Scholarly Works
Permanent URI for this collectionhttps://repository.ui.edu.ng/handle/123456789/368
Browse
13 results
Search Results
Item Dance and choreographic design in the body and space: an interdisciplinary exploration(Zendo Academic Publishing, 2025-08) Akapo, S. S.This study examines the rich interdisciplinary interface between dance and design, focusing particularly on the interplay between body, space, and time in choreographic practices. It posits that dance is not merely a performance art but a dynamic system of embodied knowledge and spatial intelligence that intersects with the conceptual and practical frameworks of design. Drawing from both theoretical and practical perspectives, this paper emphasizes how dancers and choreographers use the human body not just as a medium of expression but as a site of emotional, cultural, and spatial negotiation. This paper begins by exploring four core elements common to both disciplines—body, space, time, and —and how they serve as foundations for both dance expression and design formulation. It investigates the body not only as a physical entity but also as a symbolic and narrative agent capable of transmitting emotions, cultural values and social ideologies. Citing influential scholars such as José Gil, Margolis, and Hanna, this study describes how the dancing body forms and reforms space, becoming both the subject and object of aesthetic experience. Spatiality in dance is then examined not only as a background but also as an active participant in meaning-making. From stage layout and scenography to costume design and digital projections, this paper analyzes how space is choreographed and designed to influence movement, evoke emotions, and heighten audience engagement. The performative space, in this context, becomes a canvas for embodied storytelling, where design scaffolds the motion and emotion of dance. Additionally, this study reflects on how costume design contributes to the readability of performance, affecting both audience perception and the dancer’s expression. Costumes are framed not as decorative elements but as integral to the storytelling function of dance, identity communication, cultural context and character differentiation.Item Dance theories and mmonwu performance tradition of the igbo people of nigeria(International Institute of Advance Scholars Development, 2025-04) Akapo, S.S.; Babalola O.S.Dance is a universal phenomenon that is as old as man and his desire to express himself, to communicate his joys and sorrows, to celebrate and to mourn with the most immediate instrument: his body. Nigerian dances like most African dances have been variously subjected to critical evaluation. However, most of the earlier critics have erroneously appreciated these dances from western dance experience and ideals. This has resulted in a problem of unholy generalization in theory and criticism of dance. Using the thematic analysis method, this study interrogates Spenser’s five theories of dance using Mmonwu Tradition of the Igbo. This is in order to enhance and enrich critical understanding and place of dance in African society. The study found that dance plays a major role in the functional, artistic and communal expression of the Mmonwu tradition among the Igbos of Nigeria. It is also recommended that scholars and writers should subject individual performance and tradition to critical analysis based on the nuances and particularities of that performance and tradition in order to avoid unwarranted generalizations in performance/culture appreciation and interpretation.Item Hybridizaton and the theatre practice: an analysis of legends the musical(2025-02) Akapo, S. S.Musical theatre basically refers to a kind of theatre practice which relies heavily arts of the theatre like acting, dance and music. It uses these media as a means to communicate certain messages or aesthetic satisfaction for the audience. This research provides a review of the key elements of musical theatre using John Kenrick's approach as well as the interplay of narrative and music with choreography and staging. The study addresses, through performance analysis of Legends the Musical, how its narrative, technical production and use of stage elements resonate more closely with musical theatre traditions. This research also sheds light on the views which place its classification as a musical (rather than operatic) performance. Additionally, the research highlights that modern theatrical productions draw from global and hybridization to establish a new performance mode by mixing in cultural and artistic style. The relevance of Legends the Musical in the Nigerian context is also considered, as well as how it can help to revitalize Nigeria's theatre practices by bringing in bigger audience base and greater commercial viability. Legends the Musical is both entertaining and culturally significant in the way that the interplay of the traditional African deities across the plot represents the socio political challenges facing the continent. The study recommends, therefore, that musical theatre is a viable, dynamic and hybrid art form that can uniquely appeal to and entertain different audiences along the way to reviving the Nigerian theatre culture.Item Liturgical Dance in Nigeria: Babalola Abiodun and Victory Ashien Works in Focus Samson(Department of Theatre Arts, University of Ibadan. Pp72-81, 2024) Akapo,S.S; Adetula, P.Liturgical dance has its roots in early Christian worship practices. It reached a high point in the medieval church, when a number of religious orders arose with a specific emphasis on prayer and meditation, and it was performed primarily by religious professionals. In many churches and in many liturgical dance groups today, the emphasis is on performance in service or in festivals. The performance groups many times feature extensive and complicated choreography that