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Nigerian Theatre Journal a Journal of the Society of Nigeria Theatre Artists (SONTA) Nigerian Theatre Journal A Journal of the Society of Nigeria Theatre Artists (SONTA) Vol. 17, No. 1 Editor Ameh Dennis Akoh 2017 Copyright © 2017 Society of Nigeria Theatre Artists (SONTA) Nigerian Theatre Journal (NTJ) is published by the Society of Nigeria Theatre Artists, c/o The Editor, NTJ, Department of Theatre and Film Studies, Federal University, Ndufu-Alike, Ikwo, Nigeria ISSN 0189-9562 EDITORIAL BOARD MEMBERS Professor Sunday E. Ododo – University of Maiduguri, Nigeria Professor Alex Asigbo – Nnamdi Azikiwe University, Nigeria Professor Tor Iorapuu – University of Jos, Nigeria Professor Ameh D. Akoh – Federal University Ndufu-Alike,Ikwo, Nigeria Dr Barclays F. Ayakoroma – Nasarawa State University, Nigeria Professor M. I. Umar-Buratai – Ahmadu Bello University, Nigeria Professor Julie Umukoro – University of Port-Harcourt, Nigeria EDITORIAL ADVISERS Professor Olu Obafemi – University of Ilorin, Nigeria Professor Duro Oni – University of Lagos, Nigeria Professor Saint Gbilekaa – University of Abuja, Nigeria Professor Kevin Wetmore – Loyola MaryMount University, USA Professor Chris Nwamuo – University of Calabar, Nigeria Professor Sam Ukala – Delta State University, Nigeria Professor Osita Okagbue – Goldsmiths, University of London, UK Professor Irene Agunloye – University of Jos, Nigeria Professor J.S. Egwugwu Illah – University of Jos, Nigeria Professor Sam Kasule – University of Derby, UK ii Copyright © 2017 – Society of Nigeria Theatre Artists (SONTA) All Right Reserved Nigerian Theatre Journal (ISSN 0189-9562) is published annually by the Society of Nigeria Theatre Artists (SONTA). Because the leadership of the Society changes every two to four years, it is encouraged that enquires about the Journal should be addressed to the current President of SONTA. Paper Subscription: Libraries and other institutions, U.S $100.00; individuals, U.S. $70.00; association members, U.S. $50.00; Students, $25.00. Journal orders and remittances should be sent to SONTA EDITOR (Prof. Ameh Dennis Akoh, Federal University, Ndufu-Alike, Ikwo). Manuscripts: Articles submitted for publication should be mailed to the Editor via: [email protected]. Manuscripts should meet the criteria outlined in the Instructions for Contributors. Copyright © 2017 – Society of Nigeria Theatre Artists (SONTA). All Right Reserved. Article copying exclusively for personal or internal or academic use, is permitted provided the copy user or producer gets appropriate permission from the SONTA Editor through writing. iii Contents 1. The Poetics of Revolution, the Logic of Reformism and Change 1 Management in Nigeria: Sam Ukala's Two Folkscripts - Ifeanyi Ugwu 2. Restructuring Nigeria for Positive Change: Nollywood and the Biafran 14 Story – Emmanuel Onyeka Ebekue & Somtoo Obiefuna Arinze-Umobi 3. Media Criticism and Agenda for Effective Leadership: An Appraisal of 28 Nollywood Productions – Charles Effiong & Bernard Eze-Orji 4. Social Media and The Propagation of Violence Against Women – 38 Osakue Stevenson Omoera & Heri Ryanga 5. Interrogating Obnoxious Widowhood Practices and the Scapegoating of 50 Womenfolk: Uche Ama-Abriel's A Past Came Calling as Paradigm – Samuel Okoronkwo Chukwu-Okoronkwo 6. Leadership and Changing Communal Values in Wole Soyinka's Kongi's 63 Harvest – Tekena Gasper Mark & Remigius Anayochi Anyanwu 7. Change Imperatives in the Stand-Up Comedy of Ali Baba – Edward 80 Egbo Imo 8. Effective Communication and TfD Practice in Nigeria: The Unandu and 99 Ketti Experience – Cynthia Chinenyenwa Nwabueze 9. Communicating Empathy for Change: A Kinesics Assessment of Ojo 111 Bakare's “The Voyage” – Tosin Kooshima Tume 10. Towards Eradicating Domestic Violence in Igarra Community: The 131 Theatre Option – Ada Lucy Onaivi 11. Change Management in Nigeria: The Theatre and Media Paradigm – 143 Nelson Torti Obasi 12. Nudity, Morality and Change Management: A Study of “Women of 153 Hope” Dance Performance – Nicholas Chielotam Akas 13. Dance and Change Management in Modern Benin Cultural Troupe 165 Performance – Josephine Ebiuwa Abbe 14. Nigerian Dramatists as Change Agents: The Trajectories in Three 179 Nigerian Playwrights – Bernard Eze-Orji & Charles Osa Emokpae 15. Hazard Management in Nigerian Theatres: A Paradigmatic Shift – 196 Gowon Ama Doki & Jerry Idah Odeh iv THE POETICS OF REVOLUTION, THE LOGIC OF REFORMISM AND CHANGE MANAGEMENT IN NIGERIA: SAM UKALA’S TWO FOLKSCRIPTS Ifeanyi Ugwu University of Nigeria, Nsukka Abstract Currently in Nigeria, the word ‘change’ is often times used to ridicule the optimism with which it was conceptualized during political campaigns. In its really optimistic sense, the concept of change connotes a reversal of governance from administrative ideologies like clandestine