Investigating the Factors Militating Against the Studio Acquaintances of Theatre Arts Students in Prince Audu Abubakar University Theatre
Chapter One
Research Objectives
The main objective of the research is to examine the factors militating against the studio acquaintances of theatre arts students, and the specific objectives are:
- To identify the specific challenges faced by theatre arts students in their studio acquaintances in Prince Audu Abubakar University Theatre.
- To explore the perceptions of theatre arts students and faculty members regarding the studio acquaintances in Prince Audu Abubakar University Theatre
- To provide recommendations for improving the quality of theatre arts education
CHAPTER TWO
LITERATURE REVIEW
Conceptual Framework
In social and management sciences research, in order to avoid ambiguity in the interpretation and understanding of certain concepts, it is customary to begin an academic investigation by examining the conceptual and theoretical contours of the subject matter of analysis by analyzing the views of various scholars and authors as well as the way in which one’s research is integrated in to the body of existing theories and research (Ibeto, 2015). This is the intent of Babbie & Mouton (2018) methodological research diction that “we specify why we use particular terms for the purpose of facilitating their contextual definition and comprehension.” In this section of the chapter, we shall attempt to effectuate this endeavour.
History of Theatre Management in Nigeria
In Nigeria, art management as a course was first introduced into the syllabus of the Department of theatre art, university of Ibadan in 1974 and later, it spread to other universities that have also embraced arts management course in their curricula (Strauss, 2016). The history of modern Nigeria visual arts can be traced to the pioneering efforts of Amina Olabolu who, on his return from Europe to Nigeria in the early 1920s, armed with a diploma in fine arts, established a European type of art education in the Nigeria school curriculum (Strauss, 2016). He taught the art of drawing, painting and design in Lagos secondary school. According to Bernice Kelly, Onabolu is credited with bringing Kenneth .C. Murray from England in1927 to teach art in secondary schools.
Art was added to the curriculum of teacher training colleges in Ibadan, Umuahia, and later Uzoakoli in teaching fine arts. Among the artist trained under Murray’s tutelage, who later became Nigeria‘s first art education Ben Enwonwu, C.C. Ibdo, Uthman Ibadan, D.I.K Nancy J.O. Ugoji and A.pUmana. Ben Enwonwu later became federal art adviser to the Nigeria government in 1948 (Boku, 2015). With the establishment of the exhibition center in Lagos by the late 1940s; artists had acquired a new avenue where a new kind of art could be spotlighted.
The first post – secondary art training institution in Nigeria was established in the early 1950s. Art courses were taught at Yaba technical institution in Lagos from 1952 and a regular art department was created in 1955 (Boku, 2015).
An art department, established at the Ibadan campus of Nigeria College of arts, science and technology in 1953, was transferred to Zaria in 1955 and in 1961 became part of Ahmedu Bello university. The greatest impetus to the expression of contemporary art philosophies and activities was engendered in 1960 with the Nigeria independence (Peter, 2015). It was a period of high expectations and renewed zeal to promote indigenous art and culture.
There were new patronage and new audiences, the use of new media, the opening of more department of art universities in Nkusukka and later in Ile Ife and the appearance of experimental art workshops all coalesced to bring about an artistic renaissance that continues to flourish the Oshogbo school of artist was an experiment which grew out of the Mbari writers’ and artist’ club that began in Ibadan in1961 (Peter, 2015). Mbari was transplanted to Oshogbo in 1962 by Duro Ladipo and Ulli Beier. MbariMbayo, as it came to be known in Oshogbo, became a cultural centre that offered series of workshop for visual and performing artists given by Ulli Beire, Susan Wergen Denis Williams, Jacob Lawrence, GeoginaBeire and others. The informal workshops and regular painting sessions with GeoginaBeier produced several promising visual artists (Peter, 2015).
The post-independence Nigeria witnessed the blossoming of arts. Art galleries were established foreign cultural institutions sponsored exhibitions private individual held open houses in the community, thus bringing the artist of public attention the society of Nigeria artists established in 1964 (Nancy, 2018), gave an additional boost to aspiring artists. The decade, 1970 to 1980, witnessed the devastating Nigeria civil war (1967 1970) followed by the oil boom, the oil glut.
The impact of the war was glaringly reflected in the work of many artists, particularly those from eastern Nigeria. Similarly, the sobering economic realities of the 1980, the poverty and hardship, did not escape the purview of the artists (Nancy, 2018). Art became even more a vehicle of communicating the feelings of a nation.
