DOCSLIB.ORG

Nigerian Eatre Journal

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nigerian Eatre Journal Nigerian ? eatre Journal A Journal of the Society of Nigeria ? eatre Artists (SONTA) Vol. 13, No. 1 Editor Ameh Dennis Akoh Assistant Editor Biodun Layiwola Copyright © 2013 Society of Nigeria ? eatre Artists (SONTA) Nigerian ? eatre Journal (NTJ ) is published by the Society of Nigeria ? eatre Artists, c/o ? e Editor,NTJ , Department of ? eatre and Film Studies, Osun State University,Ikire Campus, Nigeria ISSN 0189-9562 EDITORIALBOARDMEMBERS Professor S. E. Ododo Chairman Dr A. D. Akoh Editor Dr Biodun Layiwola Assistant Editor Professor Charles Nwadigwe Member Dr Ted Anyebe Member EDITORIAL ADVISERS Professor Femi OsoMsan Nigeria Professor John S. Illah Nigeria Professor Tess Onwueme USA Professor Don Rubin Canada Professor Olu Obafemi Nigeria Professor Osita Okagbue UK Professor Sam Ukala Nigeria Professor Saint Gbilekaa Nigeria Professor L. O. Bamidele Nigeria Copyright © 2013 Society of Nigeria ? eatre Artists (SONTA) All Right Reserved Nigerian ? eatre Journal (ISSN 0189-9562) is published annually by the Society of Nigeria ? eatre 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. 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 © 2013 Society of Nigeria ? eatre 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. Contents 1. Practice Imperative for Transformation and Quality Enhancement in ? eatre Education in Nigeria Ofonime Inyang & Patrick Ebewo 2. Quality Assurance: Confronting the Odds in Nollywood Films John Iwuh 3. Quality Assurance and Stand Up Comedy in Nigeria Williams Sunday Onogu 4. Quality And ? e Vernacular Film: Imperatives For Igbo Language Filmmaking Francisca A. Nwadigwe 5. Matching Quantitative Growth and Development with Quality in Nigerian Video Film Industry Hameed Olutoba Lawal & Olatunji Aikomo 6. Costume and Makeup Designs and Productions: ? eir Quintessence in ? eatrical Productions Felix U. Egwuda-Ugbeda & Maryisabella Ada Ezeh 7. Quality Assurance in Dance and Choreography: Personal Experiences from the Lecture Hall to Praxis as Case Studies Arnold Udoka 8. Ensuring the Quality of Films and Videos Exposed in Nigeria: An Examination of the Role of the Nigeria Film and Video Censorship Board Regina Ode 9. Quality Assurance in Playwriting and Production at National ? eatrical Events: An Overview of Drama Entries at National Festival of Arts and Culture (NAFEST ) ,2011 Denja Abdullahi 10. Reconstruction and RePections on the Social Responsibilities of Drama and ? eatre Adefolaju Eben Adeseke 11. Quality Assurance in ? eatre Audience Engineering and Marketing Osedebamen David Oamen & V.O. Diakpomrere 12. Integrating Health Issues through the Tiv Kwagh-hir Dennis Teghtegh 13. Quality Assurance in Costuming ? eatrical Performance in Nigeria: A Study of Selected Nollywood Films Ephraim Aga Shimsenge & Richard Gbilekaa 14. Exploring Dialectical Text Consciousnessin Acting for Quality Assurance Olabode Wale Ojoniyi, PRACTICE IMPERATIVE FOR TRANSFORMATION AND QUALITY ENHANCEMENT IN THEATRE EDUCATION IN NIGERIA Ofonime Inyang & Patrick Ebewo Tshwane University of Technology, Pretoria, SA Abstract Nigerian theatre training has put in more than forty years in tertiary education since the inaugural drama training at the University of Ibadan in the 1950s. ? e signiMcant role of theatre scholarship and practice is already established in national consciousness with monumental evidence of successful practitioners, scholars, teachers, theoreticians, researchers, artists who also command widespread international recognition and respect. While celebrating this giant achievement, the critical imperative of reassessing the training of theatre artists in Nigerian universities in particular and the need to draw from global best practices appear imminent. Apart from pointing ways to better throughput in the Meld, quality check is also critical in all industries and the success of the creative enterprise in Nigeria where theatre is a signiMcant player rests on this. ? is paper aims to re-examine the current context of theatre training in Nigeria and proposes increased interaction between drama schools and the industry. ? e objective is to foster quality enhancement in theatre training in the twenty-Mrst century while also positioning the country for global competitiveness in the Meld. Introduction Nigeria remains a nation of great potentialities and parades a diversity of talents, cultures and people who have braved the social, political and economic challenges at various times to register the name of the nation in bold prints on the artistic and creative map of the world. ? e cultural diversity of Nigeria projects a rich outlay of diDerent characteristics and attributes that constitute the way of life and expression of the various tribes that make up Nigeria (Obidi, 2005). Nigeria is thus globally acknowledged as a citadel of rich cultures, traditions, arts, entertainment, philosophy, thought, ensemble and vocations that enliven the human spirit, educate, entertain and act as a medium of information dissemination (Falola, 2001; Inyang, 2013). ? eatre has been part of Nigerian national life for many years. ? e various tribes of Nigeria parade