Constraints in the practice of theatre for development in Nigerian tertiary institutions (original) (raw)
Related papers
2019
The Theatre for Development idea is essentially aimed at reinstating the function of the theatre as a creative tool for self-expression and articulation and as an empowering process through which people could develop a critical awareness of the environment. Accordingly, the guiding principle of TfD and what sets it apart from conventional western oriented theatre is its ability to liberate voices and engender people"s participation thus propelling them to act upon their reality. It is this capacity to engender people to action that makes TfD a veritable development tool.
Theatre as Tool for Development in Nigeria
Among the many communication tools available, theatrical representation is a favorite in many sub-Saharan African countries. Because of its festive, communal, realistic and concrete nature, it is almost impossible to avoid if you have a message to transmit to local communities – whether rural or urban. When we talk about theatre in the development context, we are obviously not talking about classical theatre, but rather about popular forms of theatre also known as street theatre, intervention theatre, or theatre for develop¬ment. The most popular forms of theatre for development are forum theatre, interactive theatre, and the theatre debate – all of which use similar techniques. One of the distinguishing characteristics of popular theatre is its social content. The troupes of actors are often local or regional. The villagers do not have to travel to see the performances, as the troupes come to the villages to perform. Within development, there is an increasing recognition of the need to hear the opinion of the people who are most affected by development. One response to this is ‘Theatre for Development’, which is a technique of performance and drama-building. It rests on an interaction between people who are in the flight path of development projects and those agencies who initiate them. This paper will examine theatre as a powerful tool of communication which enables people to contribute in the development of their society and thereby get involved in the search for solutions. Keywords: Africa, Communication, Development, Theatre, Enlightenment, Nigeria
THEATRE FOR DEVELOPMENT AND THE DIDACTIC OF SOCIAL CHANGE
Over the years, theatre universally and unequivocally has been accepted to be as old as Man himself and it has come to be appreciated through its immense contributions in all facets of life towards the development of man. A play production can therefore be described as an interactive experience shared by two groups: the actors and the audience. However, this positive dimension of the profession has not been well utilized by many countries most especially third world countries. It was not until when the United Nations and its several organs such as World Health Organization (WHO), IFAD, United Nations Children Emergency Fund (UNICEF), gave recognition to theatre as a veritable and potent tool of community development, empowerment and information dissemination that some countries like the Federal Republic of Nigeria stirred from its slumber and partly realized the importance of theatre in nation building. Even at that, the Government is yet to enact an enabling law that will guide the profession. This aspect of the profession is being continuously used by developed and developing countries to forge a synergy between the ruler and the ruled, promoting governmental policies to the masses and empowering them not to be indolent is Theatre for Development. (TfD) Several authorities have advocated the use of theatre as a tool of social transformation because it is a veritable means of getting man to reflect on his socioeconomic conditions and, consequently, initiate programmes that would pave the way for meaningful human development. Such authorities include Crow and Etherton Paulo Freire, Hagher. These authorities contend that the literary theatre is inadequate because it is usually the brain child of the individual playwright and that its focus is usually on artistic dexterity. On the other hand, theatre for development which is packaged by the people in a participatory manner based on the pressing problems confronting them usually concerns itself with issues of sustainable development in the community. To this end, members of the target community for whom the production is put together do not relate to the production from a distance but become active participants. TfD productions are usually performed free. This encourages large turn out of the audience. The language used is usually that of the target community. Even the extra verbal and non-verbal art modes of songs, dance, music, chant and mime are those peculiar to the target rural community. This way, the recipient of the artistic venture receives the entire experience as their own. Similarly, post production discussions build confidence in the audience as well a guarantee the participatory approach over the persuasive. Mda states thus: Whereas in persuasive communication, mass media are used to beam messages or directives encouraging people to support development projects, and to highlight benefits that may follow from these projects, in participatory communication the message can emanate from any point, and be added to, questioned, responded to, from any other point. The needs of rural communities are thereby taken into account, since the communities can initiate the process of communication, and do not merely consume and respond to messages from 'above' TfD is not a performance genre but a community approach using theatre as a means to analyze, discuss, and effect a positive social change in their environment. It provides full access to the medium of drama as a tool for community empowerment as it incorporates existing knowledge and cultural forms. It therefore challenges the standard convention of audience /
Theatre for Development Practice and Development Communication
