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PORTRAYAL OF SINGLE MOTHERHOOD IN NIGERIAN DIGITAL MEDIA SPACE: A CONTENT ANALYSIS
Abstract:
Evolving Perceptions of Single Motherhood in Digital Media Space. This research investigates the dynamic and evolving representations of single motherhood within the digital media landscape. As societal structures continue to shift, and diverse family models gain acceptance, this study aims to analyze how single motherhood is portrayed, discussed, and perceived in online platforms, including social media, blogs, forums, and news websites.
The research employs a qualitative approach, utilizing content analysis and discourse analysis techniques to examine a diverse range of digital media sources. By exploring narratives, images, and discussions related to single motherhood, the study seeks to identify emerging patterns and changing perspectives over time. Additionally, attention will be given to the role of social media influencers, bloggers, and online communities in shaping public opinions and attitudes towards single mothers.
Preliminary findings suggest a multifaceted representation of single motherhood in the digital sphere, reflecting a blend of empowerment, challenges, stereotypes, and support. The study delves into the nuances of these portrayals, exploring themes such as resilience, stigmatization, financial independence, and the impact of cultural and societal norms on shaping online discourse.
This research contributes to the broader discourse on family dynamics, gender roles, and social perceptions by providing insights into how the digital media space both reflects and shapes societal attitudes towards single motherhood. The outcomes of this study hold significance for policymakers, media practitioners, and social activists interested in fostering a more inclusive and supportive environment for single mothers. As digital media continues to play a central role in shaping public perceptions, understanding the evolving narratives surrounding single motherhood becomes crucial for promoting empathy, dismantling stereotypes, and fostering a more inclusive society.
TABLE OF CONTENT
Chapter 1: Introduction
1.1 Background of the Study
1.1.1 Changing Dynamics of Family Structures
1.1.2 Emergence of Single Motherhood as a Social Phenomenon
1.2 Rationale for the Study
1.3 Research Objectives
1.4 Significance of the Study
1.5 Scope and Limitations
1.6 Definition of Key Terms
1.7 Structure of the Thesis
Chapter 2: Literature Review
2.1 Historical Perspectives on Single Motherhood
2.2 Shifting Societal Attitudes Towards Non-Traditional Families
2.3 Media Representations of Single Motherhood
2.3.1 Traditional Media vs. Digital Media
2.3.2 Impact of Social Media and Online Platforms
2.4 The Influence of Digital Media on Public Perceptions
2.5 Gaps in Existing Literature
Chapter 3: Methodology
3.1 Research Design
3.1.1 Qualitative Content Analysis
3.1.2 Discourse Analysis
3.2 Data Collection
3.2.1 Selection of Digital Media Sources
3.2.2 Criteria for Inclusion
3.3 Sampling Techniques
3.4 Coding and Analysis Procedures
3.5 Ethical Considerations
Chapter 4: Evolving Themes in Digital Media Representations
4.1 Empowerment Narratives
4.1.1 Financial Independence and Career Success
4.1.2 Strength and Resilience
4.2 Challenges and Stereotypes
4.2.1 Stigmatization and Societal Pressures
4.2.2 Economic Struggles
4.3 Intersectionality in Single Motherhood Representations
4.4 Social Media Influencers and Online Communities
4.4.1 Role of Bloggers and Content Creators
4.4.2 Community Support and Activism
Chapter 5: Shaping Public Perceptions and Future Implications
5.1 Impact of Evolving Digital Media Representations
5.2 Feedback Loops: How Media Shapes and Responds to Perceptions
5.3 The Role of Online Platforms in Shifting Societal Attitudes
5.4 Implications for Policy and Advocacy
5.5 Recommendations for Future Research
5.6 Conclusion
CHAPTER ONE:
INTRODUCTION
1.1 Background of the Study
The portrayal of single motherhood in media, particularly digital media, plays a significant role in shaping societal perceptions, attitudes, and stereotypes. In Nigeria, like many other countries, single motherhood is a multifaceted phenomenon influenced by cultural, social, economic, and political factors. The digital media space, including social media platforms, blogs, online news outlets, and forums, has become a prominent arena for discussions and representations of various social issues, including single motherhood.
In contemporary Nigerian society, the role and experiences of single mothers are deeply intertwined with cultural norms, social expectations, and economic realities. The phenomenon of single motherhood, characterized by women raising children without the presence of a partner or spouse, reflects a complex intersection of personal choices, societal structures, and gender dynamics. As in many parts of the world, Nigeria has witnessed an increase in the number of single mothers, a trend influenced by factors such as divorce, separation, widowhood, and childbirth outside of marriage.
Amidst this societal landscape, digital media platforms have emerged as powerful arenas for the dissemination of information, the shaping of opinions, and the portrayal of diverse narratives. From social media networks to online news outlets and discussion forums, the digital media space in Nigeria hosts a myriad of voices, perspectives, and representations. Within this space, the portrayal of single motherhood becomes a significant subject of inquiry, as media depictions have the potential to both reflect and shape societal perceptions, attitudes, and stereotypes.
In exploring the portrayal of single motherhood in Nigerian digital media, this study seeks to contribute to a nuanced understanding of how media representations intersect with societal perceptions and attitudes. By analyzing the narratives and themes present in digital content, the research aims to provide valuable insights for media practitioners, policymakers, scholars, and the wider public. Ultimately, it is hoped that this study will contribute to more balanced and empathetic portrayals of single motherhood, fostering greater awareness and understanding of this diverse demographic group in Nigerian society.
1.2 Statement of the Problem
Despite the increasing prevalence of single motherhood in Nigeria, there remains a gap in understanding how this demographic is portrayed in the country’s digital media space. Media representations have the power to either challenge or reinforce stereotypes and societal norms related to single motherhood. Therefore, this study aims to conduct a content analysis of how single motherhood is portrayed in Nigerian digital media platforms, examining the themes, narratives, and implications of these representations.
1.3 Research Objectives
The primary objective of this study is to analyze the portrayal of single motherhood in Nigerian digital media. Specific objectives include:
To examine the dominant themes and narratives surrounding single motherhood in digital media.