material contents that have been identiMed by various scholars as representing their theatre and dramatic tradition (Adedeji, 1981; Ebong, 1990; Doki, 2006). Nigerian communities, even up to present times, celebrate various seasonal festivals and observances that constitute theatrical enactments in their own right and that clearly express the worldview and knowledge systems that have sustained those societies for ages. ? e modern expression of theatre or drama as a distinct discipline in Nigerian education system has been traced by various scholars to the colonial times where European operatic performances, concerts and cantatas dominated the cultural landscape of the era (Gbilekaa, 1997; Yerima, 2001). SuG cient scholarly attention has been given to establish the signiMcance and function of the three streams of dramatic activity in the areas of traditional or indigenous theatre, popular or trado-modern theatre and literary or conventional theatre and how each complements each other and contributes to the growth of the theatrical Meld in the country (Ogunbiyi, 1981; Ebong. 1990; Adediji and Ekwuazi, 1998; Gbilekaa, 1997; Obafemi, 2001; Yerima, 2005). ? e history of the development of modern theatre and drama in Nigeria and the introduction of drama and theatre training into higher education in Nigeria is traced to October, 1963 when the School of Drama began training students at the University of Ibadan, Nigeria's premier university, at that time, a college of the University of London (Yerima 25). ? e University of Ibadan remained the prime institution for the training of artists and dramatists in the theatre discipline for many years until when some of her former students graduated and moved to other parts of the country to take up jobs in the cultural centres, schools and tertiary colleges. ? is development soon led to increased requirements for manpower in the theatre and cultural Melds, leading to the establishment of theatre programmes in tertiary institutions in other parts of the country. ? at development has produced more than MQ een departments oDering programmes in dramatic, theatre, performing, creative, media arts in Nigerian tertiary institutions currently (Adeyemi 152; Daramola 259). ? is number has grown far beyond this today. ? e Current Situation of ? eatre Training in Nigeria Formal theatre training in Nigeria is largely concentrated in the universities, located in the diDerent parts of the country. ? e Nigerian Universities Commission (NUC) is responsible for regulating tertiary education and ensuring quality assurance of all academic programmes oDered in Nigerian universities (www.nuc.edu.ng). ? e NUC's Minimum Academic Bench Mark for Arts Programmes (194) states the expected outcomes for theatre and performing arts graduates as follows: Graduates of theatre arts/performing arts can Mt into any sphere of endeavour. ? e knowledge acquired in the study of ? eatre Arts/Performing Arts makes the graduate of the course stand out in the portrayal of contemporary social realities using performance. ? ese graduates are entrepreneurs, express the arts with grace and integrity and are codiMers of the cultural traditions of Nigeria. ? e benchmark cited above is also considered aquality assessment template for measuring productivity in theatre programmes in the country. Whether the benchmark has produced expected outcomes is certainly a subject for another investigation. Also, some tertiary institutions such as polytechnics and colleges of education also oDer training in dramatic arts and educational theatre programmes. ? ere are also a few private universities such as Redeemer's University, Ogun State, Adeleke University, Osun State, Obong University, Akwa Ibom State that also oDer theatre or Media Arts
Load more

Recommended publications
  • Lighting up the Arena
    The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. Duro Oni examines the role of lighting in the contemporary Nigerian theater with emphasis on theatrical activities in Arena Lagos. .is Lighting? A good itartin.g DOint will involve reluming to •rancis Reid's2 observation that "Stage ighting is not an exact science: it is science in the service, of performing arts. Rules are very few it indeed there are any." Lighting is a combination of science and art; science being the understgnding of trie technology in the proguction of righting instruments and equipment and art being the creative use of such instruments and equipment. For. lighting is as much a oqrt of the artistic process as any of the other aspects of the theater, helping to create the necessary atmosphere and mood for <GLENDORA REVltVfxAlriain Quarterly on the ArtsxVOI3@No2> <107> 0 dramatiC presentation. In defining stage lighting, Reid3 summarized the main aims of lighting for theatrical productions thus: Stage lighting is a fluid, selective, atmospheric, sculptural illumination appropriate to the style of a particular production. Reid's definition prescribes the primary functions of stage lighting - and accepted by most writers on the subject — as illumination, selectivity, fluidity, atmosphere, mood, dimensionality and creating effects. It was not until recently that the functions of stage lighting were further elaborated upon.
