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Application of Technical Aesthetics of Costume, Make-up, Props and Performance Space in Idoma Traditional Performance Theatre
No full textTraditional performances in Africa are cherished and honoured with divinity despite the advent of modernity. These performances are taken with the seriousness of life and death because they embody the people’s culture, beliefs, life and life after death. Consequently, these performances are often accompanied by music, dance, songs, masquerades and so on to actualise and merge their corporal and spiritual cosmos. Therefore, the technicality of costume, make-up, props, performance space and so on are harnessed and utilised to establish the performance and to bring out the message, meaning and aesthetics in the performances. The study employs descriptive and analytical methods, complemented with materials from books, journal articles and appropriate internet sources. Findings reveal that technical aesthetics defines the performance, brings out its beauty and establishes the Idoma cultural identity. The paper concludes that technical aesthetics of costume, make-up, props and performance space create communication and identity in Idoma culture. We, therefore, recommend that traditional performances should be encouraged and sustained to unite and maintain the people’s identity, using it as a cultural voice for the Idoma people
Gender Discourse in Nigerian Politics: Understanding the rise and Growth of Women's Participation
No full textThis article examines the lingering issue of gender inequality in Nigeria, with a special reference to women’s participation in politics. The issue has been recurrently kicked back and disregarded by the government. Broadly, the Nigerian woman is continually at a lesser par and treated unequally when compared to her foreign counterparts. Often, culture is usually the justification wielded for the denial of women’s rights and the perpetuation of gender inequality in Nigerian politics. The latter has been traced to the cultures, traditions, and beliefs, which gave a strong foundation to its perpetuation, facilitated by some harmful cultural practices including female genital mutilation (FGM), domestic violence, child brides or rape and forced marriages, among other such cases of abuse against women. The struggle for women’s empowerment is explained using theories deducted from the western world, whose antecedents differ from that of Africa. In light of the foregoing, the article adopted the historical method of description and analysis to shed more light on the phenomenon. The article discovered that in Nigeria, the power relations between men and women still undermine women’s role in politics, and their socioeconomic and diplomatic values due to the cultural consideration of women as only relevant to the social side of life, and the cultural composition of the society that perpetuates these gender roles. Nonetheless, the role of women in governance has continued to attract the international feminist audience and has been at the centre of discourse for decades. 
Examination of Qasam (Oath/Swearing) among Muslims and the Implications in Nigeria
No full textOath swearing has become a perfunctory among Nigerian Muslims and has lost the spiritual significance it hitherto had. Consequently, oaths are sworn frivolously in business, politics, in family-related matters with no second thought about the consequences for Muslims. This paper evaluates the contextual meaning of oath/swearing generally with particular attention to Islamic application which places great importance oathtaking but gave room for kaffara (expiation), the compensation or atonement paid for a sinful act in Islam. The work is library-based research. It adopts the qualitative research method. Primary and secondary sources including journal articles are employed. With the aid of the Qur'an and Hadith, this paper critically assesses the place of oath/swearing in socio-political engagement, it brings to the limelight the nature of oath/swearing among Nigerian Muslims and identifies areas that align with Islamic tenet or otherwise. Thus, Muslims should not take oath/swearing for granted but swear only as and when due and must be ready to say the truth. 
The Place of Folklore in the Music of Akpomedaye Ofua
No full textThis paper examined the role of music production involving Urhobo people’s folklore as contained in the recorded music of the Chief Ofua (1925-2019), an Urhobo musician/orator. The investigation was based on the fact that Urhobo people's experience can be extracted from their numerous folklores since it is generally believed that customs and myths of the Urhobo society have been passed down using folklore through the generation of the Urhobo commoners. The contribution to the cultural experience of the Urhobo folk by Ofua ever concerned many musicologists and anthropologists of the Urhobo extract. This is capable of making his musical work go into extinction if his works are not reviewed and documented for reference purposes. Thus, the paper contextually examined the influence of Ofua genre of music in relation to the Urhobo socio-cultural experience. The paper is hinged on the ethnographic approach employed to enable the paper ex-tray Ofua's numerous Urhobo experiences through folklore and music. The paper found that Ofua was a notable composer who produced thirty-five (35) Urhobo folk music albums with which he shared various aspects of the socio-cultural experience of the Urhobo people. Also, his recorded music treasures the culture of the Urhobo, thereby sustaining the moral values contained in the songs. Therefore, the paper recommends among others that composers/musicians should record their music to make it accessible to the public.  
