The emergence of the social media has indubitably altered the Nigerian theatre space. The social media stage has created a niche for individuals to somewhat independently practise theatre. The horde of actors and acting on the social media space or cyber space draws to itself a teeming audience that is better described as participators as they take active part in the performance through their views, reactions, comments, and replies. This deportment is so evident on the Nigeria social media space, creating new personalities such as Mama Uka, Ada Egara Nsukka, Oliver Nayoka, Mr. Funny (Oga Sabinus), and Brain Jotter. Using the media richness theory to attempt the development of social media theatre theory, this study takes an analysis of select Nigerian social media actors, their theatrics and relationship with their participators to appraise the viability of theatre on the social media stage. Their teeming followers – participators comprise people of disparate backgrounds who could have been cut off from the show if they were to attend the performances of those actors in the physical theatre, thus the proliferation of actors and participators on the social media space. Our conclusion is that the social media has improved, defying the physical limits of the traditional theatre. As individuals and groups begin to cultivate their theatre adventures on the cyber space which have observably received widespread participation, resulting from its elastic spatiality and impartation, professional theatre artists and groups need to cultivate more, the social media space for a sustainable theatre culture.
{"title":"The viability of social media theatre in Nigeria and the proliferation of actors and audience in the cyberspace","authors":"A. D. Akoh, Anthony Echefunachukwu Ugwu","doi":"10.4314/ntj.v23i1.2","DOIUrl":"https://doi.org/10.4314/ntj.v23i1.2","url":null,"abstract":"The emergence of the social media has indubitably altered the Nigerian theatre space. The social media stage has created a niche for individuals to somewhat independently practise theatre. The horde of actors and acting on the social media space or cyber space draws to itself a teeming audience that is better described as participators as they take active part in the performance through their views, reactions, comments, and replies. This deportment is so evident on the Nigeria social media space, creating new personalities such as Mama Uka, Ada Egara Nsukka, Oliver Nayoka, Mr. Funny (Oga Sabinus), and Brain Jotter. Using the media richness theory to attempt the development of social media theatre theory, this study takes an analysis of select Nigerian social media actors, their theatrics and relationship with their participators to appraise the viability of theatre on the social media stage. Their teeming followers – participators comprise people of disparate backgrounds who could have been cut off from the show if they were to attend the performances of those actors in the physical theatre, thus the proliferation of actors and participators on the social media space. Our conclusion is that the social media has improved, defying the physical limits of the traditional theatre. As individuals and groups begin to cultivate their theatre adventures on the cyber space which have observably received widespread participation, resulting from its elastic spatiality and impartation, professional theatre artists and groups need to cultivate more, the social media space for a sustainable theatre culture.","PeriodicalId":517897,"journal":{"name":"Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140396761","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}
Film also known as the 7th Art is a medium for education, information and entertainment which has over the years undergone a series of technological innovations. This paper examines the evolution of cinema from the ‘silent era’ to the ‘new age era’ characterized by a trajectory of innovations and improvements due to technological developments. The paper adapts the Diffusion of Innovations Theory (DIT) propounded by Everett Rogers in 1962 to assess the extent to which innovations in digital technology have altered the old traditional film production landscape. The paper seeks, among others, to determine and highlight the significant areas technology has impacted on the development of motion pictures globally with particular emphasis on the Nigerian film industry popularly known as Nollywood. Our major point of interest is on the roles, impacts, challenges and prospects of digital technology in the areas of production, distribution, marketing and exhibition of films. By using the assumptions of DIT which seeks to explain how, why, and at what rate new ideas and technology spread. The paper further reviews relevant literature and some empirical results from scholars to justify its claims. We are able to establish in our findings that digital technology is the driving force of film development which has contributed enormously to world cinema. Furthermore, the rapid development and emergence of Nollywood film industry as the second largest producer of films in the world next to Bollywood of India is attributable to the emergence of digital technology.