    [Show full text]
  • EJOTMAS 28.Pmd
    EJOTMAS: EKPOMA JOURNAL OF THEATRE AND MEDIA ARTS 422 http://dx.doi.org/10.4314/ejotmas.v7i1-2.28 THE PRODUCER-ARTISTIC BUSINESS RELATIONSHIP: A MAJOR CONCERN FOR THE SURVIVAL OF THEATRE PRACTICE IN NIGERIA *Olatunji Samson SOTIMIRIN, Ph.D. Abstract This paper evaluates some of the perennial problems identified by scholars, writers and theatre practitioners as the bane of the growth and survival of theatre practice in Nigeria. These are inadequate funding, non-availability of befitting venues, economic and social insecurity, training and professionalism, orientation of the public sector, technological development, and so on. The central argument, however, is the issue of the business relationship between the producer and the professional theatre artiste. The paper contends that there are many issues concerning the artiste working and struggling to get paid, and artiste being exploited by producers without respectable reward. Consequently, in order to conquer these exploitative tendencies and lack of trust on the part of the producer, the paper submits that it is imperative that the artiste puts his/her professional relationship with the producer on a sound legal footing. This involves not only engaging the use of contracts constricted in agreement with good professional conventions, but also considering the need for the formation of recognized monitoring structures that will be responsible for guiding the actions and behaviour of practitioners. This ought to be done with a governmental support safeguarding the various theatre Associations and guilds as it is the case with other established Associations such as the Institute of Chartered Accountants, Society of Engineers, Nigerian Medical Association and so on.
    [Show full text]
  • Nigerian Film Industry in the Mirror of African Movie Academy Awards (AMAA)
    Nigerian Film Industry in the Mirror of African Movie Academy Awards (AMAA) (2016) Journal of Arts and Humanities 5.9: Pp 75-83. http://www.theartsjournal.org (ISSN: 2167-9045). By Stanislaus Iyorza (Ph.D), Department of Theatre and Media Studies University of Calabar, Calabar, Nigeria. [email protected] [email protected] +2347064903578 ABSTRACT Worried by the drastic decline in the quality of content of Nigerian movies as evaluated by critics, this paper analyzes the evaluation of Nigerian movies by the African Movie Academy Awards (AMAA) between 2006 and 2016. The objective is to review the decisions of the AMAA jury and to present the academy’s position on the prospects and deficiencies of the Nigerian Movie industry. The paper employs analytical research approach using both primary and secondary sources to explore assessed contents of the Nollywood movies and how far the industry has fared in the mirror of a renowned African movie assessor like AMAA. This paper assembles data of the awards of AMAA since inception and graphically presents the data. Findings reveal a sharp drop in quality of content of Nigerian movies over the years with a hope of an upsurge as adjudged by AMAA since 2006. The study recommends the private sector’s all round support to Nollywood and the federal government’s training or retraining of filmmakers as well as sustained funding for the steady development of the Nigerian movie industry. Key words: AMAA, Evaluation, Film, Jury, Nollywood. 1 Introduction Nigeria is currently faced with a myriad of issues including a drastic recession in the economy, the political arena and the art industry.
