Jurnal Sosialisasi Jurnal Hasil Pemikiran, Penelitian, dan Pengembangan Keilmuan Sosiologi Pendidikan Vol. 8, Nomor 2, Juli 2021 Reinventing the Theatre Curriculum to Address Contemporary Development Needs and Job Alignment in Nigeria Esekong H. Andrew-Essien Department of Theatre and Media Studies University of Calabar, Nigeria [email protected] ABSTRACT As the social and economic terrain is changing in Nigeria, theatre training and practice have not evolved commensurately to address the current development needs and job alignment. The models used in many Nigerian universities mainly offer theoretical knowledge of theatre and basic training for entertainment roles. Even though the philosophy and objectives of theatre training in the NUC Benchmark for minimum academic standards are couched with the anticipation for innovation and programme expansion, it does not specify the type or scope of expansion needed to retain the viability of theatre practice within the current knowledge economy. Nigerian universities are therefore not firmly guided to develop their theatre curricula in a direction that is sensitive to the exigencies of time and age. There is currently a lot of interest in film production, carnival, standup comedy, development communication, applied theatre and event management. This paper argues that theatre and performing art programmes in universities and other theatre training centres should develop more courses around these emerging areas of interest. The paper submits that while there are many specialties in which theatre graduates can be professionally engaged, and while the nature of theatre training imbues numerous subjective qualities desired in the contemporary world of work, much more could be done by reinventing the theatre curriculum to give theatre graduates wider opportunities. Keywords: Reinventing; Theatre Curriculum; Development Needs; Job Alignment. INTRODUCTION: THE NEED TO REFOCUS FOR SURVIVAL For many years, theatre training in Nigeria has been designed to address basic entertainment needs and very limited utilitarian needs. This was perhaps to appease the interest of the audiences at the time when theatre was valued more as an entertainment form (Betiang 2020). This was also a time when theater artists were engaged mainly to dance and entertain functionaries in social and state functions. Occasionally, plays were performed for intellectual audiences mostly in educational theatres and government sponsored command performances. Drama series were also packaged to mirror the Nigerian society on television and to convey messages for social and political reformation, but it would appear that the programmes were valued more for their entertainment contents. The Nigerian environment has now become more complex and advanced (Mbum et al., 2014). As the people are confronted with fresh socio-political and economic realities, their needs, focus and interestsappear to have changed. Specifically, the global economic recession recently complexified by COVID19 has forced people to reorder their social and economic priorities. In much the same way, security uncertainties have made the people to limit social engagements, including theatre patronage, tourism and relaxation (Umukoro 2020; Odey & Agi 2015; Andrew-Essien 2018). The wave of change of focus, style, preferences and priorities in society is understandable because cultures and even civilizations are characterized by dynamism (Andrew 2002). It now becomes imperative for the theatre practitioner to re-strategize for survival in the new world order.To be able to work out a fresh strategy for survival, it is necessary to do a brief review of the evolution of theatre practice and current trajectories of theatre growthand interest in Nigeria. Esekong H. Andrew-Essien | 104 Jurnal Sosialisasi Jurnal Hasil Pemikiran, Penelitian, dan Pengembangan Keilmuan Sosiologi Pendidikan Vol. 8, Nomor 2, Juli 2021 THE EVOLUTION OF THEATRE PRACTICE AND TRAINING IN NIGERIA: A BRIEF REVIEW Much of what is known about African drama is through oral tradition and traditional performances (Etherton 2012). In Nigeria, theatre may have started through traditionalperformances, rites and rituals, just as it is speculated in other places (Brockett 1992). Many indigenous performances were associated with occupational festivals such as farming and fishing festivals. Other performances were tied to fertility rites, births, marriages, coronation of royalties, burial rites and traditional sport ceremonies. Such ceremonies featured songs, drumming and dance performances often held outdoors in village squares, public squares, private compounds, markets squares, shines, grooves, riversides, and streets. Performances were often done by part-time volunteers from localities, and