{"title":"Digital technology and Nollywood film industry","authors":"Teddy Thaddeus Hanmakyugh","doi":"10.4314/ntj.v23i2.7","DOIUrl":"https://doi.org/10.4314/ntj.v23i2.7","url":null,"abstract":"Film also known as the 7th Art is a medium for education, information and entertainment which has over the years undergone a series of technological innovations. This paper examines the evolution of cinema from the ‘silent era’ to the ‘new age era’ characterized by a trajectory of innovations and improvements due to technological developments. The paper adapts the Diffusion of Innovations Theory (DIT) propounded by Everett Rogers in 1962 to assess the extent to which innovations in digital technology have altered the old traditional film production landscape. The paper seeks, among others, to determine and highlight the significant areas technology has impacted on the development of motion pictures globally with particular emphasis on the Nigerian film industry popularly known as Nollywood. Our major point of interest is on the roles, impacts, challenges and prospects of digital technology in the areas of production, distribution, marketing and exhibition of films. By using the assumptions of DIT which seeks to explain how, why, and at what rate new ideas and technology spread. The paper further reviews relevant literature and some empirical results from scholars to justify its claims. We are able to establish in our findings that digital technology is the driving force of film development which has contributed enormously to world cinema. Furthermore, the rapid development and emergence of Nollywood film industry as the second largest producer of films in the world next to Bollywood of India is attributable to the emergence of digital technology. ","PeriodicalId":517897,"journal":{"name":"Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists","volume":"11 13","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140285488","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}
Culture is closely related to civilization and all observable civilizations are derived from one form of culture to the other. The cultural and creative industries (CCIs) usually takes advantage of the vast cultural heritage of a given people as sources of inspiration for their artistic enterprise to thrive. At the heart of creativity in every pluralist society is culture. This is evident in countries like Nigeria, Ghana, South Africa, among others, where the cultural market offer muse for artists. This paper examines the ways through which the creative industry can tap from the rich resources inherent in the cultural market. It uses the Concept of Cultural and Creative Industries as a theoretical anchor to argue that the CCIs are valuable assets capable of instituting development ethos which can move a state from nationhood to civilization. The study gets its data from the instrumentality of documentary observation a la desk review of books, journals and other bibliotheca. It concludes that the theatre possess the innate ability to make Nigeria relevant in terms of soft power diplomacy in world politics and development.
{"title":"Cultural and creative industries and theatre praxis in a digital epoch","authors":"Okhaifo Phillandar Eseigbe","doi":"10.4314/ntj.v23i1.5","DOIUrl":"https://doi.org/10.4314/ntj.v23i1.5","url":null,"abstract":"Culture is closely related to civilization and all observable civilizations are derived from one form of culture to the other. The cultural and creative industries (CCIs) usually takes advantage of the vast cultural heritage of a given people as sources of inspiration for their artistic enterprise to thrive. At the heart of creativity in every pluralist society is culture. This is evident in countries like Nigeria, Ghana, South Africa, among others, where the cultural market offer muse for artists. This paper examines the ways through which the creative industry can tap from the rich resources inherent in the cultural market. It uses the Concept of Cultural and Creative Industries as a theoretical anchor to argue that the CCIs are valuable assets capable of instituting development ethos which can move a state from nationhood to civilization. The study gets its data from the instrumentality of documentary observation a la desk review of books, journals and other bibliotheca. It concludes that the theatre possess the innate ability to make Nigeria relevant in terms of soft power diplomacy in world politics and development.","PeriodicalId":517897,"journal":{"name":"Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists","volume":"28 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140396757","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}
Theatre scholars and practitioners have expressed concerns about the state of theatre, with some even proclaiming that it is dying or dead. This viewpoint is often rooted in the observation of the growing competition in the art and culture sector, driven by the advancements in technology that have led to the emergence of digital art and Non-Fungible Tokens (NFTs). While these technological innovations have the potential to enhance the quality of theatre content, they also present a new alternative that theatre finds hard to compete with. This article builds on Walter Benjamin's The Work of Art in an Age of Mechanical Reproduction, to explore the concept of aura and its relevance in contemporary Nigerian theatre. The study delves into the nature of the aura's manifestation, examines Benjamin's claims on the decay of the aura, and investigates how the aura has survived in the past. It further examines how modern art, particularly digital art and NFTs, have created a new form of utility. The study aims to identify strategies that can amplify theatre's aura to compete favourably with modern technology and attract new audiences whose tastes are heavily influenced by modern technology. The study finds that the theatre and its artists can use NFTs to record the provenance of their physical artworks, such as costumes, props, and set designs to allow potential buyers to easily check for the authenticity of the artwork and preserve the aura of the piece. Thereby, providing insights on how the aura can be preserved and revitalised to ensure theatre's continued relevance in the age of technology.
