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\par }}{\*\pnseclvl1\pnucrm\pnstart1\pnindent720\pnhang {\pntxta .}}{\*\pnseclvl2\pnucltr\pnstart1\pnindent720\pnhang {\pntxta .}}{\*\pnseclvl3\pndec\pnstart1\pnindent720\pnhang {\pntxta .}}{\*\pnseclvl4\pnlcltr\pnstart1\pnindent720\pnhang {\pntxta )}}
{\*\pnseclvl5\pndec\pnstart1\pnindent720\pnhang {\pntxtb (}{\pntxta )}}{\*\pnseclvl6\pnlcltr\pnstart1\pnindent720\pnhang {\pntxtb (}{\pntxta )}}{\*\pnseclvl7\pnlcrm\pnstart1\pnindent720\pnhang {\pntxtb (}{\pntxta )}}{\*\pnseclvl8
\pnlcltr\pnstart1\pnindent720\pnhang {\pntxtb (}{\pntxta )}}{\*\pnseclvl9\pnlcrm\pnstart1\pnindent720\pnhang {\pntxtb (}{\pntxta )}}\pard\plain \ltrpar\qc \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid6445139 
\rtlch\fcs1 \af0\afs24\alang1025 \ltrch\fcs0 \fs24\lang1033\langfe1033\cgrid\langnp1033\langfenp1033 {\rtlch\fcs1 \ab\af0\afs36 \ltrch\fcs0 \b\fs36\insrsid6445139\charrsid6445139 THE PERFORMER}{\rtlch\fcs1 \ab\af0\afs36 \ltrch\fcs0 
\b\fs36\insrsid12849733\charrsid6445139 
\par }{\rtlch\fcs1 \ab\af0\afs36 \ltrch\fcs0 \b\fs36\insrsid6445139\charrsid6445139 ILORIN JOURNAL OF THE PERFORMING ARTS
\par 
\par 
\par 
\par 
\par 
\par 
\par 
\par 
\par 
\par }\pard \ltrpar\qj \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid6445139 {\rtlch\fcs1 \ab\af0\afs36 \ltrch\fcs0 \b\fs36\insrsid6445139\charrsid6445139 Vol. 1 No. 2., 1999
\par Vol. 2. No. 1, 2000
\par 
\par 
\par ISSN 1595-0972
\par 
\par 
\par Published by the Department of the Performing Arts,
\par University of Ilorin, Ilorin, Nigeria}{\rtlch\fcs1 \ab\af0\afs36 \ltrch\fcs0 \b\fs36\insrsid6445139 
\par 
\par }\pard \ltrpar\qc \li5\ri0\sl-518\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin5\itap0\pararsid3804226 \cbpat8 {\rtlch\fcs1 \ab\af0\afs36 \ltrch\fcs0 \b\fs36\insrsid6445139 \page }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 
\fs21\expnd1\expndtw9\cf1\insrsid6445139 MODERN DANCE AND THE NIGERIAN CHOREOGRAPHER}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6445139 
\par }\pard \ltrpar\ql \li0\ri0\sb5\sl-518\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid6445139 \cbpat8 {\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw4\cf1\insrsid6445139 Felix A. AKINSIPE}{\rtlch\fcs1 
\af0\afs21 \ltrch\fcs0 \cs17\fs21\expnd0\expndtw4\cf1\super\insrsid6445139 *{\footnote \ltrpar \pard\plain \ltrpar\s15\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0 \rtlch\fcs1 \af0\afs20\alang1025 \ltrch\fcs0 
\fs20\lang1033\langfe1033\cgrid\langnp1033\langfenp1033 {\rtlch\fcs1 \af0 \ltrch\fcs0 \cs17\super\insrsid6445139 *}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6445139  }{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid16546653 
Felix Akinsipe is of the Department of Performing Arts, University of Ilorin, Nigeria. }}}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6445139 
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\ltrch\fcs0 \insrsid6445139 
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The dance art has had significant improvement in the Nigerian theatre. This is }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-3\cf1\insrsid6445139 quite evident in the works of Hubert Ogunde, the Kwagh-Hir theatre, the Atilogwu }{\rtlch\fcs1 
\af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw3\cf1\insrsid6445139 dancers and the various performances of the National troupe of Nigeria, to }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-1\cf1\insrsid6445139 mention a few. Howeve
r, "modern dance" has not been given sufficient attention }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid6445139 The Nigerian choreographer has not succeeded in creating dance performances }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 
\fs21\cf1\insrsid6445139 that can adequately qualify as "modern dance" - a form that depends entirely on }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-1\cf1\insrsid6445139 dance to communicate as an independent art
. Until this is achieved, the dance art }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-2\cf1\insrsid6445139 may not be said to have fully grown in Nigeria. This is because since the late 19th }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 
\fs21\expnd0\expndtw1\cf1\insrsid6445139 century, modem dance has become accepted as the peak of the establishment of }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-1\cf1\insrsid6445139 dance as an art of the theatre all over the world. Mode
rn dance is a dance theatre }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid6445139 that is based only on the use of expressive movements with the aim of:}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6445139 
\par }\pard \ltrpar\qj \li576\ri0\sb245\sl-235\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin576\itap0\pararsid6445139 \cbpat8 {\rtlch\fcs1 \ab\af0\afs19 \ltrch\fcs0 \b\fs19\expnd0\expndtw-2\cf1\insrsid6445139 
startling the audience into awareness through its message. It is thus not a }{\rtlch\fcs1 \ab\af0\afs19 \ltrch\fcs0 \b\fs19\expnd0\expndtw-4\cf1\insrsid6445139 spontaneous action but a designed intellectual effort with the end value of }{\rtlch\fcs1 
\ab\af0\afs19 \ltrch\fcs0 \b\fs19\expnd0\expndtw-2\cf1\insrsid6445139 communicating with the audience. (Encyclopaedia Britannica, 1992.291).}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6445139 
\par }\pard \ltrpar\qj \fi715\li24\ri10\sb264\sl-259\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin10\lin24\itap0\pararsid6445139 \cbpat8 {\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid6445139 
This paper, therefore takes a look at the various attempts the Nigerian }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-3\cf1\insrsid6445139 choreographer has made in this direction. It concludes that for various reasons, the }{\rtlch\fcs1 
\af0\afs21 \ltrch\fcs0 \fs21\cf1\insrsid6445139 Nigerian choreographer has not been able to do a pure dance performance based }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-2\cf1\insrsid6445139 
on expressive movements alone. What has been done so far depended, in one way }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw2\cf1\insrsid6445139 or the other, on music or dialogue or narration/speech for its meaning and }{\rtlch\fcs1 
\af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-1\cf1\insrsid6445139 understanding. Therefore a modern dance theatre tradition cannot be said to be in }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\cf1\insrsid6445139 
place in Nigeria. This paper thus takes a look at the problems militating against }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-1\cf1\insrsid6445139 the choreographer and the art of choreography in Nigeria. Suggestions on how to }{\rtlch\fcs1 
\af0\afs21 \ltrch\fcs0 \fs21\cf1\insrsid6445139 lay a solid foundation for the proper take-off of modern dance in the country are also proposed.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid6445139 
\par }\pard \ltrpar\ql \li163\ri3974\sl-533\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin3974\lin163\itap0\pararsid9857712 \cbpat8 {\rtlch\fcs1 \ab\af0\afs36 \ltrch\fcs0 \b\fs36\insrsid16546653 \page }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 
\fs21\expnd1\expndtw8\cf1\insrsid9857712 in the Theatre}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid9857712 
\par }\pard \ltrpar\qj \li115\ri0\sb235\sl-250\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin115\itap0\pararsid9857712 \cbpat8 {\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-1\cf1\insrsid9857712 
Choreography is the anglicised form of the Greek word "Choregraphie" (a fusion of two Greek words, "choreia" - dance and "graphein"- to write) meaning "the art }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-2\cf1\insrsid9857712 
