Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.
Nigeria is a country reputed for its rich and diverse cultures from the multi-ethnic nationalities that make it up. Indeed, the diversity of traditions and cultures are evidenced in the nation's more than four hundred and seventy (470) tribes. It is in the bid to ensure that each cultural entity is preserved, projected and promoted, that Nigeria has a cultural policy. The cultural policy is decidedly synonymous with the arts and artists since the arts and artists mainly generate the bulk of what materially, at least, constitutes culture. Of course, culture is derived from material and immaterial products all which are products of the creative ingenuities of artists. It is in line with this reasoning that this paper is written, to determine to what extent the Nigerian Cultural Policy has attended to the needs of the arts and artists, with particular emphasis on the performing arts. The performing arts in every culture make up the major part of such Culture's creative and entertainment industry hence this paper is embarked upon to determine to what extent the policy has accommodated the needs of the performing arts. This is done through a detailed analytical assessment of the cultural policy. Recommendations are then made based on the conclusions drawn from the analysis.
This paper is structured to give a detailed analysis of the art practice in Akwa-Ibom state, South East Nigeria, with the emphasis on matters relating to policy and administration and their effect on educational projects and community development. The focus of this paper is on the dance practice of the state as seen in the state's council for arts and culture which is an institution functioning under the Ministry for culture and tourism, and houses the state's dance troupe. This institution is charged with the responsibility of preserving, protecting and promoting the state's arts and cultural heritage that are deemed as valuable, and also (re)presenting these artistic expressions as identity markers to the local communities, the Nigerian nation and the international audiences. The research findings are gotten from a nine week internship/fieldwork, which was done for the completion of a Master degree, in the council for arts and culture between June and August 2014. This research problematizes the gap between policy, administration and execution of these policies as seen in the actual daily practice of some cultural institutions. It also highlights the impact of education, both formal and informal, on the development of artistic expressions and how this can positively affect the community. Finally, it identifies the importance of
International Journal of Current Research in the Humanities
The cultural and creative industries (CCIs) have become very contributory to the development of most economies, both in the developed and the developing worlds. They form the bedrock of the economies of modern societies. The contribution of national theatres of nations across the world, in the component of the creative industry and its contributions to the 21st century economy or new economy is expectedly, immense. More so, as the institution represents a critical phenomenon in the arts and culture sectors. It is against this background that this paper examines the quintessential role of the national theatre (NT) in Nigeria in the overall involvement of the cultural and creative industries (CCIs) to the 21st century economy, with a view to establishing how impactful the institution has been in the dispensation of such roles, identifying its challenges and making helpful recommendations. One-on-one in-depth interviews, focused group discussions and archival resources are largely reli...
Academic Journal of Interdisciplinary Studies, 2015
This paper examines the Igbo performing arts in relation to organization and the factors which sustain their existence despite the changing trends the popular arts are undergoing in Nigeria. It is observed that Igbo traditional performing arts such as music, dance, songs and poetic chants originate from their culture which is handed over from one generation to another. It is also noted that the performances are expressions of their collective spirit espoused in the basic Igbo philosophy which guides the society. The performances are organized in various communities for entertainment to maintain the link with the gods, deities and the ancestral spirits as well as other supernatural forces they depend on for survival. So, the artist ensures the sustenance of his art by creating in relation to the existing traditional materials found in myth, ritual, history, and communal experiences. The performances are usually undertaken by some troupes including Egedege, Mkpokiti, Igbo Cultural War Dance, Nkwaumuagbogho, Adaeze and Igba Akwu Nche Enyi. It is also revealed that family and kinship affinities form the basis of operation for the performing arts and the troupes. Occasions which provide opportunities for the performances include the New Yam Festival, marriage, initiation and chieftaincy installation ceremonies, launching, birthdays and funeral. There seems to be hope for the future survival of the performing arts since they are still needed and cherished by the society. Therefore, it is recommended that governments, organizations and individuals should support the efforts aimed at sustaining the performing arts through the empowerment of the artists by making fund, facilities and training programmes available to them.
Journal of Creative Industries and Cultural Studies (JOCIS), 2018
The recency of the cultural and creative industries and the cultural diversity existing among the nations of the world have caused many societies, organisations and governments to define the industry based on the peculiarities of their specific culture and environment. Government agencies like the UK Department for Culture, Media and Sports and multilateral institutions like UNCTAD (United Nations Conference on Trade and Development) have all defined the industry by leveraging on specific criteria that they developed for that purpose. As an industry sector in Nigeria, the cultural and creative industry recently received the attention it deserves when Nollywood (the Nigerian Film Industry) was listed as a significant contributor to the economy of Nigeria, which is Africa's largest economy. This development has made it imperative to understand the components of the cultural and creative industry in Nigeria and leverage such information to define the industry in the Nigerian context. In conclusion , this paper posits that any definition of the cultural and creative industry must incorporate four essential elements: the producers, the regulators, creative cities and clusters and those industries that offer allied support services.