戏剧学者和从业者对戏剧的现状表示担忧，有些人甚至宣称戏剧正在消亡或死亡。这种观点往往源于对文化艺术领域日益激烈的竞争的观察，这种竞争是由科技进步所驱动的，科技进步导致了数字艺术和不可兑换代币（NFTs）的出现。虽然这些技术创新有可能提高戏剧内容的质量，但它们也提供了一种新的选择，让戏剧难以与之竞争。本文以瓦尔特-本雅明（Walter Benjamin）的《机械复制时代的艺术作品》（The Work of Art in an Age of Mechanical Reproduction）为基础，探讨光环的概念及其在当代尼日利亚戏剧中的意义。本研究深入探讨了灵气的表现本质，研究了本雅明关于灵气衰减的主张，并调查了灵气在过去是如何存在的。研究还进一步探讨了现代艺术，尤其是数字艺术和 NFT 如何创造了一种新的实用形式。研究旨在找出能够放大剧院光环的策略，以便与现代技术竞争，吸引品味深受现代技术影响的新观众。 研究发现，剧院及其艺术家可以使用 NFT 记录服装、道具和布景设计等实体艺术品的出处，以便潜在买家轻松检查艺术品的真实性，并保留作品的灵气。这样，就可以深入了解如何保存和振兴戏剧的灵气，确保戏剧在技术时代的持续相关性。
{"title":"Amplifying theatre aura in the era of amplified technology","authors":"Shalom Ibironke, Roseline Ande Yacim","doi":"10.4314/ntj.v23i2.8","DOIUrl":"https://doi.org/10.4314/ntj.v23i2.8","url":null,"abstract":"Theatre scholars and practitioners have expressed concerns about the state of theatre, with some even proclaiming that it is dying or dead. This viewpoint is often rooted in the observation of the growing competition in the art and culture sector, driven by the advancements in technology that have led to the emergence of digital art and Non-Fungible Tokens (NFTs). While these technological innovations have the potential to enhance the quality of theatre content, they also present a new alternative that theatre finds hard to compete with. This article builds on Walter Benjamin's The Work of Art in an Age of Mechanical Reproduction, to explore the concept of aura and its relevance in contemporary Nigerian theatre. The study delves into the nature of the aura's manifestation, examines Benjamin's claims on the decay of the aura, and investigates how the aura has survived in the past. It further examines how modern art, particularly digital art and NFTs, have created a new form of utility. The study aims to identify strategies that can amplify theatre's aura to compete favourably with modern technology and attract new audiences whose tastes are heavily influenced by modern technology. The study finds that the theatre and its artists can use NFTs to record the provenance of their physical artworks, such as costumes, props, and set designs to allow potential buyers to easily check for the authenticity of the artwork and preserve the aura of the piece. Thereby, providing insights on how the aura can be preserved and revitalised to ensure theatre's continued relevance in the age of technology. ","PeriodicalId":517897,"journal":{"name":"Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists","volume":"35 14","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140285284","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}
At the early stages of Nollywood (the film industry in Nigeria), names of physical film markets were regular in thrillers and posters of films. These include the markets at Upper Iweka Onitsha, Alaba International Lagos, Idumota Lagos, Pound Road Aba and Milverton Avenue Aba. These markets handled the general marketing of the industry. In the present day Nollywood, most of the marketing in the industry are done online. Yet, the names of these physical markets still suffice on the thrillers and posters of Nollywood films. This paper attempts to take a look at the state of the physical film markets in Nigeria in contemporary times. The markets surveyed are the film markets in Electro-Mart Market Onitsha Anambra State (which is a re-location of the market at Upper Iweka Onitsha), Alaba International Market and Idumota Market both in Lagos, and Pound Road and Milverton Avenue both in Aba Abia State. The work is approached through documentary research, observation and interview sessions with the marketers in, and leaders of the markets. It is concluded that despite the fact that activities have grossly dwindled in these physical film markets, they are still very relevant to Nollywood for some other vital functions they perform for the industry. What is missing in these markets is the suitable political environment for the industry. The paper recommends the provision of the enabling economic, natural and, most importantly, political environment for the industry to thrive better in this highly digital era.
