERAL INTRODUCTION

“… Bollywood, Dollywood, Hollywood and now…. Proudly presenting from the stable of the Giant of Africa…. Nollywood”

Undoubtedly, “Nollywood”, Nigerian’s motion picture industry phenomenon, sprouting from the electronic media has brought about tremendous social change to the Nigerian society. This change is synonymous with development, progress and evolution. It involves rapid or gradual alteration in the pattern of relationships within a society. The concept of social change entails alteration of values, attitudes and traits as a result of prevailing social conditions such as bribery and corruption, prostitution, cultism, child trafficking, drug abuse, examination malpractice, tribalism, nepotism, sexual harassment etc. These remarkable changes, to a great extent are attributed to the Nollywood actor – his celebrity status and box office hit – major components of the Nigerian feature film presentation.

Succinctly put, the Nollywood actor is the veritable social instrument, which transports messages through forms, spectacle and symbols and also has the power to arouse such emotions that the viewers of Nigerian Home Video respond to. The Nollywood actor is the medium of communication between change and the society.

Bringing to bear problems facing Nigerian’s Nollywood, this thesis is a deliberate attempt to elucidate and perhaps, furnish the reader within depth details of the challenges facing Nigeria’s Nollywood, with emphasis.

i.            On the dictatorship of executive producers

ii.          The militating factors against the Nollywood actors

iii.        Consequences of his stardom

iv.         And problems facing movie making in Nigeria.

Indeed, the provision of this thesis will help proffer possible solutions and perhaps make useful suggestions.

1.2      BACKGROUND TO THE STUDY

Although the emergence of the Nigerian celluloid film production is traced to the beginning of the twentieth century 1903 to be precise. This research focuses Nigerian’s Nollywood with emphasis on it theatrical motives.

Today, we are accustomed to seeing theatrical presentations in many forms: not only in live performances on stage but also in films, in television, Video Cassette Recorder (VCR) and even CD rams on computer screens. Another issue, worthy of mention is that television, tapes, films etc. are all products of the past ten decades and theatre has existed since the origin of man. Live theatre was only a film and theatre is the performer-audience relationship. However, in film, we are always in the presence of an image, never a live-person.

ORIGIN OF THEATRE

It will be pertinent to highlight the origin of the theatre. According to one of the great theatre authorities, Oscar Brockett in History of the Theatre, the most widely accepted theory of the origin of theatre, championed by anthropologists in the late nineteenth and early twentieth centuries, envisions theatre as emerging out of myth and ritual (1).

Thus, the strongest element in the twenty-year span of Nigerian celluloid film production was the work of the artistes from the Yoruba travelling theatre tradition, and they still dominate at least numerically, current video production. In the same vein, it is more conspicuous that Nigerian Video Film Production emanated from the theatre (Nigerian Video Films 22).

Adesanya Afolabi in Jonathan Haynes (ed) Nigerian Video Films posits that:

… The imperative need to produce film gave rise to intellectual movement initiated by a handful of writers and private film and performing arts graduates, not only in reaction to and rejection of alien cultural domination but also to reinstate our own cultural heritage and re-orientate our own people suffering from colonial mentality (13).

Here, he established the fact that the involvement of the Yoruba travelling theatre practitioners in motion picture production led to the evolution of an indigenous cinema movement in Nigeria.

HISTORY OF NOLLYWOOD

Film practice in Nigeria, like other media of mass communication and entertainment is a colonial inheritance. During the colonial era, film sponsorship, production and exhibition had deliberately been oriented in favour of government sponsored documentary films. Commercial production was left in the hands of private enterprise. The first film audience was born in Nigeria in 1903 with screening of the first film by Messer Balboa of Barcelona, Spain under the management of Herbert Macaulay at the captain Glover memorial Hall, Lagos. The gate takings were three shillings.

Government sponsored oriented film production started in 1929 in an attempt to contain an outbreak of a plague within the Lagos protectorate. The initiative to use film as a medium of public enlightenment and instruction on the vectors of the plague was the brainchild of William Sellers, the chief Health officer, Federal Department of Health. Sellers employed film to illustrate to the people of the Lagos protectorate the ways in which rats carry the disease and also enlisted their cooperation in eliminating the plague bearing rats. This public enlightenment programme was timely in curtailing the spread of the false rumor and superstition on the causes of the epidemic in the protectorate. The success of this experimentation led the colonial administration to adopt film as a medium of instruction in what was then a largely pre-literate society (Shaka, 12).

As part of the British Colonial government’s instructional cinema programme, film production was introduced into most Anglophone African countries. This useful perception to aid development and modernization in what were then largely illiterate societies resulted in the establishment of Colonial Film Unit (C.F.U) in 1939, but was first established in Nigeria in 1946 and later the Federal Film Unit (F.F.U) in 1947. Some documentary films produced during the colonial period are Empire Day Celebrations in Nigeria (1948), Small Pox (1950), Leprosy (1950), Port Harcourt Municipal Council Elections (1950) and Queen Elizabeth II’s Visit to Nigeria (1948).

In 1958, Nigeria attempted a feature film called Fincho. Some have claimed that this film by Sam Zebba is the first feature film of Nigeria (Mgbejume, 65). Not many people accepted Mgbejume’s claim because there is very little information to substantiate his claims. Another film, Son of Africa is not accepted as the first Nigerian features film because the funding was Lebanese. Also the theme of the film was not treated from the Nigerian perspective.

As a result of the colonial film orientation, post-colonial film production in Nigeria emerged in 1970 and there was independent film practice, which were wholly Nigerian produced films. Like most independent practices, film productions had several challenges although enjoyed a momentary boom between 1970 and the mid-1980s. Thus, the general economic downturn in Nigeria necessitated the introduction of practitioners.

Kongi’s Harvest was the first major full – length Nigerian feature film produced by Francis Oladele. This film featured Nigerian actors with indigenous thematic thrust. Other films joined the track. Thing Fall Apart (1971) by Ola Balogun and Amadi, the first indigenous film in Igbo language shot in 1975 also by Ola Balogun; Bisi-Daughter of the River (1977) by Jab Abu; Kanta of Kebbi (1978) by Halriu Adamu and The Mask (1979) by Eddie Ugbomah.

The film industry witnessed a lot of growth in the late 1970s and early 1980s. Most films produced during this period were by Yoruba travelling practitioners who turned moviemakers, some notable names amongst them are Herbert Ogunde, Ade Afoloyan (Ade Love) and Moses Olaiya (Baba Sala). Due to economic depreciation at about the mid-1980s, the industry started witnessing a decline. The only major film shot in the country in 1990 was a film titled Mister Johnson by Bruce Beresford, although this film cannot be said to be Nigerian owing to the fact that the director, technical crew and funding were not Nigerian.

The limelight of today’s Nollywood as acclaimed by many is the video film Living in Bondage (1992) produced by Kenneth Nnebue, proprietor of Nek Video Links. This fact is often countered by some because since the mid-1980s the Yoruba have been packaging video films. However, these films never enjoyed the enormous success attributed to Living in Bondage which indeed was a box office hit. It must however be stated here that the production of the film Living in Bondage brought about the much needed revolution in the video film industry as significant development and improvement has been the order of the day since its debut.

1.3      STATEMENT OF PROBLEM

According to the late theatre guru, Professor Ola Rotimi

…the problem however is the will to start the process of change. It is the parable of a Jewel deep at the bottom of a well. Though everyone knows how to crane a neck over the well and point to the Jewel but the problem is someone going down the well and getting the Jewel up but everyone turns around and walks away.

Many Nigerian audience and most especially theatre practitioners criticize the Nigerian feature film industry (Nollywood) in a most negative way but very few are willing to stand up tall to impact change in our own Nollywood. The image of the Nollywood Executive producers and star actors which has been so battered has drawn much criticism from the Nigerian audience. These stars the so-called ‘selling faces’ could be egocentric and also arrogant to co-workers such as directors, costumiers, production managers etc. out of greed and quest for quick wealth (money), some may become unfaithful. One of such acts of unfaithfulness is that of collecting artiste fee from several producers. This oftentimes brings about clashes often with very negative effects. Such star-culprits may therefore be faced with the dilemma of grappling with the often-cumbersome schedule of productions handling two or three at the same time. On the other hand, Executive producers, mostly moneybags with sole commercial interests, also have their own share of the blame. As financiers of Nollywood films they have overwhelming influence in the industry. However, because most of them are mostly non-professionals and as such not knowledgeable in the ethics of the discipline, attempts to dictate the tune for Nollywood lead often to unprofessional decisions.

This project is basically aimed at bringing to the fore the various problems facing Nigeria’s movie industry. It behooves the researcher therefore to unveil cause(s) and seek for possible solutions to curb these militating factors eating deep into Nollywood.

1.4      STUDY OBJECTIVE

This thesis is aimed at bringing out the problems as it concerns Nollywood. Thus, the exercise concerns itself with their Modus Operandi, reaction to issues and rationale for its behavioural pattern. It is also aimed at improving the image of the movie industry, which is not very much appreciated by some learned Nigerian audience. This study attained the height of ‘stardom’ a different orientation to the profession and encourages a sense of sincere professionalism.

1.5      JUSTIFICATION OF STUDY

Acting is as old as man. Man has observed and learnt in various ways to mime, dance and express his feelings. It is perhaps, for this need not only to communicate but also to do so at the cheapest and shortest possible tone, and with maximum effect that all efforts to improve further the arts of the theatre through the new film technology has come to be. This has given rise to the invention of modern and the state of the art communication gadgets among which the latest of those inventions in the film industry. The film industry all over the world is an industry to reckon with especially American’s motion picture industry-Hollywood from which Nigeria has borrowed a leaf.

Nollywood has taken the forefront in home entertainment in Nigeria, having replaced celluloid film for numerous reasons. The purpose of communication being to foster harmonious living, progress, entertain, inform, educate, elevate or ridicule for correctional purpose etc.

1.6      SIGNIFICANCE OF STUDY

The world is a global village where communication is fast changing day – by – day, giving way to what is referred to as dynamism in communication. And the artiste being the mirror of the society has from time immemorial helped to shape society. Again, theatre’s effectiveness in development communication depends very much on the proficiency of the practitioner. In Theatre – for – Development (TFD), the proficiency should not only be in the creation of highly polished productions of great aesthetic merit; the practitioner must also have clarity of what development and development communication entails. Thus, the Nigerian actor has a very important role in national development because he is a communicator. The society sees himself in the actor because he is the mirror of the society.

Suffice it to say that the Nigerian motion picture phenomenon (Nollywood) has remained one of the most effective means of communication in Nigeria and its environs. Thus, its projection to its viewers is expected to have high intellectual value and enriching fruitful experiences for shaping positively the society at large.

1.7      RESEARCH METHODOLOGY

This research work is based on literary and artistic methodologies. Also, references are made to both primary and secondary sources. Most of the secondary sources are materials from the library, journals and internet. Interviews with some Theatre practitioners have also formed the basis for making assertions.

1.8      DEFINITION OF TERMS

For a better comprehension of this research, it is pertinent to define some operative words and technical terms in the content and form in which they are used with regards to this study.

