Modern technology has necessitated the digitalisation of stage performances, especially in the 21st century. Although, technology applies to many industries as it enhances productivity and creativity, however, theatre industry seems to benefit from technology more than other industries as the use of digital devices has boosted the industry beyond the physical stage and it has also given stage theatre popularity in the media space. It is on this premise that this study examined the exploration of “Multimedia Theatre and Virtual Theatre” towards making the invisible visible in the performances of Ahmed Yerima’s Yemoja and ‘Biola Adumati’s ‘Our Family Secret.’ The findings from the study revealed that many play directors on the Nigerian stage have experimented with multimedia and virtual theatres in the process of play directing which have enhanced the quality of their works. These production techniques have been employed by some artistic directors to tell flashback stories by projecting them to the audience during live performances, some explored the same technology to create scenes that seemed impossible on stage such as sea or fire scenes. Hence, this paper concludes that the art of play directing can be a lot easier with the use of multimedia theatre technique to tell the hidden stories within the play and making the invisible visible.
{"title":"Performing the ‘Invisible’ in Yemoja and ‘Our Family Secret’ through multimedia and virtual theatre","authors":"Abiola Olubunmi Adumati","doi":"10.4314/ntj.v23i1.8","DOIUrl":"https://doi.org/10.4314/ntj.v23i1.8","url":null,"abstract":"Modern technology has necessitated the digitalisation of stage performances, especially in the 21st century. Although, technology applies to many industries as it enhances productivity and creativity, however, theatre industry seems to benefit from technology more than other industries as the use of digital devices has boosted the industry beyond the physical stage and it has also given stage theatre popularity in the media space. It is on this premise that this study examined the exploration of “Multimedia Theatre and Virtual Theatre” towards making the invisible visible in the performances of Ahmed Yerima’s Yemoja and ‘Biola Adumati’s ‘Our Family Secret.’ The findings from the study revealed that many play directors on the Nigerian stage have experimented with multimedia and virtual theatres in the process of play directing which have enhanced the quality of their works. These production techniques have been employed by some artistic directors to tell flashback stories by projecting them to the audience during live performances, some explored the same technology to create scenes that seemed impossible on stage such as sea or fire scenes. Hence, this paper concludes that the art of play directing can be a lot easier with the use of multimedia theatre technique to tell the hidden stories within the play and making the invisible visible.","PeriodicalId":517897,"journal":{"name":"Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists","volume":"15 16","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140397277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The theatre ecology had embraced digital technology long before the Covid-19 pandemic entered our lives. The orange economy, as we know it, is driven by creativity from the arts and humanities as well as the sciences. Playwriting pedagogy, as was traditionally taught, pointed to the stage, printing press and elitist publishers as windows to the world. The theatre arts is a discipline that has a value chain of products and services. Adopting the survey and historical-analytic methods, this paper focuses on playwriting and the playwrightpreneur’s options to the conventional style of publishing for product spread and economic empowerment. The excitement and apprehensions of digitisation on this venture are interrogated via an online survey on consumers of play texts, on the one hand, and playwrights on the other hand. The researcher argues that the availability of online stores does not necessarily translate to the availability of e-books. The results show that even though we are in the digital era, the acceptability of e-books is low compared to hard- copy books. It also reveals that knowledge of online publishing is poor. The gains of digitising theatre projects are illuminated. Furthermore, teachers and students of theatre arts studies will find this option complementary to the age-long style of hard copy inventories as institutional or personal collections. The paper concludes that adequate information on how to publish play texts online is urgently needed especially for writers of dramatic texts. It recommends that workshops on online publication be organised for teachers and students of playwriting.
