This paper examines the controversies of femininity and masculinity. It obviously takes the side of situating gender reality and rationality within patriarchal structure and argues that its misinterpretation starting from origin of creation has culminated into building up a distinctive dichotomy between males and females. As a fair way out, the paper balances the schools of thoughts, despite its resonating string attached to women. These strings are visible in the cases of key informants presented for the study which conclude that (...) the deployment of a methodological approach like Theatre for Development (TfD) could well be a strong ground upon which voices can jointly explored, advocated, negotiated and engendered the intervention needed for the (re)humanisation of the “other”. (shrink)

The Theatre for Development idea is essentially aimed at reinstating the function of the theatre as a creative tool for self-expression and articulation and as an empowering process through which people could develop a critical awareness of the environment. Accordingly, the guiding principle of TfD and what sets it apart from conventional western oriented theatre is its ability to liberate voices and engender people‟s participation thus propelling them to act upon their reality. It is this capacity to engender people to (...) action that makes TfD a veritable development tool. Arguably, TfD as a development tool enables participatory communication which is at the heart of development as affirmed by Victor Hugo R. Banda‟s observation that theatre is a “conversation shared with society something that transforms them” (2006). (shrink)

Traditional societies are characterized by festivals of various kinds and dimensions. Some distinctly manifest aspects of the community rituals or worship, some celebratory; yet others function towards social change. Irrespective of their types, underlying the different forms of community performance is likely to be found the central element of ritual associated with one aspect of community belief or another. Among the Igbo of south-eastern Nigeria, Omerife is a festival associated with the ritual of new yam celebrations. In a sense, the (...) ceremonies of the new yam are thanksgiving activities whereby the gods are propitiated with sacrifices for a bountiful harvest as well as for a peaceful farming year. However, the festival also embodies different community forms of performances such as the Ogene- nkirika. Ogene-nkirika is the first part of the two-tiered festival. This paper examines the aspect of conflict that motivates the process of social change on the theoretical premise of Theatre for Reciprocal Violence (TRV) to foreground conflict as pertinent for change in the performance. Case study approach of qualitative research method was adopted for data collection and analysis. The study reveals that Ogene-nkirika festival performance is capable of engendering social change for the people through conflict as reflected in the analysis. (shrink)

The depiction of events in the society and storing the knowledge of such is an important forte of the dramaturge. Drama has been a very pertinent cultural form (whether textual or performative) through which writers create memory and knowledge of varying issues, especially issues of women and the girl child rights. Methodologically using content analysis of Tess Onwueme's The Reign of Wazobia and The Broken Calabash, the article explores the language of revolution against the domination of women and the girl (...) child by patriarchal structures. It is anchored on Donal Cabaugh's theory of cultural discourse analysis (CDA) that focuses on how communication is shaped as a cultural practice. It illustrates the significance of theatre in the unpacking and interrogation of socio-cultural assumptions of cultural discourse that perpetuate the marginalization and abuse of women in Nigeria. It further examines the strength of theatre and drama as capable of creating a space for all concerned to explore and interrogate extant realities. The findings, through the content of the texts treated showcase an extensive subjugation and discrimination against women and the girl child. It is in light of this that the study suggests a deployment of a revolutionary space to address the issues of discrimination and marginalization through conversations by using theatre for development (TfD) method. (shrink)

Since the middle of the 20“ century, various governments, organizations and stakeholders have suggested ways of realizing a desirable change, which is an index of development. The quest for this pursuit had led to the evolution of concepts and theories examples of which are; modernization, dependency, sustainable, participatory, and post development among others. The reality of this pursuit still proves to be unresolved for many developing nations as a result of the constraints of some of these theories especially those that (...) conceive development according to the standard of the developed western states of the world. The way in which governments and development planners set out objectives of development without finding out the people’s needs from them or involving them is however bewildering. Development planners assume to know the needs of nations and individuals. Inadvertently, this approach to development does not bring about sustainability in the life of the project, nor does it have a lasting effect The lacunae as argued in this paper have to do with the issue of people’s participation and adequate strategies to incorporate them. It thus suggests that the use of popular arts is effective in addressing issues of development. The genre of this popular art in question is referred to as Theatre for Development (TFD). (shrink)

This article examines the portrayal of matricentric feminism as well as expounds the issues of mythology and how both informed each other in Umaru Landan and Dexter Lyndersay’s Shaihu Umar. It argues that Fatima’s sojourn in search of her son, Shaihu, is propelled by a will borne out of motherhood and given strength by supernatural forces. The methodological base of the study is qualitative in nature appropriating the concepts of matricentric feminism and mythology as structural scaffoldings while Jacques Derrida’s concept (...) of deconstruction will be used as analytical framework. This concept attempts to challenge the interpretation of a text based on conventional notions of stability of human self, the external world, and of language and meaning. The philosophy of existence of the eponymous character is revealed in the play. The article tries to probe if the matricentric elements exuded by Fatima (Shaihu’s mother) are just a will tied to motherhood or if it is given strength by the metaphysics of presence and the messianic. (shrink)