selection of troupe members were based on the competencies of volunteers. There were no paid performers except, maybe those engaged in the royal courts. Few craft men made money from production of musical instruments and costumes. While some festivals wereheld to fulfill traditional rituals, some others were meant for entertainment. Later in colonial Nigeria, theatre became a tool for cultural nationalism. Practitioners like Duro Ladipo, Moses Olaiye, Kola Ogunmola and Hubert Ogundeusing Nigerian folk performances heightened this consciousnessbetween 1944 and 1950 (Etherton 2012). Ogunde’s troupe may have been exposed to the lucre of performance as they travelled to various locations for paid or sponsored performances.This exposure flipped another page in theatre consciousness; the reality that theatre could be lucrative set in. From the academic perspective, Wole Soyinka, J.P. Clark, Kalu Uka, Ola Rotimi, Femi Osofisan, Zulu Sofola, Bode Sowande and other dramatists extended the drama and theatre consciousness through their literary works and many more people subscribed to theatre training and practice.Drama was one of the Classicsin the University College, Ibadan, the premiere University in Nigeria. Dramatic arts alongside English became a symbol of literacy. With the rising profile of theatre and dramatic studies, the first purpose-built theatre house was erectedin the University of Ibadan, 1955. Theatre graduates became influential performers, teachers, administrators and politicians. The popularity of theatre extended with the proliferation of schools and the emergence of more performance venues in Nigeria. Enendu, quoting Adedeji identifies some of these venues as; The Glover Hall cited at the old CustomWarehouse on Marina built in memory of Sir John Hawley Glover, a former administrator of Lagos. Others were the Ilupesi Hall built in 1911, Tom Jones Hall and the Lishabi Hall in Ebute Metta. In other parts of the country, there were the African Club House,in Calabar, built in 1903, the Achukwu Hall at Upper New Market Road, Onitsha, the Aba and Port Harcourt Municipal Halls, and later school and town halls in most big towns…(2002, p. 353). Enendu (2002) concludes that these buildings served as resource centres for theatrical activities in Nigeria back in the day. The halls were used as meeting venues, social reception centres and disco halls at various times, but they also served as make-shift theatre performance venues, thus popularizing theatre practice.In the season of elevated social and political consciousness, theatre later became a tool in the struggle for political independence in Nigeria. In post-colonial Nigeria, formal training in theatre became widespread; more universities offered theatre studies, dramatic and performing arts (Amkpa 2004). More purpose-built theatres cropped up, including the National Theatre built in Lagos, 1977 in preparation for the Festival of Arts and Culture (FESTAC) in 1977. Esekong H. Andrew-Essien | 105 Jurnal Sosialisasi Jurnal Hasil Pemikiran, Penelitian, dan Pengembangan Keilmuan Sosiologi Pendidikan Vol. 8, Nomor 2, Juli 2021 Two proscenium theatres were built in the University of Lagos to facilitate rehearsals for FESTAC ’77 (Crow & Banfield 1996). The Oduduwa Hall was built in University of Ife, now Obafemi Awolowo University; the New Arts Theatre (now Chinua Achebe Arts Theatre) was built in the University of Calabar in 1976. Other purpose-built educational theatres were the Ahmadu Bello University Theatre at Zaria, the Open-Air Theatre in the University of Jos, Crab Theatre at the University of Port Harcourt, Pinnacle Theatre at Akwa Ibom State University and a number of other educational theatres and performance studios. Other performance venues have been built and maintained by many state governments such as the theatres at Oyo, Cross River, Edo, Anambra, Rivers, Bauchi, Bayelsa and others in Nigeria (Enendu 2002). The private sector has also joined in developing the performing art industry by erecting private theatres and cinema halls, the foremost of which is the Silverbird Galleria in Lagos. Some state governments have also built cinema houses. For example, Ibom Tropicana in Uyo was built by the Akwa Ibom State government and Marina Resort Cinema in Calabar was built by the Cross River State government. The point in delving into this historical analysis is to illustrate the progression of theatre consciousness and the heightened subscription of students studying drama,theatre and performance in Nigerian universities. To support this ascending interest and to ensure that the training offered in the numerous theatre programmes in Nigerian institutions is relevant to the needs of the performing art industry, a robust curriculum must be built. Currently, there