The University of Nigeria in Nsukka, devastated by the civil war, was rebuilt and it resumed its cultural production in the 1970s. the symposium of contemporary artists and scholars, who discussed far-reaching cultural and culture (FESTAC 77) held in Lagos in 1977, displayed the most comprehensive collection of Nigeria art ever assemble reflecting the development of the several new art schools and a new generation of artists.
CHAPTER THREE
RESEARCH METHODOLOY
Research Design
According to Orodho, (2003) descriptive design is effective because it allowed the researchers to collect the necessary information. The study adopted a descriptive survey research design in investigating the factors militating against the studio acquaintances of theatre arts student in prince Audu Abubakar University theatre. This design is adopted for the study because it aims to accurately and systematically describe a population, situation or phenomenon. It can answer what, where, when and how questions. Also, can use a wide variety of research methods to investigate one or more variables.
Research Population
Population constitutes elements possessing similar traits that are being investigated (Ngechu, 2004). Students and Teaching and Non-Teaching Staffs in the Theatre art department of Prince Audu Abubakar University constituted the research population.
CHAPTER FOUR
DATA ANALYSIS AND PRESENTATIONS
Demographics details of respondents
Demographics details of Students
CHAPTER FIVE
SUMMARY, CONCLUSION, AND RECOMMENDATIONS
Summary
The study “Investigating the Factors Militating Against the Studio Acquaintances of Theatre Arts Students in Prince Audu Abubakar University Theatre” aimed to identify the challenges faced by theatre arts students in their studio acquaintances at the university, explore the perceptions of both students and faculty members regarding studio acquaintances, and provide recommendations for improving the quality of theatre arts education. The research objectives were achieved through qualitative research methods, with theatre arts students and faculty members. The findings revealed that theatre arts students face various challenges in establishing and maintaining successful studio acquaintances, including a lack of resources, poor communication skills, and personal or social barriers. Moreover, the study showed that both students and staff have differing perceptions of studio acquaintanceship, with faculty members highlighting the importance of networking and professional development while students emphasized the need for social and emotional support.
Conclusion
The study on the factors militating against the studio acquaintances of theatre arts students in Prince Audu Abubakar University Theatre sheds light on the challenges faced by students in establishing and maintaining successful studio acquaintances. The findings reveal that there are numerous obstacles to building strong relationships in the theatre arts industry, including a lack of resources, poor communication skills, and personal or social barriers.
The study further highlights the importance of addressing these challenges and improving the quality of theatre arts education by implementing communication workshops, mentorship programs, and networking events. These initiatives can provide students with the necessary skills and resources to navigate the industry successfully and establish fruitful studio acquaintanceships.
Overall, the study provides valuable insights for theatre arts educators, industry professionals, and students themselves on the importance of building strong studio acquaintanceships to foster professional growth and development. It is hoped that this study will contribute to a more collaborative and supportive culture within the theatre arts industry and help students to overcome the barriers to success in their careers.
Recommendations
Development of communication workshops: Theatre arts students should be encouraged to attend communication workshops that aim to enhance their communication skills, including effective listening, conflict resolution, and negotiation skills. These workshops should be facilitated by communication experts who can provide students with practical skills to navigate interpersonal relationships successfully.
Implementation of mentorship programs: To support theatre arts students’ career development, the university should implement mentorship programs. These programs can connect students with industry professionals who can provide guidance and support in their career paths. Through these programs, students can gain valuable insights into the industry and establish meaningful connections with established professionals.
Creation of networking events: The university should also create networking events that bring together theatre arts students and industry professionals. These events can provide students with opportunities to meet potential collaborators and establish professional relationships. Through these events, students can build their professional networks and increase their chances of success in the industry.
Increased investment in resources: The university should invest more in resources such as equipment, facilities, and faculty development. Adequate resources can enhance the quality of education and support students’ learning and professional growth. The university should also provide more opportunities for students to access these resources, such as extended hours of access to studios and workshops.
Strengthening student support services: The university should strengthen its student support services by providing counseling and mental health services, academic advising, and financial aid support. These services can help students overcome personal and social barriers and support their success in their studies and careers.
Development of a code of conduct: The university should develop a code of conduct that outlines the expectations for studio acquaintanceships and professional behavior. The code of conduct can help establish a culture of professionalism and mutual respect within the theatre arts industry, which can support the success of students and professionals alike.
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