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Copyright by Oluwabukola Omolara Aluko-Kpotie 2012 Copyright By Oluwabukola Omolara Aluko-Kpotie 2012 The Dissertation Committee for Oluwabukola Omolara Aluko-Kpotie certifies that this is the approved version of the following dissertation: Staging Sustainability: An Indigenous Performance Practice Approach to Development Communication Committee: ________________________________ Omi Osun Joni L Jones, Supervisor _______________________________ Charlotte Canning ________________________________ Paul Bonin Rodriguez ________________________________ Deborah Paredez ___________________________ Kamala Visweswaran Staging Sustainability: An Indigenous Performance Practice Approach to Development Communication by Oluwabukola Omolara Aluko-Kpotie, B.A.; M.Sc. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication To Tara and Tade for bringing joy and laughter. Acknowledgements My deep thanks to my dissertation committee members: Charlotte Canning, Deborah Paredez, Paul Bonin-Rodridguez, and Kamala Visweswaran. I am most fortunate to have had you all as teachers, and thankful for the opportunity to learn from you all. I stand here on the shoulder of three women. My paternal grandmother, Iya Adetolabo, who introduced me as a child to the beautiful sounds of Yoruba indigenous performances practices. My mother, Folasade Ajoke, whose sheer hard work and determination shifted power structures. You remain inspirational. My wonderfully patient dissertation adviser, Omi Osun Joni L. Jones who never gave up on me. E se mo dupe o! I am grateful for the gift of being born a Nigerian, a complex country with beautiful people and wonderful cultures. Nigeria instilled in me the ability and wisdom to introspect, to look on the inside to seek solutions to what ails us. The unbroken spirit of the people of Kweme, like Celestine Joel and Alhaji Rasaq, is what makes Nigeria truly special. I thank the people of Kweme for welcoming me, and for their contributions to the performance staged in November 2011. Kabiyesi, Oba Sejiro James, thank you so much for granting me audience, and for honoring our invitation to the performance at your palace. Alhaji Rasaq thank you for the logistical and organizational support on the Kweme end of things, I am truly, truly grateful. v My heartfelt thanks go to a most insightful, and talented team of actors: Aishat, Michael, Christian, Rasheed, Busayo, and Abimbola for the dedication and the extra-ordinary skill they brought to bear on the performance. Team work has never been so easy. I have been blessed with a wonderful community of friends and colleague, at the University of Texas in Austin, without whom this doctoral program would have unbearable, and the dissertation writing process almost impossible. To Beliza Torres, Cassidy Browning, Michelle Parkins, M’bewe (Ninoska) Escobar, dear colleagues and sisters whose loyal and devoted friendship remains a blessing. Thank you so much for breaking the monotony of writing with invitations to lunch, and dinner, for taking time out to read different chapters of this dissertation, for calling my attention to the ways performance is embedded in my work, and for supporting me through my dissertation defense. May the bonds of friendship we have created through laughter, and through our deep analysis of all issues research and non- research related, remain unbroken for our lifetime. To Nicole Gurgel, thank you for a shared gift at Christmas. To Nicole Martin, my soon-to-be “sista docta”, To Nikiko Masumoto, an exceptionally brilliant colleague, I look forward to that farm visit. To Katelyn Wood, for always offering a hand of friendship. I thank you all so much for giving me great memories of my time in the beautiful city of Austin. I owe a special thank you to Dr. Ted Gordon for his support in challenging times; he remains a great inspiration. Professor Falola, and Dr Afolabi, pillars of the vi Nigerian community at the University of Texas, Austin, thank you for the guidance afforded me. To Jason Crandall who read every word of this dissertation. Thank you for being patient and understanding, and for taking on my numerous last minute demands. To Montre Missouri, Robtel Pailey, Ebunoluwa Fatiregun, Tosin Lawal, and Funmilola Aribaloye, true friends. Thank you for the calls to say hey, for the long hours listening to me go on about this research, for longer hours talking through the issues of our lives, for the even longer time laughing through the challenges life has thrown our way, for being my sisters regardless of my many faults; I owe you all a debt of gratitude. To friends in Lagos: Yomi, Kehinde and Asope Kuyinu thank you so much for the love, the constant check-ins, and for giving Tade and Tara a second home in Lagos. To Obiora Unigwe