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THE MANAGEMENT OF A CULTURAL DANCE: A CASE STUDY OF “DIBU UGO CULTURAL DANCE OF UGIRI” ISI – ALA MBANO




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THE MANAGEMENT OF A CULTURAL DANCE: A CASE STUDY OF “DIBU UGO CULTURAL DANCE OF UGIRI” ISI – ALA MBANO















ABSTRACT
This study surveys the management of a cultural dance with Dibu Ugo cultural dance of Ugiri as a case study. It tries to look at the managerial roles of the various departments that make-up the group. This project also study’s the managerial skills applied by the various departments in the dance. It encourages students of theatre to take up the study and writing on dance.



















TABLE OF CONTENTS
Title Page -       -       -       -       -       -       -       -       -       -       i
Certification     -       -       -       -       -       -       -       -       -       ii
Dedication       -       -       -       -       -       -       -       -       -       iii
Acknowledgement    -       -       -       -       -       -       -       -       iv
Abstract   -       -       -       -       -       -       -       -       -       -       vi
Table of Contents     -       -       -       -       -       -       -       -       vii

CHAPTER ONE
1.1      Introduction
1.2      Statement of Problem
1.3      Scope of Study
1.4      Significance of  the Study
1.5      Research Methodology
1.6      Definition of Terms
1.7      The Manager
1.8      Culture
1.9      Dance

CHAPTER TWO
2.1   Literature Review

CHAPTER THREE
3.1   The Management of Cultural Dance: Dibu Ugo Dance


CHAPTER FOUR
4.1   The Management of Dibu Ugo Cultural Dance of Ugiri
4.2   Management Skilled Applied by Managers in Dibu Ugo Cultural Dance
4.3   Onye Ode Akwu Kwo
4.4   Ndi Oku Egwu (Instrumentalist), Ndi Ogba Egwu (Dancers) and Onye Odezi Ihe Egwu (Custodian of the Instruments or Store Keeper)

CHAPTER FIVE:     SUMMARY OF FINDINGS, RECOMMENDATIONS AND CONCLUSION
5.1   Summary of Findings
5.2   Recommendations
5.3   Conclusion
        Work Cited