Modification of thermal hydraulic transient models for the miniature neutron source reactor
No full textA modified Miniature Neutron Source Reactor (MNSR) model dealing with transient thermal hydraulic problem is presented. The model based on lumped parameter method is adopted in this work to numerically solve a system of coupled algebraic and differential equations governing heat transfer in MNSR, using MATLAB solver for variable order method in stiff differential equations and Differential-Algebraic equations, coupled with Maple soft. The simulated results obtained from the model were generally in agreement when compared with reactor operation data recorded from 0 to 270 minutes during experiments. Radiating energy of Fuel and clad and heat transferred at the gap or clearance were taken in to account. Fuel and clad temperatures as well as various temperatures at different sections of the reactor were predicted with the model, in addition to the effect of the installed chiller on the reactor coolant. 
The state as terrorist: A pictorial reading of the visual theatre play, “Harvest of Ghosts”
No full textTerrorism as a phenomenon finds expression in diverse forms and is located within va ied spheres of the human population. There are contestations, however, as to what exactly qualifies as terrorism and who fits the profile of a terrorist. These contestations arise principally because of how certain acts and persons are perceived, depending on what side of the divide one stands. A terrorist to one person is a freedom fighter or social crusader to another. An act seen as terrorism by one person may be seen by another as legitimate response and protection of one’s interests/rights. Beyond all of these, however, is the perception that terrorism can only be perpetrated by individuals and groups/organisations. Many persons do not acknowledge the fact that governments and states can also be terrorists. Worse off is the fact that such governments and states may in fact carry out such terrorist acts against their own people that they swore to protect. It is this thesis that propels this study, to determine at what point the state becomes culpable of terrorism, particularly against its own people. This investigation shall be embarked upon using the instrumentality of a pictorial reading of the play, “Harvest of Ghosts”, cowritten by Sam Ukala of Nigeria and Bob Frith of the United Kingdom. 
Playmaking as soft power approach to interrogating Nigeria’s counter terrorism strategy
No full textNigeria’s security landscape has changed since the heinous crime of kidnapping seeped into the system. As efforts were made to clamp down on kidnapping insurgency, Boko Haram emerged in a grand style, surpassing the kidnapping activity. With the notorious hit that took away 276 Chibok girls on 14 April, 2014 in Borno State, series of bombings, and the ‘Underwear Bomber’- Nigerian terror suspect in Flight 253 attack, it is not surprising that Nigeria became prominent in the list of the world’s most fragile states. Again, the recent pogrom unleashed in Benue and Plateau States reveal that terrorism in Nigeria is far from being a hate speech. The Nigerian government has been strategising in order to counter terrorism mainly through military-centricism. The establishment of a Counter Terrorism Centre (CTC), and the release of a national strategy named National Counter Terrorism Strategy (NACTEST) in March 2014, and the systematic operations of the Joint Terrorism Analysis Branch (JTAB) show the level of government’s attempt at countering terrorism in Nigeria. But how effective have these been? Insurgencies fuelled by ideology or structural imbalance can be quelled through kinetic approach or the deployment of soft power. This paper interrogates approaches at countering terrorism and suggests a theatre approach to ameliorate acts of terror in Nigeria through playmaking. The researcher relies on Joseph Nye’s soft power theory for theoretical backing and canvases for playmaking as a soft power concept. The researcher’s findings reveal that terrorism has eaten deep beyond political aims to delve into the realms of religion, culture and social conditions. The paper concludes that playmaking as a soft power concept can help re-orient the citizens and counter terrorism in the long run. 