of writing down of dance". The anglicised form however came to mean "the art of }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid9857712 composing dances" (Encyclopaedia Britannica, 1977:452). The creation of new }{\rtlch\fcs1 
\af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw2\cf1\insrsid9857712 movements, arrangement of groups (dancers) on stage and the arrangement or }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-3\cf1\insrsid9857712 interpre
tation of existing movement ideas became the acts of choreography and the }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid9857712 choreographer's task. The choreographer is therefore "a creative thinker, whose }{\rtlch\fcs1 
\af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-1\cf1\insrsid9857712 creative thoughts are expressed not verbally, but through body movements called }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid9857712 dance." (Bakare, 1994:1).}{
\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid9857712 
\par }\pard \ltrpar\qj \fi730\li101\ri62\sb58\sl-245\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin62\lin101\itap0\pararsid9857712 \cbpat8 {\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid9857712 
When the art of choreography began in the middle of the 15th century, }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw3\cf1\insrsid9857712 choreographers were assigned to arrange dances as embellishing parts of a }{\rtlch\fcs1 \af0\afs21 
\ltrch\fcs0 \fs21\expnd0\expndtw-2\cf1\insrsid9857712 dramatic or musical performance produced in the Italian courts of the Renaissance }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid9857712 (Encyclopaedia Britannica, 1977:452).}{
\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid9857712 
\par }\pard \ltrpar\qj \fi734\li77\ri82\sb48\sl-250\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin82\lin77\itap0\pararsid9857712 \cbpat8 {\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid9857712 
Over the years choreography gained more recognition and so had more }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\cf1\insrsid9857712 
functions and relevance in court performances. Thus, the performers in the early court ballets, who were usually a combination of actors and singers, became the }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-3\cf1\insrsid9857712 dancers as well
 in those ballets. This development brought dance to the same level }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid9857712 with music and speech in those performances.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid9857712 
\par }\pard \ltrpar\qj \fi758\li29\ri115\sb38\sl-250\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin115\lin29\itap0\pararsid9857712 \cbpat8 {\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid9857712 
The situation remained like this until a distinction was made between }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw2\cf1\insrsid9857712 dance, music, and speech. Song and speech then fused together to become the }{\rtlch\fcs1 \af0\afs21 
\ltrch\fcs0 \fs21\cf1\insrsid9857712 opera, while dance and mime combined, becoming "ballet d' action", ballet with }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-2\cf1\insrsid9857712 
mime, (Encyclopaedia Britannica, 1977:453). Choreography continued to develop }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw4\cf1\insrsid9857712 from mime in the "mime dramas" to a full means of communication and }{\rtlch\fcs1 \af0\afs21 
\ltrch\fcs0 \fs21\cf1\insrsid9857712 expression, becoming a full-fledged theatrical performance by the late 19th and }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid9857712 
early 20th centuries. Pioneers of such efforts included Isadora Duncan, Mary }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-2\cf1\insrsid9857712 Wigman, Alvin Ailey, Rudolf Laban, Ruth St. Dennis, Martha Graham and a host }{\rtlch\fcs1 
\af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-1\cf1\insrsid9857712 of others.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid9857712 
\par }\pard \ltrpar\qj \fi725\li19\ri163\sb67\sl-254\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin163\lin19\itap0\pararsid9857712 \cbpat8 {\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw2\cf1\insrsid9857712 
Modern dance, which came to be globally accepted as dance theatre, began as a rebellion against the strict techniques of ballet. At that time mam }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid9857712 
ballet dancers grew tired of the mechanical nature of ballet. They wanted to be free to express themselves, their emotions or ideas the very way they felt, and ballet was not giving them this much needed opportunity to do that.}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \insrsid9857712 
\par }\pard \ltrpar\qj \fi720\li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid9857712 {\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd-1\expndtw-6\cf1\insrsid9857712 
They saw ballet as being too remote from the dancer and therefore lack in }{\rtlch\fcs1 \ai\af0\afs21 \ltrch\fcs0 \i\fs21\expnd-1\expndtw-6\cf1\insrsid9857712 i< }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid9857712 
the vehicle for self and free expression. Valery Panov, the Russian ballet}{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid6445139 
\par }\pard \ltrpar\ql \li5\ri0\sb264\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin5\itap0\pararsid12650513 \cbpat8 {\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid9857712 \page }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 
\fs22\expnd0\expndtw-2\cf1\insrsid12650513 dancer who later became a modem dance exponent, says in his book }{\rtlch\fcs1 \ai\af0\afs22 \ltrch\fcs0 \i\fs22\expnd0\expndtw-2\cf1\insrsid12650513 To Dance}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid12650513 

\par }\pard \ltrpar\ql \li5\ri0\sb24\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin5\itap0\pararsid12650513 \cbpat8 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid12650513 that:}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\insrsid12650513 
\par }\pard \ltrpar\qj \li571\ri778\sl-245\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin778\lin571\itap0\pararsid12650513 \cbpat8 {\rtlch\fcs1 \ab\af0\afs19 \ltrch\fcs0 \b\fs19\expnd-1\expndtw-7\cf1\insrsid12650513 
Ballet became scoring points on jury cards instead of moving audiences to }{\rtlch\fcs1 \ab\af0\afs19 \ltrch\fcs0 \b\fs19\expnd-1\expndtw-5\cf1\insrsid12650513 think about their lives. This made us to learn each tiny gesture in a kind }{\rtlch\fcs1 
\ab\af0\afs19 \ltrch\fcs0 \b\fs19\expnd0\expndtw-1\cf1\insrsid12650513 of mindless rote. From the beginning to the end it was two hours of }{\rtlch\fcs1 \ab\af0\afs19 \ltrch\fcs0 \b\fs19\expnd0\expndtw3\cf1\insrsid12650513 memorization. (Panov, 1978:87).}
{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid12650513 
\par }\pard \ltrpar\qj \fi720\li24\ri53\sb245\sl-259\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin53\lin24\itap0\pararsid12650513 \cbpat8 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid12650513 
Therefore, modem dance came as a saving grace to "reshape the world of }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid12650513 dance, freeing it from the traditional strictures of ballet" (Cash, 1983:51). }{\rtlch\fcs1 \af0\afs22 
\ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid12650513 Since the emergence of modem dance in the late 19}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\super\insrsid12650513 th}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 
