Rudolph Kansese | Niger Delta University, Wilberforce Island, Bayelsa State. (original) (raw)
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Papers by Rudolph Kansese
Contemporary dance is usually defined and characterised by different dance techniques, ranging fr... more Contemporary dance is usually defined and characterised by different dance techniques, ranging from traditional to modern. A contemporary dance choreographer is therefore often saddled with the right choreographic approach in achieving his or her dance composition. Unlike the traditional dance choreographer, whose task may not be to actually invent new dance-steps, but to simply coordinate existing traditional or indigenous dance patterns, the contemporary choreographer's sources is open-ended, thereby making him somewhat confused on what to do in order to compose dance. Although, there are no definitive methods of composing contemporary dance, however, this paper offers suggestive approaches through which contemporary dance can be successfully choreographed or composed by observing certain basic and simple principles. The crux of these principles is for the choreographer to make the dance patterns endearing to the dancers as well as the spectators.
The development and upbringing of a child are influenced by happenings in the environment or soci... more The development and upbringing of a child are influenced by happenings in the environment or society. Although, both parent and child are part and parcel of the environment, it is the parent or adult that creates standards for the child to exist. In other words, the parent is responsible for the ethical or unethical disposition of the child in the society. A child is always influenced by conducts it observes and experiences from the environment so designed by the parent. Regrettably, some conducts experienced are unhealthy for its well-being. This paper examines some of these immoral conducts of parents in Bayelsa State. Such unwholesome attitudes of parents have influenced children to become delinquent and sometimes notorious. The research was made possible through personal observation of different families in Bayelsa State over time. The behaviours and dispositions of these parents and other adults towards children were examined by the researcher. Result shows that the immoral deportment of parents or adults is toxic to the environment and harmful to the child's well-being.
Nigerian dance in performance is usually questioned on the issues of significance and connotation... more Nigerian dance in performance is usually questioned on the issues of significance and connotation of the movements employed. Spectators, especially indigenous ones observe the dance mainly from a cultural insight, and all appurtenances accompanying the dance are appreciated as a whole, and even given interpretations. An example is masquerade dance. Obviously, the dance movement of a particular masquerade cannot be appreciated without the costume, props, chants, songs, instrumentation, ritualism and other components that accompany the masquerade dance. These are enjoyed by the audience not only for their aesthetic value but also for their functional purposes. This means that Nigerian dance is mainly utilitarian in nature. This paper is therefore a review of the components making up Nigerian dance. From evidence gathered, it is clear that Nigerian traditional dance goes beyond moving the body in space and time especially for aesthetic purpose, but inculcates different cultural syndromes which demonstrate the actual nature of Nigerian dance.
Contemporary dance is usually defined and characterised by different dance techniques, ranging fr... more Contemporary dance is usually defined and characterised by different dance techniques, ranging from traditional to modern. A contemporary dance choreographer is therefore often saddled with the right choreographic approach in achieving his or her dance composition. Unlike the traditional dance choreographer, whose task may not be to actually invent new dance-steps, but to simply coordinate existing traditional or indigenous dance patterns, the contemporary choreographer's sources is open-ended, thereby making him somewhat confused on what to do in order to compose dance. Although, there are no definitive methods of composing contemporary dance, however, this paper offers suggestive approaches through which contemporary dance can be successfully choreographed or composed by observing certain basic and simple principles. The crux of these principles is for the choreographer to make the dance patterns endearing to the dancers as well as the spectators.
The development and upbringing of a child are influenced by happenings in the environment or soci... more The development and upbringing of a child are influenced by happenings in the environment or society. Although, both parent and child are part and parcel of the environment, it is the parent or adult that creates standards for the child to exist. In other words, the parent is responsible for the ethical or unethical disposition of the child in the society. A child is always influenced by conducts it observes and experiences from the environment so designed by the parent. Regrettably, some conducts experienced are unhealthy for its well-being. This paper examines some of these immoral conducts of parents in Bayelsa State. Such unwholesome attitudes of parents have influenced children to become delinquent and sometimes notorious. The research was made possible through personal observation of different families in Bayelsa State over time. The behaviours and dispositions of these parents and other adults towards children were examined by the researcher. Result shows that the immoral deportment of parents or adults is toxic to the environment and harmful to the child's well-being.
Nigerian dance in performance is usually questioned on the issues of significance and connotation... more Nigerian dance in performance is usually questioned on the issues of significance and connotation of the movements employed. Spectators, especially indigenous ones observe the dance mainly from a cultural insight, and all appurtenances accompanying the dance are appreciated as a whole, and even given interpretations. An example is masquerade dance. Obviously, the dance movement of a particular masquerade cannot be appreciated without the costume, props, chants, songs, instrumentation, ritualism and other components that accompany the masquerade dance. These are enjoyed by the audience not only for their aesthetic value but also for their functional purposes. This means that Nigerian dance is mainly utilitarian in nature. This paper is therefore a review of the components making up Nigerian dance. From evidence gathered, it is clear that Nigerian traditional dance goes beyond moving the body in space and time especially for aesthetic purpose, but inculcates different cultural syndromes which demonstrate the actual nature of Nigerian dance.