CHAPTER ONE
1.1      INTRODUCTION
The word culture has been so defined by different people from different contexts. One of time measured definitions of culture is given by Tylor in 11871 in his book on primitive culture published that same year. He saw culture as “that complex whole which includes knowledge, belief, arts morals customs and any other capabilities and habits acquired by man as a member of society”. For Tylor culture is a way of life of a people acquired by heredity.
Mary Douglas (1964) defines culture as “the sum of learned social behaviour that is passed from generation to generation”. According to her own view, culture is transferable from one group of persons to the other as concerns “generation” and it is continues in nature. Swart and Jordan Onyia (1991:19), opine that culture is the sum total of the morally fprcefeul understanding acquired by learning and shared with members of the group to which the learning belongs. This implies that nobody exists outside culture. Culture inherent in every man, no matter the age, size and position of that individual, culture is participatory and shared.
In the cultural policy for Nigeria, culture is defined as:
The totality of the way of life evolved by a people in their attempts to meet the challenge of living in their environment, which gives order and meaning to their social political economy, aesthetic and religious norms and modes of organizations, thus distinguishing a people from their neighbors (5)
“Culture” from this assertion does not merely mean a return to customs of the past. In the same cultural policy for Nigeria, culture is said to comprise material, institutional philosophical and creative aspects’ of every society. The material aspects have to do with the artifacts, in their broadest form (namely tools, clothing, food, medicine, utensils housing etc.). The institutional deals with political, social, legal and economic structure erected to help achieve material and spiritual objectives, while the philosophical has to do with, among other things, the ideas belief and values. The creative concerns a people’s literature (oral or written) as well as their visual and performing arts. It is worthy to note that in every culture, there exists “the creative concern” of the people. That culture is often viewed as the aesthetic aspect of society is therefore not out of place.
        Culture is the totality of the attitude of a people to the future of their traditional values faced with the demands of modern’s technologies which are an essential factor of developmental programmes.
In defining culture, Schneider (1967:12) says:
Culture is the differentiating element between societies and groups. Culture is the sum total of the people’s way of doing things and which practices and procedure are transmitted from one generation of people to another generation. Culture here refers to the social heritage of a people. It is those learned pattern of thinking, feelings and acting that are transmitted from one generation to the other, including embodiment of these patterns in material items.
Douglas (1964:8) declares that culture is so important that it is seen as the spirit of the society, the cement that holds together the society.
1.2      STATEMENT OF PROBLEM
This struggle to prove that African cultural performances can stand the test of globalization has reached a height where every hand must be involved.
It is a clear fact that many have neglected their cultural heritage to depend on other influential cultures. This is so much that the average Nigerian child cannot say vividly what his or her culture is. This is a serious problem that calls for urgent attention or the country loses such cultural heritance like Dibu Ugo Culty.
The need to retain what belongs to this nation and her people has caused the major reason for this study. People have to be aware of what they possess and think of better ways to preserve them.
This study is serving as a forum to document and preserve the Dibu Ugo cultural Dance of Ugiri in order to provide some information to this generations and the one unborn.
1.3      SCOPE OF STUYD
This is a study of how a cultural dance have survives through effective management. It therefore looks at the inherent qualities of the various managers in a cultural dance with “Dibu Ugo cultural dance” as a case study.
While evaluating on the qualities of the managers, it also explores on the roles of the managers on the management of the various theatrical element involved in the dance. The project also concentrates on the information provided by written materials history and interviews for the attainment of the above stated areas.
1.4      SIGNIFICANCE OF THE STUDY
This work serves as a medium of informing the public that the Ugiri man is culture-oriented. In addition, he is not devoid of the love for theatre. Secondly the cultural dance on study, “Dibu Ugo Cultural Dance” has not been documented in the written form, since its existence till date. So this documentation will serve as a material of reference to everyone who wants to get information on the cultural dance.
1.5      RESEARCH METHODOLOGY
This work, involved the use of the interview method research. It also involved the documentary and historical research methodologies. Through the interview method, much information was got from individuals who have got something to do with the Ugiri man and Dibu Ugo cultural dance.
The documentary method is based on pictures, observations and interviews made during one of the various performances of the group. This historical method has helped in making reference to the past histories of the cultural dance, “Dibu Ugo”, and other important histories related to the topic of discussion.
1.6      DEFINITION OF TERMS
THEATRE
The world “theatre” originated from Ancient Greece. The word was coined out from the Greek word “theatron” meaning “seeing place” (Oscar G. Brockett 1988 P9). In this study, the word theatre is used more as the manifestation of man and his society as he reproduces or represents it in drama dance or music in the bid to inform, entertain and educate.
1.7      THE MANAGER
The name manager can be simply seen as any person that organizes, controls or directs affairs in any given organization, institution or group. In the Longman Dictionary of Contemporary English, the manager is seen as “someone who is in charge of the business affairs of a singer, an actor etc.”
1.8      CULTURE
According to Schneder (1976:P.9) culture refers to the social heritage of a people”. These learned patterns of thinking, feeling and acting that are transmitted from one generation to the other; including embodiment of these patterns in material items.
Culture has also been seen as the “mass of learned and transmitted motions, reactions habit, techniques, ideas and values and behavior they induce” (Alfred Crowder 1964:P9).
Culture is not a “thing” but an abstraction, a process and instrument. It is the differentiating elements between societies and group. It is the sum total of the peoples’ way of doing things and through which practice and procedures are transmitted from one generation to another.
1.9      DANCE
A dance is an expression of experience through patterns of movement in time and space using energy. Works of arts are the symbols through which men communicate their thoughts, experiences and emotions which lie beyond ordinary speech. Artists create forms or symbols that have the power to arouse emotion in others.
Dance is the oldest art. The theatre is rooted in dance and grew out of masked dancing. The basic materials of dance are space, time and human body.
Dance is an empherical art; it is the most malleable and challengeable of all arts. Once it is performed, there is no recorded script or trace of it. Until the next performance which might not be quite the same as it depends upon the movement abilities of particular performance.
  


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