{"title":"Theatre without borders: Evaluating e-book publication of play texts in the Nigerian educational space","authors":"Iheanacho C. Iweha","doi":"10.4314/ntj.v23i2.2","DOIUrl":"https://doi.org/10.4314/ntj.v23i2.2","url":null,"abstract":"The theatre ecology had embraced digital technology long before the Covid-19 pandemic entered our lives. The orange economy, as we know it, is driven by creativity from the arts and humanities as well as the sciences. Playwriting pedagogy, as was traditionally taught, pointed to the stage, printing press and elitist publishers as windows to the world. The theatre arts is a discipline that has a value chain of products and services. Adopting the survey and historical-analytic methods, this paper focuses on playwriting and the playwrightpreneur’s options to the conventional style of publishing for product spread and economic empowerment. The excitement and apprehensions of digitisation on this venture are interrogated via an online survey on consumers of play texts, on the one hand, and playwrights on the other hand. The researcher argues that the availability of online stores does not necessarily translate to the availability of e-books. The results show that even though we are in the digital era, the acceptability of e-books is low compared to hard- copy books. It also reveals that knowledge of online publishing is poor. The gains of digitising theatre projects are illuminated. Furthermore, teachers and students of theatre arts studies will find this option complementary to the age-long style of hard copy inventories as institutional or personal collections. The paper concludes that adequate information on how to publish play texts online is urgently needed especially for writers of dramatic texts. It recommends that workshops on online publication be organised for teachers and students of playwriting. ","PeriodicalId":517897,"journal":{"name":"Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists","volume":"23 45","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140396776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The challenges of studies in humanities in the wake of the ongoing digital revolution in science and technology sum up the crisis of the place of live theatre in response to skit making on social media apart from the traditional film medium like cinemas and home videos. There are perhaps arguments around the presumed effectiveness of digital theatre in terms of its ability to reach wider audiences across the globe at once through the deployment of technology. Nevertheless, it is clear from my experience of live theatre as recent as May 15 and June 19 2022 by the House of Arimata Theatre Studio in Osogbo, that digital theatre cannot take the place of a live theatre. The communal ritual essence of live theatre, its liminal phases, the necessary separation, the shattering of the performers in the limen, their re-assemblage/merging with the audience, and the communal re-emergence with a new consciousness, all in the transitions and the festivity of a live theatre, cannot be captured in/by a digital theatre. Thus, the lacuna is clear even in the rate at which humanity is commoditised with its knowledge and cultural productions monetised in most digital theatre productions. It is on the basis of the argument of postdigitalism that this paper uses direct observation and historical-analytic methods to argue that while live theatre retains the power to humanise through communal participation, digital theatre can only continue to commoditise/zombiefy humanity with its focus on traffic generation and advert placements essentially for materialism.
{"title":"Postdigital theatre: Beyond digital alienation of live theatre on the Nigerian performance space","authors":"Bode Ojoniyi","doi":"10.4314/ntj.v23i2.5","DOIUrl":"https://doi.org/10.4314/ntj.v23i2.5","url":null,"abstract":"The challenges of studies in humanities in the wake of the ongoing digital revolution in science and technology sum up the crisis of the place of live theatre in response to skit making on social media apart from the traditional film medium like cinemas and home videos. There are perhaps arguments around the presumed effectiveness of digital theatre in terms of its ability to reach wider audiences across the globe at once through the deployment of technology. Nevertheless, it is clear from my experience of live theatre as recent as May 15 and June 19 2022 by the House of Arimata Theatre Studio in Osogbo, that digital theatre cannot take the place of a live theatre. The communal ritual essence of live theatre, its liminal phases, the necessary separation, the shattering of the performers in the limen, their re-assemblage/merging with the audience, and the communal re-emergence with a new consciousness, all in the transitions and the festivity of a live theatre, cannot be captured in/by a digital theatre. Thus, the lacuna is clear even in the rate at which humanity is commoditised with its knowledge and cultural productions monetised in most digital theatre productions. It is on the basis of the argument of postdigitalism that this paper uses direct observation and historical-analytic methods to argue that while live theatre retains the power to humanise through communal participation, digital theatre can only continue to commoditise/zombiefy humanity with its focus on traffic generation and advert placements essentially for materialism. ","PeriodicalId":517897,"journal":{"name":"Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists","volume":"22 13","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140397459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The evolution of digital technology has affected traditional theatre practice in Tiv society just like it has done in many other African societies. Contemporary developments in theatre have marked differences from the theatre of the past due to massive revolution being witnessed in theatre practice. This is based on the changing phases of human development orchestrated by the advancement in digital and information technology around the globe. Notwithstanding is the hybridization of cultures which has brought about far reaching changing norms and forms in traditional performances of all kinds. The introduction of social media and its various platforms to society has transported traditional theatre from the local mode into a digital media which closes the barrier of distance and increases its visibility to a larger audience. Despite some limitations, the prospects are extensive. This paper considers the Tiv Ijov Mbakuv performance from its conduct in the local mode and its transmission to digital platforms on social media. The finding is that, Tiv Ijov Mbakuv performance in the digital media is not a counter-theatre but a theatre that has taken advantage of technological advancement and yet, maintaining the elements of its origin and opening the culture of a people for wider access and appreciation by varied audiences. Therefore, the paper notes that, theatre is part of society, the ever-changing nature of society also demands for changes in theatre forms so as to meet up with the yearnings and privileges of a new society. Ijov Mbakuv performance in the digital media is a response to new social demands.
