Journal of Social Sciences and Humanities
Articles Information
Journal of Social Sciences and Humanities, Vol.1, No.1, Mar. 2015, Pub. Date: Mar. 26, 2015
Theatre for Development Paradigm as Trend in Socio-Aesthetic Dynamism: The Zimbabwean ‘TfD’ Workshop Example
Pages: 6-13 Views: 1338 Downloads: 824
Authors
[01] Samuel O. Chukwu-Okoronkwo, Department of Mass Communication, Abia State University, Uturu, Nigeria.
Abstract
With the paradigmatic shift from the dominant theatre tradition and the more process-oriented nature which theatre has come to assume by re-engaging itself to issues of deeper social concern, its instrumentality in expanding human development frontiers in this new milieu cannot be overemphasized. Theatre for Development paradigm, otherwise called Alternative Theatre, offers an alternative approach to the conventional theatre practice. The ultimate goal of every TfD effort is to address the people’s needs and aspirations through arousing their consciousness for active participation in the development process; and of course using those familiar media at their disposal. By refocusing the Zimbabwean TfD workshop experience, this study examines the intricacies of socio-aesthetic dynamics that had transformed Pungwe – an indigenous performance tradition of the people, from theatre-for-liberation to theatre-of-national-reconstruction, and highlights TfD’s implications for development in Africa.
Keywords
Conscientization, Development, Participation, Socio-Aesthetic Dynamics, TfD
References
[01] Nwankwo, I. E. (2000). “Putting the People First: Newer Communication Trend for Rural Development in Nigeria”. Paper Presented at Ebenezer Soola Conference on Communication, University of Ibadan on 18th – 19th October.
[02] Eyoh, H. N. (1987). “Theatre and Community Education: the Africa Experience”. Africa Media Review Vol. 1. No. 3: 56 – 68.
[03] Boal, A. (2000). Theatre of the Oppressed. [trans.] Charles A., Maria-Odilia Leal McBride and Emily Fryer. London: Pluto Press.
[04] Kafewo, S. A. (2004). “Concept of Theatre”. In Jenkeri Okwori Z. (ed.) Community Theatre: An Introductory Coursebook. Zaria: Tamaza Publishing Co. Ltd.: 1 – 11.
[05] Iorapuu, T. (2008). “When TfD is not TfD: Assessing Theatre for Development Evidence in Nigeria”. Paper presented at the 1st Conference on Popular Theatre /TFD in the 21st Century, at Ahmadu Bello University, Zaria, March.
[06] Kershaw, B. (1992). The Politics of Performance: Radical Theatre as Cultural Intervention. London: Routledge.
[07] Mdoe, A. R. (n/d). “Popular Theatre and its role in Participation in Social Development”. Assessed from http://www.hakikazi.org/papers01/am01.pdf, on 14-08-11.
[08] Obadiegwu, C. C. (2009). Beyond the Fourth Wall: Theatre at the Frontier of Human Development. (Second Edition) Awka: Samomaso Ventures.
[09] Bamidele, I. O. (2000). Literature and Sociology. Ibadan: Stirlig-Horden Publishers (Nig.) Ltd.
[10] Soyinka, W. (1976). Myth, Literature, and the African World. London: Cambridge University Press.
[11] Hagher, I. H. (1990). “Introduction: Theatre and the Community through the Ages”. In Iyorwuese Harry Hagher (ed.) The Practice of Community Theatre in Nigeria. Lagos: Society of Nigerian Theatre Artists [SONTA]: 3 – 13.
[12] Chukwu-Okoronkwo, S. O. (2011). “Art and Societal Dialectics in Sub-Saharan Africa: A Critique of Wa Thiong’o and Osofisan as Dramatists”. In Journal of African Studies and Development Vol. 3(4): 76 – 86.
[13] Osofisan, F. (ed.) (2004). Communicating Children and Women’s Rights in Nigeria: Experiences from the Field. The Department of Theatre Arts, UI/UNICEF.
[14] Uka, K. (1982). “Drama and Conscientization”. In Kalu, Ogbu U. (ed.) Readings in African Humanities: African Cultural Developments. Enugu: Fourth Dimension Publishers: 185 – 208.
[15] Schumacher, E. F. (1974). Small is Beautiful: A Study of Economics as if People Mattered. [ABACUS Edition] London: Sphere Books Ltd.
[16] Gbilekaa, S. E. T. (1990). “Harnessing Radical Theatre as a Potent Tool for Community Development in Nigeria: A Methodological Approach”. In Hagher, Iyorwuese Harry (ed.) The Practice of Community Theatre in Nigeria. Lagos: Society of Nigerian Theatre Artists [SONTA]: 26 – 35.