Globalization is now linked to economic advancement; the position of Nigeria in this regard through the creative and cultural industries is not in doubt. This paper attempted to create awareness on the place of Nigeria in the global creative and cultural industries. It is of the essence to create consciousness in this neglected area by the government and entrepreneurs alike, hence the contributions in these sectors of economic development of the country go unrecognized. Thus, this paper did a study of the position of Nigeria music and film industries in the planetary space and contributions to the national economy. It was observed that Nigeria occupies an enviable location in the global index in these areas, though there are no clear policies in these lucrative fields. Regardless of the neglect, the creative and cultural industries have managed to fill a position in the world through the individual persistence of the practitioners. This study created awareness on the carelessness of that sector and the need for all to pay attention to enable Nigeria to sustain her position in this ever-expanding and lucrative sector.
2019
Music has earned its reputation among the various disciplines of life as an indelible tool for sociocultural transformation. Ideologies conveyed through the medium of music seem to carry a greater power of assimilation than spoken words. Societies have long imbibed such medium in transmitting fundamental values like love, patriotism, justice and equity. This paper holds the view that having an altruistic penchant for transmitting ideologies and societal values through music both by art musicians and other indigenous songwriters, is an indication that music has shifted from just being an item meant for entertainment into a valuable cognitive tool for societal development in Nigeria. Furtherance, the research corroborates previous findings using the descriptive method, gathering sources from related bibliographical evidence and some personal observations.Findings from this research indicate that musical altruism can lead to a patriotic contribution to nation building and can be a pana...
No serious minded economic policy formulators and administrators at modern times can afford to undermine education, art education, internal economic structure (micro economy), the arts and the need for diversification. Before the emergence of oil and gas exploration in Nigeria, subsistent farming, export of agricultural produce and multiplicity of human engagements such as crafts have sustained the economy of the Nigerian past. Today, the economy is still domiciled at the frontiers of oil and gas, this situation has caused enormous challenges to the Nigerian nation. Results of researches have been published, economic summits have been conducted in order to call attention to successive governments and the private (business) sector in the economy by Professional groups, individuals, academics, economists and journalists alike; the need for diversification and the strengthening of other sectors to revitalise the whole system in conformity with the needed economic development. This paper is therefore designed to review literature on economy and the arts, analyse the importance of arts, education and economy, the role of studio arts on economic development, the impact of aesthetics on commodities. In order to achieve this, institutional libraries, the print and electronic media were consulted, artists were interviewed and participatory observant capacity was assumed. Conclusively, the paper is of the view, Nigeria possesses enormous human resources, talented and artistic man power; what the country needs is viable and consistent educational programmes and the strengthening of the arts both the institutional and its practice.
This paper explores the status of the Nigerian music industry through the paradigm of its music promotion, marketing, and distributing structure. Using ethnographic and bibliographic sources, the study traces the history of the Nigerian recording industry which nose-dived from the late 1980s with the exit of major label operations like Sony, Polygrams and EMI due to political and economic factors and recognised the impetus given the music scene through the resilience and creativity of the new hip hop generation who now have to contend with myriads of challenges among which is piracy and copyrights issues. While highlighting some of these challenges, the paper presents an array of possibilities as well as recommendations and concludes that with proper structuring and intervention, the Nigerian music industry can be a major player within the global music scene, and be a viable revenue earner for the country aside from crude oil.
2018
The Nigerian music industry has witnessed several remarkable changes since its inception and at every phase of its development. The social processes attached to music composition and consumption have equally varied. Although the history of music has been discovered to be synonymous with that of every society from where it emanates, yet the influence of diffusion and globalization in musical construct cannot be undermined as to how it has affected the musical components, artists, instruments, audience and meaning system universally. In Nigeria, the mélange of styles, beats, rhythms, lyrics and artists that have recently flooded the Nigeria musical scene have attracted a lot of questions as to how the musical contents translate the social realities of the Nigerian society, aided the continuity of socialization function within social institutions, bridge the gap between several social classes and generations of people in the society and usher in social change. The current musical trend in Nigeria has also brought the question about the role of music in culture archiving and the socio-economic motivations and derivations from the current music terrain and the social processes of music among Nigerian youth who are mostly at the receiving end. This paper aims to explore the current state of music in Nigeria with emphasis on the Yoruba ethnic group of south-western Nigeria and the social changes that have occurred and social processes of music among the listening audience most especially the youth with the view to exploring the effects of music on the society and vice versa; it also aims to examine the sociological relevance applicable to music, social change and social processes in Nigeria using the Structural Functionalist perspective, Evolutionism, Cyclical, Diffusionism, Symbolic Interactionism and Social Learning theories.