{"title":"Making theatre in digital spaces: The imperative of Ijov Mbakuv on social media platforms","authors":"J. Fanyam, Bem Alfred Abugh","doi":"10.4314/ntj.v23i2.3","DOIUrl":"https://doi.org/10.4314/ntj.v23i2.3","url":null,"abstract":"The evolution of digital technology has affected traditional theatre practice in Tiv society just like it has done in many other African societies. Contemporary developments in theatre have marked differences from the theatre of the past due to massive revolution being witnessed in theatre practice. This is based on the changing phases of human development orchestrated by the advancement in digital and information technology around the globe. Notwithstanding is the hybridization of cultures which has brought about far reaching changing norms and forms in traditional performances of all kinds. The introduction of social media and its various platforms to society has transported traditional theatre from the local mode into a digital media which closes the barrier of distance and increases its visibility to a larger audience. Despite some limitations, the prospects are extensive. This paper considers the Tiv Ijov Mbakuv performance from its conduct in the local mode and its transmission to digital platforms on social media. The finding is that, Tiv Ijov Mbakuv performance in the digital media is not a counter-theatre but a theatre that has taken advantage of technological advancement and yet, maintaining the elements of its origin and opening the culture of a people for wider access and appreciation by varied audiences. Therefore, the paper notes that, theatre is part of society, the ever-changing nature of society also demands for changes in theatre forms so as to meet up with the yearnings and privileges of a new society. Ijov Mbakuv performance in the digital media is a response to new social demands.","PeriodicalId":517897,"journal":{"name":"Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists","volume":"36 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140285607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The expansion experienced in the field of technology has blossomed to a level where it is now functional in every field and area of life. This explains its frequent appearance in modern Nigerian films. However, the deployment of digital devices as appropriate props and their relevance in highlighting the thematic concerns in King of Boys II has not received adequate attention. Using the theory of Narratology and the User Interface Model, this paper examines digital devices as props arrogated to characters by the director, used to highlight the film’s thematic concerns through its interface with characters. The study relies on both primary and secondary sources. Analysis is based on four aspects which are set up, complication, development, and climax. Findings show that the user-interface and user-experience provided and showcased an optimal way of presenting the thematic concerns in the film. Thus, as properties deployed by the director, the characters interface with the device is a determinant factor for the experience. In all, the thematic concerns in King of Boys II were highly dependent on the character’s interface with digital devices. Therefore, digital devices are elements of storytelling and emplotment used by the director to reveal key truths about the film and the inner nature of characters.
{"title":"An analysis of digital devices as elements of storytelling and emplotment in Kemi Adetiba’s King of Boys II","authors":"Ihuoma Okorie","doi":"10.4314/ntj.v23i1.7","DOIUrl":"https://doi.org/10.4314/ntj.v23i1.7","url":null,"abstract":"The expansion experienced in the field of technology has blossomed to a level where it is now functional in every field and area of life. This explains its frequent appearance in modern Nigerian films. However, the deployment of digital devices as appropriate props and their relevance in highlighting the thematic concerns in King of Boys II has not received adequate attention. Using the theory of Narratology and the User Interface Model, this paper examines digital devices as props arrogated to characters by the director, used to highlight the film’s thematic concerns through its interface with characters. The study relies on both primary and secondary sources. Analysis is based on four aspects which are set up, complication, development, and climax. Findings show that the user-interface and user-experience provided and showcased an optimal way of presenting the thematic concerns in the film. Thus, as properties deployed by the director, the characters interface with the device is a determinant factor for the experience. In all, the thematic concerns in King of Boys II were highly dependent on the character’s interface with digital devices. Therefore, digital devices are elements of storytelling and emplotment used by the director to reveal key truths about the film and the inner nature of characters.","PeriodicalId":517897,"journal":{"name":"Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists","volume":"27 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140396957","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper discusses digital archiving and preservation as a challenge that Nollywood must grapple with in the digital era. The paper argues that, in other climes, filmmakers have since understood archiving and preservation as the last steps in the life of a movie; unlike in Nigeria, where many a filmmaker have no plan beyond marketing and distribution. The methodology adopted for the research is the qualitative method, with use of documents and visual media research instrument utilized. This study is anchored on the theory of functionalism to establish the paper’s strong position that, in this era of transition to digital filmmaking, it has become rather pertinent for Nigerian filmmakers to factor in the archiving and preservation of their films as the final phase of the production process, in view of the all-important role it plays in the life of their works. Findings reveal that once the current film is distributed, filmmakers tend to move on with planning for the next big project. Thus, they fail to spend quality time to grapple with the reality of where the product of their hard work will end up in the future. This study concludes that filmmakers should be sensitized to appreciate the gains of the future life of their films that archiving and preservation offer. The National Film, Video and Sound Archive (NFVSA) in Jos should be strengthened and well-positioned to harvest the offerings of Nigerian filmmakers for posterity through digital archiving and preservation is our recommendation.
