Issue 1. Q3 2010

1st Issue of the Journal

L’imagerie et le symbolisme de la prostitution dans le roman francophone post-indépendance: Lecture de Notre pain de chaque nuit de Florent Couao-Zotti

Nov 9 2010

Y.O. AREMU
Département des langues et de linguistique
Université de Jos

Social and Aesthetic Mediations in Beckett’s Waiting for Godot

Nov 9 2010

By
Pomak Frank Tengya
Department of Theatre and Film Arts, University of Jos

Renewing the Face of Counterterrorism for Global Peace: The Challenges for Theatre Artists in Nigeria

Nov 9 2010

By
Charles U. Adora
Department of Theatre Arts
Kogi State University, Kogi State, Nigeria

Towards an Improved Political Participation by Nigerian Women: an Evaluation of Irene Salami’s More Than Dancing

Nov 9 2010

By
Tse Andera Paul
Department Of Theatre Arts, College Of Education
Katsina-Ala

The Dearth of Indigenous Literature: Implications for the Teaching and Practice of Mass Communication in Nigeria

Nov 9 2010

By
Godfrey Danaan
Department of Mass Communication, University of Jos

Are Nigerians Aware of the MDGs? A Theatre Dialogue

Nov 9 2010

By
Gowon Ama Doki
&
John Ochinya Onah
Department of Theatre Arts, Benue State University, Makurdi

Constitutional Democracy and the Plurality of Elites in Nigeria

Nov 9 2010

By
Alexander Jang Madugu
Department of History and International Studies
University of Jos

Moliere’s Tartuffe as a Paradigm to Critique: ‘Pente- Rascalism’ in Nigeria

Nov 9 2010

By
Umaru Tsaku Hussaini
Department of Theatre and Film Arts, University of Jos

The Subcategorization of the English Verb: A Contrastive Analysis

Nov 9 2010

By
Keziah Pam
University of Jos

Women’s Performance In Ori-Olokun Theatre: A Participant-Observer’s Reflection

Sep 28 2007

Bose Ayeni-Tsevende
Department of Theatre and Communication Arts, University of Jos, Jos, Nigeria.

The Alarinjo theatres were family enterprises. The Ori-Olokun sought to create a different theatre tradition. However, before I joined the theatre in 1971, the females who took part in the Ori-Olokun theatrical performances were students or members of staff of the University of Ife, or persons within the community who performed purely on the basis of personal interest.
Work mainly consisted of warm-ups, led by Peggy Harper, the resident choreographer, and Peter Badejo, the Ori-Olokun Theatre’s star dancer. This was thirty minutes of warm-up, usually done to pulsating music of Baba Ayan, a great master drummer of the Yoruba talking drum, with full ensemble, manned also by professional drummers and musicians. After the delightful exercises, the group went to the main body of the rehearsal for the day. Usually, it would be an Ola Rotimi play, ranging from Oyonramwen Nogbaisi, The Gods Are Not to Blame, Our Husband Has Gone Mad Again, Holding Talks, Kurunmi and so on.