    [Show full text]
  • Agenda Setting Theory and the Influence of Celebrity Endorsement on Brand Attitude of Middle Class Consumers in Lagos, Nigeria
    AGENDA SETTING THEORY AND THE INFLUENCE OF CELEBRITY ENDORSEMENT ON BRAND ATTITUDE OF MIDDLE CLASS CONSUMERS IN LAGOS, NIGERIA BY AKASHORO GANIYU OLALEKAN MATRIC. NO: 959009055 B. Sc. (Mass Comm., UNILAG), M. Sc. (Mass Comm., UNILAG) Department of Mass Communication, School of Postgraduate Studies, University of Lagos, Lagos, Nigeria May, 2013 1 AGENDA SETTING THEORY AND THE INFLUENCE OF CELEBRITY ENDORSEMENT ON BRAND ATTITUDE OF MIDDLE CLASS CONSUMERS IN LAGOS, NIGERA BY AKASHORO GANIYU OLALEKAN MATRIC. NO: 959009055 B. Sc. (Mass Comm., UNILAG), M. Sc. (Mass Comm., UNILAG) Department of Mass Communication, University of Lagos, Lagos, Nigeria THESIS SUBMITTED TO THE SCHOOL OF POSTGRADUATE STUDIES, UNIVERSITY OF LAGOS, IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF DOCTOR OF PHILOSOPHY (Ph.D) IN MASS COMMUNICATION MAY, 2013 2 DECLARATION I declare that this Ph.D thesis was written by me. I also declare that this thesis is the result of painstaking efforts. It is original and it is not copied. ………………………………………………………………. Ganiyu Olalekan Akashoro (Mr) Department of Mass Communication Faculty of Social Sciences, University of Lagos, Lagos State, Nigeria. [email protected] [email protected] Date:………………………………… 3 CERTIFICATION This Ph. D thesis has been examined and found acceptable in meeting the requirements of the postgraduate School of the University of Lagos, Akoka, Lagos State, Nigeria. …………………………………… Dr. Abayomi C. Daramola Supervisor ………………………………………….. Dr. Abigail O. Ogwezzy-Ndisika Supervisor …………………………………. Dr Victor Ayedun-Aluma Departmental PG Coordinator …………………………………… …………………… Dr. Abayomi C. Daramola Date. Acting Head of Department 4 DEDICATION This work is dedicated first and foremost to Allah, most gracious, most merciful (God Almighty), the only source of true knowledge, understanding, as well as the bestower of true and authentic wisdom.
    [Show full text]
  • Market Forces and Filmmakers: Building a National Image Through Production Quality
    MARKET FORCES AND FILMMAKERS: BUILDING A NATIONAL IMAGE THROUGH PRODUCTION QUALITY Ovunda Ihunwo Department of Theatre and Film studies University of Port Harcourt, Nigeria . Abstract The Nigerian Video Film Industry popularly known as Nollywood in the recent past has come under harsh criticism centred basically on modes of production, quality, and professionalism. This has affected our storytelling abilities and restricted them to occult, witchcraft and other stories that have to do with these vices thereby creating a wrong impression on the country’s image. These criticisms have however arisen as a result of the fact that directors of these films who are supposed to be the storytellers are faced with the commercial approach employed in such productions and most times do not have a say in what kind of production is churned out but must bow to market forces as dictated by the marketers. In what may seem a quick response to these negative reports, there has been a revolution in the industry with what is now termed as cinema ‘movies’ which have now turned out to be the viewers’ delight, a perfect example of which is the Africa Magic Viewers’ Choice Awards (AMVCA). Film directors who have found themselves in this area are known to take their time in giving attention to details from pre-production to post-production, no matter how long it takes and then let their movies tour cinemas around the globe before they let it into the market. A comparative analysis of Kunle Afolayan’s The Figurine (2009) and Mac-Collins Chidebe’s He Lives in Me (2004) will be used to advance the need for attention to details in productions as a means of checking the quality of film productions, which will in turn help to launder the Nigerian image in terms of film production quality.