Sowing for the reapers: The Igbo, the Nigerian project and Nollywood harvests
No full textNigerian film industry dominated by Nollywood films is a major employer of labour and foreign exchange earner in Nigeria. Historical review and developmental trends of Nollywood reveal the Igbo nation as a major contributor and sowers of the seminal seeds of Nollywood being harvested at present by the nation and her citizenry. However, the problem of this study is that today, like most Nigerian projects; the Sowers (the Igbo) are few among the reapers of Nollywood harvests. Unfortunately, this monkey dey work, baboon dey chop trend appears to cut across some other sectors of the Nigerian economy where some people toil and others enjoy. The aim of this study is to assess the contributions of the Igbo to the Nollywood industry as a major aspect of the Nigerian project and evaluate how the Igbo nation and other Nigerians are benefiting from it presently. The main objectives of the study include to ascertain why the Igbo is now at the periphery of the Nigerian project and conspicuously missing among the reapers of the harvests of the Nigerian project, despite immense contributions made to this project by the unfortunate Igbo race. The study therefore reviewed the evolution of Nollywood industry and the contributions of the Igbo as well as the consequent displacement of the Igbo by later entrants/reapers. Qualitative research method was adopted; while the findings concluded that the Igbo contributed a lot to the Nigerian project but unfortunately they have been displaced by other nationalities with unhindered access to government hence they now reap where they did not sow. 
Social problems of contemporary Nigerian society: The theatre to the rescue
No full textThis examines some of the social problems confronting the Nigerian society presently. These social problems include among others, drug addiction, computer or internet fraud, kidnapping, cultism, examination malpractices, armed robbery as well as politicoeconomic problems. The Nigerian theatre has tried at all times to create plays in which these problems are dissected so as to bring about awareness to these problems. Atimes, the theatre even proffers solutions to these problems. But, the problems still persist. Who are we then to blame? The theatre or the society? Our methodology shall be the descriptive and deductive methods. We want to be able to describe fully the problems and engage in an analysis of the plays in which these problems were espoused. Our theoretical framework is Jean Duvignaud’s theory: “Society in the theatre the theatre in society” (cited in Shevtsona 198). We want to examine how the populace has fared in the society and how the society itself has forced the populace to adapt to the problems under diagnosis. Our findings revealed that the Nigerian society have failed to leave up to standard when compared with the same society of two or three decades ago. The society itself has not been helpful because of the politico-economic problems that it witnessed. The technological developments that came into the nation had also been bastardised by the populace. We conclude that for us to have a change, there is a need for the government to mount a campaign on societal development and empowerment. The government should also establish more theatre buildings in order to create more employment for the populace. We hereby recommend that, it is when these problems are attacked from several spheres of life that we can begin to experience the change we are talking about among our people. This change we hope will bring about a vibrant and intellectually stable society that this nation needs. 
Marketing beyond economic depression: An exposé of Nollywood’s 5Ps marketing framework
No full textNollywood is a cultural child of circumstances, benefitting from the collapse of the cinema industry. Several factors led to the collapse of cinema in Nigeria among which is the economic crisis that rocked Nigeria during the General Babangida-led Administration. Since the inception of Nollywood in the early 1990s, the marketers have continued to experiment to sustain the industry with varying degrees of successes and failures. The reality on ground is that Nigeria has a thriving video film industry which has become a model of some sort to other countries. What exactly is/are the factor(s) sustaining the Nigerian video film industry, popularly referred to as, Nollywood? This study set out to examine the sustaining force in Nollywood through a testing of the McCarthy’s 4Ps marketing framework on the industry. The work is a part of a larger research work that employed both primary and secondary research methods and covered the film markets in Idumota and Alaba both in Lagos State, and Electro-Mart Onitsha in Anambra State. It is discovered that the 4Ps marketing mix does not strictly apply in Nollywood. But there is in existence in Nollywood a framework termed, the Nollywood’s 5Ps marketing framework, which employs McCarthy’s 4Ps marketing framework and an additional ‘P’, termed, ‘Personalisation’. The paper recommends, among other things that, there is need for proper situation of Nollywood and the other creative industries under a government ministry; and that Nollywood marketers should endeavour to make available verifiable statistics about their production costs and film earnings at every point in time for research and documentation purposes in line with international best practices.