To assess the prevalence of stereotypes and stigmatization in the portrayal of single mothers.
To explore the potential influence of digital media portrayals on societal perceptions and attitudes towards single motherhood.
To provide insights and recommendations for more balanced and nuanced representations of single motherhood in digital media.
1.4 Research Questions
To achieve the stated objectives, this study addresses the following research questions:
What are the dominant themes and narratives surrounding single motherhood in Nigerian digital media?
To what extent do digital media representations of single motherhood perpetuate stereotypes and stigmatization?
How do portrayals of single motherhood in digital media influence societal perceptions and attitudes towards single mothers?
What recommendations can be made for more balanced and nuanced representations of single motherhood in digital media?
1.5 Significance of the Study
This study holds significance for several stakeholders, including media practitioners, policymakers, scholars, single mothers, and the general public. By analyzing the portrayal of single motherhood in Nigerian digital media, this research seeks to contribute to a better understanding of how media representations impact societal perceptions and attitudes. Media practitioners can benefit from insights to create more responsible and empowering content, while policymakers can use the findings to inform interventions that challenge stereotypes and promote inclusivity. Scholars and researchers can also build on this study to further explore the intersection of media, gender, and social issues.
1.6 Scope and Limitations
This study focuses specifically on the portrayal of single motherhood in Nigerian digital media, including social media platforms, online news outlets, blogs, and forums. The analysis will cover a specified time period to capture recent trends and developments. Limitations of the study include the subjective nature of content analysis and potential challenges in accessing and categorizing digital media content. Additionally, the study acknowledges the diversity of single mothers’ experiences and recognizes that media representations may not capture this diversity comprehensively.
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MANAGEMENT STRATEGIES IN PRIVATE AND GOVERNMENT-OWNED THEATRES IN IMO STATE COUNCIL FOR ARTS AND CULTURE
Abstract:
This study delves into the dynamic landscape of theatre management within the cultural sector of Imo State, Nigeria, with a specific focus on both private and government-owned theatres under the purview of the Imo State Council for Arts and Culture. The performing arts play a pivotal role in preserving and promoting cultural heritage, making effective management strategies crucial for the sustainability and success of theatres. This research aims to analyze and compare the management approaches employed in private and government-owned theatres, shedding light on their strengths, challenges, and overall impact on cultural expression.
The research adopts a mixed-methods approach, combining surveys, interviews, and document analysis. Data will be collected from theatre managers, staff, and stakeholders involved in cultural administration within Imo State. The study will investigate key aspects of theatre management, including organizational structure, funding mechanisms, programming, audience engagement, and the utilization of technology.
Key objectives of the research include understanding the current management strategies in place, identifying areas of strength and improvement, and proposing recommendations to enhance the overall effectiveness of theatre management in Imo State. By comparing private and government-owned theatres, the study seeks to contribute valuable insights that can inform policy decisions and managerial practices within the cultural sector.
The findings of this research are expected to benefit cultural administrators, policymakers, and theatre practitioners by providing a comprehensive understanding of the management strategies employed in private and government-owned theatres. Ultimately, this study aims to contribute to the development of a vibrant and sustainable cultural ecosystem in Imo State, fostering the continued growth and appreciation of the performing arts.
CHAPTER ONE
Management is a process of planning, decision making, organizing, leading, motivating and controlling the human resources, financial, physical and information resources of an organization to reach its goals efficiently and effectively.
Over decades and centuries, various cultural heritage hve been passed down in one form or the other from one generation to another. There is a need for an establishment of some nature that will have facilitate for the preservation of the original culture of a people and a record of how it dynamics take place in the process of the development of the society.It is said that culture is never stagnant but has dynamic and conservative aspect. That is why it improves itself ,elevates itself and from time to time reforms and updates itself especially when it comes in contact with other cultures.
Culture is a way of life of a people and entails a number of aspects. They include material, institutional, philosophical and creative aspects. But when we talk about creative aspects or phase of Culture, we are referring to the people’s literature, oral or written as well as visual and performing arts which are normally moulded and help to mould other aspects of Culture.
Also, we need to see how this heritage are preserved and passed down through the generation both present and future.
It should be noted that before the adventure of the colonial masters,the king and his chiefs were the custodians and exponents of this Culture which varies from one African society to the other.They helped in preservation , promotion and presentation of Culture.
The coming of the colonial masters brought a change in this arrangement, due to the fact that colonial masters brought their own Culture, which they imposed upon Africans. The kings and chiefs who were the exponent and custodians of Culture were relagated to the background, and since they were epitome of the Culture, this also brought about the relagation of their Cultural heritage to the background.
The Federal military government under decree number 3 of the 17th January 1975 established the national council for arts and culture with the main objective of helping the government in the planning and encouragements of arts and cultural activities in the country.This would bring about revival and development of Nigerian culture. Furthermore festival of black arts and culture hosted by Nigeria in 1977 was a catalyst to the springing up of many state arts council in the country.
The aim of this research is to carry out an in depth study on strategies adopted in the management of theatres in Nigeria with particular reference to public and private theatres, and to understand how these theatre function under the various management situations.
This research also aims at establishing applications of the various management strategies in their different environments. Finally it suggests more effective management strategies for better results in productions. To achieve this, it appraises the management strategies of two public theatres. The National Theatre, the National Troupe, two Private Theatres: Hubert Ogunde Theatre and the Center Stage Productions Theatre. It identifies the problems of managing these theatres with emphasis on the differences between the management of a public (or government theatre) and private theatre. It suggests solutions to the problems identified and recommends remedies to the problems of adopting the management strategies.
There have been in recent times a series of challenges faced by imo state ministry of arts. The results coming out from this ministry needs much to be desired. There is a growing need in recent times for a thorough revamping of its activities so as to engender an increase in its intellectual output and subsequent impact on the economy of imo state, even socio-economically and socio-politically.
1.3 PURPOSE OF THE STUDY
There is always a reason behind a research or study.The main reason for this study is to look into the management strategies in state arts and culture using Imo State Ministry for Arts, Culture and Tourism as the focus of my study.