{"title":"Changing with changing times: A peep into Nollywood physical film markets in the era of online marketing","authors":"Chisimdi Udoka Ihentuge","doi":"10.4314/ntj.v23i2.4","DOIUrl":"https://doi.org/10.4314/ntj.v23i2.4","url":null,"abstract":"At the early stages of Nollywood (the film industry in Nigeria), names of physical film markets were regular in thrillers and posters of films. These include the markets at Upper Iweka Onitsha, Alaba International Lagos, Idumota Lagos, Pound Road Aba and Milverton Avenue Aba. These markets handled the general marketing of the industry. In the present day Nollywood, most of the marketing in the industry are done online. Yet, the names of these physical markets still suffice on the thrillers and posters of Nollywood films. This paper attempts to take a look at the state of the physical film markets in Nigeria in contemporary times. The markets surveyed are the film markets in Electro-Mart Market Onitsha Anambra State (which is a re-location of the market at Upper Iweka Onitsha), Alaba International Market and Idumota Market both in Lagos, and Pound Road and Milverton Avenue both in Aba Abia State. The work is approached through documentary research, observation and interview sessions with the marketers in, and leaders of the markets. It is concluded that despite the fact that activities have grossly dwindled in these physical film markets, they are still very relevant to Nollywood for some other vital functions they perform for the industry. What is missing in these markets is the suitable political environment for the industry. The paper recommends the provision of the enabling economic, natural and, most importantly, political environment for the industry to thrive better in this highly digital era. ","PeriodicalId":517897,"journal":{"name":"Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists","volume":"25 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140285299","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}
Within the last two decades, there have been diverse painstaking attempts by Nigerian theatre pedagogues, under the umbrella of the Society of Nigeria Theatre Artists (SONTA), to underscore the germaneness of the theatre in society by constructing themes to address issues of concern in its yearly conference. One of such is the thematic preoccupation of SONTA 2022 which was headlined, “Nigerian Theatre in a Digital Era.” In this paper, we argue against the frame of apprehending the ‘digitalisation’ of Nigerian theatre from the lens of electronic or computerised technology as constructed by the West. We examine the historical boundaries of what it means for a theatre to be in a digital era and more so, at what point would we say that the Nigerian theatre entered its own digital era. The paper draws on historical analysis to contend that Nigerian theatre is caught betwixt the web of Eurocentric apprehension of ‘digitalisation’ and a functionalist logjam of finding relevance in a fast-changing world driven by the Western-styled technology. It submits that the Nigerian theatre is far behind in its attempt to catch up with the Western idealisation of ‘digital theatre’ as the West is gradually shifting from digitalisation to post-digital encounters with emphases on human beings. Hence, the call for a reinterpretation of the digital era in the Nigerian theatre based on a fresh understanding in light of the argument for a post-digital world.
{"title":"Nigerian theatre in a digital era","authors":"S. Ododo","doi":"10.4314/ntj.v23i1.1","DOIUrl":"https://doi.org/10.4314/ntj.v23i1.1","url":null,"abstract":"Within the last two decades, there have been diverse painstaking attempts by Nigerian theatre pedagogues, under the umbrella of the Society of Nigeria Theatre Artists (SONTA), to underscore the germaneness of the theatre in society by constructing themes to address issues of concern in its yearly conference. One of such is the thematic preoccupation of SONTA 2022 which was headlined, “Nigerian Theatre in a Digital Era.” In this paper, we argue against the frame of apprehending the ‘digitalisation’ of Nigerian theatre from the lens of electronic or computerised technology as constructed by the West. We examine the historical boundaries of what it means for a theatre to be in a digital era and more so, at what point would we say that the Nigerian theatre entered its own digital era. The paper draws on historical analysis to contend that Nigerian theatre is caught betwixt the web of Eurocentric apprehension of ‘digitalisation’ and a functionalist logjam of finding relevance in a fast-changing world driven by the Western-styled technology. It submits that the Nigerian theatre is far behind in its attempt to catch up with the Western idealisation of ‘digital theatre’ as the West is gradually shifting from digitalisation to post-digital encounters with emphases on human beings. Hence, the call for a reinterpretation of the digital era in the Nigerian theatre based on a fresh understanding in light of the argument for a post-digital world.","PeriodicalId":517897,"journal":{"name":"Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists","volume":"28 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140396759","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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