democracy, capitalism and revolutionism, among others, to “African socialism”, true democracy and reformism. The question now is: Since the idea of change has turned into a mere mockery of its true self in socio-political circles, which administrative strategy can be employed to reposition it on its authentic path? In response to this question, Sam Ukala’s folkist, revolutionary aesthetics in some of his plays ironically points at the ideology of reformism as largely appropriate for a successful change management in Nigeria. These plays dramatize revolution in order to expose its follies and allude to the urgent need for reformism. Backed by Reader Response theory, this paper demonstrates how Ukala, through his plays, The Placenta of Death and Iredi War suggests reformism as a suitable ideology for change management in Nigeria. Introduction The form and contents of an artistic display or composition which depict a socio-political revolution can be referred to as the poetics of revolution or revolutionary aesthetics. For example, the features of a play which, not only portray the revolutionary dreams of some of its characters but also experiment with a combination of traditional and western dramatic forms are recognized as poetics of revolution or revolutionary aesthetics. The aesthetics, which emerged in Nigeria “since the 1970s” (Umukoro 21), became popular by the 1980s and picked diverse innovations by the turn of the millennium. Various levels of socio-political mismanagement, class discrimination, oppression of the working class, corruption and injustice are showcased in the drama of this bent, while consciousness is raised against the evils. A notable 1 revolutionary dramatist outside Nigeria is Bertolt Brecht who initiated a revolution in European dramatic form while adopting the Marxist socialist ideology. He dropped the conventional realistic form and picked a technique he called epic theatre to differentiate it from dramatic theatre. The Marxist socialist ideology is a revolution oriented perspective. Within Nigeria, some first generation radical (revolutionary) dramatists are Femi Osofisan, Bode Sowande, Tunde Fatunde and Kole Omotoso who also followed the Marxist ideology and adopted the Brechtian, revolutionary, dramaturgical form known as epic theatre. Revolutionary writers of the later generation have in the forefront, Sam Ukala, whose new form known as ‘folkism’, which is neither a Brehctian technique nor a core follower of Marxist ideology, rates him highly as a folkist revolutionary dramatist. Folkism refers to what Ukala calls “the tendency to base literary plays in the history, culture, and concerns of the folk (people in general) and to compose and perform them in accordance with African conventions for composing and performing the folktale” (285). The folkist approach entails the employment of “folk linguistic, structural and performance techniques” (Ukala 38). Folkist revolutionary aesthetics, therefore, is the employment of African folktale compositional and performance techniques to dramatize the story of socio-political revolution while alluding to, passing comments or raising major ideas on how to manage the transitional consequences. Reformism and revolutionism (the practice of or “support for” social or political revolution) are processes of change but they differ in their modes of operation. Reformism refers to “any doctrine or movement that advocates social or political change in a gradual manner, within a democratic framework rather than a revolutionary change” (Chambers 1028). Revolutionism is “the theory of or support for political, social, etc., revolution”; and the revolution refers to “the (sudden or abrupt) overthrow or rejection of a government or political system by the governed (Chambers 1053). Obviously, the idea of change is central to revolutionism and reformism but while the former implies the use of force, may involve violence, disorder, suddenness and anti- democratic principles, the latter is democratic and does not require violence or abruptness. Democracy (democratic process or governance), here implies what Afolabi Ojo, describes as being “predicated on the principles of liberty, fraternity and equality… implies justice, fairness, equity and freedom … presupposes peace through the protection of the rights and dignity of the individual” (qtd. in Fosudo 119). This concept of democracy tallies with the African perspective of socialism, which differs from the Marxist, socialist 2 ideology. The African perspective favours equal rights and justice as a sine qua non, hence, it is operational in both a poor and a rich community (Umukoro 31). The Marxist ideology calls for the availability of abundant wealth for equal rights in sharing of the abundance to be feasible. In other words, abundance of material wealth
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