In my essay,I intend to access the activities of the council in relation to its laid down goals and objectives,it’s organisational structure and also how its policies are being implemented through the activities of the various divisions or department of the council.
In doing this,we would examine it’s impact on the society,its problem and finally give suggestions,how certain improvement can be made possible in the smooth running of the council.
1.4 SCOPE
In my research,the operation and management of Imo State Council for Arts and Culture is critically assessed.Emphasis is placed on its management strategies with regards to the development of the council.
1.5 METHODOLOGY
This would entail the process that would be used in carrying out my research.Both the primary and secondary sources of data collection would be used .The primary source would be official documentation from the ministry, interview, Journals , Articles While the secondary sources are books, journal articles,past long essay and the internet. The MLA parenthetical style will be adopted to provide written acknowledgement for the sources of information.
This study is justified by the need to identify the problems of managing our public and private theatres in order to recommend solution to the problems. This study meets this need and is therefore very relevant. It is also justified by the fact that while most researchers have worked on the management of either public or private theatres, non is known by the researcher, to have studied the management of both side. So this work breaks a new ground by being a comparative study.
The management of both public and private theatres involves so many techniques and strategies. Because the study explains many of these techniques, it will be very beneficial to Nigerian theatre artist, researchers and students of theatre management.
This work made elaborate use of materials from books, journals, newspapers and video clips. Interviews were also held to get materials.
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SOCIAL MEDIA AS A MEANS OF MARKETING THEATRICAL PRODUCTION: USING SELETED PERFORMANCE
Abstract
Before the emergence of social media platforms (SMPs) like Facebook, WhatsApp, YouTube, Instagram, Zoom and many others, theatrical performances were carried out in dedicated theatre buildings or open air theatres in different parts of the world, since the classical Greek era down to the contemporary times. These performances have continued to be an art. Within the last few decades, however, the emergence of social media as a dynamic space in the electronic media super highway has provided a new ‘stage’ for contemporary entertainment and social trends worldwide. Social media audiences (SMAs) are now provided with a new form of entertainment that does not require their presence in theatre buildings or production outlets to watch performances. The exigency of this paradigm shift from theatre buildings or stage performances to social media platform is rife and thus, has posed a huge challenge to stage performances as they are gradually going extinct in many parts of the world. Social media platforms have dismantled issues of insecurity and have encouraged the switch from analogue to digital ways of doing productions. With the outbreak of Covid-19 in December 2019 in Wuhan, a city in China and its spread across the world, SMPs have continued to provide an alternative stage for theatrical performance as thousands of performances are streamed live through them to the end users/SMAs. Adopting the social responsibility theory and media dependency theory, the study examined selected production companies and individual practitioners, using interviews and content analysis methods to evaluate the impact of the ‘communication revolution’, since theatre itself is a form of communication. The conclusion reached is that the world is now technologically-driven and virtually everything has gone digital. Theatrical performances cannot be left out. Therefore, theatre scholars and practitioners are encouraged to take advantage of social media platforms (SMPs) to reinvent their trade.
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SOCIAL MEDIA AS A MEANS OF MARKETING THEATRICAL PRODUCTION: USING SELETED PERFORMANCE
Abstract
Before the emergence of social media platforms (SMPs) like Facebook, WhatsApp, YouTube, Instagram, Zoom and many others, theatrical performances were carried out in dedicated theatre buildings or open air theatres in different parts of the world, since the classical Greek era down to the contemporary times. These performances have continued to be an art. Within the last few decades, however, the emergence of social media as a dynamic space in the electronic media super highway has provided a new ‘stage’ for contemporary entertainment and social trends worldwide. Social media audiences (SMAs) are now provided with a new form of entertainment that does not require their presence in theatre buildings or production outlets to watch performances. The exigency of this paradigm shift from theatre buildings or stage performances to social media platform is rife and thus, has posed a huge challenge to stage performances as they are gradually going extinct in many parts of the world. Social media platforms have dismantled issues of insecurity and have encouraged the switch from analogue to digital ways of doing productions. With the outbreak of Covid-19 in December 2019 in Wuhan, a city in China and its spread across the world, SMPs have continued to provide an alternative stage for theatrical performance as thousands of performances are streamed live through them to the end users/SMAs. Adopting the social responsibility theory and media dependency theory, the study examined selected production companies and individual practitioners, using interviews and content analysis methods to evaluate the impact of the ‘communication revolution’, since theatre itself is a form of communication. The conclusion reached is that the world is now technologically-driven and virtually everything has gone digital. Theatrical performances cannot be left out. Therefore, theatre scholars and practitioners are encouraged to take advantage of social media platforms (SMPs) to reinvent their trade.
HOW TO RECEIVE PROJECT MATERICAL(S)
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08068231953 or 08168759420
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Account Number: 3139283609
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FOR MORE INFORMATION, CALL:
08068231953 or 08168759420
http://graduateprojects.com.ng/
BEFORE YOU READ THE ABSTRACT OR CHAPTER ONE OF THE PROJECT TOPIC BELOW, PLEASE READ THE INFORMATION BELOW.THANK YOU!
INFORMATION:
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THE ROLE OF TRANSPORTATION IN THE CATERING INDUSTRY
ABSTRACT
This work discusses the role of transportation in the catering industry. A hundred and twenty questionnaires were distributed among people from selected states in Nigeria. Interviews and surveys were also conducted.
Primary and secondary data will be used in the analysis. Tables and percentages will also be used as the instrument of analysis
It will be observed therefore that transportation have a strong and significant positive impact in the catering industry.