    [Show full text]
  • Creativity in Acting: Strategies for the Separation of the Performer’S Real Identity from the Construct in Nigeria
    c e n a n. 23 Creativity in Acting: strategies for the separation of the performer’s real identity from the construct in Nigeria Osakue S. Omoera Ambrose Alli University – Ekpoma, Nigeria Email: [email protected], [email protected] Emmanuel Ozoemenam University of Ibadan – Ibadan, Nigeria Email: [email protected] Abstract Resumo This article centres on the art of acting in Ni- Este artigo centra-se na arte da atuação na geria. Its problematic is informed by the beha- Nigéria. Sua problemática é informada pelo viour of some actors/actresses/performers who comportamento de alguns intérpretes que tend to live their ‘stage life’ or ‘screen life’ in tendem a viver sua “vida nos palcos/ nas te- their normal everyday living. The study adopts las” em suas vidas cotidianas, o que muitas the historical-analytic, interview and observa- vezes resulta em conflito entre sua personali- tion methods to examine this misconception dade real e suas construções. O estudo ado- and how they colour the society’s appreciation ta métodos histórico-analíticos de entrevista of theatre arts as a discipline. It further argues e observação para examinar esse equívoco, e that although actors/actresses have been seen como esses conceitos falsos geram uma falta as entertainers, they should train on how to ne- de apreciação, por parte da sociedade, das ar- atly separate what they construct on stage from tes do teatro como uma disciplina. Além disso, their daily living. The paper suggests, among argumenta-se que, embora eles tenham sido other things, self-discovery and psychologi- vistos ao longo do tempo como artistas, eles cal distancing as panaceas to the challenge.
    [Show full text]
  • Book of Proceedings
    Book of Proceedings: the 6th Academic Conference of Hummingbird Publications and Research International on Paving Way for Africa Unique Opportunities for Sustainable Development in the 21st Century Vol.6 No.1 on 30th September, 2015- University of Ibadan Conference Centre,U.I, Ibadan, Oyo State, Nigeria DIRECTORIAL CONCEPTS AND TECHNIQUES ON THE NIGERIAN STAGE IN THE 21ST CENTURY OGUNGBESAN, OLUSEYI ABIODUN Department of Performing Arts, Olabisi Onabanjo University, Ago-Iwoye, Ogun State, Nigeria Abstract The Nigerian stage is an arena where human beings are presented in a cosmic totality, acting and reacting to forces around them and within them perceiving and being preceded by those interacting with them and by those in the audience who experience the enigma that is the common lot of humanity. It is not an ideal situation which is a very rare occurrence in the theatre where representations of what life should be is re-enacted. Since this ideal situations are not possible, the position of the director then becomes prerogative especially when his directorial styles and techniques are put into recognition for sustainable development on the Nigerian Stage in the 21st Century. As the Nigerian stage is inseparable from the Nigerian theatre so is there no stage without theatre. As play scripts differ, so also the concepts and techniques of each director. It is based on all these that this paper reviews the directorial concepts and techniques of directors on the Nigerian stage especially in the 21st century with the aim of comparing and analyzing their directorial skills and approaches. For the expression of the relationship between man, society and nature, the Nigerian theatre arose out of fundamental human needs in the dawn of human civilization and has continued to express those needs ever since, which is to say Nigerian theatre and drama originated with Nigerians themselves.
    [Show full text]
  • Orisa-Shakespeare: a Study of Shakespeare Adaptations Inspired by the Yoruba Tradition
    Orisa-Shakespeare: A study of Shakespeare Adaptations Inspired by the Yoruba Tradition By Olalekan Is’haq Balogun (PhD with creative component) A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy in Theatre Victoria University of Wellington (2017) Abstract This thesis combines creative practice with critical analysis to intervene in the field of post-colonial Shakespeare where, for over a generation, the process of adaptation has been presented as one of the main strategies by which Shakespeare’s ambiguous legacy in successor cultures can be both confronted and manipulated. Scholars often use the term “writing back” to designate a set of adaptations which challenge the cultural capital that Shakespeare privileges. By linking Yoruba spirituality in its political and cultural terms to the wider field of the relation between Africa, African writers and theatre makers and Shakespeare, the thesis proposes a new sub-field or genre of adaptations, “Orisa-Shakespeare,” rooted in Yoruba traditions. The thesis argues that, written in Nigeria and the Yoruba global diaspora, this set of adaptations are not necessarily challenging the Shakespeare canon but addressing their own societies, thus “writing forward.” The thesis examines the cultural and political significance of this bourgeoning body of adaptations of Shakespeare through the lens of Yoruba epistemology and its aesthetic principles. The thesis is broadly divided into two parts: an exegesis of selected adaptations of Shakespeare as case studies of post-colonial works that reflect and integrate Yoruba creative and performative idioms and translate them into dramaturgy; and an original play, Emi Caesar! in which core elements of Shakespeare’s Julius Caesar are transplanted into the complex, violent world of Yoruba politics of the mid-19th century, as a parable for contemporary Nigeria politics where factionalism (specifically tribal/ethnic bigotry) works against the integrity and security of the society.
