Browsing by Author "Akinsipe, Felix"
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Item Item The Chorister as a Performer(Department of Theatre Arts, University of Calabar, 2006) Akinsipe, FelixThe fight and romance between the church and the theatre is a long one. However, the fact has been established that the spoken drama and the musical dance (theatre) must have both probably developed from religion or as a means of religious worship (Hodgson 1972:72). All through the ages however rind the theatre being sometimes totally embraced by the church and sometimes sternly denounced by it. For example, the church had begun to attack the minstrel or Harper or dancer, actors and stage players - the theatre - as early as A. D. 348 when the Third Council at Cartage: ...declared such people to be excommunicated and the council of Eliberis adds, 'If a Sooth-sayer or stage player have a mind to become believers, that is, to be baptized, let them be received on condition that they first bid adieu to their arts, and return not to them again1 (Edwards 1984: 24). However, around the same time, the theater was embraced in some churches so much that Basil (Bishop of Caesarea in 370) called dance the noblest act of the angels and by the sixth century, there is evidence of dance in the churches especially at Christmas Rasters and other festivals. (Edwards, 1984:25). This ancient trend has continued till modern times. For example, In May 1967 a dramatic presentation of the mass was performed in Liverpool's Roman Catholic Cathedral. It was planned for two years, involved thirty-six dancers, a choir of eighty, an orchestra of fifty and cost £50.000 (Edwards 1984: 4). Up till today, the argument persists. Has the church anything to do with the theatre? While some churches embrace the theater there are some that will have nothing to do with it. Nevertheless, we shall go on to establish in this paper that the church has some common grounds with the theater in function, purpose and practice. The paper therefore examines who the theatre artists and the choristers are, and their interrelationships. Since the church and the theatre, as well as, the chorister and the theatre artist are seen differently by different people, there is need to define their characters see if they have anything in commonItem The Communicative Indices of Dance in Drama Productions: A Choreographic Approach to Olu Obafemi's Plays(Centre fro Black and African Arts & Civilization, 2000) Akinsipe, FelixAlthough dance and drama are two separate and independent media of communication in the theatre, they have both been used very often together as supportive of one another to enhance the communication process of a performance in the theatre. It should be noted that dance need not be used within a dramatic work at all. There are straight plays and pure drama where dance/music does not feature. Therefore, if dance is to be used in a dramatic production, there are three fundamental levels in which it can be used. These include using it along with drama and music as a total theatre on one level where dance shares equal usage and space as drama and other arts of the theatre employed.Item A Comparative Analysis of the Choreographic Signatures in the Production of “A Harvest of Dance” in Two Distinct Locations(University of Ilorin Library and Publications Committee., 2017) Akinsipe, FelixThe publication of dance librettos (dance scripts) was conceived to make available dance scripts written by one librettist to as many as possible choreographers that come across it for possible production and wider scholarship. Since this laudable effort started in Nigeria about a decade ago, we have had a libretto performed at different and distinct parts of the country. “A Harvest of Dance” by Ifure Ufford-Azorbo is one of such librettos that have been performed in two distinct settings in Nigeria, Uyo in the South-Southern Region and Ilorin in the North-Central. This paper seeks to analyse comparatively the different choreographic interpretations of the piece by these different choreographers and compare the moulds, approaches, templates and models of the two choreographers for it to earn them a choreographic signature on the work. Most times, the need to acknowledge objectivity in a choreographer‟s interpretation of a libretto written by another choreographer is seen as a diversion, but this work emphasises that each choreographer is a visionary artist, with the professional right to interpret any work in his or her own unique style. It is also noted that this style is informed by the demands of the production setting. The participant observation method was used to explore the content analysis of the production factors and elements of the two works. Inferences were then drawn that will enrich the dance world in particular and theatre generally.Item The contribution of the University of Ilorin Department of Performing Arts to Dance training and Practice in Nigeria(JOTAMS: Journal of theatre and media Arts, 2017) Akinsipe, Felix; Olalusi, Kehinde Adedamola; Ojuade, JeleelDance Scholarship in Nigeria is fast experiencing a rapid turnaround for the better, particularly with the newly evolved umbrella Association of Dance Scholars and Practitioners of Nigeria (ADSPON) where scholars of dance meet to discuss a variety of issues. However the development of dance studies in Nigeria may not have been so fruitful without the constant and consistent trainings and practices of dance ill some Universities. These "training and practices" have taken different facets ill various schools. Consequently, this paper intends to examine the contributions of the University of Ilorin Department of the Performing Arts to dance studies in Nigeria. Through interview and review of existing