\fs22\expnd0\expndtw-3\cf1\insrsid12650513  and early 20* centuries, }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid12650513 dance has come to be recognized and accepted as a contemporary art capable of }{\rtlch\fcs1 \af0\afs22 
\ltrch\fcs0 \fs22\cf1\insrsid12650513 treating serious themes and presenting them in pure movements that are }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid12650513 expressive even without the ai
d of music, mime, speech, costume or scenery.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid12650513 
\par }\pard \ltrpar\qj \fi710\li34\ri0\sl-259\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin34\itap0\pararsid12650513 \cbpat8 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid12650513 
With a lot of efforts modern dance choreographers have successfully }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-1\cf1\insrsid12650513 "stripped dance to the essentials of movement, which could be inherently }{\rtlch\fcs1 \af0\afs22 
\ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid12650513 expressive when not obscured by artificial ornament" (Encyclopaedia Britannica. }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid12650513 
1992:291). From this time, choreographers have beer* concerned with creating }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid12650513 pure dance performances of their own. Thus, the choreographer has become a, }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid12650513 boss in the theatre - composing (writing) dance, creating or designing movements }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid12650513 (choreograp
hy) and arranging dancers on stage (directing) as well.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid12650513 
\par }\pard \ltrpar\qj \fi725\li48\ri43\sl-259\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin43\lin48\itap0\pararsid12650513 \cbpat8 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid12650513 
This new direction in dance art has not been given proper expression in }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid12650513 the Nigerian theatre. The Nigerian choreographer has not been able to embark on }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid12650513 pure dance production that can be adequately termed "Modern Dance". It is against this background that this paper takes a look at how the Nigerian }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 
\fs22\expnd0\expndtw-1\cf1\insrsid12650513 choreographer has fared so far and the factors and constraints affecting his }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid12650513 operations.}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\insrsid12650513 
\par }\pard \ltrpar\ql \li173\ri0\sb264\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin173\itap0\pararsid12650513 \cbpat8 {\rtlch\fcs1 \ab\af0\afs22 \ltrch\fcs0 \b\fs22\expnd0\expndtw-3\cf1\insrsid12650513 The Nigerian Choreog
rapher: The Journey So Far}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid12650513 
\par }\pard \ltrpar\qj \li72\ri5\sb245\sl-259\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin5\lin72\itap0\pararsid12650513 \cbpat8 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-7\cf1\insrsid4796156 In}{\rtlch\fcs1 \af0\afs22 
\ltrch\fcs0 \fs22\expnd-1\expndtw-7\cf1\insrsid12650513  the pre-colonial era, the Nigerian perspective of dance, as revealed in traditional festivals, is that dance or dancing is a communal activity. Dance is very much used }{\rtlch\fcs1 \af0\afs22 
\ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid12650513 to communicate among the Africans themselves and between them and their }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid12650513 
creator. The general conception is therefore that dance is something to be done by }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-1\cf1\insrsid12650513 the society, hi African festivals, all arts are blended together, from painting,, }{
\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid12650513 sculpture, drama and music to dance. These are improvised or created together) }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid12650513 
and they are communally owned.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid12650513 
\par }\pard \ltrpar\qj \fi72\li0\ri0\sb566\sl-254\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid4796156 \cbpat8 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid4796156 
\par 
\par }\pard \ltrpar\qj \fi720\li0\ri0\sb566\sl-254\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid16731616 \cbpat8 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid12650513 
Another common feature of dance in Africa is its dependence on music. }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid12650513 The association of dance and music as well as the interdependence of one on the }{\rtlch\fcs1 \af0\afs22 
\ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid12650513 other in the African society cannot be overemphasized This notion is well stressed }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid12650513 
in African festivals. There seems to be no music without its corresponding dance }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid12650513 and usually nobody dances without music. The situation is such that every type of }{
\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid12650513 music has its corresponding dance form. A particular style of dance is performed }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid12650513 
to specific music. When drumming stops, dancing stops }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid12650513 (Kinni - Olusanyin, 1986:58). Therefore even when no musical instrument is }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 
\fs22\expnd0\expndtw-3\cf1\insrsid12650513 played, Africans sing, clap their hands together, drag, hit or tap their feet on the }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid12650513 
floor to produce music to accompany their movements.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid12650513 
\par }\pard \ltrpar\qj \fi744\li53\ri43\sb34\sl-250\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin43\lin53\itap0\pararsid12650513 \cbpat8 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-8\cf1\insrsid12650513 
Dance is done by everybody and used for everything in the African societ> }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid12650513 - be it good or bad, gay or dull, big or small. It is therefore not surprising }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid12650513 'to find dance as a medium of expression for all levels of the society on occasions }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid12650513 
of ritual and social significance, and as the most popular form of recreation and }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid12650513 entertainment', (Haper, 1970:70). The choreographer functions mainly in creating }{
\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid12650513 dances to accompany musical or dramatic pieces. In fact, dance was largcK }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid12650513 
depended upon and used to tie together and structure the earliest performances in }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid12650513 the Nigerian theatre, as Nzewi has observed:}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid12650513 

\par }\pard \ltrpar\qj \li754\ri787\sb298\sl-221\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin787\lin754\itap0\pararsid12650513 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \expnd-1\expndtw-5\cf1\insrsid12650513 