This paper discusses the place of theatre as a tool for development communication. In this regard, the paper projects the potency of theatre in enhancing development and its role in influencing social change. The paper submits that, development starts with people and not with ‘goods’. It includes their education, empowerment and preservation of people’s cultural identity and all that enhances their well being and makes for a good life. Theatre for Development as a Strategic communication method is a powerful tool that can improve the chances of success of development projects. It strives for behaviour change not just information dissemination, education, or awareness-raising by Interrogating and possibly challenging traditional philosophies and visions of development where the top down model to development is replaced with the bottom up model in a bid to transfer the control of development to the target recipients of the intended development in a situation whereby the recipients become active participants - ‘spec actors’ not ‘spectators’, in the process and they – the people define how and when development happens. Key Words: Theatre for Development, Development Communication, Development
Follow up and impact evaluation in the Theatre for Development continuum has been generally a problem. Lack of follow up and continuity of workshops has bedeviled the practice in Nigeria. It is the contention of this paper that knowing the outcome of any drama intervention carried out should be a priority by practitioners in Nigeria. The paper therefore, documents findings during the execution of a drama based intervention towards health promotion among rural women at Ikyaan and Amua communities in Benue State -Nigeria, which focused on the issue of Maternal health especially the issue of making pregnancy safer (MPS). It was discovered among others that the drama intervention helped to change the opinion and belief that the antenatal drugs given to women causes convulsion in children as was the initial belief in one of the communities. More so, clinic based deliveries have increased significantly in one of the communities due to the drama intervention. The paper concludes that TfD presents an alternative research approach that provides stimulus for thought and action that breeds liberating initiatives that permeates the whole being and communities.
Theatre for development in Kenya : in search of an effective procedure and methodology
2005
This is a study of Theatre for Development (TfD) in Kenya. It is an attempt to map out and describe different manifestations of the practice which would, in a way, act as a critical model for practitioners and other stakeholders. However, this is in no way an attempt to provide a rigid all-purpose theoretical model, but nonetheless to offer ways, through a description of aspects of Theatre for Development, within which and through which social and behavioural transformations in this eclectic field may take place. To this end, case studies of a few indicative and contrasting examples of Theatre for Development will be used to provide a mirror which will enable its practitioners to reflect upon and critique their own practices as a way of achieving optimum effectiveness. xi
Re-Enacting Theatre for Development
The Journal of development communication, 2020
The concept of development communication is a clear pointer to the interrelationship between communication and development and the fact that the process of communication can be effectively applied to achieve development purposes. In development communication, the major aim of communication is to bring about the process of development. Theatre as a communicative art is a highly dynamic and powerful conscientisation medium, and as such, integral to communication, as it is to development, establishing its importance and unique role as an invaluable development communication instrument. Anchoring on the truism of the above statement, and reinforced by the participatory development communication model, the paper refocuses the Esuk Ewang and Ibaka Communities of Mbo Local Government Area of Akwa Ibom State, Nigeria's Environmental Theatre for Development Project, to highlight the true nature of theatre in the context of development as well as the interrelationship between communicatio...
Examples in Alternative Theatre practice across most nations in African as in many other developed/developing nations of the world which has come under various names but commonly referred to as Theatre for Development because of its role in addressing people’s development, abound today. Similarly abounding are testimonies on its impact from earliest practices – from the Laedza Batanani experience in Botswana, to Zambia Chikwakwa experience, and the Ahmadu Bello University (ABU), Zaria, Nigeria experience among the Travelling Theatre experiences in University of Ibadan, Nigeria, Makerere in Uganda, and University of Malawi in Lesotho among very many recent examples. This study, however, in highlighting the basic import of the concept of Alternative Theatre in the whole construct of using theatre as a viable conscientisation medium to spur people into action for self actualisation, focuses on Ahmadu Bello University, Zaria, Nigeria experience in the development of the practice of Alternative Theatre, and explores the emergent trends in the course of the development which have popularised the practice in the academe, making it a legendary reference point, not only in Nigeria, but also beyond, Key words: trends, alternative, theatre, development
2021
Among many communication tools available, Theatre for Development (TfD) is a powerful medium for communication because of its performative, festive, communal, realistic and concrete nature. It is a good medium of communicating messages to local communities for the actors are often from the local community and the villagers do not have to travel to see the performances for it is performed in their locality. Many Social and Development issues facing various communities require public investment to address them. This investment will only arise if the general community is supportive and community support is only likely if the issues are widely acknowledged and understood. Some believe that Social and Development issues have to be solved by government alone, they do not seem to understand their share of responsibility in solving the problems. TfD is known to be alive to the social and development realities of its time. It is a kind of performance where the economic, social, religio...