THE STRATEGIES FOR MANAGING A TRADITIONAL THEATRE PERFORMANCE IN BUGUMA RIVERS STATE, NIGERIA: A CASE STUDY OF IKAKI MASQUERADE PERFORMANCE
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THE STRATEGIES FOR MANAGING A
TRADITIONAL THEATRE PERFORMANCE IN BUGUMA RIVERS STATE, NIGERIA: A CASE STUDY
OF IKAKI MASQUERADE PERFORMANCE
ABSTRACT
This research
is an exploration of the Ikaki Masquerade display of the Kalabari-Ijaws of the
Niger Delta region in Nigeria with the view of identifying strategies applied
in managing the tradition theatre elements in these performances. Chapter One
is an introduction of the basic premise of this research. Its scope of limitation
defines relevant terms and concepts as well as explains the purpose of the
study and the research methods applied. Chapter Two contains a systematic
review of relevant literature cited in the research. The aim is to critically
identify provisions finding and examine gaps in them. Chapter Three functions
as the theoretical thrust of this research. This Buguma people, their history,
geographical location, culture etc., are looked into. This chapter also
identifies management theories applicable in traditional theatre with specific
focus on Ikaki Masquerade display. Chapter Four deals with the elements and
strategies of the performance, while Chapter Five is the last chapter, all
observations made in the course of this research are explained and conclusions
reached, while necessary recommendations are made.
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
Scope and Limitation of the Study
1.3
Definition of Terms and Concepts
1.4
Purpose of the Study
1.5
Research Methodology
CHAPTER
TWO
2.1 Literature
Review
CHAPTER
THREE
3.1 Buguma:
History and Geographical Location
3.2 Culture,
World View and Tradition of the People
3.3 Management
Theories and Principles
CHAPTER
FOUR
4.1 Elements
of Traditional Theatre in Ikaki Performance
4.2 Strategies
for Managing the Performance
CHAPTER
FIVE
5.1 Observations
5.2 Conclusion
5.3 Recommendations
Bibliography
CHAPTER
ONE
1.1 INTRODUCTION
Masquerade displays with a whole range
of complexities and striking similarities are found among the people of the
Deltaic region of Nigeria from the Isoko and Urhobe in the north and west, to
the Kalabari Ijaws and Obolo (Andonis) in the south east. Even the names used
by these various groups to identify these performances ‘owu aru sun’, ‘owuaya
aru’, ‘owuru’, ‘ohworu’ resonate with each other. Although traditions linking
these masquerades to the Ijaw (in particular the Kalabari) are somewhat
strenuous, there are diverse viewpoints that the similarities cannot be denied.
Apart from the Ijaw-Kalabari speaking
people of Buguma, all of the Delta people mentioned above have other
masquerades, some of which are far more important in terms of their local
deities and clan commemorations. The complexities, (as with many other aspects
of the cultures of the Niger Delta people) can tell us much about their
interaction over the centuries, but we are only beginning to grasp the scope of
these masquerade linkages.
Of all the different masquerades,
Ikaki (tortoise) is perhaps one of the most notable characters. Curiously
referred to as the “old man from the
forest”, it is not only depicted as a morally depraved character. It is a
little puzzling to discover that in the context of narration, “Ikaki” is required as purely fictional
character, whilst in the context of masquerade dancing; Ikaki“is regarded as nature spirit (owu amabo).
In the course of this research,
attempts are made to critically examine when, why and where the performance
originated from. Efforts are also made to further enhance previous findings on
the rich vistas of entertainment and indeed, theatrical elements identifiable
in the “Ikaki” masquerade display.
Attempts are also made to establish lines of similarities that may exist
between masquerades of different ethnic groups.
Although Kalabari custom and tradition
strictly forbids anyone from openly revealing the present Ikaki performer by
name, obviously due to the need tu sustain the illusion of mysticism behind the
character, this will not rob this research of its credibility.
Lastly, I hope that in reading this
work, the reader would be properly acquainted with the strategies in managing
these performances and further debunk the wrong notions carried around by
western scholars against African theatre and drama as lacking elements. A brief
definition of management theories and principles also gives this research an
added impetus for proper understanding.
1.2 SCOPE AND LIMITATION OF THE STUDY
Presented in four chapters, the scope
of this research shall be restricted to the managerial strategies put in place
in ensuring proper management of masquerade performances with specific
reference to “Ikaki” masquerade. This
research does not aim at reviewing all existing masquerade performances in
Buguma. That will be beyond the scope of this research. Hence, only “Ikaki” is selected as a case study
since it falls within the compass of this research.
1.3 DEFINITION OF TERMS
The word “management is derived from
the verb “manages” which means to control, to deal with or guide, to mean
something. Management thus means to manage something. It is the ‘science’ and
‘art’ (emphasis, mine) of organizational control of human activity towards
specific ends, according to the international labour organization.
A more concise definition could be
found in the forelands definition quoted management as that process by which
managers create, direct, maintain and operate purposeful aims through
systematic, coordinated, cooperative human effort.
We can safely say that management
involves the effective carrying out of an organization’s work. For the purpose
of this research, management is looked at as the process whereby a conclusive
atmosphere is created for the various human and material resources to be utilized
to achieve the planned objectives.
STRATEGY: Seth
Accra Jaja (2000) defines a strategy:
As
the action an organization takes to pursue its business objectives. Strategy
results in a good performance. An organization strategy is multi-faced. It can be
viewed from a number of directions depending on which aspect of its actions is
of interest (200: 12).
From
the above strategy is the use of skill in achieving a purpose
THEATRE: The
world ‘theatre’ is derived from a Greek word “theatron”, which simply refers
to “a place of seeing”. Viewed from the
above reference, theatre simply describes a building for dramatic renditions.
However, Gassner (1953) observes succinctly that:
Theatre is simply the art of acting out something;
it does not even need a specific building and stage for it can take place in a
threshing circle, in a street, or on any piece of grand (1953: 71)
For
Wilson (1976), theatre can be appreciated more as an experience or better put,
in art.
Theatre is an experience, an immediate are whose
meaning is grasped through an understanding of the encounter between who
creates theatre performance, writers, directors, designers, technicians and
those who view it members of the audience (1061: 1).
Jersy
Growtoski on his part observes that to the academic, theatre is a place where
an actor recites a written text, illustrating it with a series of movements in
order to make it easily understood.
The
theatre is first and foremost a place of entertainment. If he expects to
encounter a frivolous muse, the text does not interest him in the least. What
interest him are the so-called gaps, the comic efforts and perhaps, the fun
which leads back to the text (198:28).
Obu
(1984), defining African traditional theatre, sees it as a series of events,
dramatic scenes and processions by a group of performers before an audience
most of whom may be participant in the act:
From the above citations, one can infer that the
word “theatre” can refer to or mean one or more things at the same time
depending on the individual’s point of view. However, this research looks at
the word “theatre” as the cumulative, spontaneous and ephemeral impressions
derived from the happenings between the actors, and the audience, and the
spectacles created before the audience.
RESEARCH METHODOLOGY
In
this research, the methodology applied involves three basic features. These
are:
i.
Identifying and defining the problem
ii.
A review of relevant literature
iii.
Critical analysis of research findings
iv.
Drawing necessary influence/condition
of materials from published reports, journals books magazines etc., is also
utilized.
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