ACTING: Oxford Advanced Learner Dictionary defines acting as the activity or profession, performing in plays or films/movies etc. (Hornsby 95). Also, the Longman Modern English Dictionary puts it thus “the act of performing in plays or films”. Sam Dede, a leading Nigerian Theatre Practitioner also defines “acting as the act of lending the body and soul to an imaginary character”.

FILM: Oxford Advanced Learners Dictionary defines film as a roll or sheet of thin flexible plastic that is sensitive to light for use in photography. In relation to the movie world, it is the making of motion picture (Hornsby, 975).

SYNDROME: According to Oxford Learners Dictionary, syndrome is defined as a set of opinions or a way of behaving that is typical of a particular type of person, attitude or social problem (6th edition 1216).

STAR: Oxford Advanced Learner’s Dictionary defines the star as a performer, a famous and excellent singer, sports player etc. a person who has the main part or one of the main parts in a film/movie play.

NOLLYWOOD: www.goggle.com search defines Nollywoood as Nigerian home – video film phenomenon. New York times Nollywood as Nigerian’s home-grown film industry. It is also known as Multi-billion naira film industry. Nollywood is the local parody of Hollywood.

THEATRE: According to John Gassner, the Theatre is simply the act of ‘acting out’ something. It does not even need a special building and stage for it can take place in a threshing circle, in a street or any piece of ground (17).

Also is an attempt to explain the meaning of theatre as it relates to human living, Jerzy Growtowski opines to the academic thus: “The theatre is a place where an actor recites a written text, illustrates it with series of movements in order to make it more easily understood” (20).

Edwin Wilson in his book The Theatre Experience observes that “theatre is art, and as such it mirrors or reflect life” (1) theatrical performance changes from moment to moment as the audience encounters a series of shifting impressions and stimuli. It is a kaleidoscopic adventure through which the audience passes with each instant, a direct, immediate experience. Edwin Wilson also suggests that people go to the theatre for different purposes. Some go to ease the tension they get from their jobs and homes, thus they seek an ‘escape’ from every day cares. They look for something, which will be amusing and will perhaps include music, dancing, costume etc. on the other hand; people want to be stimulated and challenged both intellectually and emotionally. A theatre even can entertain, offer an escape, provoke thought, inspire, educate, challenge and delight.

HOW TO GET THE FULL PROJECT WORK

PLEASE, print the following instructions and information if you will like to order/buy our complete written material(s).

HOW TO RECEIVE PROJECT MATERIAL(S)

After paying the appropriate amount (#25000) into our bank Account below, send the following information to

08068231953 or 08168759420

(1)    Your project topics

(2)     Email Address

(3)     Payment Name

(4)    Teller Number

We will send your material(s) immediately we receive bank alert

BANK ACCOUNTS

Account Name: AMUTAH DANIEL CHUKWUDI

Account Number: 0046579864

Bank: GTBank.

OR

Account Name: AMUTAH DANIEL CHUKWUDI

Account Number: 2023350498

Bank: UBA.

HOW TO IDENTIFY SCAM/FRAUD

As a result of fraud in Nigeria, people don’t believe there are good online businesses in Nigeria.

But on this site, we have provided “table of content and chapter one” of all our project topics and materials in order to convince you that we have the complete materials.

Secondly, we have provided our Bank Account on this site. Our Bank Account contains all information about the owner of this website. For your own security, all payment should be made in the bank.

No Fraudulent company uses Bank Account as a means of payment, because Bank Account contains the overall information of the owner

CAUTION/WARNING

Please, DO NOT COPY any of our materials on this website WORD-TO-WORD. These materials are to assist, direct you during your project.  Study the materials carefully and use the information in them to develop your own new copy. Copying these materials word-to-word is CHEATING/ ILLEGAL because it affects Educational standard, and we will not be held responsible for it. If you must copy word-to-word please do not order/buy.

That you ordered this material shows you have agreed not to copy word-to-word.

FOR MORE INFORMATION, CALL:

08068231953 or 08168759420

Visit any of my project websites below:

www.easyprojectmaterials.com

www.easyprojectmaterials.com.ng

www.easyprojectmaterial.net

www.easyprojectmaterial.net.ng

www.easyprojectsolutions.com

www.worldofnolimit.com

www.worldofnolimit.com

www.nairaproject.com.ng

www.nairaprojects.com.ng

www.nairaproject.net

www.nairaprojects.net

www.uniproject.com.ng

www.uniprojects.com.ng

Tags: PROBLEMS AND PROSPECTS OF MOVIE MAKING IN NIGERIA’S NOLLYWOOD

THE NIGERIAN NATIONAL THEATRE AND CULTURAL PROMOTION, A STUDY

ABSTRACT

A national theatre embodies the performing treasures of the nation‘s inheritance for a glorious cause. The theatre brings the best not just to its people but also to the world and further deals with artistic and creative imaginations. It then beholds on Government to encourage the theatre as a body that preserves and promotes the cultural values of the nation. As a cultural Institution, this study explores the management constraints on the Imo satte Arts Theatre as well as management of the institution. Personal Observation and interview techniques were adopted. At the end, it was observed that government policies, funding and organisational bottle-neck that encourages bureaucracy are some major challenges against effective management of a theatre in a developing country.

CHAPTER ONE

1.0 INTRODUCTION

1.1 BACKGROUN OF THE STUDY

           Nwamuo (2003) defined threate management as “a continuous process of making present artistic and entrepreneurial (risk taking) decision, systematically with the best possible knowledge of their futurity and organizing the efforts needed against the box office expectation through an organized systematic feedback”.

to Derrick Chong (2002),  Threate management is a more complex term than one first imagines: art mangers need to reconcile managerial, economic and aesthetic objectives. Three comments to excellence and artistic integrity; to accessibility and audience development; and to public accountability and cost effectiveness.   For art and art organizations to experience growth and development, a conscious deliberate effort ought to be made towards harnessing resources to create enabling environment for success (Enamhe, 2012) such could be rendered in qualitative education where constant change occurs through critical thinking, reflection and action.  The 21st century is very competitive in search of the fundamentals of life.

All sectors of the economy are undergoing transformation processes. Artists should understand that expertise in any field offers students the opportunity of helping to anticipate and respond to changes. Students learn that, though a job may be successfully accomplished today by performing certain task, tomorrow entirely new set of skills may be required and because businesses are always changing, workers need to find out ways of doing a given job (Bettina, 1991).

The introduction of threate management in the visual arts department will increase productivity in the manner that will promote the harnessing of diverse ideas, knowledge, expertise, experiences and skills which ought to effect effective and efficient resources management development as well as scientific and technological breakthrough (Ekong, 2008).

Threate management has been used effectively for the advancement of art, art organizations and artists in advanced countries. In essence, in the third world countries, threate management has a vital role to play in building up the visual arts. Following the progressive nature of advancement in technology, such as global telecommunication infrastructure, all due to globalization, artists must become very aggressive to stay on board. This paper tries to define threate management, visual arts, the need for threate management in Visual Arts Department, fundamental elements in threate management, proposed course curriculum, conclusion and recommendations. Illustrations of students’ works are included to increase visual sensitivity. Eyes will perceive visual information expelled to create necessary curiosity, a fundamental element to art appreciation.

          In conformity with government’s implementation strategy of promoting,  preserving and presenting the rich cultural heritage of the state, the council was established as an autonomous body administered by a Board of Directors referred to as the “Council.” The Edict vested the day-to-day  management of the council in the Director of Culture who is also the Chief Executive. The enabling law provides for the constitution of local government arts committees responsible for organizing cultural activities in the local government areas of the state.

As a way of foregrounding this discourse, it would be profiting to attempt a clarification of certain operative terms. In this regard, art refers to “all the creative disciplines such as literature, drama, poetry, dance, music and visual arts. The visual arts are those artistic creativities that seek to communicate primarily through the eye; they include architecture, graphics and textile design, etc” (Ohangbon, 1980).

The Nigerian Cultural Policy (1986) defines culture “as the totality of the way of life evolved by a people in its environment the social, political, economic, aesthetic and religious norms and modes of organization which together distinguish a people from its neighbours”. It comprises the material, institutional, philosophical and creative aspects. Its material aspects deal with tools, clothing, food, medicines, utensils, housing, etc. Its

institutional aspects deal with political, social, legal and economic structures enacted to promote the material and spiritual progress of the people concerned. Its philosophical aspect promotes and develops ideas, ideals, beliefs and values while the creative aspects are responsible for the people’s literature, their visual and performing arts which are normally moulded by, as well as help to mould other aspects of culture. According to Webster’s New World Dictionary of the American Language, culture refers to:

i. The improvement, refinement of development by study, training, etc.

ii. The training and refining of the mind, emotions, manners, taste, etc.

iii. The result of this refinement of thought, emotions, manners, taste, etc.

iv. The concepts, habits, skills, arts, instrument, institutions, etc, of a given people in a given period; civilization (Guranik and Joseph, 1964).

Akerele in his article entitled “Cultural Renewal in a Changing Society like Nigeria,” summarizes the essence of culture “as the development and refinement of the various aspects of the ways of life of a people over time”. He simplifies it further “as the totality of a people’s way of life (1980). The foregoing definitions are very apt, illuminating and enlightening and would suffice for the purpose of this study.

Theatre has become more popular over the years. It is generally known to people as a building designed for performance of plays, dances etc. In our institution today where there is Theatre Art Department in Imo sate University have output some their works in theatre industries, while some are independent, although the word theatre and drama are often used interchangeably. Theatre is not inherent in drama only rather it encompasses the words and action of our everyday activities. Therefore, the Theatre Arts Departments of Imo state university need good management practices in order to enhance their work for the benefit of their student.The theatre manager must be sensible enough to create and maintain effective running of the industry with the help of his colleagues.

Theatre arts has a lot of impact on national development due to great influence that drama has in the society people get to learn one or two things mostly in drama performance.

1.2 STATE OF THE PROBLEM

          Some respondents fear that current political and severe economic pressures will result in a situation where the cultural and artistic panorama might be difficult to reconstruct. The lack of proper funding results in „a frenetic system of people working when they have funds and not when the money runs out.

Respondents expressed concern about a situation where the funding might only come from the private sector, which leads to problems of accessibility to the arts outside big cities and to the reinforcement of solely commercial activities. They are also concerned about the public‟s inability to understand the benefits of arts support. Respondents reported that the loss of public interest in threate management may favour local and private initiatives but at the same time there is a clear disengagement of local and regional authorities from cultural activities that are not compulsory. This leads to a scenario where arts and culture become the domain of a select group of arts administrators and „not a matter to be discussed along with public welfare, well-being, educational success and thriving economies‟.

For some, one the biggest threats was simply the government and its policies. Some of the respondents referred to upcoming elections and their impact on the continuity of programs and funding and changing priorities especially if „policies come in narrow form’. Other government policy downfalls were the instrumentalisation of culture, the lack of protection and preservation and the enormous dependence of the cultural sector on public funding.

1.3 OBJECTIVE OF THE STUDY

1. To examine public threate institutionss in Nigeria.

2. To identify the fundamental elements of threate management.

3. To find out the problems of threate management in Imo state.

4. To examine the prospects of managing public threate institutions in Imo State

1.4 RESEARCH QUESTION

1. How is public threate institutionss in Nigeria?

2. What are the fundamental elements of threate management?

3. Are there problems involve in threate management in Imo State?

1.5 RESEARCH QUESTION

H0: There are minor problems involve in threate management in Imo State.