documents, this paper intends to examine and document the history of dance studies in the university from inception till now and also make a forecast of the future. In the course of this study, it was discovered that the uniqueness of the study of dance ill lloriu lies in its structure of dance being entrenched into major courses in 100 and 200 levels while an advanced study is enmeshed in the 300 and 400 levels, as such, even students who are not interested in majoring ill dance (It 30() 1('\'(,1are equipped with the history of dance, creation of movement. choreography, etc. This paper therefore concludes that dance studies ill Nigerian universities should adopt the approach of the University of florin, so as to ensure a constant development of dance scholarship in Nigeria.Item The Contributions of the University of Ilorin Department of Performing Arts to Dance Training and Practices in Nigeria(Department of Theatre and Media Studiae, University of Calabar., 2017) Akinsipe, FelixItem Dance as a vehicle of Communication in the Tiv Kwagh-hir Theatre(2015) Akinsipe, FelixDance, Communication, Kwagh-hir Theatre, Puppet TheatreItem Dance in Nigerian Primary Schools: Approaches and Concepts for the Next Millennium(Society of Nigerian Theatre Artists, 1999) Akinsipe, FelixDance can only be seen through the body of the dancer. This simply means that the dancer’s body is his most vital instrument for dance. This amount of physical and emotional manipulation of the dancer’s body speaks a lot about his dance. The ability to manipulate the body very well, however, depends largely on how “equipped” the body is That is, how it has – or has not – been trained. It is possible to devise very beautiful and striking ensemble works with dancers who had virtually no training… the trained body is, however, nearly always more eloquent and permits a much greater variety of steps, jumps, turns, lift and almost acrobatic feats.1 To be a very successful and great professional dance performing artist then, one must formally train his body. The capability of the formally trained dancer to switch from one form of dance to the other is far above that of his untrained counterparts.Item Dance in the Yorùbá Family Rites of Birth, Marriage and Death(2018) Akinsipe, Felix; Babarinde-Hall, BunmiBirth, marriage and death are three vital rites of passages occurring within a family setting in the Yorb land. They are life celebrations which bring members of a Yorb family together. The Yorb social life is closely guided by religious beliefs, so much so that it is sometimes difficult to draw a clear line between the sacred and the profane. Dance occupies an important position in their family celebrations, in religions and communal experiences, and as a form of recreation. Sacred or profane, however, dance plays a most significant role in the life of the people. The reasons for dance are as diverse as the social occurrence. Rites of passage are rituals that mark an individual’s transition from one set of socially identified circumstances to another. This paper therefore examines the important roles of dance in three rites of passages in the Yorb land hoping, in the process, that the significance of dance in the life of a people can be determined. The paper concludes among others that dance as it occurs during rites of passage functions mainly as means of bringing the extended family together in the celebration of a happy or sad occasion. Dance functions as a reciprocal gesture between children and their parents; while parents honour their children at birth and at their weddings; children in turn honour their parents at death.Item Dance Studies in the Nigerian University System: How Relevant to TfD?(Department of Theatre and Performing Arts, Ahmadu Bello University, Zaria, 2008-04) Akinsipe, FelixThe flute summons the first candidate, Ejembi, to present his manifesto. The drums begin to pulsate. The mood is that of celebration on one hand, and that of expectation on the other. Ejembi bursts into the arena, with his acolytes dancing to the drumming which is particular to the Aringa masquerade, now rechristened Ikpokw' lkinabo (Abah 2005:43) emphasis mine. The above excerpt from the account by Abah 2005, described the only appearance of dance in the three scenarios that were performed in the Akpa TID workshop in 1989 in Nigeria. In the account of Abah and Etherton (1981 :9), the first two experiments of TID by Ahmadu Bello University, Zaria, Northern Nigeria, in 1980 and 1981 respectively, no mention of dance at all was made. Similarly, and almost two decades after, Harding's (1999:99), account of her participation in the Benue theatre for development workshop, left out the appearance of dance in any of the scenarios performed. More recently, in the practice of TID, dance can only be found employed as a means of 'gathering the crowd for the performance' but in the performance per se, it comes up, if ever it does, as an embellishment or spontaneous reaction to music. Dance has never featured as a direct means of communication for the handling a scene or as something on which the meaning or understanding of a scenario dependents. Why this is so is the main thrust of this paper. It is discovered that it is impossible to give what you don't have. For dance to perform and feature effectively in the TIDs it must be handled by trained professionals. But for now in Nigeria these people are very few.Item Developing Teaching Methods for Nigerian Dance through Technical and Academic Training(School of Humanities and Social Sciences, Pwani Univeristy, Kilifi, Kenya, 2020) Akinsipe, FelixThis paper takes a look at the practice of dance in Nigeria from four major perspectives; the traditional, cultural, social and the academic. It discusses