showcases the style of the choreographer and the skills of the dancers. But what is liturgical dance supposed to be? What are the specific nature and forms of liturgical performances in Nigeria? Adopting the Religion Theory of Ninian Smart and Performance Analysis, this research focuses on the process of choreographing/creating liturgical dances, the impact of other elements of performance on liturgical dance creation, spiritual impact on liturgical dance and fully on the performance aspect of liturgical dance. The performance analysis is based on the interviews conducted, and having analysed two liturgical performance videos and conducting interviews on two liturgical choreographers, namely Victory Ashien of Spirit of David, Nigeria and Babalola Abiodun of Praise Dance Academy. Based on the above, this research concludes that liturgical dance in Nigeria is on the rise and there is a significant interest from different groups and churches. Besides, these liturgical dance performances embrace theatrical dance performance elements in communicating and interpreting stories.Item The body as archive and memory: a study of fishermen(The Department of Dramatic Arts Obafemi Awolowo University lie Ife, Nigeria, 2024) Akapo, S.S.This work analyzes one of the important roles of the body which is to conserve or memorialize, to keep practices for future references and use. Using the qualitative research method and participant's observation as tools, this paper explains the importance of dance in human society, that is, the social function of dance as a human activity. Although most people see dance as what everyone can do, dance in the real sense goes beyond bodily movements that human beings engage in every day. This research looks at two selected Nigerian dances: Fishermen and Ikede dances as they embody some specific cultural practices without neglecting the fact that culture is not static. The Ikede dance is a traditional dance of the Ebira people of Kogi State which portrays the art of local weaving. Although it is created and performed within Ebira context, it is a practice that is common to some other people in Nigeria like the Tiv, Egons, and Yorubas etc. These two dances form the basis of analysis in this study. The analysis is based on the performance of these dances by the Kogi State Troupe.Item Inflation, Government spending, ARDL, Economic growth(The Quint, 2024) Atoyebi,O.E; Butler,J.A .; Kalejaiye,O.A; Oseni,I.O; Olayemi,O.T; Amor,Z.B; Akopo,S.S; Ukwen,K.R; Uken,D.R; Asuquo,N.B; Bakare,R.O; Adeola,T.S; Ali,F; Piatkowski,P; Zapkin.P; Sanna.AItem Altered state of consciousness: dance-induced spirit possession and trance(Department of Theatre Arts University of Ibadan, 2020) Akapo, S. S.Spirit possession and trance are very dominant features of Altered State of Consciousness (ASC), especially within religious spheres. However, dance and movement, with the accompaniment of music/sound, create such an enabling environment, for individuals who are so predisposed, to easily and quickly transpose from the normal states of awareness to altered states of mystical interactions. Also critically discussed is the term ASC as both a religious and psychological phenomenon. This paper, therefore, explores ASC within the context of dance, using two different case studies in explaining the intricacies of trance, in particular, and spirit possession.Item An overview of somatics (body-mind) approaches in dance therapy(Department of Theatre and Media Arts, Ambrose Alli University, Ekpoma, Nigeria., 2017) Akapo, S. S.Dance has been a huge part of the human cultures long before civilization, however, with time, extensive use of dance beyond entertainment and ritual evolved, one of which is dance therapy. Dance therapy, a branch of creative therapy, has been a very relevant field of study for quite some time. Aboriginals have always used this medium as a way to help individuals through physical, spiritual and psychological challenges which is evident in shamanistic practices. The field of dance therapy has been expanding and around WWII, the work of psychoanalytic pioneers such as Freud and Jung made their mark on it. Afterward, Mary Starks Whitehouse, who would become a Jungian analyst, developed a process called “movement-in-depth” based on her knowledge of dance, movement and depth psychology. This form of dance therapy is also known as ‘authentic movement’, a process where patients dance their feelings about an internal image that provides insight into issues in their past or current life. Somatic studies promote claims that the human body and mind work together to form a composite structure. Hence, somatic studies have had significant influence on dance since the 1970s when dancers and choreographers sought newer ways to incorporate “body-mind concept” into dance training which has worked successfully in the area of therapy. Beyond its fundamental function, which is entertainment, this article explores the use of dance in therapeutic settings with emphasis on the approaches of two pioneers of dance therapy: Marian Chace and Mary Starks Whitehouse, stating how their works reside, particularly, within the confines of somatic studies.Item Embodied Cognition in Dance and Choreography(Department of Theatre Arts, University of Ibadan, 2015) Akapo, S. S.Humans are generally equipped with a capacity for cognitive function at birth, meaning that each person is capable of learning or remembering a certain amount of information. This paper, therefore, joins in the growing discussion on the mental process involved in the creation, learning and execution of dance movements. This process is referred to as the cognitive process which borders on the basic phenomena of cognition: perception, attention, memory and imagination. This interdisciplinary research establishes the place of psychology in dance scholarshipItem THE ALARINJO THEATRE: (THE STUDY OF A YORUBA THEATRICAL ART FROM ITS EARLIEST BEGINNINGS TO THE PRESENT-TIMES)(1969) ADEDEJI, J. A.This study describes the art and development of the Alarinjo Theatre from its earliest beginnings to the present times. The origin and development of the theatre are traced to the descendants of the Oba, believed to be the autochthones of Yoruba- land and worshippers of Obatala, the Yoruba supreme divinity. By giving material existence to Obatala, they displayed an instinct for impersonation and ritualistic expression which leads to developmental drama. As a natural reaction to the deprivation which they suffered at the hands of their enemies (a party of immigrants), they had recourse to stratagems by which invariably, they developed the means of drama; namely, religion, art and disguise. The ‘masquerade’ was first used by the Igbo' followers of Obatala to terrorise and plunder the Ife city-state out of which they had been driven by a party of immigrants believed to have been led by Oduduwa. At a later period, the Nupe (supposedly under the influence of the descendants of the Oba who had sojourned in that country after the dispersal from Ife) used the 'masquerade' to prevail upon the Yoruba of Oyo. The Yoruba who at that time worshipped the ‘masquerade’ as ancestral spirit had believed that the Nupe soldier-masquerades were ancestors who had re-appeared on the side of their enemy. They therefore abandoned the Oyo city-state and went into exile. In a rapprochement that followed during the reign of Ofinran (c. 1544), it became clear that the descendants of Oba who had returned to the fold from the Nupe country, had knowledge of the secret of the 'masquerade'. The Egungun Society was formed as a conjoint association of two clans - the Oba (Yoruba indigenes) and the Igbori (Tapa extraction). With this association, both the worship of the ancestor as egungun (masquerade) and the use of the egungun for social action were brought together under a hierarchy. The theatre emerged from three developmental phases - ritual, festival and theatre. The process shows the treatment and use of the egungun for both ritual and secular occasions. It was Ologbin Ologbojo, a descendant of the Oba, who adopted the 'masquerade' for the purpose of furthering his duty as retainer and head of court-entertainers. With these court-masques, therefore, the third and final phase in the development of the theatre from religious dramatic roots was reached. By about the second half of the sixteenth century, the theatre had been born. The theatre flourished extensively during the eighteenth century but mostly within Court circles and participated in the annual egungun festivals. With Esa Ogbin (who adopted the title 'Ologbojo' for his professional role) leading a band of costumed-players, the theatre extended its operations outside of the Court and throughout the Oyo empire. Other professional masque-drama-turgs followed in his footsteps. The fall of the empire during the early part of the nineteenth century did not adversely affect the fortunes of the theatre; on the contrary, it contributed to its artistic development and professional growth. The troupes travelled far beyond the Oyo areas and into the new Ibadan sphere of influence where they became - popularly known as the 'AlArlnjd'. Towards the end of the century and thenceforward, however, the corroding influence of Islam and Christianity on the structure of the Yoruba society questioned the continued existence of the theatre. The form and style of the theatre arise from the generalised concept of Yoruba art, namely, that the artist proceeds by induction rather than by deduction. Although the artist, normally, operates within a transcendental frame of mind that inspires him to accomplish his objective, the results of his work seem superficial to the casual observer. The substance of what the masque-drama turg wishes to communicate or share with his audience is revealed in the material of his creation which also underlines his main pre-occupations, namely, religion and human situations. Thus, in the theatrical 'repertoire', there are two types of masques - the spectacles and the revues. While the former are designed to meet religious objectives, the latter are sketched out as comments on happenings in the society. Although the spectacles are serious drama in intent, yet they are sometimes given satirical turns; but the revues are always comical. The root-elements of the theatre are the mask, the chant, and the dance; but a performance is the sum total of all of these and the unified product of gesture and costume. The theatre has specific obligations to the audience with idiom it communicates. Its functions over and above divertissement include education and edification. Bat the art of the theatre can be better appreciated only within the framework of Yoruba aesthetics and the sensibilities of the people. During the height of its influence, the theatre provided s gainful employment for many people outside the original lineage that first developed the art. As time went on, however, it could not escape being affected by the forces of change which had been at work in the Yoruba society from about the middle of the nineteenth century. With the introductions into the Yoruba society of other forms of entertainment based on European models towards the end of the nineteenth century, the Alarinjo Theatre faced a gloomy prospect. Traces of its influence have been found in the 'new theatres'. While it yet thrives by appealing to the taste of the uneducated masses, its means have failed to attract the rising generation of western-educated and acculturated people who patronise the 'new theatres'. With the increasing popularity of the 'new theatres' therefore, the Alarinjo Theatre is bound to fade out of existence. It will, however, leave behind its own undying influence on the new forms.