H1: There are lot ot problems involve in threate management in Imo State.

1.6 SIGNIFICANCE OF THE STUDY

This research is significant because it will serve as a means of guideline to manager or director in an organization and also draw the government attention for assistant in our institution at large.

1.7  SCOPE OF THE STUDY

This research work is problem of theatre management in imo state

1.8    LIMITATION OF STUDY

Despite the limited scope of this study certain constraints were encountered during the research of this project.  Some of the constraints experienced by the researcher were given below:

i.       Time: This was a major constraint on the researcher during the period of the work. Considering the limited time given for this study, there was not much time to give this research the needed attention.

ii.      Finance: Owing to the financial difficulty prevalent in the country and it’s resultant prices of commodities, transportation fares, research materials etc. The researcher did not find it easy meeting all his financial obligations.

iii.     Information Constraints: Nigerian researchers have never had it easy when it comes to obtaining necessary information relevant to their area of study from private business organization and even government agencies. People in Nigeria find it difficult to reveal their internal operations. The primary information was collected through face-to-face interview getting the published materials on this topic meant going from one library to other which was not easy.

1.9  DEFINITION OF TERMS             

Theatre :    This term connotes both action/experience and a building. A theatre is an experience involving the viewer and the viewed. The two create a web of meaning-making process via audio-visual effects. This explains why Edwin Wilson posits that: The means by which an art presents its material is often referred to as the medium… For theatre, the medium is a story enacted by performers.

Management :   Management is “a process of planning, organizing, directing or leading, representing, co-ordinating and controlling the efforts of the organization members and the use of organizational resources (human and technical) in order to achieve stated organizational goals”.

Threate management: Threate management is a business oriented discipline involved in project management, art strategy and supply chain techniques to control a creative process.

Threate institutions : An art school is an educational institution with a primary focus on the visual arts, especially illustration, painting, photography, sculpture, and graphic design.

Visual Arts : The meaning of Visual Arts: Egonwa (2012) opines that, “visual arts are about visual culture in our time.

HOW TO GET THE FULL PROJECT WORK

PLEASE, print the following instructions and information if you will like to order/buy our complete written material(s).

HOW TO RECEIVE PROJECT MATERIAL(S)

After paying the appropriate amount (#5000) into our bank Account below, send the following information to

08068231953 or 08168759420

(1)    Your project topics

(2)     Email Address

(3)     Payment Name

(4)    Teller Number

We will send your material(s) immediately we receive bank alert

BANK ACCOUNTS

Account Name: AMUTAH DANIEL CHUKWUDI

Account Number: 0046579864

Bank: GTBank.

OR

Account Name: AMUTAH DANIEL CHUKWUDI

Account Number: 2023350498

Bank: UBA.

HOW TO IDENTIFY SCAM/FRAUD

As a result of fraud in Nigeria, people don’t believe there are good online businesses in Nigeria.

But on this site, we have provided “table of content and chapter one” of all our project topics and materials in order to convince you that we have the complete materials.

Secondly, we have provided our Bank Account on this site. Our Bank Account contains all information about the owner of this website. For your own security, all payment should be made in the bank.

No Fraudulent company uses Bank Account as a means of payment, because Bank Account contains the overall information of the owner

CAUTION/WARNING

Please, DO NOT COPY any of our materials on this website WORD-TO-WORD. These materials are to assist, direct you during your project.  Study the materials carefully and use the information in them to develop your own new copy. Copying these materials word-to-word is CHEATING/ ILLEGAL because it affects Educational standard, and we will not be held responsible for it. If you must copy word-to-word please do not order/buy.

That you ordered this material shows you have agreed not to copy word-to-word.

FOR MORE INFORMATION, CALL:

08068231953 or 08168759420

Visit any of our project websites below:

www.easyprojectmaterials.com

www.easyprojectmaterials.com.ng

www.easyprojectmaterial.net

www.easyprojectmaterial.net.ng

www.easyprojectsolutions.com

www.worldofnolimit.com

www.worldofnolimit.com

www.nairaproject.com.ng

www.nairaprojects.com.ng

www.nairaproject.net

www.nairaprojects.net

www.uniproject.com.ng

www.uniprojects.com.ng

Tags: A STUDY, THE NIGERIAN NATIONAL THEATRE AND CULTURAL PROMOTION

THE NIGERIAN NATIONAL THEATRE AND CULTURAL PROMOTION, A STUDY

ABSTRACT

A national theatre embodies the performing treasures of the nation‘s inheritance for a glorious cause. The theatre brings the best not just to its people but also to the world and further deals with artistic and creative imaginations. It then beholds on Government to encourage the theatre as a body that preserves and promotes the cultural values of the nation. As a cultural Institution, this study explores the management constraints on the Imo satte Arts Theatre as well as management of the institution. Personal Observation and interview techniques were adopted. At the end, it was observed that government policies, funding and organisational bottle-neck that encourages bureaucracy are some major challenges against effective management of a theatre in a developing country.

CHAPTER ONE

1.0 INTRODUCTION

1.1 BACKGROUN OF THE STUDY

           Nwamuo (2003) defined threate management as “a continuous process of making present artistic and entrepreneurial (risk taking) decision, systematically with the best possible knowledge of their futurity and organizing the efforts needed against the box office expectation through an organized systematic feedback”.

to Derrick Chong (2002),  Threate management is a more complex term than one first imagines: art mangers need to reconcile managerial, economic and aesthetic objectives. Three comments to excellence and artistic integrity; to accessibility and audience development; and to public accountability and cost effectiveness.   For art and art organizations to experience growth and development, a conscious deliberate effort ought to be made towards harnessing resources to create enabling environment for success (Enamhe, 2012) such could be rendered in qualitative education where constant change occurs through critical thinking, reflection and action.  The 21st century is very competitive in search of the fundamentals of life.

All sectors of the economy are undergoing transformation processes. Artists should understand that expertise in any field offers students the opportunity of helping to anticipate and respond to changes. Students learn that, though a job may be successfully accomplished today by performing certain task, tomorrow entirely new set of skills may be required and because businesses are always changing, workers need to find out ways of doing a given job (Bettina, 1991).

The introduction of threate management in the visual arts department will increase productivity in the manner that will promote the harnessing of diverse ideas, knowledge, expertise, experiences and skills which ought to effect effective and efficient resources management development as well as scientific and technological breakthrough (Ekong, 2008).

Threate management has been used effectively for the advancement of art, art organizations and artists in advanced countries. In essence, in the third world countries, threate management has a vital role to play in building up the visual arts. Following the progressive nature of advancement in technology, such as global telecommunication infrastructure, all due to globalization, artists must become very aggressive to stay on board. This paper tries to define threate management, visual arts, the need for threate management in Visual Arts Department, fundamental elements in threate management, proposed course curriculum, conclusion and recommendations. Illustrations of students’ works are included to increase visual sensitivity. Eyes will perceive visual information expelled to create necessary curiosity, a fundamental element to art appreciation.

          In conformity with government’s implementation strategy of promoting,  preserving and presenting the rich cultural heritage of the state, the council was established as an autonomous body administered by a Board of Directors referred to as the “Council.” The Edict vested the day-to-day  management of the council in the Director of Culture who is also the Chief Executive. The enabling law provides for the constitution of local government arts committees responsible for organizing cultural activities in the local government areas of the state.

As a way of foregrounding this discourse, it would be profiting to attempt a clarification of certain operative terms. In this regard, art refers to “all the creative disciplines such as literature, drama, poetry, dance, music and visual arts. The visual arts are those artistic creativities that seek to communicate primarily through the eye; they include architecture, graphics and textile design, etc” (Ohangbon, 1980).

The Nigerian Cultural Policy (1986) defines culture “as the totality of the way of life evolved by a people in its environment the social, political, economic, aesthetic and religious norms and modes of organization which together distinguish a people from its neighbours”. It comprises the material, institutional, philosophical and creative aspects. Its material aspects deal with tools, clothing, food, medicines, utensils, housing, etc. Its

institutional aspects deal with political, social, legal and economic structures enacted to promote the material and spiritual progress of the people concerned. Its philosophical aspect promotes and develops ideas, ideals, beliefs and values while the creative aspects are responsible for the people’s literature, their visual and performing arts which are normally moulded by, as well as help to mould other aspects of culture. According to Webster’s New World Dictionary of the American Language, culture refers to:

i. The improvement, refinement of development by study, training, etc.

ii. The training and refining of the mind, emotions, manners, taste, etc.

iii. The result of this refinement of thought, emotions, manners, taste, etc.

iv. The concepts, habits, skills, arts, instrument, institutions, etc, of a given people in a given period; civilization (Guranik and Joseph, 1964).

Akerele in his article entitled “Cultural Renewal in a Changing Society like Nigeria,” summarizes the essence of culture “as the development and refinement of the various aspects of the ways of life of a people over time”. He simplifies it further “as the totality of a people’s way of life (1980). The foregoing definitions are very apt, illuminating and enlightening and would suffice for the purpose of this study.

Theatre has become more popular over the years. It is generally known to people as a building designed for performance of plays, dances etc. In our institution today where there is Theatre Art Department in Imo sate University have output some their works in theatre industries, while some are independent, although the word theatre and drama are often used interchangeably. Theatre is not inherent in drama only rather it encompasses the words and action of our everyday activities. Therefore, the Theatre Arts Departments of Imo state university need good management practices in order to enhance their work for the benefit of their student.The theatre manager must be sensible enough to create and maintain effective running of the industry with the help of his colleagues.

Theatre arts has a lot of impact on national development due to great influence that drama has in the society people get to learn one or two things mostly in drama performance.

1.2 STATE OF THE PROBLEM

          Some respondents fear that current political and severe economic pressures will result in a situation where the cultural and artistic panorama might be difficult to reconstruct. The lack of proper funding results in „a frenetic system of people working when they have funds and not when the money runs out.

Respondents expressed concern about a situation where the funding might only come from the private sector, which leads to problems of accessibility to the arts outside big cities and to the reinforcement of solely commercial activities. They are also concerned about the public‟s inability to understand the benefits of arts support. Respondents reported that the loss of public interest in threate management may favour local and private initiatives but at the same time there is a clear disengagement of local and regional authorities from cultural activities that are not compulsory. This leads to a scenario where arts and culture become the domain of a select group of arts administrators and „not a matter to be discussed along with public welfare, well-being, educational success and thriving economies‟.

For some, one the biggest threats was simply the government and its policies. Some of the respondents referred to upcoming elections and their impact on the continuity of programs and funding and changing priorities especially if „policies come in narrow form’. Other government policy downfalls were the instrumentalisation of culture, the lack of protection and preservation and the enormous dependence of the cultural sector on public funding.

1.3 OBJECTIVE OF THE STUDY

1. To examine public threate institutionss in Nigeria.

2. To identify the fundamental elements of threate management.

3. To find out the problems of threate management in Imo state.

4. To examine the prospects of managing public threate institutions in Imo State

1.4 RESEARCH QUESTION

1. How is public threate institutionss in Nigeria?

2. What are the fundamental elements of threate management?

3. Are there problems involve in threate management in Imo State?

1.5 RESEARCH QUESTION

H0: There are minor problems involve in threate management in Imo State.