TABLE OF CONTENT:
CHAPTER ONE
INTRODUCTION
1.1 Background of the Study
1.2 Statement of the Research Problem
1.3 Objectives of the Study
1.4 Significance of the Study
1.5 Research Questions
1.6 Research Hypothesis
1.7 Conceptual and Operational Definition
1.8 Assumptions
1.9 Limitations of the Study
CHAPTER TWO
LITERATURE REVIEW
2.1 Sources of Literature
2.2 The Review
2.3 Summary of Literature Review
CHAPTER THREE
RESEARCH METHODOLOGY
3.1 Research Method
3.2 Research Design
3.3 Research Sample
3.4 Measuring Instrument
3.5 Data Collection
3.6 Data Analysis
3.7 Expected Result
CHAPTER FOUR
DATA ANALYSIS AND RESULTS
4.1 Data Analysis
4.2 Results
4.3 Discussion
CHAPTER FIVE
SUMMARY AND RECOMMENDATIONS
5.1 Summary
5.2 Recommendations for Further Study
Bibliography
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THE THEATRE ARTIST AND THE LABOUR MARKET IN NIGERIA
ABSTRACT
This project which sets out to investigate the various opportunities, problems and prospects that are there for the University trained theatre arts in the Nigerian society, many Nigerian youths take an academic programme in the universities without proper guidance and counseling. As a result, they graduate without focus on the labour markets. For example a theatre graduate feels that the only option left for him is the stage. This project intends to debunk this belief by introducing the Theatre Art graduates to other options in the labour market. Chapter one introduction: Treats the following sub-headings: Aim of study, significance of study, research methodology. Chapter two Theatre Arts and overview: Looks at modern times, the training of the theatre graduate in the university, the curriculum of theatre arts education, the theatre arts and the Nigerian society. Chapter three: Specialist of the theatre: here the work identifies the various areas of specialization available to the theatre arts student and their various functions in the theatre. Chapter four: Theatre graduate in the labour market: This dwells on the various labour sector the theatre arts graduate can conveniently fit in based on this education and training. Here we shall also look at the theatre graduate as a self-employed person. Chapter five: Conclusion: Serves as a summarization of the entire work, suggestion, are made on the findings of the study outlined.
TABLE OF CONTENTS
Title Page – – – – – – – – – – i
Certification – – – – – – – – – ii
Dedication – – – – – – – – – iii
Acknowledgement – – – – – – – – iv
Abstract – – – – – – – – – – vi
Table of Contents – – – – – – – – vii
CHAPTER ONE: BACKGROUND TO THE STUDY
1.0 Introduction
CHAPTER FIVE
5.1 Summary
5.2 Conclusion
5.3 Suggestion
Bibliography
CHAPTER ONE
The question often asked theatre arts graduate and students alike, by their parents, guardians and friends, where can you work with your degree? This from finding is as a result of ignorance on the part of these of what theatre arts as a discipline is all about.
A lot of people, unfortunately, the educated ones have these erroneous believe that theatre arts is all about dancing, and singing on stage. Although this feeling does not originate in Nigeria, it is observed that the erroneous conceptions about theatre arts graduate or profession have changed in other countries of the world, from Europe to America and to Asia where the theatre artists are some of the most respected and well-to-do citizens.
It is with this in mind that this work tends to make a critical appraisal of the state of the Nigerian theatre arts graduate, the possible employment options available to him and also the possible ways he could be self-employed based on his training.
This study aims at carrying out a critical appraisal of the theatre arts graduate, his training formal and informal, the work will also look at the possible labour sector the theatre graduate can work based on his training. This research aims basically to serve as an expose to both the theatre arts students, graduates and employer of labour who is at a loss as to if the theatre graduate would fit into the organization.
The importance of this work is hinged on the believe, that apart from creating an awareness to all state holders, whom this work is targeted at, it will also bring to the fore possible stand points that will elicit possible debates for further research work in this area.
It is also hoped that this work will serve as the needed tonic to students currently studying theatre arts and intending ones that theatre arts like any other profession is viable and a marketable is viable and a marketable profession.
This project work by my research and findings justifies the various opportunities of a theatre arts graduate in the labour market. Therefore, there should be a stop to the idea about the theatre arts graduate. For even the singing and dancing that people say that it’s the only thing they do is not just easy for if you can’t sing and dance you cannot go into business. A lot of people have made money and names through this means.
The ignorance expressed by the theatre graduate on avenues available to him in the job market has motivated this project. The problems associated with unemployment are very numerous in the society hence it will be justifiable to utilize this forum to enlighten the job – seeker theatre art graduate.
Secondly, the relationship between theatre arts and other disciplines are obvious, but many Nigerians have remained in the dark without this knowledge, it is therefore my intension, to utilize this opportunity to encourage young theatre arts graduate to aspire to better future as artists. The theatre profession could be as lucrative as other jobs if properly utilized.
This research is at liberty to choose the appropriate procedure and methods of gathering data for a specific study. This study therefore hopes to rely on both the primary and secondary sources of data collecting.
The primary source will depend in inferiors of both theatre arts student’s graduates and employers of labour. The secondary source will rely on publications relevant to our study, such as books, journals Newspapers and magazines especially in our literature review.
Thank God it’s a dream come through. I wouldn’t fail to recognize my problems, obstacles, disappointments, hope and the rest of them, which I encounter in the courage of this project. I must say it’s not easy but by the special grace of God I was able to put things together. There were many obstacles I encountered anyway. Gathering materials, reading, understanding, concentration and making some research findings.
It was easy to get these materials and putting myself together, a lot of distraction here and there, money problem to photocopy and pay transport fare to places. The most difficult thing I combined in this write up is taking care of my little boy. I had divided attention, running every two to three hours to cheek him and not been able to concentrate and write most of the time.
It most funny that all hope and encouragement given to me by Mr. Ayoge, at a time was not making any sense, at a time there were no materials within my reach to get them together. But at the end of the day, the sleepless night and all has been very useful to me.
HOW TO RECEIVE PROJECT MATERIAL(S)
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OR
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Account Number: 3139283609
Bank: FIRST BANK
FOR MORE INFORMATION, CALL:
08068231953 or 08168759420
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THE INFLUENCE OF NOLLYWOOD MOVIES ON CHILD AUDIENCE, USING TWO MOVIES AS CASE STUDIES)
ABSTRACT
This study find out how Nollywood movies influence children that watch them. The influence may be on the area of communication, behavior, beliefs and dressing code. The study employed multi-stage cluster sampling and one thousand four hundred and forty copies of the study questionnaire were given out to respondents. The study found out that children audience acquire bad behavior in watching Nollywood movies due to negative themes and actions of those movies. The study recommends that Parents are also urged to counsel and discipline their children to view only movies within their viewing category and if they must have access to these films, they should be view it wisely.