{"title":"Nollywood and the challenge of digital archiving and preservation in the digital era","authors":"Adediran Kayode Ademiju-Bepo, Solomon Idyo","doi":"10.4314/ntj.v23i2.6","DOIUrl":"https://doi.org/10.4314/ntj.v23i2.6","url":null,"abstract":"This paper discusses digital archiving and preservation as a challenge that Nollywood must grapple with in the digital era. The paper argues that, in other climes, filmmakers have since understood archiving and preservation as the last steps in the life of a movie; unlike in Nigeria, where many a filmmaker have no plan beyond marketing and distribution. The methodology adopted for the research is the qualitative method, with use of documents and visual media research instrument utilized. This study is anchored on the theory of functionalism to establish the paper’s strong position that, in this era of transition to digital filmmaking, it has become rather pertinent for Nigerian filmmakers to factor in the archiving and preservation of their films as the final phase of the production process, in view of the all-important role it plays in the life of their works. Findings reveal that once the current film is distributed, filmmakers tend to move on with planning for the next big project. Thus, they fail to spend quality time to grapple with the reality of where the product of their hard work will end up in the future. This study concludes that filmmakers should be sensitized to appreciate the gains of the future life of their films that archiving and preservation offer. The National Film, Video and Sound Archive (NFVSA) in Jos should be strengthened and well-positioned to harvest the offerings of Nigerian filmmakers for posterity through digital archiving and preservation is our recommendation. ","PeriodicalId":517897,"journal":{"name":"Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists","volume":"21 40","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140397231","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In a networked society where the internet is an enabler, the theatre also takes in certain changes and continues to reshape itself in line with the dominant idea of the time. This paper examines the experiment conducted using Njingkook which is a Mupun storytelling performance. It argues on the frame that the experiment of capturing traditional Mupun stories as content using the video format, and uploading them on the YouTube platform is an avenue to create global audience for the Mupun people. Using the theory of the Networked Society (NS) by Georg Simmel, the paper contends that the world is a networked space and there is a newfound arena in the theatre known as “cyberspace.” The researcher observed that the content uploaded is still online and visible to all people across the globe and the number of views keeps increasing both on the content as well as the subscribers of the channel. The YouTube page created for the research has about 99 subscribers representing the dedicated viewers, with the indigenous language of performance with English subtitle. The cyberspace will enhance the scientific and cross-cultural analysis of African performance, with the Njingkook experiment as a beacon, because it is online, researchers with interest outside the community can observe and make a scholarly analysis of the performance.