H1: There are lot ot problems involve in threate management in Imo State.

1.6 SIGNIFICANCE OF THE STUDY

This research is significant because it will serve as a means of guideline to manager or director in an organization and also draw the government attention for assistant in our institution at large.

1.7  SCOPE OF THE STUDY

This research work is problem of theatre management in imo state

1.8    LIMITATION OF STUDY

Despite the limited scope of this study certain constraints were encountered during the research of this project.  Some of the constraints experienced by the researcher were given below:

i.       Time: This was a major constraint on the researcher during the period of the work. Considering the limited time given for this study, there was not much time to give this research the needed attention.

ii.      Finance: Owing to the financial difficulty prevalent in the country and it’s resultant prices of commodities, transportation fares, research materials etc. The researcher did not find it easy meeting all his financial obligations.

iii.     Information Constraints: Nigerian researchers have never had it easy when it comes to obtaining necessary information relevant to their area of study from private business organization and even government agencies. People in Nigeria find it difficult to reveal their internal operations. The primary information was collected through face-to-face interview getting the published materials on this topic meant going from one library to other which was not easy.

1.9  DEFINITION OF TERMS             

Theatre :    This term connotes both action/experience and a building. A theatre is an experience involving the viewer and the viewed. The two create a web of meaning-making process via audio-visual effects. This explains why Edwin Wilson posits that: The means by which an art presents its material is often referred to as the medium… For theatre, the medium is a story enacted by performers.

Management :   Management is “a process of planning, organizing, directing or leading, representing, co-ordinating and controlling the efforts of the organization members and the use of organizational resources (human and technical) in order to achieve stated organizational goals”.

Threate management: Threate management is a business oriented discipline involved in project management, art strategy and supply chain techniques to control a creative process.

Threate institutions : An art school is an educational institution with a primary focus on the visual arts, especially illustration, painting, photography, sculpture, and graphic design.

Visual Arts : The meaning of Visual Arts: Egonwa (2012) opines that, “visual arts are about visual culture in our time.

HOW TO GET THE FULL PROJECT WORK

PLEASE, print the following instructions and information if you will like to order/buy our complete written material(s).

HOW TO RECEIVE PROJECT MATERIAL(S)

After paying the appropriate amount (#5000) into our bank Account below, send the following information to

08068231953 or 08168759420

(1)    Your project topics

(2)     Email Address

(3)     Payment Name

(4)    Teller Number

We will send your material(s) immediately we receive bank alert

BANK ACCOUNTS

Account Name: AMUTAH DANIEL CHUKWUDI

Account Number: 0046579864

Bank: GTBank.

OR

Account Name: AMUTAH DANIEL CHUKWUDI

Account Number: 2023350498

Bank: UBA.

HOW TO IDENTIFY SCAM/FRAUD

As a result of fraud in Nigeria, people don’t believe there are good online businesses in Nigeria.

But on this site, we have provided “table of content and chapter one” of all our project topics and materials in order to convince you that we have the complete materials.

Secondly, we have provided our Bank Account on this site. Our Bank Account contains all information about the owner of this website. For your own security, all payment should be made in the bank.

No Fraudulent company uses Bank Account as a means of payment, because Bank Account contains the overall information of the owner

CAUTION/WARNING

Please, DO NOT COPY any of our materials on this website WORD-TO-WORD. These materials are to assist, direct you during your project.  Study the materials carefully and use the information in them to develop your own new copy. Copying these materials word-to-word is CHEATING/ ILLEGAL because it affects Educational standard, and we will not be held responsible for it. If you must copy word-to-word please do not order/buy.

That you ordered this material shows you have agreed not to copy word-to-word.

FOR MORE INFORMATION, CALL:

08068231953 or 08168759420

Visit any of our project websites below:

www.easyprojectmaterials.com

www.easyprojectmaterials.com.ng

www.easyprojectmaterial.net

www.easyprojectmaterial.net.ng

www.easyprojectsolutions.com

www.worldofnolimit.com

www.worldofnolimit.com

www.nairaproject.com.ng

www.nairaprojects.com.ng

www.nairaproject.net

www.nairaprojects.net

www.uniproject.com.ng

www.uniprojects.com.ng

Tags: A STUDY, THE NIGERIAN NATIONAL THEATRE AND CULTURAL PROMOTION

MANAGEMENT STRATEGIES IN GOVERNMENT AND PRIVATE OWNED THEATRES IN NIGERIA. A COMPARATIVE STUDY

ABSTRACT

This is a study of the management of public and private theatres. It examines the strategies for managing public theatres represented here by the national theatre and the national troupe as against that of private theatres represented by the Hubert Ogunde theatre and the center stage production theatre. Apart from highlighting the differences in the strategies, it also identifies the problems of managing both types of theatre. It finally recommends solutions to the problems.

TABLE OF CONTENTS

Title Page –       –       –       –       –       –       –       –       –       –       i

Certification     –       –       –       –       –       –       –       –       –       ii

Dedication       –       –       –       –       –       –       –       –       –       iii

Acknowledgement    –       –       –       –       –       –       –       –       iv

Abstract   –       –       –       –       –       –       –       –       –       –       vi

Table of Contents     –       –       –       –       –       –       –       –       vii

CHAPTER ONE

1.1      Introduction

1.2      Statement of the Problem

1.3      Scope of the Study

1.4      Justification of Study

1.5      Significance of the Study

1.6      Research Methodology

1.7      Limitation and Delimitation

1.8      Definition of Terms

CHAPTER TWO

2.1   Literature Review

CHAPTER THREE

3.1   Management of Government Theatres

3.2   The National Theatre and its Management

3.3   The National Troupe and its Management

CHAPTER FOUR

4.1   Management of Private Theatre

4.2   The Hubert Ogunde Theatre

4.3   Center Stage Private Theatre

CHAPTER FIVE

5.1   Summary of Findings

5.2   Recommendation

5.3   Conclusion

Bibliography

Journals

Thesis

CHAPTER ONE

1.1      INTRODUCTION

The aim of this research is to carry out an in depth study on strategies adopted in the management of theatres in Nigeria with particular reference to public and private theatres, and to understand how these theatre function under the various management situations.

This research also aims at establishing applications of the various management strategies in their different environments. Finally it suggests more effective management strategies for better results in productions. To achieve this, it appraises the management strategies of two public theatres. The National Theatre, the National Troupe, two Private Theatres: Hubert Ogunde Theatre and the Center Stage Productions Theatre. It identifies the problems of managing these theatres with emphasis on the differences between the management of a public (or government theatre) and private theatre. It suggests solutions to the problems identified and recommends remedies to the problems of adopting the management strategies.

1.2      STATEMENT OF THE PROBLEM

This study is motivated by the desire to address the differences between the management of public and private theatres. This is in view of the fact that many private theatres, like the Ogunde theatre, survived comparatively, in spite of the little resources available to their sole proprietors, while our public theatres have hardly survived. The progress and impact made by the Hubert Ogunde Theatre, for instance, has made more lasting impressions than that made by either the National Theatre or the National Troupe, this is a problem. This study, therefore examines the management of public and private theatres in order to see what makes the difference and how to improve on them.

1.3      SCOPE OF THE STUDY

This work investigates management strategies in government and private theatre in Nigeria. It is a study of the management of two government and two private theatres. The management of the National Theatre and the National Troupe of Nigeria are examined against the background of the administrative of Ogunde and Center stage theatres. It identifies the peculiarities of each group and explains the constraints and problems of each group. It also recommends solutions to the problems.

1.4      JUSTIFICATION OF THE STUDY

This study is justified by the need to identify the problems of managing our public and private theatres in order to recommend solution to the problems. This study meets this need and is therefore very relevant. It is also justified by the fact that while most researchers have worked on the management of either public or private theatres, non is known by the researcher, to have studied the management of both side. So this work breaks a new ground by being a comparative study.

1.5      SIGNIFICANCE OF THE STUDY

The management of both public and private theatres involves so many techniques and strategies. Because the study explains many of these techniques, it will be very beneficial to Nigerian theatre artist, researchers and students of theatre management.

1.6      RESEARCH METHODOLOGY

This work made elaborate use of materials from books, journals, newspapers and video clips. Interviews were also held to get materials. Some video productions of the Ogunde Theatre were also previewed for information.

1.7      LIMITATIONS AND DELIMITATION

This study is on four theatres – two public and two private theatres. The study of only four theatres and is intended to ensure a better focus. This forms the delimitation of this work. The limitations, on the other hand are many. They range from lack of adequate funds for the research, non-conformist attitude of some respondents, back to published materials on the theatres (especially the private ones), tine constraints and lack of enough research equipment.

1.8      DEFINITION OF TERMS

The key words used in this work are defined below. These works include the following:

Management

Strategies

Government

Private

Theatre

MANAGEMENT

        Chris Nwamuo (1986: 2) defines management as the art and science of planning, staffing, organizing, motivating, directing and controlling human and material resources in the arts of the theatre and their interaction in order to attain the predetermined objectives of generating satisfaction, having a full house and maiming profit.

The Oxford Advanced Dictionary defines management as the control and making decisions in a business or similar organization (712).

STRATEGIES

        According to the Oxford Advanced Learners Dictionary defines strategy means or a designed plan for a particular, the process of planning or carrying out a plan in a skillful way (1179).

GOVERNMENT

        According to the Oxford Advanced Learners Dictionary defines government as a group of people governing a country, the action or manner of governing (Page 515).

PRIVATE

        The Oxford Advanced Learners Dictionary defines private of belonging to or for the use of one particular person or group only, (Private Company a business firm that does not issue shares to the general public), (pg. 920).

THEATRE

        According to Chamber 21^st Century Dictionary (1991 – 1641) a theatre means a building or area outside especially designed for the performance of plays and operas, the word theatre is derived from Greek word “theatron” which means a place for seeing Edwin Wilson in his book. The theatre experience explains that:

Theatre is experience, an immediate art who’s meaning in grasped through an understanding of the encounter between who creates theatre-performers writer, directors, designers, technicians and those who view it members of the audience (Edwin Wilson 1996: 1)

Jerzy Grotowski (1968: 28) defined theatre as a place where an actor recites a written text, illustrating it with series of movements in order to make it more easily understood.

According to Innocent C. Ohiri in his book Theatre Practice and Production Management:

Theatre is the sum total of the events and the Spontaneous cum ephemeral impressions and stimuli gained from the happenings that go on between the actors on stage, the actors and the audience, the members of the audience (audience-audience reaction) and between the actors and spectacles, be an audience (2001: 7).

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Tags: MANAGEMENT STRATEGIES IN GOVERNMENT AND PRIVATE OWNED THEATRES IN NIGERIA. A COMPARATIVE STUDY

MANAGEMENT STRATEGIES IN GOVERNMENT AND PRIVATE OWNED THEATRES IN NIGERIA. A COMPARATIVE STUDY

ABSTRACT

This is a study of the management of public and private theatres. It examines the strategies for managing public theatres represented here by the national theatre and the national troupe as against that of private theatres represented by the Hubert Ogunde theatre and the center stage production theatre. Apart from highlighting the differences in the strategies, it also identifies the problems of managing both types of theatre. It finally recommends solutions to the problems.