CHAPTER ONE
1.0 INTRODUCTION
1.1 BACKGROUND OF THE STUDY
The value of home movies as a medium of mass communication is esteemed
all over the world. In Nigeria there are over one million audiences of home movies
films who are affected in one way or another especially children, by the actions show case in Nollywood movies. These movies portray message that have influence on the viewers, mostly, their taught, communication, behavior and mode of dressing.
Movies hold a very special place in the culture of a people and children in particular. “Movies, like books, are a culturally special medium…an important medium of cultural transmission. (Baran, 2009:75). According to Baran (2009); Daramola (2007), movies contribute to socialization and the transmission of culture. Research has shown that there exists a relationship between the movies and social ills and other behavoural and attitudinal change in the society. For instance, the movies are attributed considerable power to shape opinion and belief, change habits, and actively moulding behaviour and imposing political system even against resistance.
According to Kubey and Larson (2005),many concerns have been raised about the kinds of values and attitudes that may be inculcated by exposure to certain kinds of movies contents, especially enculturation and violence in them. The most important concern in the debate about violent film has been whether or not it promotes aggressive behavior among viewers most especially the young ones (Evra 1990). It is also observed that heavy exposure of children to screen violence can cause problems in other domains of social behavior of the youths.
Berkowitz (2001), the learning environments which a child is exposed to are also assumed to contribute to the increase of aggressive behaviors and attitudes as well as his inclinations to customs, values and norms of the society. The media, as one of the specific learning condition is believed to be a potential contributor to the growth of antisocial attitudes and behavior in children and teenagers (Ibid). While social scientists work on determining the major causation of violence, such as social environments, cultural factors, family instruction, and group membership parents, teachers, politicians and school administrators continue to blame the media for increased cultural alienation and attitudinal change among adolescents (Fraser and Staub, 1996).
It is imperative to mention that home movie influence the dressing pattern of children in the society. This is because, home movies are a mode of media transmission. In all of researches, the area of influence of movies appears to be the most contentious.
According to O’Rork (2006) and Wogu (2008) , children audiences are more likely to emulate models of behavior seen on the movies if they expect to receive gratification from emulating another person “… Behaviour is influenced not only by personal or live models but by those presented in the home movies”. (O’ Rork, 2006:72), analyses on influence of movies continue to show that the movies have influence on the pattern of behaviour of its children audience. (Uwakwe, 2010; Okunna, 1999 and Okoye 1993).
Okunna (1999), opines that because of their special power to affect the way children think, feel and behave, the home movies have been credited with incredible persuasive ability to change attitude and behaviour (1999:161). Culturally, this influence of movies could be in the area of language, behavioural response, pattern of eating and dressing. Since it has been established that film is a mass medium, it is proposed in this
study that the home movie genre, which is the Nigerian local or indigenous films have
This study utilizes the theory on influence of movies on pattern of behaviour and
attitude change and dressing pattern of children in Nigeria.
1.2 STATEMENT OF THE PROBLEM
Nollywood movies have been accused of been portrayal of violence, and its adverse effect on the behaviors of Nigerian youths and the society at large are devastating. Hornby (2000), contends that some violent materials in movies include: Sex scenes, nudity, obscenity, vulgar language curses, indecent dresses, killings, murder, rape beating up
women, smoking, molestation and harassment. These are self-injurious in nature, and likely to affect the youths etc.
It is obvious that Nollywood to a very large extent contributes to violence in Nigeria. A worrisome aspect of these films is that none of the film-makers actively canvasses for the discouragement of the negative tendencies acted out on the screen. And
the failure by movie producers to make any strong comment against social ills is a short coming of the films that use violence in their messages. The implication is that such films rather than amelioring violent acts in the society tend to aggravate them, Folarin, (1999).
1.3 OBJECTIVE OF THE STUDY
1. To examine Nollywood movies and child audience.
2. To examine the influences of home movies viewing on children psycho-graphical attributes.
3. To find out how children perceive sexual contents in Nollywood movies.
1.4 RESEARCH QUESTION
1. Does Nollywood movies affect child audience?
2. Does home movies viewing influences children’s psycho-graphical attributes?
3. How do children perceive sexual contents in Nollywood movies?
1.5 RESEARCH HYPOTHESES
H0: Nollywood movies does not affect child audience.
H1: Nollywood movies affect child audience.
H0: Home movies viewing does not influences children’s psycho-graphical attributes.
H: Home movies viewing influences children’s psycho-graphical attributes.
1.6 SIGNIFICANCE OF STUDY
This study is relevant for the following reasons:
It will determine the type of influence that home movies have on the children audience and thus guide policy makers and regulatory agencies in providing protection against the production and exposure to movies that negate Nigeria’s cultural values.
The study will provide a framework for the fight against media and cultural imperialism where it is discovered that the home movie industry is serving as a stooge.
Finally, the study will be beneficial to children and home movies children because it will expose them to the theory on the influences that could be exerted via the movies.
1.7 SCOPE OF THE STUDY
The scope of the study is on the influence of movies show that there are various behavioural and attitudinal influences that could be exerted by the home movies on children.
1.8 LIMITATION OF THE STUDY
Despite the limited scope of this study certain constraints were encountered during the research of this project. Some of the constraints experienced by the researcher were given below:
i. TIME: This was a major constraint on the researcher during the period of the work. Considering the limited time given for this study, there was not much time to give this research the needed attention.
ii. FINANCE: Owing to the financial difficulty prevalent in the country and it’s resultant prices of commodities, transportation fares, research materials etc. The researcher did not find it easy meeting all his financial obligations.
iii. INFORMATION CONSTRAINTS: Nigerian researchers have never had it easy when it comes to obtaining necessary information relevant to their area of study from private business organization and even government agencies. Nation bureau and statistics finds it difficult to reveal their internal operations. The primary information was collected through face-to-face interview getting the published materials on this topic meant going from one library to other which was not easy. Although these problems placed limitations on the study, but it did not prevent the researcher from carrying out a detailed and comprehensive research work on the subject matter.