    [Show full text]
  • Nigerian Writers
    Society of Young Nigerian Writers Chris Abani From Wikipedia, the free encyclopedia Jump to: navigation, search Chris Abani The poem "Ode to Joy" on a wall in the Dutch city of Leiden Christopher Abani (or Chris Abani) (born 27 December 1966) is a Nigerian author. He is part of a new generation of Nigerian writers working to convey to an English-speaking audience the experience of those born and raised in "sthat troubled African nation". Contents 1 Biography 2 Education and career 3 Published works 4 Honors and awards 5 References 6 External links Biography Chris Abani was born in Afikpo, Nigeria. His father was Igbo, while his mother was English- born.[1] He published his first novel, Masters of the Board (1985) at the age of sixteen. The plot was a political thriller and it was an allegory for a coup that was carried out in Nigeria just before it was written. He was imprisoned for 6 months on suspicion of an attempt to overthrow the government. He continued to write after his release from jail, but was imprisoned for one year after the publication of his novel, Sirocco. (1987). After he was released from jail this time, he composed several anti-government plays that were performed on the street near government offices for two years. He was imprisoned a third time and was placed on death row. Luckily, his friends had bribed government officials for his release in 1991, and immediately Abani moved to the United Kingdom, living there until 1999. He then moved to the United States, where he now lives.[2] Material parts of his biography as it relates to his alleged political activism, imprisonments and death sentence in Nigeria have been disputed as fiction by some Nigerian literary activists of the period in question.
    [Show full text]
  • Beyond Nollywood Showcases New Nigerian Cinema
    BEYOND NOLLYWOOD: NIGERIAN CINEMA CHARTS A NEW PATH ACROSS THE UK Green White Green: And All The Beautiful Colours in My Mosaic of Madness The BFI’s Black Star Season will Showcase a New Crop of Nigerian Films in London and Glasgow Africa in Motion’s Nollywood Nights on 6 November in Glasgow Beyond Nollywood Weekender from 18-20 November at BFI Southbank in London, including ground-breaking features, shorts and a special event with Nigerian film star Nse Ikpe-Etim London: Friday, 4 November, 2016 – As part of its BLACK STAR Season, the BFI will bring to the forefront Nigerian filmmakers who are revolutionising the industry with arthouse, documentary and experimental films. Nollywood has quickly made its mark among international audiences and new filmmakers have emerged, eager to tell new stories and push filmmaking boundaries. The BFI’s Film Hub Scotland has partnered with the Africa in Motion Film Festival for its Nollywood Nights strand on Sunday, 6 November in Glasgow. The strand will showcase the latest work from three of Nigeria’s most popular bright new directors: The Champagne Room (dir. Olumide Fadeyibi, 2016), a Scottish/Nigerian co-production bringing together interrelated stories and real life experiences of domestic violence, child abuse and human trafficking; The Road to Yesterday (dir. Ishaya Bako, 2015), which centres around a couple’s troubled relationship and intertwines moments of matrimonial bliss with episodes of profound heartache; and Kunle Afolayan’s The Ceo (2016), about five top-level employees who vie to out-do one another in a bid to be selected for the top job.