TABLE OF CONTENTS

Title Page –       –       –       –       –       –       –       –       –       –       i

Certification     –       –       –       –       –       –       –       –       –       ii

Dedication       –       –       –       –       –       –       –       –       –       iii

Acknowledgement    –       –       –       –       –       –       –       –       iv

Abstract   –       –       –       –       –       –       –       –       –       –       vi

Table of Contents     –       –       –       –       –       –       –       –       vii

CHAPTER ONE

1.1      Introduction

1.2      Statement of the Problem

1.3      Scope of the Study

1.4      Justification of Study

1.5      Significance of the Study

1.6      Research Methodology

1.7      Limitation and Delimitation

1.8      Definition of Terms

CHAPTER TWO

2.1   Literature Review

CHAPTER THREE

3.1   Management of Government Theatres

3.2   The National Theatre and its Management

3.3   The National Troupe and its Management

CHAPTER FOUR

4.1   Management of Private Theatre

4.2   The Hubert Ogunde Theatre

4.3   Center Stage Private Theatre

CHAPTER FIVE

5.1   Summary of Findings

5.2   Recommendation

5.3   Conclusion

Bibliography

Journals

Thesis

CHAPTER ONE

1.1      INTRODUCTION

The aim of this research is to carry out an in depth study on strategies adopted in the management of theatres in Nigeria with particular reference to public and private theatres, and to understand how these theatre function under the various management situations.

This research also aims at establishing applications of the various management strategies in their different environments. Finally it suggests more effective management strategies for better results in productions. To achieve this, it appraises the management strategies of two public theatres. The National Theatre, the National Troupe, two Private Theatres: Hubert Ogunde Theatre and the Center Stage Productions Theatre. It identifies the problems of managing these theatres with emphasis on the differences between the management of a public (or government theatre) and private theatre. It suggests solutions to the problems identified and recommends remedies to the problems of adopting the management strategies.

1.2      STATEMENT OF THE PROBLEM

This study is motivated by the desire to address the differences between the management of public and private theatres. This is in view of the fact that many private theatres, like the Ogunde theatre, survived comparatively, in spite of the little resources available to their sole proprietors, while our public theatres have hardly survived. The progress and impact made by the Hubert Ogunde Theatre, for instance, has made more lasting impressions than that made by either the National Theatre or the National Troupe, this is a problem. This study, therefore examines the management of public and private theatres in order to see what makes the difference and how to improve on them.

1.3      SCOPE OF THE STUDY

This work investigates management strategies in government and private theatre in Nigeria. It is a study of the management of two government and two private theatres. The management of the National Theatre and the National Troupe of Nigeria are examined against the background of the administrative of Ogunde and Center stage theatres. It identifies the peculiarities of each group and explains the constraints and problems of each group. It also recommends solutions to the problems.

1.4      JUSTIFICATION OF THE STUDY

This study is justified by the need to identify the problems of managing our public and private theatres in order to recommend solution to the problems. This study meets this need and is therefore very relevant. It is also justified by the fact that while most researchers have worked on the management of either public or private theatres, non is known by the researcher, to have studied the management of both side. So this work breaks a new ground by being a comparative study.

1.5      SIGNIFICANCE OF THE STUDY

The management of both public and private theatres involves so many techniques and strategies. Because the study explains many of these techniques, it will be very beneficial to Nigerian theatre artist, researchers and students of theatre management.

1.6      RESEARCH METHODOLOGY

This work made elaborate use of materials from books, journals, newspapers and video clips. Interviews were also held to get materials. Some video productions of the Ogunde Theatre were also previewed for information.

1.7      LIMITATIONS AND DELIMITATION

This study is on four theatres – two public and two private theatres. The study of only four theatres and is intended to ensure a better focus. This forms the delimitation of this work. The limitations, on the other hand are many. They range from lack of adequate funds for the research, non-conformist attitude of some respondents, back to published materials on the theatres (especially the private ones), tine constraints and lack of enough research equipment.

1.8      DEFINITION OF TERMS

The key words used in this work are defined below. These works include the following:

Management

Strategies

Government

Private

Theatre

MANAGEMENT

        Chris Nwamuo (1986: 2) defines management as the art and science of planning, staffing, organizing, motivating, directing and controlling human and material resources in the arts of the theatre and their interaction in order to attain the predetermined objectives of generating satisfaction, having a full house and maiming profit.

The Oxford Advanced Dictionary defines management as the control and making decisions in a business or similar organization (712).

STRATEGIES

        According to the Oxford Advanced Learners Dictionary defines strategy means or a designed plan for a particular, the process of planning or carrying out a plan in a skillful way (1179).

GOVERNMENT

        According to the Oxford Advanced Learners Dictionary defines government as a group of people governing a country, the action or manner of governing (Page 515).

PRIVATE

        The Oxford Advanced Learners Dictionary defines private of belonging to or for the use of one particular person or group only, (Private Company a business firm that does not issue shares to the general public), (pg. 920).

THEATRE

        According to Chamber 21^st Century Dictionary (1991 – 1641) a theatre means a building or area outside especially designed for the performance of plays and operas, the word theatre is derived from Greek word “theatron” which means a place for seeing Edwin Wilson in his book. The theatre experience explains that:

Theatre is experience, an immediate art who’s meaning in grasped through an understanding of the encounter between who creates theatre-performers writer, directors, designers, technicians and those who view it members of the audience (Edwin Wilson 1996: 1)

Jerzy Grotowski (1968: 28) defined theatre as a place where an actor recites a written text, illustrating it with series of movements in order to make it more easily understood.

According to Innocent C. Ohiri in his book Theatre Practice and Production Management:

Theatre is the sum total of the events and the Spontaneous cum ephemeral impressions and stimuli gained from the happenings that go on between the actors on stage, the actors and the audience, the members of the audience (audience-audience reaction) and between the actors and spectacles, be an audience (2001: 7).

HOW TO GET THE FULL PROJECT WORK

PLEASE, print the following instructions and information if you will like to order/buy our complete written material(s).

HOW TO RECEIVE PROJECT MATERIAL(S)

After paying the appropriate amount (#25000) into our bank Account below, send the following information to

08068231953 or 08168759420

(1)    Your project topics

(2)     Email Address

(3)     Payment Name

(4)    Teller Number

We will send your material(s) immediately we receive bank alert

BANK ACCOUNTS

Account Name: AMUTAH DANIEL CHUKWUDI

Account Number: 0046579864

Bank: GTBank.

OR

Account Name: AMUTAH DANIEL CHUKWUDI

Account Number: 2023350498

Bank: UBA.

HOW TO IDENTIFY SCAM/FRAUD

As a result of fraud in Nigeria, people don’t believe there are good online businesses in Nigeria.

But on this site, we have provided “table of content and chapter one” of all our project topics and materials in order to convince you that we have the complete materials.

Secondly, we have provided our Bank Account on this site. Our Bank Account contains all information about the owner of this website. For your own security, all payment should be made in the bank.

No Fraudulent company uses Bank Account as a means of payment, because Bank Account contains the overall information of the owner

CAUTION/WARNING

Please, DO NOT COPY any of our materials on this website WORD-TO-WORD. These materials are to assist, direct you during your project.  Study the materials carefully and use the information in them to develop your own new copy. Copying these materials word-to-word is CHEATING/ ILLEGAL because it affects Educational standard, and we will not be held responsible for it. If you must copy word-to-word please do not order/buy.

That you ordered this material shows you have agreed not to copy word-to-word.

FOR MORE INFORMATION, CALL:

08068231953 or 08168759420

Visit any of our project websites below:

www.easyprojectmaterials.com

www.easyprojectmaterials.com.ng

www.easyprojectmaterial.net

www.easyprojectmaterial.net.ng

www.easyprojectsolutions.com

www.worldofnolimit.com

www.worldofnolimit.com

www.nairaproject.com.ng

www.nairaprojects.com.ng

www.nairaproject.net

www.nairaprojects.net

www.uniproject.com.ng

www.uniprojects.com.ng

Tags: MANAGEMENT STRATEGIES IN GOVERNMENT AND PRIVATE OWNED THEATRES IN NIGERIA. A COMPARATIVE STUDY

AN APPROACH TO CHILDREN’S THEATRE THROUGH CREATIVE DRAMATICS

TABLE OF CONTENT

TITLE PAGE

CERTIFICATION

DEDICATION

ACKNOWLEDGEMENT

TABLE OF CONTENT

ABSTRACT

INTRODUCTION

LITERATURE REVIEW

CHAPTER ONE

THE BASIC CONCEPT OF THE STUDY

1.1 CHILDREN’S THEATRE PRACTICE

1.2 THE ORIGIN OF CHILDREN’S THEATRE INSTITUTION

1.3 AIMS AND OBJECTIVES OF CHILDREN THEATRE

1.4 THEORIES ON PLAY

CHAPTER TWO

THE NATURE OF THE CHILD

2.1 WHO IS A CHILD?

2.2 AG DIFFERENCES

2.3 WHY WE ADOPT DRAMATIC APPROACH

CHAPTER THREE

THE PLAY WAY METHOD

3.1 THE APPROACH TO CHILDREN’S THEATRE

3.2 THE ART OF CREATIVE DRAMATICS

CHAPTER FOUR

4.1 THE ROLE OF ADULT, TEACHER OF LEADER IN CHILD DRAMA

4.2 THE ESSENCE EXPERIENCE WITH YOUNG CHILDREN’S

CONCLUSION

SUGGESTION

BIBLIOGRAPHY

ABSTRACT

This project titled ‘’Approach to children’s theatre through creative dramatics is about the importance of drama to the life of children.

Chapter one of this project deals with the basic concept of the study. Here, the definition of children theatre, the origin of children’s theatre in Tertiary Institutions, the aims and objectives of children’s theatre and theories on play are discussed.

Chapter two looks at the nature of the child, with particular reference to the personality of the child, Age differences and we adopt dramatic Approach.

Chapter three of this work is on the Approaches to children’s theatre and the Art of creative dramatics.

The last chapter which deals with the role of Adult teacher, or leader in child drama, the essence of Drama in education and the dramatic experiences with young children.

CHAPTER ONE

BASIC CONCEPT OF THE STUDY

1.1       CHILDREN’S THEATRE PRACTICE

          Children’s theatre practice is a dramatic activity in which young people acquire knowledge and skill through drama.

According to Stanley Obuh’s lesson notes 2000/2001.

‘’children’s Theatre or drama are those categories of plays, performances and related literatures that caters for the interests, instincts, emotional and psychological needs of children’’.

Children theatre is a diluted version of theatre which is prepared mainly for youngsters between the ages of five to twelve years, it can continue also till adult life. In this categories of plays children perform for children, or adult for children to watch. Children’s drama or theatre are meant for children’s cognitive development. When drama is introduced in those formative years, it serves as a foundation for future development.

Education may be formal or informal and in both modes, drama has a part to play. Informal education de-emphasizes the school setting hence it occurs through play. Play acts as an important element for a young child. It is from play that drama takes it’s roots. Through play children develop their physical and mental skills. It is therefore important to note that the instinct to play is inborn in man and so remains well after childhood. Although, most people still hold the view that play is not useful in life but educationist are beginning to appreciate the special advantages of learning and teaching through play way method. Such approaches have been adopted by modern day nursery schools. That means learning is fostered through fun. The playing method is usually explored in dramatic activities. This, through play and drama, children and young people acquires knowledge and skills.