the truth remains that stage presentation not structured to or sequcnoed by dance or stylised movement is alien to the inherent Nigerian theatre }{\rtlch\fcs1 \af0 \ltrch\fcs0 \cf1\insrsid12650513 sensibilities. (Nzewi 1981:433)}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \insrsid12650513 
\par }\pard \ltrpar\qj \li19\ri91\sb259\sl-250\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin91\lin19\itap0\pararsid12650513 \cbpat8 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid12650513 
Therefore when the professional Yoruba travelling theatre began in Nigeria, the }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid12650513 opera became the first established form of performance because of its integration }{
\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid12650513 of music, dance, drama, stage design and costume.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid12650513 
\par }\pard \ltrpar\qj \fi720\li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12650513 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid12650513 
Later on, when drama became the focus of the travelling theatre groups }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid12650513 dance was heavily employed in the opening and closing glees. Stylised steps were }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid12650513 used to 'accompany" the songs as evident in the early works of Hubert Ogunde. }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid12650513 
Duro Ladipo and Kola Ogunmola Ogunsola, in Jeyifo (1985: 113), decried this }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid12650513 
particular approach to the use of dance when he observed: "after ending a tragic play, there is no need to sing and dance at all, for this mars the mood and tone of }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid12650513 
the tragedy."}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid9857712 
\par }\pard \ltrpar\qj \fi720\li0\ri72\sl-259\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin72\lin0\itap0\pararsid7087561 \cbpat8 {\rtlch\fcs1 \ab\af0\afs36 \ltrch\fcs0 \b\fs36\insrsid7087561 \page }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 
\fs22\expnd0\expndtw-3\cf1\insrsid7087561 In modern Nigerian theatre, there came the era of "dance-dramas". }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid7087561 Dance-drama is the term generally acc
orded the earliest attempt to create a dance theatre because of its heavy dependence on mime and drama. There were series of }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid7087561 
experiments by some university- based groups like the Ori-Olokun theatre in the Institute of African Studies of the then University of Ife, now Obafemi }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid7087561 
Awolovvo University, and the "Unibadan Masques'}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\super\insrsid7087561 7}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid7087561 
 of the University of Ibadan. However, what is done is pure miming to music. A typical example is as follows: The male dancer points to a female*dancer on count one, and to himself on count }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 
\fs22\expnd-1\expndtw-5\cf1\insrsid7087561 two, he then brings one finger to join that of the other hand, to symbolise coming }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid7087561 
to agreement on count three. This is repeated several times to suggest that he }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid7087561 wants to marry the female dancer. The girl then responds by clapping her hands three times 
to suggest surprise before pointing back to the male dancer on count }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid7087561 one and to herself on count two and bringing her two fingers together on count }{\rtlch\fcs1 \af0\afs22 
\ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid7087561 three to mean. "You want me to marry?" The male dancer will nod his head in agreement. Having confirmed that the message is understood the female dancer }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 
\fs22\expnd-1\expndtw-5\cf1\insrsid7087561 then proceeds to give her reply also in mime and this is what is done throughout }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid7087561 the performance}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\insrsid7087561 
\par }\pard \ltrpar\qj \fi710\li34\ri62\sl-259\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin62\lin34\itap0\pararsid7087561 \cbpat8 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid7087561 
Although dance combines the use of gesture and mime, a situation in }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid7087561 which only gestures and mime are used througho
ut a performance no longer qualifies such as a dance performance but a mime drama This is because dance }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid7087561 
goes beyond mime. Those mimed actions can be expanded and developed into }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid7087561 dance movements.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid7087561 
\par }\pard \ltrpar\qj \fi720\li43\ri10\sl-259\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin10\lin43\itap0\pararsid7087561 \cbpat8 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid7087561 
Most of the contemporary dance performances that are practised here and there in modem Nigerian theatre are more of movement than mime. In fact, some }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid7087561 
ol the dances are based on pure movements but they are usually not perfected to }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-7\cf1\insrsid7087561 make them bring out their own meaning across to the audience. Hence, the use of a }{
\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid7087561 nairator of intermittent speeches to explain the actions being enacted Even when }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-7\cf1\insrsid7087561 
what is needed is to create some more details in movements, focus the action or re\-}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid7087561 arrange the sequences to make the dances communicate on their own, the dance }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid7087561 creator goes for the use of narrative technique theatre. Such was the production of }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid7087561 
"The Passionate Mission" by the Ebony Culture Group based in Lagos.}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\super\insrsid7087561 1}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid7087561 
\par }\pard \ltrpar\qj \fi720\li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid7087561 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-7\cf1\insrsid7087561 
However, some positive attempts have been recorded at the Department of }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid7087561 Performing Arts. University of Ilonn in the area of modern dance. Series of dance }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid7087561 performances based mainly on the use of expressive movements to communicate }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-8\cf1\insrsid7087561 
hav e been produced. In 1990. Chris Ugolo choreographed "A Festival of Power"}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-8\cf1\super\insrsid7087561 2}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-8\cf1\insrsid7087561 ; }{
\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid7087561 Akinsipe et al adapted }{\rtlch\fcs1 \ai\af0\afs22 \ltrch\fcs0 \i\fs22\expnd0\expndtw-2\cf1\insrsid7087561 Efiinsetan Aniwura }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 