The creative arts have over the years performed necessarily the primordial function of reflecting and prescribing remedies to societal malaise. This standpoint has since time been the underlying philosophy of all creative expressions be they oral, written or pictorial. Also considering the question of the committed artiste whose aesthetics must be aligned with those of the oppressed, creative and performing artistes (traditional and contemporary alike) have always applied their creative ingenuities to orchestrating the aesthetics of social change in their craftsmanship. And this is the only art that is to be considered relevant. In modern Nigeria, the musical compositions of Fela Kuti, Bongos Ikwue, Shina Peters, etc. have been described as highly philosophical. The major question this paper seeks to answer is whether the above can also be said of contemporary Nigerian musical compositions. Do these compositions present themselves as ideologically committed? To what extent does our music influence the society? The idea is that our art must not only entertain but also establish a reputation that precludes its dismissal as an unserious profession. This image question no matter how successfully eloquent it has been argued has continued to rear its ugly head at times, and therefore it is the responsibility of the academic and the professional performer alike to work collaboratively in corroborating the stance of the functional relevance of the performance arts. This paper analyzes select lyrics of the 21 st century compositions of Nigerian musicians against the backdrop of their functional relevance and influence on the Nigerian society with a view to orchestrating points of divergence and convergence so as to chart a new course for the Nigerian music stage, especially in the face on the current challenges in our national life.
2016
There is hardly any aspect of life without the involvement of any of the diverse arrays of styles existing in Nigerian popular music scene. The appeal of this genre cuts across class, ethnicity, age, sex and faith, thus affecting millions of lives. Consequently, the contribution of Nigerian popular music cannot be quantified. This paper examines the trend in the evolution of popular music, the challenges faced by the music industry, the role and contributions of popular music in development, and finally makes recommendations for the optimal development of the industry. Among other findings, the study revealed that the most successful compositions are those whose lyrics capture the concerns and are involved in the development of the society. Hence gospel musicians have more patronage than other types of popular music. Popular music which the populace from diverse affiliations and background identifies with, helps create new identities and forge broad cultural solidarity which contrib...
Abstract Fear for a loss of relevance – a need for urgent discussion among exponents of the Musical Art education in Nigeria is more serious an issue than it appears. Perhaps, globalization, propelled by the awareness of a changing landscape in educational practice is the factor responsible. The fact is, the present state of the Musical Arts Education in our dear country is moribund as a result of the waves of change sweeping across the educational system - a situation which calls for the provision of a framework within which an understanding can be reach to make room for the adjustments needed to brace up to the challenge of the time. It is the purpose of this paper to show how the change taking place in and around the musical Arts practices in Nigeria has adversely affected its growth and inhibits its relevance to society. To provide data for this work, personal experience as a teacher as well as the survey method was relied upon. The findings of this study showed a neglect of musical art education due to society’s perception of music as an area that does not need to be studied in school and suggest some practical steps to correct this perception.
2017
Indigenous music is a way of life that carries the attributes and value of the culture it identifies. Increasingly, focus is shifting from the traditional music in developing the nation or preserving the cultural heritage of the Nation. Attention is then being given to borrowed culture in the name of civilization. The issue of enculturation in Nigeria has turned to be the order of the day, whereby Nigerians in other to be updated (modernize), drop what belongs to us and embraced Western borrowed culture. Recently, Nigerian government is working and encouraging all Nigerians to support her in achieving the vision 20:2020 aimed towards National Development. This paper aims to support this initiative by discussing the value of African music and its roles towards national development.
Edem, Ekaette , 2018
Nigeria is one of the largest, socially and culturally most diversified countries in Africa. Because of its diversity of people and culture, Nigeria over the years has been distinguished in the field of arts. The diversity of the country is reflected in the fact that the country has over 250 identified ethnic groups and three large ethno-linguistic entities. The cultural life in Nigeria is marked by tradition and traditional form of cultural events like festivals, arts exhibition, music and dance. This paper will examine the historical trends of arts and festivals as a manifestation of the people’s culture. It will identify several festivals among the different cultural groups in Nigeria and also reveal the hidden treasure of Nigerian culture, its existence and diversity. It will analyze the different events that make up the festivals and survey its contribution to national development. At the end, the paper by contributing to knowledge, will present vivid account of cultural life in Nigeria both at the states and national levels. It will present festival as a tool for the promotion of culture, arts, national unity, and personal interaction, the coming together of different ethnic groups. Equally, the paper will identify culture as continuous and ever changing. This paper made use of both the primary and secondary sources of data collection which includes personal experiences and observations, use of library; published and unpublished materials, life histories, government reports, historical data and information along with previous research. It presents both historical and present form of happenings in the society today and the world at large.