{"title":"Performing on the cyberspace: The Mupun Njingkook experiment","authors":"Dakwom Makpring Longgul","doi":"10.4314/ntj.v23i1.6","DOIUrl":"https://doi.org/10.4314/ntj.v23i1.6","url":null,"abstract":"In a networked society where the internet is an enabler, the theatre also takes in certain changes and continues to reshape itself in line with the dominant idea of the time. This paper examines the experiment conducted using Njingkook which is a Mupun storytelling performance. It argues on the frame that the experiment of capturing traditional Mupun stories as content using the video format, and uploading them on the YouTube platform is an avenue to create global audience for the Mupun people. Using the theory of the Networked Society (NS) by Georg Simmel, the paper contends that the world is a networked space and there is a newfound arena in the theatre known as “cyberspace.” The researcher observed that the content uploaded is still online and visible to all people across the globe and the number of views keeps increasing both on the content as well as the subscribers of the channel. The YouTube page created for the research has about 99 subscribers representing the dedicated viewers, with the indigenous language of performance with English subtitle. The cyberspace will enhance the scientific and cross-cultural analysis of African performance, with the Njingkook experiment as a beacon, because it is online, researchers with interest outside the community can observe and make a scholarly analysis of the performance.","PeriodicalId":517897,"journal":{"name":"Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists","volume":"18 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140397254","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The deployment of digital technologies for film production, distribution and marketing in the Nigerian film industry can be considered a giant stride, which has triggered drastic changes in the production values, quality and standards of the industry. This study examines the impact of these digital technologies on Nollywood film industry, howbeit, with particular focus on the changing narratives of movie viewing through online streaming. The study adopted the qualitative methodology, and the use of documents and visual media research instrument was utilized. Thus, different types of documents and other visual media like books and other publications, newspapers and the Internet were used to extract relevant data. Amongst other findings, movie viewing in Nollywood through online streaming has drastically changed the phase of the industry, as it has attracted new deals and secured production partnerships, locally and internationally; created new revenue streams for filmmakers and placed the industry on the global scale of vibrant film cultures. However, amidst these plethora of benefits, there are peculiar challenges that unless tackled, this development would not last. Consequently, this study concludes that, to sustain and maximize the gains of online movie streaming in Nollywood to deliver for the greater good, even in the long run, these loopholes in the system like issues bordering on content development, contractual agreements, cyber security, illegal downloaders etc. should be addressed. This study recommends the respective agencies of government and relevant industry stakeholders should leverage on this great advancement, and expedite action in tackling the issues that will truncate it.
{"title":"The changing narratives in Nollywood movie viewing through online streaming","authors":"Solomon Idyo, Jeremiah Methuselah","doi":"10.4314/ntj.v23i1.4","DOIUrl":"https://doi.org/10.4314/ntj.v23i1.4","url":null,"abstract":"The deployment of digital technologies for film production, distribution and marketing in the Nigerian film industry can be considered a giant stride, which has triggered drastic changes in the production values, quality and standards of the industry. This study examines the impact of these digital technologies on Nollywood film industry, howbeit, with particular focus on the changing narratives of movie viewing through online streaming. The study adopted the qualitative methodology, and the use of documents and visual media research instrument was utilized. Thus, different types of documents and other visual media like books and other publications, newspapers and the Internet were used to extract relevant data. Amongst other findings, movie viewing in Nollywood through online streaming has drastically changed the phase of the industry, as it has attracted new deals and secured production partnerships, locally and internationally; created new revenue streams for filmmakers and placed the industry on the global scale of vibrant film cultures. However, amidst these plethora of benefits, there are peculiar challenges that unless tackled, this development would not last. Consequently, this study concludes that, to sustain and maximize the gains of online movie streaming in Nollywood to deliver for the greater good, even in the long run, these loopholes in the system like issues bordering on content development, contractual agreements, cyber security, illegal downloaders etc. should be addressed. This study recommends the respective agencies of government and relevant industry stakeholders should leverage on this great advancement, and expedite action in tackling the issues that will truncate it.","PeriodicalId":517897,"journal":{"name":"Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists","volume":"15 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140397282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Arts and technology have continually been inter-related. Artistic expressions have been facilitated by technological innovations that enable artists either to adapt technologies meant for other purposes, or to invent them as a way to foster the creative process. The evolution of digital technologies in the knowledge era has had a huge impact on the theatre profession, in which digital transformation has influenced the ways theatrical contents are created, presented, distributed and circulated to audiences. This article examines technological advances of the digital era and their impact on the performing arts/the theatre. Relying on the Technology Acceptance Model (TAM), this study argues that new technologies and media enable the creation of new forms of arts that stimulate radical changes in the distribution channels of cultural and creative products (CCPs) based on their digitalisation and dematerialisation. The study finds that digitalisation provides creative artists with new tools and means of artistic expression. Indeed, digitalisation enhances and inspires not only the creation of new art forms but also the presentation of traditional arts by enabling multimedia experiences and interactivity. The paper recommends that, given the reality of globalisation and its concomitant emergence of virtual communities, theatrical performances must adopt new media tools in terms of content creation, exhibition and distribution, to remain functional.