the aim and styles of performances from these perspectives. The paper observes that because most cultural dances are pulled from traditional dances, their performance styles in terms of movement style, vocabulary and choreography (even when rehearsed for the purpose of a showcase) have not changed significantly over the decades. Only the packaging and accessories undergo major change. Using descriptive and analytical methods the paper examines the contributions of the academic performers. The study concludes that if there will be a change in dance performance, we cannot look to the owners of these dances for the changes because they are too attached to the tradition while the social dancers are more interested in their personal pleasure. The change therefore has to come through the contribution of performing artists and dance scholars through sound technical and academic training.Item The Development of Obitun Dance from the Puberty Rites of the Ondo People(School of Humanities and Social Sciences, Pwani Univeristy, Kilifi, Kenya, 2015) Akinsipe, FelixItem Development of ‘Stick Figure' Notation for African Dances(2015) Akinsipe, FelixAlthough some notations have been evolved and used to take care of some Western dances successfully, none of them has been found to be adequate in notating African dances. Therefore, the problem of an adequate notational system for African dance has persisted up till now despite the robust and regular practice it has enjoined over the years. Almost all the dances created through the years cannot be recorded by the means of notation. There is therefore the need for a form of documentation that can serve as a precise reminder and preservation of the movements done. This paper thus takes a new look at the 'stick figure' which was first discovered in 1852 as published by Arthur Saint-Leon and had been put to use by such people as Albert Zorn in recording a whole body movement. Identify timing and direction of movements as its major limitation. The paper thus filling the gap of timing and direction of movements suggests how to apply them to the peculiar nuances of the African dance and concludes that these suggestions can be further developed by choreographers and choreologists through conscious effort and collaboration to become perfect for notating African dances.Item Drama in the Electronic Media: Iwa Lesin as a Case Study(University of Abuja, 2001) Akinsipe, FelixSince the advent and development of drama as a dynamic art, Adesina, (1993: 116) posits that it has been used for three main purposes of education, entertainment and information. On the other hand, the major purpose of the television broadcast is put by Onyero Mgbejume, as "Spreading or Scattering news, entertainment or any other programmes over a wide area with many people simultaneously receiving the transmitted programmes in their home television." (Mgbejume, 1985:19). The introduction of drama into the television medium did not start in Nigeria until, August 1960, when Wole Soyinka's "My Father's Burden" was broadcast in English Language (Olusola, 1981:372). Since then, many Yoruba plays have come to be televised on the Nigerian television. This paper which emerges from a research project carried out with, Professor H.O. Danmole of History Department, University of Ikrin, examines how one of the first Islamic serial drama has made use of the television medium to promote, teach, preach and propagate the fundamentals of the Islamic religion in the '90s in the south Western part of Nigeria. "Iwa Lesin" meaning (the way you behave is your worship or character is religion) is an episodic drama basically conceived by Alhaji Kareem Adepoju in 1990 to teach, and clarify certain religious tenets with regards to the Ramadan fasting of the Muslims which are often misconceived. The serial is relayed weekly on Fridays, on the television service of Broadcasting Corporation of Oyo State, Ibadan, and Nigeria Television Authority, Ilorin. Five of the serial will form the focus of our discussion in,the paper. The five have been selected at random and classified into three main categories. The classification is such that episodes that treat matters that are of similar themes are brought together under the same category. The content of each of the five episodes will be examined to bring out how they have actually been used to achieve the set objective.Item Fusing Music, Dance and Drama into Performance: The 'Zulu Sofola Experiment(Association of Dance Scholars and Practitioners of Nigeria, 2014) Akinsipe, FelixTheatre practice in Nigeria had shown a fusion of music, dance and drama in a holistic nature. From the traditional to the modern theatre practice, music, dance and drama have remained highly inseparable in their performance context. Over the years, however, attempts have been made by theatre practitioners of the literary genre to retain this symbiotic nature of performance practice. Their attempts have failed because most of their works have only made one arm of the performing arts to be dominant and the others just supportive. This paper, therefore, examines the unique approach of 'Zulu Sofola to the holistic nature of African Nigerian performance practice. Her approach gives each arm equal space to communicate as an independent arm, as well as maintain simultaneous symbiotic relationship with the other arms within the same play. The paper concludes that the 'Zulu Sofola's experiment is a unique dimension to the existing integrative co-existence of the performing arts in Nigeria and that is worth the effort pursuing and developing in this 21st century.Item Ìrèmò̩jé Performance in Ògbómòs̩ó̩ Land.