\fs22\expnd0\expndtw-2\cf1\insrsid7087561 by Akinwunmi Isola into dance in}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid12650513 
\par }\pard \ltrpar\qj \li53\ri0\sb230\sl-240\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin53\itap0\pararsid16605170 \cbpat8 {\rtlch\fcs1 \ab\af0\afs36 \ltrch\fcs0 \b\fs36\insrsid16605170 \page }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 
\fs22\expnd0\expndtw-4\cf1\insrsid16605170 1991}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\super\insrsid16605170 3}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid16605170 
 while Uche Iwuayanwu et al. also adapted Wole Soyinka's }{\rtlch\fcs1 \ai\af0\afs22 \ltrch\fcs0 \i\fs22\expnd0\expndtw-4\cf1\insrsid16605170 The Lion and }{\rtlch\fcs1 \ai\af0\afs22 \ltrch\fcs0 \i\fs22\expnd0\expndtw-3\cf1\insrsid16605170 the Jewel }{
\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid16605170 into dance in 1995.}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\super\insrsid16605170 4}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid16605170 
\par }\pard \ltrpar\qj \fi730\li38\ri29\sb29\sl-254\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin29\lin38\itap0\pararsid16605170 \cbpat8 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid16605170 
Following the positive reception of the above modern dance theatre }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid16605170 productions one can conclude that the problem of modern dance in Nigeria can be }{\rtlch\fcs1 \af0\afs22 
\ltrch\fcs0 \fs22\expnd0\expndtw-1\cf1\insrsid16605170 blamed, first and foremost, on the Nigerian choreographer who has failed to }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid16605170 
produce this theatre and do it consistently. Modem dance did not find an easy }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid16605170 route into the minds of the European and American audiences. The pioneers ol }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid16605170 the modern dance theatre faced a lot of persecution, arrests and rejections. Man> }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid16605170 
had to go on exile but only to continue to do what they believed in and 'once the }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid16605170 audiences got used to the new approach to movement, they realised that the }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid16605170 modern dancers had got much to say about modern life' (George Kernodle et al. }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\cf1\insrsid16605170 1985:310).}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\insrsid16605170 
\par }\pard \ltrpar\qj \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid16605170 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid16605170 
       Another deduction that can be made from the success recorded at the }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-7\cf1\insrsid16605170 University of Ilorin is that the development of modern dance in Nigeria may hinge }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid16605170 on the efforts of formally trained dance artists (dancers, choreographers etcX }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-1\cf1\insrsid16605170 
bearing in mind that modern dance itself is both an intellectual and highly }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid16605170 technical experience. A sound technical training in movement techniques makes }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid16605170 the dance artist to be more in control of his art and capable of performing and }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid16605170 
remaining relevant to the society because 'the better choreographer is one who is }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid16605170 aware of the world around him: politics, nature, history, religion, music and even }{
\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid16605170 noise. (Babarinde-Hall, 1987:46). The dance artist must therefore be familiar with current developments in the dance field across the world. Lack of dance education }{
\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid16605170 is the biggest and major problem facing the Nigerian dance artists. When the }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid16605170 
"Academic Royale de Danse" - Royal academy of Dance, was established in Paris }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-1\cf1\insrsid16605170 in 1661, by king Louis XIV of France, it became the centre and source of }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid16605170 education, development, and formulation of guiding rules and principles for ballet dancers, choreographers, teachers, critics and audiences as well. This writer is not }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid16605170 aware of the existence of any adequate and comprehensive dance school in }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-1\cf1\insrsid16605170 
Nigeria. It is no wonder, therefore, that since the inception of dance in the }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid16605170 Nigerian Theatre a professional body for dancers - "Guild of Nigerian Dancers" -}{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid16605170 was only recently formed in 1997. It is particularly worthy of note that the new }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-7\cf1\insrsid16605170 
body has identified lack of education as one of the major problems of the members }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-1\cf1\insrsid16605170 and so is embarking on "a back to school programme" with the intention of }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid16605170 empowering about fifty percent of their members educationally starting from}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid7087561 
\par }\pard \ltrpar\qj \li0\ri5\sb278\sl-259\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin5\lin0\itap0\pararsid5930563 \cbpat8 {\rtlch\fcs1 \ab\af0\afs36 \ltrch\fcs0 \b\fs36\insrsid16605170 \page }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 
\fs22\expnd1\expndtw6\cf1\insrsid5930563 1998, (James 1998:4). Quite unfortunately, this is the case with the }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid5930563 
choreographers too. Academic (university-trained) choreographers who have }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid5930563 actually studied dance and have sound training in the art of choreography in both }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid5930563 theory and practice are very few in Nigeria. This is largely because there is no }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid5930563 
institution of choreography in Nigeria. Choreography is only studied in some of }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid5930563 the thefre arts departments of the Nigerian Universities. Many of these theatre }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-7\cf1\insrsid5930563 departments have no adequate facilities for effective teaching of choreography and }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid5930563 
the focus of many of die theatre arts departments is not to train a choreographer. }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid5930563 The }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\ul\expnd-1\expndtw-5\cf1\insrsid5930563 