Drama for children however has four major areas:

(1) Creative Dramatics

(2)  Children theatre

(3) Recreational theatre

All the four areas have their peculiar methodology.

Creative Dramatics:It is the education of the whole person. It enables the child to acquire such skills for problems solving. It increases awareness, concentration, imaginative impulses and it develops the control of the physical self in creative dramatics, playmaking involves acting out the stories and scenes without a script. Creative dramatics is divided into two different areas:

(A)  Internally absorbed learning

(B)  Externally absorbed learning

Creative dramatics is a non-performing theatre, that is to say, the audience is non-existence.

Finally, creative dramatics is highly recommended for the classroom situation.

RECREATIONAL THEATRE:This involves theatre by children for an audience of children or children and adult. Note that the performers here are mainly the children. A good example of this are such dramatic activities put together by the teachers of the University Demonstration primary school (U.D.P.s) university of Port Harcourt, to mark their end of year activities. The teachers prepares the children to entertain themselves as well as their teachers and the parents are usually invited.

EDUCATIONAL DRAMA: It is also known as curricular drama. It is designed around an educational institution. Educational drama has two dimensions:

(a) Drama as a method

(b) Drama as a curricular subject or discipline.

Drama as a method has to do with the use of drama as a method to stimulate education or knowledge. While drama as a curricular subject or discipline is a drama considered as a discipline on its own and not as a means to an end. That is to say, drama treated as a curricular subject with its own academic content.

Children’s Theatre: This is basically a theatre for children where the child’s interest is upper most. It is an organised theatre in which adults or adults and children perform for children before an audience of children. Again, it is not impromptu, there has to be a script, learnt through rehearsals and also under the supervision of a teacher or leader/director. Children’s theatre is highly technical and as such trains the mind of a child over group instinct, trust and confidence in others. It is structured in such a way that it combines play with intellectual work. It also acts as a shorthand in teaching process there by passing information with a reduced hardship.

     Here language usage is made simple because it is designed for the consumption of the child only, although audience may be permitted but the target is the child. Through this programme a child is more enlightened and liberated from extreme primitively.

1.2       THE ORIGIN OF CHILDRENS’S THEATRE IN TERTIARY INSTITUTION

          The beginning of children’s Theatre in Tertiary Institutions started in University of Ibadan in 1962. The name that was given to it was Saturday Theatre for Young people. It was conceived and designed as a workshop for the children’s participants. The children that participated in the S T Y P were between the ages of six and ten years, and they are campus and neighbourhood children. They came on Saturday morning under the direction of a staff member.

The purpose of S T Y P was to raise money for the handicaps or disables. Secondly to provide education for young people. The children takes part in all sorts and varieties of artistic and creative activities, creative dramatics story teaching, playmaking, music, song, dance, drama poetry, mine and movement. The children also had fun with arts and crafts drawing, painting, modelling and puppetry. All these are down in a free and informal classroom situation in order to achieve an uninhibited free expression. The goal is to help children develop creative self-expression, creative imagination and to inculcate in the child artistic insight and appreciation.

The Saturday Theatre for Young people created a forum for meeting children, parents and staffs of the University. Through it the image of children’s theatre was projected to other parents of the world and institutions.

S.T.Y.P CONSTRIBUTION TO CHILDREN

          For the children, the STYP is both educational and a developmental process. The value to children exposed to it are many and tremendous. They include:

i)             Socialization and development of personal resources and talents.

ii)            Inculcation and development of creativity in the cultural and creative arts – development of skills of communication and self-expression.

iii)          Development of social awareness and the social of social responsibility.

iv)          Exposure to and opportunity of international experience and friendship

1.3       AIMS AND OBJECTIVES OF CHILDREN’S THEATRE

The theatre happens to be one of the most powerful and direct means of strengthening human reason and enlightening the nation. By extension, children’s drama/theatre serves as an educational instrument for children’s upbringing. The ultimate aim is to inculcate in the child, the habit of play-consumption, construction and appreciation from early childhood. If this is achieved, the theatre will then have a responsive and responsible adult audience in the future.

The theatre places children in a condition in which they can recall and interpret past experiences and apply them to present realities. Essentially, early children’s theatre experiences or experiments in at creating the necessary awareness that would enable them to understand the true potentials of the theatre. When the necessary awareness is created during these formative years, then one can claim that the foundation for sustainable growth has been laid, thereby reducing the prejudices and scepticism which often stifle theatre development.

Drama has power and can positively influence children. In recognition of the positive effects of drama, S. C. Evernden (1977) explain that

‘’in areas and schools where drama has had a fair trial, it has in fact helped children to become articulate and self-reliant, move at peace with themselves and better adjusted to society’’ (Unpaged forward to Permberton, Billing and S.D. Clegg’s book Teaching Drama 1977).

Children by nature are initiative and playful and they learn a lot through play and imitation at home and elsewhere. There, they assume the roles of parents, teacher, leaders etc.

The theatre serves as an avenue for the actualization of the and playful tendencies. It has also been established that children assimilate more through drama than formal method of teaching, because the dramatic approach is more concrete, immediate, economical and has a way of arresting the five senses (touch, smell, taste, hearing and sight). Drama also exposes children to such values as honesty, hard work, and respect for elders, obedience, self-discipline and allegiance to societal norms.

Children’s theatre aims at developing the young ones physically, intellectually, psychologically, emotionally and culturally. These noble ideals are achieved by installing confidence, discipline and respect in the younger ones. The theatre also helps to increase children’s vocabulary and gives them self-confidence and improves their self-expression.

1.4       THEORIES RELATED TO CHILDREN’S DRAMA

          A theory simply means those discoveries of findings tested, experimented and generally acceptable by those of a similar profession or ideology. The theoretical postulation of philosophers such as plato, Aristotle, Moreno, Sigmund, Freud, John Dewey, and Jean piaget about drama and education will be examined in this work.

Plato the Greek philosopher is of the view that education should begin early in a child’s life in a playful manner without any air of constraints. He rejected the idea of theatre for children, arguing that the imitative nature of drama will compel children to imitate bad characters. Plato also conceived of imitation as ‘’copying’’ where as Aristotle says it is creativity. Apart from the clash in ideas between the two, they both support the use of drama as a method of fostering child development.

Aristotle added that the theatre does not imitate realities as such but abstract ideas. According to Aristotle, imitation is a natural tendency of man. That is to say it is inherent from children. He further sees imitation as a key factor in drama. Jean Piaget a French-Swiss psychologist in his Assimilation and Accommodation theory(Richard Courtney 1968 page 260) also acknowledges the significant of play in the assimilated the model role through play now imitates it’s parts. Another theorist to discuss is Sigmund Freud a psycho-analyst who stresses the importance of infancy as the formative period for developing human personality (Courtney 1968 page 65). To him, play and games assists the child in his adjustment to himself, others and his environments. He recognised two instincts which are self-preservation and the preservation of the species.

Dr. J.L. Moreno’s ideas of imitation and play are also worthy of consideration. Moreno and Aristotle have divergent views on imitation and drama. While Aristotle sees drama as an imitation of life, Moreno takes it to be an extension of life. (Courtney 1968 page 96). Moreno says that we are all actors from birth. The art of play helps the child in both his social and formal learning. Socially, the child improvises situations that occurs in everyday life, while the formal one takes care of school subjects.

What really brought the philosophers and theorists of education and drama together is their agreement on the importance of drama in children’s life. They all stresses the significance of children’s play and affirm that drama involves the child in interaction with others and his environment. All the theorists expressed the view that drama should be introduced early in a child’s life so as to equip him with a sound physical, intellectual, emotional and moral training for his future sustenance and growth.

END OF NOTES

1)   Obur SOS (2000/20001); Lesson Note for children’s Theatre in Education.

2)   Jukie Umukoro (1999): Lesson Note for Children’s Theatre in Educaton

3)   Arbuthnot. M. H. & Sutherlano Z: Children and books (4^th Ed.) Glen view III Scot Former 1972.

4)   Awake Magazine (May 22, 1987): published by Watch Tower Bible Society of New York in p. 57.

5)   S.D Clargy (1977): Teaching Drama. Unpaged forward to Permberton.

6)   Courtney, Richard (1960): Teaching Drama London Casell and Company.

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Tags: AN APPROACH TO CHILDREN’S THEATRE THROUGH CREATIVE DRAMATICS

AN APPROACH TO CHILDREN’S THEATRE THROUGH CREATIVE DRAMATICS

TABLE OF CONTENT

TITLE PAGE

CERTIFICATION

DEDICATION

ACKNOWLEDGEMENT

TABLE OF CONTENT

ABSTRACT

INTRODUCTION

LITERATURE REVIEW

CHAPTER ONE

THE BASIC CONCEPT OF THE STUDY

1.1 CHILDREN’S THEATRE PRACTICE

1.2 THE ORIGIN OF CHILDREN’S THEATRE INSTITUTION

1.3 AIMS AND OBJECTIVES OF CHILDREN THEATRE

1.4 THEORIES ON PLAY

CHAPTER TWO

THE NATURE OF THE CHILD

2.1 WHO IS A CHILD?

2.2 AG DIFFERENCES

2.3 WHY WE ADOPT DRAMATIC APPROACH

CHAPTER THREE

THE PLAY WAY METHOD

3.1 THE APPROACH TO CHILDREN’S THEATRE

3.2 THE ART OF CREATIVE DRAMATICS

CHAPTER FOUR

4.1 THE ROLE OF ADULT, TEACHER OF LEADER IN CHILD DRAMA

4.2 THE ESSENCE EXPERIENCE WITH YOUNG CHILDREN’S

CONCLUSION

SUGGESTION

BIBLIOGRAPHY

ABSTRACT

This project titled ‘’Approach to children’s theatre through creative dramatics is about the importance of drama to the life of children.

Chapter one of this project deals with the basic concept of the study. Here, the definition of children theatre, the origin of children’s theatre in Tertiary Institutions, the aims and objectives of children’s theatre and theories on play are discussed.

Chapter two looks at the nature of the child, with particular reference to the personality of the child, Age differences and we adopt dramatic Approach.

Chapter three of this work is on the Approaches to children’s theatre and the Art of creative dramatics.

The last chapter which deals with the role of Adult teacher, or leader in child drama, the essence of Drama in education and the dramatic experiences with young children.

CHAPTER ONE

BASIC CONCEPT OF THE STUDY

1.1       CHILDREN’S THEATRE PRACTICE

          Children’s theatre practice is a dramatic activity in which young people acquire knowledge and skill through drama.

According to Stanley Obuh’s lesson notes 2000/2001.

‘’children’s Theatre or drama are those categories of plays, performances and related literatures that caters for the interests, instincts, emotional and psychological needs of children’’.

Children theatre is a diluted version of theatre which is prepared mainly for youngsters between the ages of five to twelve years, it can continue also till adult life. In this categories of plays children perform for children, or adult for children to watch. Children’s drama or theatre are meant for children’s cognitive development. When drama is introduced in those formative years, it serves as a foundation for future development.