1.9 DEFINITION OF TERMS
Home movies: This is any pre-recorded media films played and viewed by people
with their movie players in their homes or movie clubs. These films are viewed with
the aid of a TV set which is connected to the movie machine. They are recorded on
movie tape, disc or DVD.
Pattern of dressing: This is refers to the choice or type of dressing or clothing
preferred by a certain group of people.
Children: These are people between the age 1 to 16 years.
Influence: This is the impact some thing or someone has on something or some one
else. This could be positive or negative.
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PROBLEM OF THEATRE MANAGEMENT IN IMO STATE
ABSTRACT
A national theatre embodies the performing treasures of the nation‘s inheritance for a glorious cause. The theatre brings the best not just to its people but also to the world and further deals with artistic and creative imaginations. It then beholds on Government to encourage the theatre as a body that preserves and promotes the cultural values of the nation. As a cultural Institution, this study explores the management constraints on the Imo satte Arts Theatre as well as management of the institution. Personal Observation and interview techniques were adopted. At the end, it was observed that government policies, funding and organisational bottle-neck that encourages bureaucracy are some major challenges against effective management of a theatre in a developing country.
CHAPTER ONE
1.0 INTRODUCTION
1.1 BACKGROUN OF THE STUDY
Nwamuo (2003) defined threate management as “a continuous process of making present artistic and entrepreneurial (risk taking) decision, systematically with the best possible knowledge of their futurity and organizing the efforts needed against the box office expectation through an organized systematic feedback”.
to Derrick Chong (2002), Threate management is a more complex term than one first imagines: art mangers need to reconcile managerial, economic and aesthetic objectives. Three comments to excellence and artistic integrity; to accessibility and audience development; and to public accountability and cost effectiveness. For art and art organizations to experience growth and development, a conscious deliberate effort ought to be made towards harnessing resources to create enabling environment for success (Enamhe, 2012) such could be rendered in qualitative education where constant change occurs through critical thinking, reflection and action. The 21st century is very competitive in search of the fundamentals of life.
All sectors of the economy are undergoing transformation processes. Artists should understand that expertise in any field offers students the opportunity of helping to anticipate and respond to changes. Students learn that, though a job may be successfully accomplished today by performing certain task, tomorrow entirely new set of skills may be required and because businesses are always changing, workers need to find out ways of doing a given job (Bettina, 1991).
The introduction of threate management in the visual arts department will increase productivity in the manner that will promote the harnessing of diverse ideas, knowledge, expertise, experiences and skills which ought to effect effective and efficient resources management development as well as scientific and technological breakthrough (Ekong, 2008).
Threate management has been used effectively for the advancement of art, art organizations and artists in advanced countries. In essence, in the third world countries, threate management has a vital role to play in building up the visual arts. Following the progressive nature of advancement in technology, such as global telecommunication infrastructure, all due to globalization, artists must become very aggressive to stay on board. This paper tries to define threate management, visual arts, the need for threate management in Visual Arts Department, fundamental elements in threate management, proposed course curriculum, conclusion and recommendations. Illustrations of students’ works are included to increase visual sensitivity. Eyes will perceive visual information expelled to create necessary curiosity, a fundamental element to art appreciation.
In conformity with government’s implementation strategy of promoting, preserving and presenting the rich cultural heritage of the state, the council was established as an autonomous body administered by a Board of Directors referred to as the “Council.” The Edict vested the day-to-day management of the council in the Director of Culture who is also the Chief Executive. The enabling law provides for the constitution of local government arts committees responsible for organizing cultural activities in the local government areas of the state.
As a way of foregrounding this discourse, it would be profiting to attempt a clarification of certain operative terms. In this regard, art refers to “all the creative disciplines such as literature, drama, poetry, dance, music and visual arts. The visual arts are those artistic creativities that seek to communicate primarily through the eye; they include architecture, graphics and textile design, etc” (Ohangbon, 1980).
The Nigerian Cultural Policy (1986) defines culture “as the totality of the way of life evolved by a people in its environment the social, political, economic, aesthetic and religious norms and modes of organization which together distinguish a people from its neighbours”. It comprises the material, institutional, philosophical and creative aspects. Its material aspects deal with tools, clothing, food, medicines, utensils, housing, etc. Its
institutional aspects deal with political, social, legal and economic structures enacted to promote the material and spiritual progress of the people concerned. Its philosophical aspect promotes and develops ideas, ideals, beliefs and values while the creative aspects are responsible for the people’s literature, their visual and performing arts which are normally moulded by, as well as help to mould other aspects of culture. According to Webster’s New World Dictionary of the American Language, culture refers to:
i. The improvement, refinement of development by study, training, etc.
ii. The training and refining of the mind, emotions, manners, taste, etc.
iii. The result of this refinement of thought, emotions, manners, taste, etc.
iv. The concepts, habits, skills, arts, instrument, institutions, etc, of a given people in a given period; civilization (Guranik and Joseph, 1964).
Akerele in his article entitled “Cultural Renewal in a Changing Society like Nigeria,” summarizes the essence of culture “as the development and refinement of the various aspects of the ways of life of a people over time”. He simplifies it further “as the totality of a people’s way of life (1980). The foregoing definitions are very apt, illuminating and enlightening and would suffice for the purpose of this study.
Theatre has become more popular over the years. It is generally known to people as a building designed for performance of plays, dances etc. In our institution today where there is Theatre Art Department in Imo sate University have output some their works in theatre industries, while some are independent, although the word theatre and drama are often used interchangeably. Theatre is not inherent in drama only rather it encompasses the words and action of our everyday activities. Therefore, the Theatre Arts Departments of Imo state university need good management practices in order to enhance their work for the benefit of their student.The theatre manager must be sensible enough to create and maintain effective running of the industry with the help of his colleagues.
