NIGERIA THEATRE AND CULTURAL PROMOTION: A STUDY OF NATIONAL THEATRE

Abstract

This study is on Nigeria theatre and cultural promotion: a study of national theatre. The total population for the study is 200 staff of national theatre Lagos, Lagos state. The researcher used questionnaires as the instrument for the data collection. Descriptive Survey research design was adopted for this study. A total of 133 respondents made theatre practitioners, supervisors, senior staff and junior staff were used for the study. The data collected were presented in tables and analyzed using simple percentages and frequencies

 CHAPTER ONE

INTRODUCTION

• Background of the study

A national theatre embodies the performing treasures of the nation‘s inheritance for a glorious cause. The theatre brings the best not just to its people but also to the world and further deals with artistic and creative imaginations. It then beholds on Government to encourage the theatre as a body that preserves and promotes the cultural values of the nation rather than see it as a commercial industry. It is to this effect that the Scottish National Theatre idea comes as an art/culture commissioning body and not just one mount of architectural edifice. To preserve a culture then, it must be taken care of and mostly by funding. This may have been implied by Stewart Steven in his closing remark at the English Equity Theatre Conference, when he says that if you want to destroy a people, the first thing you do is destroy its culture. A functioning and producing theatre is something that provides a heart to the nature of a nation. This is in terms of identity, focus and sometimes diverse opinions. It is to this effect that the Social Democratic Government of Sweden in the 1930s initiated the establishment of a nation-wide organization for a touring theatre. A theatre that packages the national identity. This theatre called Riksteatern is the Author α: Department of Theatre and Media Arts Ambrose Alli University, Ekpoma, Edo State, Nigeria. e-mail: nuzomat@yahoo.com third theatre financed by government funds in Sweden. Riksteatern produces about 1,500 performances of (national) drama, music and dance a year. In addition, it has a special department that produces children‘s theatre called Ungariks. During the 1960s, riksteatern became an important moulder of public opinion through its performance. The National Theatre of Bulgaria Ivan Vazouis financed by Bulgaria‘s Ministry of Culture. Varying a spectrum of repertoire from classical drama to contemporary plays, the theatre stages about ten major productions yearly with between 450 and 500 performances presented per season, the theatre company has made an extensive tour of Europe, Asia, Africa, North and South America showcasing Bulgaria‘s identity. Recently with King Stag, it received most of the major awards at the Raduga Festival in St. Petersburg in Russia. In each of these cases cited, the country‘s image is marketed. This marketing in the opinion of this paper, is made possible due to a focused managerial body at play. Africa has variety of Arts, craft and Religion which had contributed to the popularity of its society. From the investigations made by archaeologists and anthropologists into the life of the people over the years, Art and religion had played major roles in the development of the continent in the past and present life of the people. The African masks which were used for religious and social purposes pioneered the European art. Picasso and other artists preferred it to artistic expression of the classical and Renaissance art. According to Smeets (1975) “our generation, in fact has only just discovered the magnificence of the so-called primitive cultures. In the Paris of the young Picasso and Breque, African masks and sculpture had the impact of thunder.” In Nigeria some early artifacts which were collected by K.C. Murray and some excavations which revealed the Nok, Igboukwu and Ife artifacts to mention but a few gave insight into the rich heritage of Art objects, religion and cultural practices which made the society a dynamic socio-cultural religious entity. The ancestors of the Nigerian ethnic groups bequeathed objects especially sculptural forms in wood, metal, ivory and terracotta. According to Eze (2008) “These materials were used by early sculptors using simple tools and hands to turn them into sculptural pieces.” Symbolism was the driving force which produced the art works that were used for utility, religious worship and the development of the ethnic groups. Art, religion and the development of Nigerian ethnic group is not separated from each other. They complement each other and keep the traditional society going and alive. Anyachonkeye (2006) states: Our people are guided by their ethos, the things they value and revere. They are firm believers in their cultural heritage the things that hold and bind them together. The norm and moral ethics cannot be extricated from their material and non-material culture-morals, religion, food habit, dialect, values system and others. Many Nigerian traditional ethnic groups in effect practiced art and religion in order to communicate with their gods because of their belief in the human soul and spirit which are ever at work. Some of these gods were worshipped in shrines with art objects. This kept the societies intact and developed.