Education may be formal or informal and in both modes, drama has a part to play. Informal education de-emphasizes the school setting hence it occurs through play. Play acts as an important element for a young child. It is from play that drama takes it’s roots. Through play children develop their physical and mental skills. It is therefore important to note that the instinct to play is inborn in man and so remains well after childhood. Although, most people still hold the view that play is not useful in life but educationist are beginning to appreciate the special advantages of learning and teaching through play way method. Such approaches have been adopted by modern day nursery schools. That means learning is fostered through fun. The playing method is usually explored in dramatic activities. This, through play and drama, children and young people acquires knowledge and skills.

Drama for children however has four major areas:

(1) Creative Dramatics

(2)  Children theatre

(3) Recreational theatre

All the four areas have their peculiar methodology.

Creative Dramatics:It is the education of the whole person. It enables the child to acquire such skills for problems solving. It increases awareness, concentration, imaginative impulses and it develops the control of the physical self in creative dramatics, playmaking involves acting out the stories and scenes without a script. Creative dramatics is divided into two different areas:

(A)  Internally absorbed learning

(B)  Externally absorbed learning

Creative dramatics is a non-performing theatre, that is to say, the audience is non-existence.

Finally, creative dramatics is highly recommended for the classroom situation.

RECREATIONAL THEATRE:This involves theatre by children for an audience of children or children and adult. Note that the performers here are mainly the children. A good example of this are such dramatic activities put together by the teachers of the University Demonstration primary school (U.D.P.s) university of Port Harcourt, to mark their end of year activities. The teachers prepares the children to entertain themselves as well as their teachers and the parents are usually invited.

EDUCATIONAL DRAMA: It is also known as curricular drama. It is designed around an educational institution. Educational drama has two dimensions:

(a) Drama as a method

(b) Drama as a curricular subject or discipline.

Drama as a method has to do with the use of drama as a method to stimulate education or knowledge. While drama as a curricular subject or discipline is a drama considered as a discipline on its own and not as a means to an end. That is to say, drama treated as a curricular subject with its own academic content.

Children’s Theatre: This is basically a theatre for children where the child’s interest is upper most. It is an organised theatre in which adults or adults and children perform for children before an audience of children. Again, it is not impromptu, there has to be a script, learnt through rehearsals and also under the supervision of a teacher or leader/director. Children’s theatre is highly technical and as such trains the mind of a child over group instinct, trust and confidence in others. It is structured in such a way that it combines play with intellectual work. It also acts as a shorthand in teaching process there by passing information with a reduced hardship.

     Here language usage is made simple because it is designed for the consumption of the child only, although audience may be permitted but the target is the child. Through this programme a child is more enlightened and liberated from extreme primitively.

1.2       THE ORIGIN OF CHILDRENS’S THEATRE IN TERTIARY INSTITUTION

          The beginning of children’s Theatre in Tertiary Institutions started in University of Ibadan in 1962. The name that was given to it was Saturday Theatre for Young people. It was conceived and designed as a workshop for the children’s participants. The children that participated in the S T Y P were between the ages of six and ten years, and they are campus and neighbourhood children. They came on Saturday morning under the direction of a staff member.

The purpose of S T Y P was to raise money for the handicaps or disables. Secondly to provide education for young people. The children takes part in all sorts and varieties of artistic and creative activities, creative dramatics story teaching, playmaking, music, song, dance, drama poetry, mine and movement. The children also had fun with arts and crafts drawing, painting, modelling and puppetry. All these are down in a free and informal classroom situation in order to achieve an uninhibited free expression. The goal is to help children develop creative self-expression, creative imagination and to inculcate in the child artistic insight and appreciation.

The Saturday Theatre for Young people created a forum for meeting children, parents and staffs of the University. Through it the image of children’s theatre was projected to other parents of the world and institutions.

S.T.Y.P CONSTRIBUTION TO CHILDREN

          For the children, the STYP is both educational and a developmental process. The value to children exposed to it are many and tremendous. They include:

i)             Socialization and development of personal resources and talents.

ii)            Inculcation and development of creativity in the cultural and creative arts – development of skills of communication and self-expression.

iii)          Development of social awareness and the social of social responsibility.

iv)          Exposure to and opportunity of international experience and friendship

1.3       AIMS AND OBJECTIVES OF CHILDREN’S THEATRE

The theatre happens to be one of the most powerful and direct means of strengthening human reason and enlightening the nation. By extension, children’s drama/theatre serves as an educational instrument for children’s upbringing. The ultimate aim is to inculcate in the child, the habit of play-consumption, construction and appreciation from early childhood. If this is achieved, the theatre will then have a responsive and responsible adult audience in the future.

The theatre places children in a condition in which they can recall and interpret past experiences and apply them to present realities. Essentially, early children’s theatre experiences or experiments in at creating the necessary awareness that would enable them to understand the true potentials of the theatre. When the necessary awareness is created during these formative years, then one can claim that the foundation for sustainable growth has been laid, thereby reducing the prejudices and scepticism which often stifle theatre development.

Drama has power and can positively influence children. In recognition of the positive effects of drama, S. C. Evernden (1977) explain that

‘’in areas and schools where drama has had a fair trial, it has in fact helped children to become articulate and self-reliant, move at peace with themselves and better adjusted to society’’ (Unpaged forward to Permberton, Billing and S.D. Clegg’s book Teaching Drama 1977).

Children by nature are initiative and playful and they learn a lot through play and imitation at home and elsewhere. There, they assume the roles of parents, teacher, leaders etc.

The theatre serves as an avenue for the actualization of the and playful tendencies. It has also been established that children assimilate more through drama than formal method of teaching, because the dramatic approach is more concrete, immediate, economical and has a way of arresting the five senses (touch, smell, taste, hearing and sight). Drama also exposes children to such values as honesty, hard work, and respect for elders, obedience, self-discipline and allegiance to societal norms.

Children’s theatre aims at developing the young ones physically, intellectually, psychologically, emotionally and culturally. These noble ideals are achieved by installing confidence, discipline and respect in the younger ones. The theatre also helps to increase children’s vocabulary and gives them self-confidence and improves their self-expression.

1.4       THEORIES RELATED TO CHILDREN’S DRAMA

          A theory simply means those discoveries of findings tested, experimented and generally acceptable by those of a similar profession or ideology. The theoretical postulation of philosophers such as plato, Aristotle, Moreno, Sigmund, Freud, John Dewey, and Jean piaget about drama and education will be examined in this work.

Plato the Greek philosopher is of the view that education should begin early in a child’s life in a playful manner without any air of constraints. He rejected the idea of theatre for children, arguing that the imitative nature of drama will compel children to imitate bad characters. Plato also conceived of imitation as ‘’copying’’ where as Aristotle says it is creativity. Apart from the clash in ideas between the two, they both support the use of drama as a method of fostering child development.

Aristotle added that the theatre does not imitate realities as such but abstract ideas. According to Aristotle, imitation is a natural tendency of man. That is to say it is inherent from children. He further sees imitation as a key factor in drama. Jean Piaget a French-Swiss psychologist in his Assimilation and Accommodation theory(Richard Courtney 1968 page 260) also acknowledges the significant of play in the assimilated the model role through play now imitates it’s parts. Another theorist to discuss is Sigmund Freud a psycho-analyst who stresses the importance of infancy as the formative period for developing human personality (Courtney 1968 page 65). To him, play and games assists the child in his adjustment to himself, others and his environments. He recognised two instincts which are self-preservation and the preservation of the species.

Dr. J.L. Moreno’s ideas of imitation and play are also worthy of consideration. Moreno and Aristotle have divergent views on imitation and drama. While Aristotle sees drama as an imitation of life, Moreno takes it to be an extension of life. (Courtney 1968 page 96). Moreno says that we are all actors from birth. The art of play helps the child in both his social and formal learning. Socially, the child improvises situations that occurs in everyday life, while the formal one takes care of school subjects.

What really brought the philosophers and theorists of education and drama together is their agreement on the importance of drama in children’s life. They all stresses the significance of children’s play and affirm that drama involves the child in interaction with others and his environment. All the theorists expressed the view that drama should be introduced early in a child’s life so as to equip him with a sound physical, intellectual, emotional and moral training for his future sustenance and growth.

END OF NOTES

1)   Obur SOS (2000/20001); Lesson Note for children’s Theatre in Education.

2)   Jukie Umukoro (1999): Lesson Note for Children’s Theatre in Educaton

3)   Arbuthnot. M. H. & Sutherlano Z: Children and books (4^th Ed.) Glen view III Scot Former 1972.

4)   Awake Magazine (May 22, 1987): published by Watch Tower Bible Society of New York in p. 57.

5)   S.D Clargy (1977): Teaching Drama. Unpaged forward to Permberton.

6)   Courtney, Richard (1960): Teaching Drama London Casell and Company.

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Account Name: AMUTAH DANIEL CHUKWUDI

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Tags: AN APPROACH TO CHILDREN’S THEATRE THROUGH CREATIVE DRAMATICS

PROBLEMS OF THEATRE MANAGEMENT

TABLE OF CONTENT

Title page

Certification

Dedication

Acknowledgement

Abstract

Table of content

Chapter one

1.0       introduction

1.1 definition of terms

1.2 purpose and scope of study

1.2A aims of study

1.2B scope of study

1.2C statement of research

1.3 Odi, Location, History

1.4 research methodology

Summary of issues

Chapter two

2.0       literature review

Chapter three

3.0       introduction

3.1 cultural significance of OdiOgori festival

3.2 Odigori festival: Indices of theatre

3.3 who are the managers?

3.4 odiogori festival planning agenda

3.4A determinants of date fixing

3.4B preparations and estimates

3.4C budget

3.4D human resource development

3.5 summary of issues

Chapter four

4.0       odiogori festival of 1980

4.1 procession

4.2 the love boat

4.3 wrestling

4.4 miscellaneous activities

Chapter five

5.1 conclusion

5.2 recommendation

Notes

Bibliography

ABSTRACT

          The Odi Festival is a festival that has theatrical elements and exhibits its cultural heritage in a flamboyant style. The first chapter of this research talk of the hstory and geographical location of Odi, it also introduces us to the scope of research, purpose of study and the statement of research.

The second chapter of this research talks about the review of the OdiOgori festival and other festivals that have certain issues in common. It also compares and contrast the OdiOgori festival with others.

The third chapter of this research talked of the management part of the festival like the planning of the festival, preparation for the festival the budget of the festival, the Human resource development of the festival, the managers in the festival and the material management of the festival.

The fourth chapter discusses the Ogori festival of years 1980, the lesions in the festival.

The fifth chapter tells us of the conclusion and what I would recommend and about the festival.

CHAPTER ONE

1.0 INTRODUCTION

In this first chapter this research focuses on the following objectives.

(a) To draw attention to OdiOgoribaoge festival as a traditional African festival

(b) To establish the focus in the area of management of the OdiOgoribaoge festival.

(c) To define the scope of the research on the management of Ogoriba festival as a traditional African experiences.

(d) To bring to light theatrical elements in the ogoriba festival

(e) To review the history and culture of odi in KolokumaOpokuma Local government Area as the chief host of ogoriba festival

(f)  To examine research method used for the on going project.

1.1       DEFINITION OF TERMS

According to the Oxford Advance learners Dictionary theatre is defined as building or Arena (open air) for the performance of plays for dramatic spectacles theatre entails more than a physical structure or arena. The notion of theatre in a traditional African. Festival experience embraces the totality of music, costuming, dances, stage design, made-up, drama and other of performance.