Theatre arts has a lot of impact on national development due to great influence that drama has in the society people get to learn one or two things mostly in drama performance.
1.2 STATE OF THE PROBLEM
Some respondents fear that current political and severe economic pressures will result in a situation where the cultural and artistic panorama might be difficult to reconstruct. The lack of proper funding results in „a frenetic system of people working when they have funds and not when the money runs out.
Respondents expressed concern about a situation where the funding might only come from the private sector, which leads to problems of accessibility to the arts outside big cities and to the reinforcement of solely commercial activities. They are also concerned about the public‟s inability to understand the benefits of arts support. Respondents reported that the loss of public interest in threate management may favour local and private initiatives but at the same time there is a clear disengagement of local and regional authorities from cultural activities that are not compulsory. This leads to a scenario where arts and culture become the domain of a select group of arts administrators and „not a matter to be discussed along with public welfare, well-being, educational success and thriving economies‟.
For some, one the biggest threats was simply the government and its policies. Some of the respondents referred to upcoming elections and their impact on the continuity of programs and funding and changing priorities especially if „policies come in narrow form’. Other government policy downfalls were the instrumentalisation of culture, the lack of protection and preservation and the enormous dependence of the cultural sector on public funding.
1.3 OBJECTIVE OF THE STUDY
1. To examine public threate institutionss in Nigeria.
2. To identify the fundamental elements of threate management.
3. To find out the problems of threate management in Imo state.
4. To examine the prospects of managing public threate institutions in Imo State
1.4 RESEARCH QUESTION
1. How is public threate institutionss in Nigeria?
2. What are the fundamental elements of threate management?
3. Are there problems involve in threate management in Imo State?
1.5 RESEARCH QUESTION
H0: There are minor problems involve in threate management in Imo State.
H1: There are lot ot problems involve in threate management in Imo State.
1.6 SIGNIFICANCE OF THE STUDY
This research is significant because it will serve as a means of guideline to manager or director in an organization and also draw the government attention for assistant in our institution at large.
1.7 SCOPE OF THE STUDY
This research work is problem of theatre management in imo state
1.8 LIMITATION OF STUDY
Despite the limited scope of this study certain constraints were encountered during the research of this project. Some of the constraints experienced by the researcher were given below:
i. Time: This was a major constraint on the researcher during the period of the work. Considering the limited time given for this study, there was not much time to give this research the needed attention.
ii. Finance: Owing to the financial difficulty prevalent in the country and it’s resultant prices of commodities, transportation fares, research materials etc. The researcher did not find it easy meeting all his financial obligations.
iii. Information Constraints: Nigerian researchers have never had it easy when it comes to obtaining necessary information relevant to their area of study from private business organization and even government agencies. People in Nigeria find it difficult to reveal their internal operations. The primary information was collected through face-to-face interview getting the published materials on this topic meant going from one library to other which was not easy.
1.9 DEFINITION OF TERMS
Theatre : This term connotes both action/experience and a building. A theatre is an experience involving the viewer and the viewed. The two create a web of meaning-making process via audio-visual effects. This explains why Edwin Wilson posits that: The means by which an art presents its material is often referred to as the medium… For theatre, the medium is a story enacted by performers.
Management : Management is “a process of planning, organizing, directing or leading, representing, co-ordinating and controlling the efforts of the organization members and the use of organizational resources (human and technical) in order to achieve stated organizational goals”.
Threate management: Threate management is a business oriented discipline involved in project management, art strategy and supply chain techniques to control a creative process.
Threate institutions : An art school is an educational institution with a primary focus on the visual arts, especially illustration, painting, photography, sculpture, and graphic design.
Visual Arts : The meaning of Visual Arts: Egonwa (2012) opines that, “visual arts are about visual culture in our time.
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ORATURE IN MODERN AFRICAN LITERATURE USING: WOLE SOYINKA’S THE BEATIFICATION OF AREA BOY
ABSTRACT
The contemporary African Literature is believed to be a revolutionary literature that looks critical into contemporary social situations with a view of amending the wrongs therein. However, no writer writes in a vacuum but within the scope of human experiences, happening around him, and particularly the experiences he met on ground in his society. This is the Orature of his society.
The tool adopted for this research was the sociological theory, this is because it encompasses the way of life and experiences of people in a given society. The research made use of the stratified sampling method, where relevant texts were applied to the theory for analysis.
A number of discoveries were made in this research first, there would be no written literature without orature. It was also discovered that there are no people, society or race without their inherent Oral traditions that distinguishes them.
Consequently, agreeable conclusions were drawn on the relationship between Orature and the Modern African Literature. We were able to view Orature as the founder of Modern African Literature.
In conclusion, the undeniable link between Orature and the Written Literature.
TALBE OF CONTENTS
CHAPTER ONE
Introduction
Purpose of the Study
Justification
Scope of the Study
Methodology
CHAPTER TWO
Literature Review
Orature
Element in Oral Literature
The Concept of Orature in a Sociological Context
Background Information on Wole Soyinka’s
Modern African Literature
The Sociological school of Literature
CHAPTER THREE
Orature in Soyinka’s “The Beatification of Area Boy”
Some songs which portray the Rich African Culture
Superstitious Beliefs Among Africans.
African Ceremonies
Dramatic Elements in “The Beatification of Area Boy”
CHAPTER FOUR
Summary
Findings
Conclusion
Bibliography
ORATURE IN MODERN AFRICAN LITERTURE, USING: WOLE SOYINKA’S THE BEATIFICATION OF ARA BOY.
CHAPTER ONE
INTRODUCTION
Modern African Literature is believed by some critics to be a transition form spoken words to the written form of it, especially in relation to the expression of African beliefs and world view. Thus, except for the language issue which alienates Modern African Literature from its root, the experiences expressed therein remain essentially African. To ensure the maintenance of African identity However, deliberate efforts are made by writers to reach the grassroots by switching over to vernacular as a more towards revolutionizing the contemporary African Literature, while some only limit their zeal to a full exploration of African values.