{"title":"Artistic creativity, digital technologies and theatrical sustainability: Integrating new media in theatre practice","authors":"Aondowase Boh, Terkimbi Joseph Adoka","doi":"10.4314/ntj.v23i1.3","DOIUrl":"https://doi.org/10.4314/ntj.v23i1.3","url":null,"abstract":"Arts and technology have continually been inter-related. Artistic expressions have been facilitated by technological innovations that enable artists either to adapt technologies meant for other purposes, or to invent them as a way to foster the creative process. The evolution of digital technologies in the knowledge era has had a huge impact on the theatre profession, in which digital transformation has influenced the ways theatrical contents are created, presented, distributed and circulated to audiences. This article examines technological advances of the digital era and their impact on the performing arts/the theatre. Relying on the Technology Acceptance Model (TAM), this study argues that new technologies and media enable the creation of new forms of arts that stimulate radical changes in the distribution channels of cultural and creative products (CCPs) based on their digitalisation and dematerialisation. The study finds that digitalisation provides creative artists with new tools and means of artistic expression. Indeed, digitalisation enhances and inspires not only the creation of new art forms but also the presentation of traditional arts by enabling multimedia experiences and interactivity. The paper recommends that, given the reality of globalisation and its concomitant emergence of virtual communities, theatrical performances must adopt new media tools in terms of content creation, exhibition and distribution, to remain functional.","PeriodicalId":517897,"journal":{"name":"Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists","volume":"27 46","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140396916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Scholarly interrogations of African dress culture and body designs have mostly engaged non-African experiences and theories in interrogating indigenous practices. This has placed a limitation on cultural expressions of identity and inadvertently exposed the need to frame discourses around traditional African design engagements and indigenous conceptual models. The study employs the analytical, descriptive and interpretative approach of the qualitative research methodology to conceptualise, classify and describe the indigenous and contemporary practice of dressing, costuming and make-up and body designs in Africa. The emphasis is on attires/dresses/clothing, body designs, costumes and make-up practices utilised in everyday life; on special occasions; on stage; in films; carnivals; street performances and traditional communal performances. In this study, the researcher deconstructs the term ‘costume’ as currently used in describing African dressing. It attempts an understanding and classification of costumes from three levels of artistic and historical distinctions which are; indigenous traditional designs (indigenous trad.); modern traditional designs (modern trad.); and contemporary traditional designs (contemporary trad.). Given the identified gaps in existing scholarly presentations on traditional dress culture and body adornment, it maintains that African scholars should be encouraged to expand the scope of discourse through further constructions of identity for indigenous cultural products.
{"title":"Theories, concepts and classifications of African costumes, dress culture, make-up and body designs in the 21st century","authors":"T. Utoh-Ezeajugh","doi":"10.4314/ntj.v23i2.1","DOIUrl":"https://doi.org/10.4314/ntj.v23i2.1","url":null,"abstract":"Scholarly interrogations of African dress culture and body designs have mostly engaged non-African experiences and theories in interrogating indigenous practices. This has placed a limitation on cultural expressions of identity and inadvertently exposed the need to frame discourses around traditional African design engagements and indigenous conceptual models. The study employs the analytical, descriptive and interpretative approach of the qualitative research methodology to conceptualise, classify and describe the indigenous and contemporary practice of dressing, costuming and make-up and body designs in Africa. The emphasis is on attires/dresses/clothing, body designs, costumes and make-up practices utilised in everyday life; on special occasions; on stage; in films; carnivals; street performances and traditional communal performances. In this study, the researcher deconstructs the term ‘costume’ as currently used in describing African dressing. It attempts an understanding and classification of costumes from three levels of artistic and historical distinctions which are; indigenous traditional designs (indigenous trad.); modern traditional designs (modern trad.); and contemporary traditional designs (contemporary trad.). Given the identified gaps in existing scholarly presentations on traditional dress culture and body adornment, it maintains that African scholars should be encouraged to expand the scope of discourse through further constructions of identity for indigenous cultural products. ","PeriodicalId":517897,"journal":{"name":"Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists","volume":"1 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140285593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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