[17] Soubbotina, T. P. (2004). Beyond Economic Growth: An Introduction to Sustainable Development. [Second Edition] Washington, D.C.: The word Bank.
[18] Batta, H. E. (2008). “Harnessing the Performing and Communication Arts for Sustainable Development in Africa”. In Nwankwo, I. E., Utoh-Ezeajugh, T., and Tunca, D. (eds.) Professor Femi Osofisan International Conference on Performance Proceedings: 47 – 56.
[19] Chukwu-Okoronkwo, S. O. (2011). “Alternative Theatre Paradigm: Charting the Pathway to Sustainable Development”. In The Humanities and Sustainable Development, (eds.) A. B. C. Chiegboka, T. C. Utoh-Ezeajugh, and M. S. Ogene. Nimo: Rex Charles & Patrick Ltd.: 219 – 226.
[20] Uwandu, D. N. (1999). “Theatre as a Democratic Model for Development”. In Unizik Journal of Arts and Humanities. Vol. 1. No. 1: 207 – 213.
[21] Johnson, E. (2004). Aesthetics: The Dialectics and Theatrics of Theatre and communication. Lagos: Concept Publications Limited.
[22] Etherton, M. (1982). “Popular Theatre for Change: From Literacy to Oracy”. In Media Development, 3: 2 – 4.
[23] Nwadigwe, C. E. (2007). “‘Meet us at the other side of the river’: performance venue and community education among migrant fishermen in Nigeria”. Research in Drama Education Vol. 12, No. 1: 65 – 77.
[24] Mda, Z. (1993). When People Play People: Development Communication Through Theatre. Johannesburg: Witwatersrand U. P.
[25] Chinyowa, K. C. (2005). “Manifestations of Play as Aesthetic in African Theatre for Development”. Doctoral Dissertation. University of Zimbabwe.
[26] Kidd, R. (1984). From People Theatre for Revolution to Popular Theatre for Reconstruction: Diary of a Zimbabwean Workshop. The Hague: CECO/ICAE.
[27] Ode, R. (2008). (2008). “Negotiating Development for Africa through the Theatre in a Globalizing World”. Paper Presented at the 1st Conference on Popular Theatre/TFD in the 21st Century at Ahmadu Bello University, Zaria, 25th – 28th February.
[28] Gbilekaa, S. E. T. (1997). Radical Theatre in Nigeria. Ibadan: Caltop Publications (Nig.) Limited.
[29] Abah, O. S. (1989). “The Politics of Popular Theatre and Television”. Networker. Newsletter of the Nigerian Popular Theatre Alliance [NPTA]. Vol. 1: 5 – 7.
[30] Dandaura, E. (1995). “Theatre and Sustainable Community Development: The Abuja Experiment”. Paper presented at the Eleventh Annual Conference of the Society of Nigerian Theatre Artists (SONTA), University of Benin, June 20 – 24.
[31] Chukwu-Okoronkwo, S O. (2012). “Alternative Theatre Paradigm: Democratising the Development Process in Africa”. Academic Research International. Vol. 2, No. 3: 690 – 695
[32] Burkey, S., People First: A Guide to Self –Reliant, Participatory Rural Development. London: Zed Books, 1998.
[33] Chukwu-Okoronkwo, S O. (201). “Trends in the Development of Alternative Theatre Practice: The Ahmadu Bello University, Zaria, Nigeria Example”. Academic Research International. Vol. 2, No. 3: 682 – 689.
[34] Nasiru, A. (1990). “The Nigerian Theatre and Community Development: Myth, Reality or Wishful Thinking?” In Hagher, Iyorwuese Harry (ed.) The Practice of Community Theatre in Nigeria. Society of Nigerian Theatre Artists [SONTA]: 47 – 53.
[35] Daniel, S. and Bappa, S. M. (2004). “Methodology and Process: Foundations for Incorporating Child Rights Issues in TfD Practice”. In Femi Osofisan (ed.) Communicating Children and Women’s Rights in Nigeria: Experiences from the Field. The Department of Theatre Arts, UI/UNICEF: 19 – 24.
[36] Okam, C. L. (2008). “Pathways to Sustainability: Theatre in the Service of Development”. Paper presented at Professor Femi Osofisan International Conference on Performance, University of Ibadan, on 17th – 21st June.
600 ATLANTIC AVE, BOSTON,
MA 02210, USA
+001-6179630233
AIS is an academia-oriented and non-commercial institute aiming at providing users with a way to quickly and easily get the academic and scientific information.
Copyright © 2014 - 2017 American Institute of Science except certain content provided by third parties.