    [Show full text]
  • Omenka-Film-Issue.Pdf
    VOLUME 2 ISSUE 3 ARTS ARCHITECTURE & DESIGN BUSINESS LUXURY AFRICA N5000 R362 $25 £17 €22 NIGERIAN THEATRE, TV & FILM: PAST, PRESENT & FUTURE NIGERIAN FILM AS AN ART DISTRIBUTION IN NOLLYWOOD THE ETISALAT PRIZE FOR LITERATURE: REPRESENTING THE DIVERSITY OF AFRICAN VOICES TAIWO AJAI-LYCETT, SADIQ DABA, WALE OJO, TUNDE KELANI, KUNLE AFOLAYAN KUNLE IDOWU, MICHAEL ‘TRUTH’ OGUNLADE, LALA AKINDOJU, O.C. UKEJE OBIJIE ORU, STANLEE OHIKHUARE, MIKE-STEVE ADELEYE THE FILM ISSUE OMENKA MAGAZINE VOLUME 2 ISSUE 3 2 OMENKA MAGAZINE OMENKA MAGAZINE VOLUME 2 ISSUE 3 VOLUME 2 ISSUE 3 CONTENTS ARTS ARCHITECTURE & DESIGN BUSINESS LUXURY AFRICA N5000 R362 $25 £17 €22 VOLUME 2 ISSUE 3 DEPARTMENTS ANTENNAE NEWS, EVENTS 10 Sink Hits at the Local Box Office 10 Annecy International Animated Film Festival to Show Three South African Films 11 Perivi John Katjavivi: Confronting The Mostly ‘Unseen’ in Post- Colonial Namibia 11 The Book of Negroes Sweeps Canadian Screen Awards 12 Free State Wins at Luxor African Film Festival Award 12 The 12th New African Film Festival FEATURES 14 A Concise History of Nigerian Theatre, TV & Film, and the Future of Drama 16 Nigerian Film as an Art 18 The Academia and the Media, Partners in Promoting Nollywood 20 Africa Rising on the International Scene 28 Charting New Territory with Animation 30 Ebele Okoye Weber on Animation in Nigeria 32 In Conversation with Richard Oboh 44 5 OMENKA MAGAZINE VOLUME 2 ISSUE 3 CONTENTS FOCUS PLAYING THE BOSS PROFILES, INTERVIEWS THE PRODUCERS AND DIRECTORS Icons of the Screen 128 Using Documentary to Impact 44 A Legend of the Reel Africa Positively 52 Sadiq Daba is Like Fine Wine 132 Thriving in a Male-Dominated Industry 58 Quintessential Wale Ojo 134 The Real Deal! The Unfolding Generation 138 Raising the Bar 64 A Fine Gentleman..
    [Show full text]
  • Ikpelemoh, Sunday Emmanuel Department of Theatre And
    PROFESSIONALISM AND ETHICS IN FILM PRODUCTION: A CRITIQUE OF TECHNICAL AND AESTHETIC ELEMENTS IN SELECTED NOLLYWOOD FILMS BY IKPELEMOH, SUNDAY EMMANUEL (PG/MA/13/66579) DEPARTMENT OF THEATRE AND FILM STUDIES UNIVERSITY OF NIGERIA NSUKKA DECEMBER, 2015 1 TITLE PAGE Professionalism and Ethics in Film Production: a Critique of Technical and Aesthetic Elements in Selected Nollywood Films, being a research submitted to the Department of Theatre and Film Studies, Faculty of Arts, University of Nigeria Nsukka, in partial fulfilment of the requirement for the award of the degree of Master of Arts 2 CERTIFICATION This is to certify that IKPELEMOH, Sunday Emmanuel, a postgraduate student of Theatre and Film Studies with Registration number PG/MA/13/66579 has satisfactorily completed the requirements for both course and research works for Master of Arts Degree in Theatre and Film Studies, Faculty of Arts, University of Nigeria Nsukka. The work is original and has not, to the best of my knowledge, been submitted partially or in full for any Degree of this or other universities. __________________________ _________________________ DR. FELIX U. EGWUDA-UGBEDA DR. OYIBO EZE (SUPERVISOR) (HEAD OF DEPARTMENT) DATE: _________________ DATE: ___________________ ____________________________ PROF. JOHN S. ILLAH (EXTERNAL EXAMINER) DATE: __________________ 3 DEDICATION This work is dedicated to the one whose grace started and finished it – my father in heaven, the one to whom I owe gratitude for life and the successful completion of this work. Thank you Lord. My late father, Pius Ikpelemoh who nurtured me with all that he had, diminishing in the process, for me to be the person that I am today also shares in this dedication, alongside my mother, Deaconess Felicia Ikpelemoh, and Raphael, my departed younger brother who called me Doctor up until he passed on.
    [Show full text]