teaching}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid5930563  of choreography places great demands on the choreography teacher }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \strike\fs22\expnd-1\expndtw-5\cf1\insrsid5930563 because}{
\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid5930563  of the level of his personal involvement in training sessions. The }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid5930563 
few skilled choreographers in Nigeria are not adequately remunerated and so do }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid5930563 not stay in the country. For example, Mrs Bunmi Babarinde-HalL a former dance }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid5930563 lecturer in the Performing Arts Department of the University of Ilorin had a short }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-1\cf1\insrsid5930563 
stay in Nigeria but went back to USA probably because of better working }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-7\cf1\insrsid5930563 conditions over there. The same thing is applicable to Pe
ter Badejo, a former dance teacher/choreographer who is now based in London. Reading materials, like dance }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid5930563 books, Journals, }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 
\fs22\ul\expnd0\expndtw-2\cf1\insrsid5930563 magazines}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid5930563  are inadequate in Nigeria. There is also no proper }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 
\fs22\expnd-1\expndtw-5\cf1\insrsid5930563 documentation of most of the dance performances that have been staged to serve }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid5930563 as reference materials.}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\insrsid5930563 
\par }\pard \ltrpar\ql \li67\ri0\sb274\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin67\itap0\pararsid5930563 \cbpat8 {\rtlch\fcs1 \ab\af0\afs22 \ltrch\fcs0 \b\fs22\expnd0\expndtw-3\cf1\insrsid5930563 The Way Forward}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \insrsid5930563 
\par }\pard \ltrpar\qj \li10\ri0\sb254\sl-259\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin10\itap0\pararsid5930563 \cbpat8 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid5930563 
Going by the present situation of dance in Nigeria as recorded above, there is need }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid5930563 to take purposeful steps to develop the modern dance theatre. Perhaps the first }{
\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid5930563 and major step to be taken is to establish a school of dance/choreography. This }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-1\cf1\insrsid5930563 
will mark a turning point in the practice of dance and choreography in the }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid5930563 Nigerian theatre. This school will invariably provide the much-needed avenue for }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid5930563 training, research, and experiments in the field of dance. Compe
tent dancers, teachers and choreographers will then emerge from such a school to create the much-reeded new direction for modern dance in the Nigerian theatre, hi the }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-1\cf1\insrsid5930563 
meantime, the Nigerian government should also come to the aid of dance and }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid5930563 choreography by awarding scholarships to choreographers to study abroad, where }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid5930563 the art of choreography is already well developed. Finally, the government needs }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid5930563 
to give incentives to trained choreographers that we have in the country to retain }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid5930563 them. This will enable them contribute to the training of more choreographers and }{
\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid5930563 develop the art of choreography in Nigeria.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid5930563 
\par }\pard \ltrpar\ql \li149\ri0\sb725\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin149\itap0\pararsid5930563 \cbpat8 {\rtlch\fcs1 \ab\af0\afs36 \ltrch\fcs0 \b\fs36\insrsid5930563 \page }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 
\fs22\expnd0\expndtw-1\cf1\insrsid5930563 Conclusion}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid5930563 
\par }\pard \ltrpar\qj \li82\ri0\sb250\sl-259\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin82\itap0\pararsid5930563 \cbpat8 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid5930563 
We have tried in this paper to examine the major reasons why the Nigerian }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid5930563 choreographer has not been attracted to creating modern dance, as well as many }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid5930563 problems he has been facing as a dance artist in Nigeria. The nature }{\rtlch\fcs1 \ai\af0\afs22 \ltrch\fcs0 \i\fs22\expnd0\expndtw-2\cf1\insrsid5930563 .of }{\rtlch\fcs1 \af0\afs22 
\ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid5930563 the }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid5930563 Nigerian (African) conception of the practice of dance itself, as well as the lack of }{\rtlch\fcs1 \af0\afs22 
\ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid5930563 adequate training facilities for choreographers have been identified as some of the }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid5930563 
factors militating against the proper functioning of the Nigerian choreographer. }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid5930563 Our major finding in this paper is that modern dance in Nigeria, has not taken off }{
\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid5930563 properly and we have suggested some solutions for combating the problems it }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw1\cf1\insrsid5930563 
faces. It is therefore hoped that this work will encourage dancers and }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid5930563 choreographers as well to begin to explore the very many capabilities of dance to }{\rtlch\fcs1 
\af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-4\cf1\insrsid5930563 communicate in the Nigerian theatre.}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid5930563 
\par }\pard \ltrpar\ql \li96\ri0\sb274\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin96\itap0\pararsid5930563 \cbpat8 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid5930563 Notes}{\rtlch\fcs1 \af0 \ltrch\fcs0 
\insrsid5930563 
\par }\pard \ltrpar\ql \li125\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin125\itap0\pararsid5930563 \cbpat8 {\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid5930563 
\par }\pard \ltrpar\qj \fi-715\li806\ri34\sl-259\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin34\lin806\itap0\pararsid5930563 \cbpat8 {\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid5930563 
The production of the "Passionate Mission" choreographed Muyiwa }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-5\cf1\insrsid5930563 Oshinaike as presented in the Africa Hall, University ofllorin on }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 
\fs22\expnd-1\expndtw-7\cf1\insrsid5930563 the 27}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-7\cf1\super\insrsid5930563 lh}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-7\cf1\insrsid5930563  and 28}{\rtlch\fcs1 \af0\afs22 
\ltrch\fcs0 \fs22\expnd-1\expndtw-7\cf1\super\insrsid5930563 th}{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-7\cf1\insrsid5930563  April 1993.
