Theatre Arts

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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.
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.
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.
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 scholarship
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.