for always making available to me his impressive, and influential network of friends. To the memory of my most beloved friend, and brother, Adedayo Ogunlewe, who kept faith— you never doubted that I will complete this doctoral program. Thank you for giving so generously of your time, and love. I miss you greatly. Finally, my immense gratitude goes to my family: My children, Tara and Tade, who remain my greatest source of joy and remind me that this work is about the future. To Sewa, I could not have taken on the challenges of a doctoral program, without your steadfast love and support. Your strength of character, under the most vii difficult circumstances, remains remarkable. We make an amazing team, and I am blessed to have you in my life. To my dad, Ben Olufemi, thank you so much for your prayers, love and support. To the Mobees: my sister, Toyin, my brother-in-law, Captain Yinka, my beautiful niece Sandra Ayomide, and my sweet nephew, Adeleke, I am most grateful for the incredible gift of long-term babysitting during the final weeks of this doctoral program. To the Alukos: Ayodele, Funmilola, Morike, and Morola, thank you for always checking-in, for the love, for the constant technical support, and for loaning out your video camera at a very crucial time during my research. To the Oladapos: Abimbola, Funmilola, and Tobiloba, thank you so much for your love, for the numerous phone calls, and for the visit to Austin. To Olalekan, thank you for your unwavering support, for love, and laughter. To Grandpa & Grandma Kpotie, thank you for your prayers and support. viii Staging Sustainability: An Indigenous Performance Practice Approach to Development Communication Oluwabukola Omolara Aluko-Kpotie, Ph.D. The University of Texas at Austin, 2012 Supervisor: Omi Osun Joni L Jones The process of communicating notions of sustainable development in rural grassroots communities in the oil-rich region of southern Nigeria, West Africa, is complex and remains an on-going challenge. The material consequences of ineffective communication between community leaders and their constituencies are evident in the Nigerian communities examined in this dissertation, where poverty is pervasive and where a large majority of the population can neither read nor write in English. Popular performances, specifically theatre, are an essential medium of communication and information dissemination on community development projects in these communities. Theatre for Development (TFD), as these form of popular performances are called, was first introduced to the country in 1975. Its ix methodology is an adaptation of the techniques of Theatre of the Oppressed created by theatre scholar Augusto Boal. The method is aimed specifically at effecting dialogue, encouraging critical thinking, and motivating the desire for community development and social change. A number of challenges, however, limit the effectiveness of this method in achieving these goals. They include funding constraints, which restrict the amount of time TFD participants spend working in any community and limit follow-up visits to sustain integral dialogues begun during a post-performance discussion. In essence, funding restrictions limit the possibility of achieving sustainable community development. To address this key challenge of time constraints and to facilitate sustained development dialogue between community stakeholders, this dissertation examines the use of indigenous performance practices staged by local performers in rural grassroots communities. By creating and staging a TFD performance using structural elements of oriki, an indigenous performance practice in the region, I address a core research question: How do structures and contents of indigenous performance practices create forums for sustained dialogue and collective consciousness awakening? The answer to this question lays the foundation for sustainable development projects in Nigeria and offers a practical way to improve the effectiveness of TFD as a medium of information dissemination, a tool to facilitate sustained dialogue, and a community development approach in rural grassroots communities in the country. x Contents CHAPTER 1 ............................................................................................................................ 1 Introduction ................................................................................................................................................ 1 Some Key Concepts .................................................................................................................................. 14 Situating the Challenge: Oil in Lagos State .......................................................................................
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