\par }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid5930563 
\par "A festival of Power" created, choreographed and directed by Chris }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid5930563 Ugolo for the 1990 convocation ceremony of University ofllorin }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 
\fs22\expnd-1\expndtw-7\cf1\insrsid5930563 between 9th - 11th November 1990 at the Africa Hall, University }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-3\cf1\insrsid5930563 of Ilonn.
\par }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\cf1\insrsid5930563 
\par "Efunsetan Aniwura" (a dance theatre adaptation) by Akinsipc FA, }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid5930563 Bello Mariam and Adeoyc Ibilola, PFA 402 Major Project on }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 
\fs22\expnd0\expndtw-3\cf1\insrsid5930563 Monday 5th August 1991, Africa Hall University of Ilorin, }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-7\cf1\insrsid5930563 Nigeria.
\par 
\par }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd0\expndtw-2\cf1\insrsid5930563 "A Dance Adaptation of Wolc Soyinka's }{\rtlch\fcs1 \ai\af0\afs22 \ltrch\fcs0 \i\fs22\expnd0\expndtw-2\cf1\insrsid5930563 The Lion and the Jewel", }{\rtlch\fcs1 \af0\afs22 
\ltrch\fcs0 \fs22\expnd-1\expndtw-7\cf1\insrsid5930563 choreographed by Uchcnna I wnanyanwu for her PFA 402 Major }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\expnd-1\expndtw-6\cf1\insrsid5930563 
Project on the 2nd of August, 1995, at the Africa Hall University }{\rtlch\fcs1 \af0\afs22 \ltrch\fcs0 \fs22\cf1\insrsid5930563 ofllorin, Mini Campus}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid5930563 
\par }\pard \ltrpar\ql \li14\ri0\sb542\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin14\itap0\pararsid11161676 \cbpat8 {\rtlch\fcs1 \ab\af0\afs36 \ltrch\fcs0 \b\fs36\insrsid11161676 \page }{\rtlch\fcs1 \ab\af0\afs22 \ltrch\fcs0 
\b\fs22\expnd-1\expndtw-5\cf1\insrsid11161676 References}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid11161676 
\par }\pard \ltrpar\ql \fi-720\li749\ri0\sl-254\slmult0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin749\itap0\pararsid11161676 \cbpat8 {\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid11161676 
Adedeji, J. A. 1981. 'Alarinjo: The Traditional Yoruba Travelling Theatre}{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\super\insrsid11161676 1}{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid11161676  In: }{
\rtlch\fcs1 \ai\af0\afs21 \ltrch\fcs0 \i\fs21\expnd0\expndtw1\cf1\insrsid11161676 Drama and Theatre in Nigeria: A Critical Source Book, }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid11161676 Yemi Ogunbiyi (cd.). }{\rtlch\fcs1 
\af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw2\cf1\insrsid11161676 Lagos: Nigeria Maga/ine, pp. 221 - 247. 
\par }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid11161676 Apel, Willi. 1970. }{\rtlch\fcs1 \ai\af0\afs21 \ltrch\fcs0 \i\fs21\expnd0\expndtw1\cf1\insrsid11161676 Harvard Dictionary of Music }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 
\fs21\expnd0\expndtw1\cf1\insrsid11161676 (2nd ed.) London: Heinemann}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid11161676  }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid11161676 Educational Books Ltd. 
\par Babarinde-Hall, Bunmi. 1987. "The Nigerian Dance Graduate: Career}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid11161676  }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw2\cf1\insrsid11161676 Opportunities and Financial Survival" }{\rtlch\fcs1 
\ai\af0\afs21 \ltrch\fcs0 \i\fs21\expnd0\expndtw2\cf1\insrsid11161676 Theatre Forum }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw2\cf1\insrsid11161676 1: 45-46. 
\par }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-1\cf1\insrsid11161676 Bakare, Rasaki Ojo. 1994. }{\rtlch\fcs1 \ai\af0\afs21 \ltrch\fcs0 \i\fs21\expnd0\expndtw-1\cf1\insrsid11161676 Rudiments of Choreography. }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 
\fs21\expnd0\expndtw-1\cf1\insrsid11161676 Zaria: Space 2000, Pace}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid11161676  }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid11161676 Publishers Ltd.