Culture is perhaps the most important element in the life of a people. Surprisingly, Nigeria has not done much in protecting, preserving and promoting our culture. This paper explores challenges to the implementation of Nigeria's cultural policy and suggests steps that must be taken to protect our culture
Journal of Arts & Humanities, 2015
There is no gainsaying that most of the recent forms of contemporary popular music produced, packaged, made available for public consumption constitute grave danger and serious threat to moral uprightness in Nigerian society. This has exposed the Nigerian society to a wide variety of insecurity and violence. This is evident as seen from series of moral decadence and dissipation that infiltrated the lives of the citizenry-especially the youths (the leaders of tomorrow) ranging from, sexual abuse, money mongering, indiscipline, examination malpractice and indecent dressing to mention but a few. Music is a powerful tool and a force for mobilization which brings about either reformation or deformation of character due to the type of rhythm, melody, harmony and principally the lyrics of the songs. This paper examines the new trend of contemporary popular music in Nigeria with a view to assess its negative and pessimistic impacts on the character of the citizenry in Nigerian society. Live performances of contemporary popular music were observed and audio and video tape materials relating to the said music were also analyzed based on their educational and moral values of such songs. It was discovered that many of contemporary popular music as we have it today in Nigeria communicates vulgarity and coarseness to the listeners and this poses a lot of negative effects on the attitude of the youths. Musicians employ indecent words to attract the youth thus creating negative influence on the character of the leaders of tomorrow (the youth) to engage in various debaucheries. The paper therefore, suggested that relevant agencies should be put in place to ensure that apart from entertainment, music should convey positive character building messages rather than egg on and motivate illicit acts. Likewise, musicians should compose songs in the spirit of societal reformation so as to impact moral virtues on the younger generation thus encouraging holistic human development.
Africa Journal of Management, 2018
This article argues that Nigeria has rich creative industries sectors with great potential and global footprints. Through the kaleidoscope of film, music and creative writing, it makes a critical appraisal of Nigeria’s creative industries and contends that although the country is a visible player on the global landscape, it is yet to optimize the full potentiality of its creative industries sectors. The paper recommends that a clear mapping of the sector coupled with a coherent policy articulation and execution will enhance the viability of the creative industries. As the country seeks to diversify its economy away from dependency on oil revenues, the creative industries, based on their current economic value, provide a veritable incremental source of employment, revenue and growth.
What made Lagos the centre of popular music in Nigeria? This is the concern of this paper. Several favourable factors were at play. Lagos was an entrepot, a British colony, a centre of trade, it cosmopolitan population, a society composed mainly by a people for which music and social and life events are inseparable, and its reputation as a haven where everyone is free to contributes his/her quarter for the common good of society. From being a small island inhabited by fishermen, it became a war camp, a slave depot, a British colony and the capital city of Nigeria. Through the years the population soared and became cosmopolitan with each community bringing its music to bear on the evolving social matrix. The indigenous community contributed the concept and use of music as social event, the Muslim community evolved the use of music in awaken sleepers, the Brazilian and Cuban returnees introduced carnivals, social dancing and some musical instruments, the returnees from Sierra Leone introduced concerts, the Christian community introduced liturgical church music and musical instruments, and from the European sailors came the guitar and sea shanties, and the colonial experience saw the establishment of military bands. Thus arose a melting pot that effused popular music genres such as highlife, juju. Furthermore it established Lagos as the centre of popular music in Nigeria with the full trappings for a popular music industry.
2022
The music industry in Nigeria is occupying a vital position in the economy of the nation, providing jobs for individuals involved in the production and management of music. These individuals have been able to come together to form different music professional groups in the industry. The study is an investigation into the history of Remdel Music and Video Mart (a record label and music marketing outlets). This is achived through observation, interview, and random selection of some musicians signed under the label. The study has authenticated the fact that management of music and musicians exists in Nigeria, various professional and organization are involved in the management process, and Remdel Music and Video Mart is a true representative of a management organization of music and musicians in Nigeria, particularly in Southwestern part of the country; with Remdel Optimum Communications Limited (ROCOM) as the record label and Remdel Music and Video Mart as the marketing outfit.
Loading Preview
Sorry, preview is currently unavailable. You can download the paper by clicking the button above.