(Faculty of Arts, Business and Science, University College of the North, Canada, 2022) Akinsipe, FelixOne of many traditional performances, Ìrèmò̩je,́ the hunters’ sacred ceremony for a dead hunter, is still protected and performed today. This paper investigates and documents the peculiar practices of Ìrèmò̩jé among Ògbó̩mò̩s̩ó̩ communities of South Western Nigeria, recording the uses of songs/chants, music, and musical accompaniments. Costumes, make-up, and props in Ìrèmò̩jé performances are also recorded. Oral interviews and field work experiences were primarily and heavily relied upon, especially direct interviews with the hunters and participant observation at many of the hunters’ ceremonies. This study finds hunters to be a vital constituency in Ògbómò̩s̩ó̩ land and concludes that the Ìrèmò̩je will continue to be performed.Item Kehinde Olalusi’s “Counter Mission” and the Controversy between Dance Drama and Dance Theatre(Department of Theatre Studies, Methodist University College, Ghana, and Department of the Performing Arts, University of Ilorin, Nigeria, 2017) Akinsipe, FelixDance drama and dance theatre are two distinct dance vocabulary. These terminologies have terhmoiwneovloegr iesg einn ertahtee dN igmeruncahn controversies and confusion in the understanding, practice and studying of dance in Nigeria. Edwards. (1984, p. 10) posits that ''while dance and drama each have their own identity. they have a very closely related history and at times they overlap inextricably". He concludes that "sometimes the borderline between dancing and acting is aimost nonexistent". This is probably why the two are often seen as the same and interchanged or placed side by side with each other. The Concept of Dance The misconception is even noticeable among dance practitioners and scholars. While some agree with the dance drama nomenclature others disagree that there is nothing like that and advocate dance theatre in its place. And so the controversy rages on. Emoruwa's experience at the NAFEST 2013 held at Ilorin, Kwara State is apposite here. According to him "the competition called for a dance drama package from the participating State Arts Councils". At the competition, participants came up with varieties of dances ranging from dance drama to dance theatre and or total theatre experiences (Emoruwa, 2014, p. 56). Obviously, what constitute dance drama and dance theatre is not decisively determined. That is precisely wha t this paper is set to do. The performance of Kehinde Olalusi's Counter Mission" by the students of the Department of the Performing Arts, University of llorin, PFA 499: Special Project group 7 for their final year examination at the University of Ilorin, Performing Arts' Theatre on the 14h of June, 2016, at 5.00pm is used as a paradigm of a typical dance theatre as distinct from a dance drama.Item The Librettist and his Art(Department of the Performing Arts, University of Ilorin, 2016) Akinsipe, FelixThe idea of publishing a collection of librettos arose out of the need to take a further bold step towards the proper evolvement and development of the dance art and the dance theatre in Nigeria. One of the reasons why the dance art has lagged behind in the Nigerian theatre is the lack of written and published dance librettos. Most Nigerian choreographers have created works from their unwritten ideas or at most from mere sketches on paper, which are usually dumped, once these ideas are fully passed to the dancers. Such works are therefore not documented and made available for other choreographers to use. It is the belief of this writer that this attitude should stop forthwith.Item Mixing Fun with Serious Business towards a Democratic Society(Association of Dance Scholars and Practitioners of Nigeria, 2016) Akinsipe, Felix; Arinde, TayoIn most African societies, the process of democracy is marred by nepotism, favouritism, which are the reasons why credible leaders are not installed in position of authority. This paper examines the use of Dance in Femi Osofisan's Yungba-Yungba and the dance contest as a tool for achieving egalitarianism, true democracy and the progressive change our society has been clamouring for. Analytical and descriptive research methodologies are employed in interrogating this work. Arising from the above, our findings amongst others reveal that dance; a non-verbal communicative art is a tool that can be adapted to resolving knotty issues in a crisis laden society. The paper concludes that dance is fun but is serious business in exacerbating true democracy. It is therefore recommended that dance as an art should be promoted and made an integral part of academic curriculum in our institutions of higher learning for the training of future leaders.Item Mixing fun with serious business towards a democratic society in Femi Osofisan's Yungba-Yungba and the dance contest(Association of Dance Scholars and the Practitioners of Nigeria, 2016) Arinde, Tayo Simeon; Akinsipe, FelixIn most African societies, the process of democracy is marred by nepotism, favouritism, which are the reasons why credible leaders are not installed in positions of authority. This paper examines the use of Dance in Femi Osofisan's Yungba-Yungba and the dance contest as a tool for achieving egalitarianism, democratic governance and progressive change that oursociety has been clamouring for. Analytical and descriptive research methodologies are employed in interrogating this work. Arising from the above, our findings amongst others reveal that dance; a non-verbal communicative art is a tool that can be adapted to resolving knotty issues business when deployed as a tool in establishing democracy instituting bating ttrue democracy. It is therefore recommended that dance as an art should be promoted and made an integral part of academic curriculum in our educational institutions for the training of future lecturers.