\par }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw2\cf1\insrsid11161676 Cash, Debra. 1983. "Pure Movement" }{\rtlch\fcs1 \ai\af0\afs21 \ltrch\fcs0 \i\fs21\expnd0\expndtw2\cf1\insrsid11161676 Dialogues }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 
\fs21\expnd0\expndtw2\cf1\insrsid11161676 59(1): 51-63. 
\par }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-2\cf1\insrsid11161676 Haper, Peggy. 1970. "The Role of Dance in the Gelede Ceremonies of the Village}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid11161676  }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 
\fs21\expnd2\expndtw10\cf1\insrsid11161676 of Ijio."6W\'bb4:69-89. 
\par }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-2\cf1\insrsid11161676 James, Steve Eshemokhai. 1998. "Message from the National Chairman " }{\rtlch\fcs1 \ai\af0\afs21 \ltrch\fcs0 \i\fs21\expnd0\expndtw-2\cf1\insrsid11161676 CiOND}{\rtlch\fcs1 
\af0 \ltrch\fcs0 \insrsid11161676  }{\rtlch\fcs1 \ai\af0\afs21 \ltrch\fcs0 \i\fs21\expnd0\expndtw-1\cf1\insrsid11161676 NEWS, The Official Newsletters of the Cniild of Nigerian Dancers }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 
\fs21\expnd0\expndtw-1\cf1\insrsid11161676 l(2):6 
\par }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\cf1\insrsid11161676 Kcrnodle, G. Kernodle, P. and Pixlcy, E. 1985. }{\rtlch\fcs1 \ai\af0\afs21 \ltrch\fcs0 \i\fs21\cf1\insrsid11161676 Invitation to the Theatre }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 
\fs21\cf1\insrsid11161676 (3rdcd)}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid11161676  }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid11161676 Florida: Harcourt Brace Jovanovich, Publishers
\par Kinni Olusanyin, }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \scaps\fs21\expnd0\expndtw1\cf1\insrsid11161676 esi. }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid11161676 1986. "The Arts as Communication in the American and}{\rtlch\fcs1 
\af0 \ltrch\fcs0 \insrsid11161676  }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw3\cf1\insrsid11161676 Nigerian Societies'" }{\rtlch\fcs1 \ai\af0\afs21 \ltrch\fcs0 \i\fs21\expnd0\expndtw3\cf1\insrsid11161676 
Ibadan Journal of Humanistic Studies, }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw3\cf1\insrsid11161676 No.6:34-65
\par }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid11161676 Nzewi. Meki. 1981. "Music, Dance, Drama and the Stage in Nigeria" In }{\rtlch\fcs1 \ai\af0\afs21 \ltrch\fcs0 \i\fs21\expnd0\expndtw1\cf1\insrsid11161676 Drama}{\rtlch\fcs1 
\af0 \ltrch\fcs0 \insrsid11161676  }{\rtlch\fcs1 \ai\af0\afs21 \ltrch\fcs0 \i\fs21\expnd0\expndtw2\cf1\insrsid11161676 and Theatre in Nigeria: a Critical Source Book, }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw2\cf1\insrsid11161676 
Yemi Ogunbiyi (ed.), pp. 433-456. Lagos: Nigeria Magazine.
\par }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw4\cf1\insrsid11161676 Ogunsola, Isola. 1981. In Jeyifo Biodun. 1985. }{\rtlch\fcs1 \ai\af0\afs21 \ltrch\fcs0 \i\fs21\expnd0\expndtw4\cf1\insrsid11161676 The Truthful Lie: Essays in a}{\rtlch\fcs1 
\af0 \ltrch\fcs0 \insrsid11161676  }{\rtlch\fcs1 \ai\af0\afs21 \ltrch\fcs0 \i\fs21\expnd0\expndtw2\cf1\insrsid11161676 Sociology of African Drama. }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw2\cf1\insrsid11161676 
London: New Beacon Books Ltd. 
\par }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid11161676 Panov. Valcry. 1978 }{\rtlch\fcs1 \ai\af0\afs21 \ltrch\fcs0 \i\fs21\expnd0\expndtw1\cf1\insrsid11161676 To Dance. }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 
\fs21\expnd0\expndtw1\cf1\insrsid11161676 New York: Avon Books. 
\par }{\rtlch\fcs1 \ai\af0\afs21 \ltrch\fcs0 \i\fs21\expnd0\expndtw2\cf1\insrsid11161676 The New Encyclopedia Britannica Macropedia. }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw2\cf1\insrsid11161676 1977. "Choreography and}{\rtlch\fcs1 \af0 
\ltrch\fcs0 \insrsid11161676  }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd0\expndtw-1\cf1\insrsid11161676 Dance Notations." Chicago: Encyclopedia Britannica, Inc. 4: pp. 452-456 
\par }{\rtlch\fcs1 \ai\af0\afs21 \ltrch\fcs0 \i\fs21\expnd1\expndtw8\cf1\insrsid11161676 The New Enclyclopedia Rritannica Macropedia.   }{\rtlch\fcs1 \af0\afs21 \ltrch\fcs0 \fs21\expnd1\expndtw8\cf1\insrsid11161676 1992. "Modem Dance' }{\rtlch\fcs1 \af0\afs21 
\ltrch\fcs0 \fs21\expnd0\expndtw1\cf1\insrsid11161676 Chicago: Encyclopedia Britannica Inc. 12: pp. 290-295}{\rtlch\fcs1 \af0 \ltrch\fcs0 \insrsid16605170\charrsid11161676 
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