Festival can defined as a joyful celebration or occasion, the season or entertainment. Often annual, when cultural works are produced or performed. (P382 long man Modern English Dictionary, Owen Watson)

Festival according to Ihami C. karma African Traditional theatre & Drama PT may be formalized or unformulated rituals that aid the cultural expression of a people in attempt to maintain a balanced environment festivals may be formalized rites that may have most potency or taken out of the original context. Such festivals serve for entertainment and can be performed outside the environment. Egwoatam cultural festival of Opobo, Eyo Festival, Egungun Masquerade.

African traditional theatre expresses the traditional historic mind encased in the totality of the way of life evolved in attempts to meet the challenges of the environment, it seeks to lift the circumstances of existence in a conflict environment into entertainment. Also expresses all aspects of traditional culture and gives meaning to social. Political, economic institutions and religious activities. It also expresses the totality of the life process of thee traditional societies management: the Random House College Dictionary defines management as the act or manner of managing, directing handling or controlling skills in managing affair of an constitutions, organization management is also defined as the act and science of planning, organizing, motivating, directing and controlling human and material resources in the arts of theatre, in order to attain the predetermine objectives of having a full house, guaranteeing satisfaction and maximizing profit (Nwamno 1986-2)

Theatre management is alsoexplained as the process of planning, organizing, directing, coordinating and controlling man, material, machine and money so as to secure the optimum achievement and objectives (H.R. Light 1974 10) consequently said theatre management as the art of responsible coordinating control and directing of available resources to yield satisfaction in a theatrical production. Theatre manager or theatre administrator theatre manager is one who sees to the fulfilment of the aims and objectives of the theatre goals. He brings together the four basic elements of the theatre which are scripts, the performance venue. The artist and the audience for the shared dramatic experience.

A theatre manager is an artist, a servant of the artists, a servant of the audience, a controller of building, a license and an accounting officer. His duties are very broad and he is known all noted in one because as far as theatre is concerned, he officiates in all the noles. A theatre without a manager cannot function effectively.

1.2       PURPOSE AND SCOPE OF STUDY

AIMS OF STUDY

(a) To examine issues of management in the OgoribaOge festival

(b) To appreciate OgoribaOge festival as a cultural and theatrical experience

(c) To appreciate the element in the Ogoriba festival eg costumes, music, dancing, and history.

(d) To document a cultural experience for archival use

1.2a

SCOPE OF STUDY

The scope of this work warrants a broad, based definition of festival as an African traditional theatre experience, with particular reference to OgoribaOge festival the research may however recluse to reviewing other examples of African traditional festival purely for comparative purposes. The scope will dwell reavily on the manifestation of management and its effects.

1.2C STATEMENT OF RESEARCH

In this research, the problematic focus in on the issues and challenges arising from organizing OdiOgoribaOge festival e.g climatic problems. The festival falls in the month on July when rains are at it climax so it restricts the festive mood and environment but if the date for the festival can be charged to dry season the festival will be more appreciated. They also have Accomodation problem, there is a lot of crowd that come for the festival so if hotels can be built in Odi it will really help to accommodate the visitors throughout the period of the festival.

There is the problem of Transport. There is no good road the government should help the people of Odi with good roads so that during the festival food and drinks will be affordable.

1.3       ODI, LOCATION, HISTORY AND CULTURE:

     Odi is a town which lies at the eastern verge of the upper part of Nun River. On the north is bordered by Odoni / Agbere, in the South is Sampou/kaima, all along the river Nun bank in the West is patani / Abari and in the East is Okordia/Zarama. It is within the fresh water swamp with abundant arable land.

The prevalent climate of the area is markedly wet and dry seasons with rain almost all the year. The average rainfall is 80 percent. The dry season runs from late March to October.

However, the area being an equatorial region, the rich vegetation is naturally blessed with abundant cash crops like raffia and oil palms, silk cotton tree, Iron wood, Mahogany, abural, cane ropes etc.

The climate and vegetation dictate the occupations of the people. They are mainly canoe-builders, palm oil and carnal processors, fisher men and women.

HISTORY

Slavery was in Africa before the influx of European explorers and subsequent emergence of the uncreative triangular trade in the Atlantic Ocean in the 16^th and 17 the centrals which involved the west Arica, sapin, Portugal and the west indics the difference between the two forms of slavery is that in Africa, it was a flagrantdisplays of warrior ship, valour at war and affluence while the Europeans wanted to put into advantageous use of the preferred superior strength of African labour in absence of machine and to maximize profit on the part of the salve trade.

all the foregoing attributes of mans nature necessitate the movement of people from one hostile zone to a more receptive environment. It is as old as human habitation of the earth.

The Odi entity as a town was found on this basic of migratory movements. It is said that Amasain and Imgbela, the sons of Deinmogba the son of kala-Okun the founder of Kolokuma migrated from the forcades rivers through the Tungbo creek to the Wun river distributor at Boutoru North of Igbedi in few years there, the elder brother Amassain died. Imgbela at the death of his brother. Amassain decided to abandon that settlement for superstitious reasons of safety.  Imbela went on an exploratory tour of thee upper River Nun and temporarily settled at the side of an Inland lake, Ago, Opposite the present site of Ubaka in Odi. Such a forest settlement was preferred safer for settlement to the open River Nun bank. Fiding such a settlement safe and secure, Imgbela went to his former settlement at the North of Igbedi and came with his entire family and that of his late brother Amasains family to ago. He noticed a continuous rising cloud of smoke at the opposite bank of the river Nun, it attracted chief Imgbela who dared to find out the source and cause of the smoke.

The went there only to be welcomed by Ugbama and his family in a settlement the hospitable welcome from Ugbama gave Igbele an inner desire to settle at the present site of Ubaka in Odi.

Odi is said to be nickname corrupted from edi a fish, to Ediama meaning the town which uses edi traps for fishing. This name want later named after the founder, Imgbela, as Imbgela-ama, meaning Imgbela town.

While each of the two brotherly families of Imgbela and Egbama were progressing in number and wealth, they went into a covenant of superstitious suspicion over the causes of death in their families.

The terms of the covenant were centred on the causes of death within the Imgbela and Ugbama families. It was agreed that if a member of either family died and it was proved by the accredited Lyebiowei (sooth – sayer of the dead spirits) the cause of death in the other family, a daughter is to be compensated to the victimized family by the purported offending. The sooth-sayer known as Iyebiowei was chosen from Imgbela family. Such with manipulations, for years did not auger well for the ugbama family because such abductions connoted enslaver and its consequent waste of human resources.

The Ugbamas exhausted their love and patience for this unwhole some unilateral victimizations they suffered from their brothers to whom they displaced open-minded acceptance and benevolence. That madly meted out to them necessitated their avoidance stance and finally abandoned their chosen land and left for the present Umoru.

Umoru is a nickname by the Ika Ibos of the delta Ibos of the delta state menaing the people of Out and to them orumenas the Izons. Chief Ugbema treasured all his idols and gods in one of his lakes, Imgbesei had abandoned all other possessions of value to the welfare of the ancient settlement of odi.

Except Imgbesei. Such possession were an extensive mass of land surrounding Odi and lakes like Imgbesei, lal, Opangbon and ayo are wealthy source ofrural life.

The outcome of this covenant of superstition earned a nickname of superior sense and fame for the Imbgelakiri-IkiyoumeaningImgbelasunpraralled superior with.

CULTURE

Culture according to the advanced leaners dictionary is art, literature, music and other intellectual expressions of particular.

It is the mass of detailed behaviour comprising the customs of the society into which an individual is born, dictate and influence his perceptions and attitudes. Consequently his life history is primarily an accommodation to the patter and standards traditionally passed down to him in is community.

The culture of a society exhibits the distinctive way of life (of the group of people in sharp contrast with these of other groups. Distinct from man’s biological heritage culture is derived from group conses on explicit and implicit designs for living and is a set of symbolic systems which enable action or objectives to have meaning.

Culture apart from being an information pool stored in the minds of members of the culture, also consists to some extent in the arte facts of the society. It incorporations the various aspects of belief, art forms and ceremonies, as well as informal cultural practices such as gossips, language stories and rituals of daily life. The Odi community is very culturally conscious.

As early as 1950’s it had difficult types of cultural and traditional dancing groups such as the Okosonoma dancing group. The Youths in the neighbouring village such sample, Kaiama, 19bedi and Sabageria used to spend their leisure house in Odi.

The geographical and climatic condition of a particular society to a large extent determines the people ways of life. The first task of every culture is to cope with the physical. Customs, their own way of dressing and hut building their own proverbs, riddles, folktales and festivals.

1.4. RESEARCH METHODOLOGY

The research methodology is through oral interview and journals, books written by renowned authors.

Oral interview are testimonies of the past which are deliberately transmitted from month to month. They concern past events and are distinct from remounts which always bear the character of sensational news and are not deliberately transmitted from generation to generation in the same way.

1.5 SUMMARY OF ISSUES

OdiOgori Ba festival which is the festival of victory over a buffalo in Odiis a imigue festival, the theatrical elements in the festival. The culture and tradition of the Odi people.

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HOW TO RECEIVE PROJECT MATERIAL(S)

After paying the appropriate amount (#3000) into our bank Account below, send the following information to

08139462710 or 08137701720

(1)    Your project topics

(2)     Email Address

(3)     Payment Name

(4)    Teller Number

We will send your material(s) immediately we receive bank alert

BANK ACCOUNTS

Account Name: AMUTAH DANIEL CHUKWUDI

Account Number: 0046579864

Bank: GTBank.

OR

Account Name: AMUTAH DANIEL CHUKWUDI

Account Number: 2023350498

Bank: UBA.

HOW TO IDENTIFY SCAM/FRAUD

As a result of fraud in Nigeria, people don’t believe there are good online businesses in Nigeria.

But on this site, we have provided “table of content and chapter one” of all our project topics and materials in order to convince you that we have the complete materials.

Secondly, we have provided our Bank Account on this site. Our Bank Account contains all information about the owner of this website. For your own security, all payment should be made in the bank.

No Fraudulent company uses Bank Account as a means of payment, because Bank Account contains the overall information of the owner

CAUTION/WARNING

Please, DO NOT COPY any of our materials on this website WORD-TO-WORD. These materials are to assist, direct you during your project.  Study the materials carefully and use the information in them to develop your own new copy. Copying these materials word-to-word is CHEATING/ ILLEGAL because it affects Educational standard, and we will not be held responsible for it. If you must copy word-to-word please do not order/buy.

That you ordered this material shows you have agreed not to copy word-to-word.

FOR MORE INFORMATION, CALL:

08139462710 or 08137701720

YOU CAN ALSO CALL:

08068231953, 08168759420

Visit any of our project websites below:

www.easyprojectmaterials.com

www.easyprojectmaterials.com.ng

www.easyprojectmaterial.net

www.easyprojectmaterial.net.ng

www.easyprojectsolutions.com

www.worldofnolimit.com

www.worldofnolimit.com

www.nairaproject.com.ng

www.nairaprojects.com.ng

www.nairaproject.net

www.nairaprojects.net

www.uniproject.com.ng

www.uniprojects.com.ng

Tags: PROBLEMS OF THEATRE MANAGEMENT