Furthermore, no definition of written literature can be said to be complete without a prior reference to its origin in whatever setting, be it, African or European. The literature of a set of people does not emerge from a vacuum. It is the fundamentals of a set of people that make up their written literature, whether these fundamentals are written or unwritten. Therefore, it is erroneous to stress the written aspect of literature alone and ignore the oral aspect. Whatever becomes written has been in existence in the unwritten form. The general consensus is that, written literature borrows some features form unwritten literature in terms of content and even style.
It is this situation, that is the deployment of oral forms in the writing of Modern African writers that have become of interest to this writer. hence, in this project, we intend to study the features of oral literature that may be present in Wole Soyinka’s “The Beatification of Area Boy”.
PURPOSE OF THE STUDY
Many works have been done on Soyinka’s plays and the other genres of literature. More particularly, this Beatification of Area Boy but we are not aware of a particular one on Orature in Modern African Literature therefore, an in depth analysis of Modern African Literature which in fact forms the main principles of the entire play will be made so that readers can appreciate the beauty of the work and understand it better.
JUSTIFICATION
The basis of this research work is to make clear the relevance of Oral literature in Modern African Literature, using: Wole Soyinka’s “The Beatification of Area Boy” which seem to have a number of oratory features embedded in it. This research work, is a worthwhile exercise because, oral literature has its origin in the African literature which some critics regard has been non scholastic. Hence, this research work is going to make known its importance to the writing of the play, “The Beatification of Area Boy” and then to the Modern African Literature at large.
SCOPE OF TH STUDY
This research work shall be restricted to examining oral literature in “The Beatification of Area Boy” relating it to the Modern African Literature. as many as possible elements of Orature found in “The Beatification of Area Boy” that can be related to the Modern African Literature shall be pointed out. As the research topic is Orature in Modern African Literature Using : Wole Soyinka’s the beatification of Area Boy. Some dramatic element in the Beatification of Area Boy shall also be considered.
METHODOLOGY
The research topic Orature in Modern African Literature using: Wole Soyinka’s The Beatification of Area Boy” was carefully selected by the researcher and intentionally combined as both terms are some what interwoven, ie there’s no how Modern African Literature will be analyses without due reference to orature which is more of an African act and which also forms the basis of the written literature.
This theory will highlight a number of oratory features that can be found in “The Beatification and its relation to the Modern African Literature.
The tool adopted for this research shall be the sociological school of Literature.
This theory is relevant since it encompasses the way of life, relationship and the diverse challenges faced by the people on a given society or community.
The researcher relies primarily on the relationship between the text and the society. The stratified sampling method under the systematic method will be adopted. This is because different characteristics available in the textual population which are Orature and Modern African Literature will be taken into cognizance, and applied for analysis, appropriately.
Relevant primary and secondary material sources will be used as instruments of interrogation. This includes the use of library and other relevant and useful texts on the research topic, that the researcher comes across.
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08068231953 or 08168759420
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OR
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Account Number: 3139283609
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FOR MORE INFORMATION, CALL:
08068231953 or 08168759420
BEFORE YOU READ THE ABSTRACT OR CHAPTER ONE OF THE PROJECT TOPIC BELOW, PLEASE READ THE INFORMATION BELOW.THANK YOU!
INFORMATION:
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MANAGING THE UNIVERSITY BASED THEATRE, CHALLENGES AND PROSPECTS; FUOYE AS A CASE STUDY
CHAPTER ONE
INTRODUCTION
Theatre has become more popular over the years. It is generally known to people as a building designed for performance of plays, dances etc.
In our institution today where there is Theatre Art Department some of their output works in theatre industries, while some are independent, although the word theatre and drama are often used interchangeably. Theatre is not inherent in drama only rather it encompasses the words and action of our everyday activities. Therefore, the Theatre Arts Departments need good management practices in order to enhance their work for the benefit of their student.The theatre manager must be sensible enough to create and maintain effective running of the industry with the help of his colleagues.
Theatre arts has a lot of impact on national development due to great influence that drama has in the society people get to learn one or two things mostly in drama performance.
The University base Theatre or Theatre in the Academics is a microcosm of the Theatre Arts practice in our society, furthermore it is the basis of theatre practices in the larger society because the institution trains the practitioners. However, as relevant as the Academics Theatre due attention has not been given to it; specifically in the area of the Management of their Theatre. It is against this backdrop this project will therefore examine the role of the theatre manager, function of management and importance of the Academics Theatre specifically FUOYE Theatre Art Department. This study shall look at the management theory, application and effect in an organization, theatre industry most especially FUOYE Theatre Art Department.
This research is designed to examine the challenges facing department of theatre and media arts in Oye Ekiti, Ekiti state. The purpose of this is to draw out its managerial effectiveness in Appling the principles of management in the Department. It is also meat to proffer solution to the challenges at hand.
This research is significant because it will serve as a means of guideline to manager or director in an organization and also draw the government attention for assistant in our
institution at large.
The scope of this research encompasses and it confined to the effective management of department of theatre and media art Oye Ekiti.
There is the problem of gathering relevant literature to enhance accurate information for the research. There is also the problem to meet with the head of the department.
The methodology adopted in this research is library research and observation by
participation.
For proper understanding and flow of the content of this research, it is essential for some key terms and words to be defined.
Below are some necessary definitions of term and words used in the course of the study.
1 Management: can be defined as the process of performing the activities of planning, organizing, staffing, leadership and control so as to achieve goals effectively (HARVEY SHORE 1) it can also be known as an individual or group of individual that accept responsibilities to run an organization. They plan, organized, direct and control all the essential activities of the organization.
The acts of management exist and as to do with the way in which human being organize themselves time, energy and resource.
All human activities are aimed at achieving certain goal management therefore is very important towards the achievement of goal. It involves discipline against lavish spending.
Theatre manager: the theatre manager can be a manager of troupe or physical facilities combine both artistic and administrative responsibilities, he is head of the day to day program executive team of the entire organization (RemiAdedokun35)
The theatre managers have responsibility for the personnel, financial and administrative aspect of the theatre. They need to be commercially minded and may be responsible for leading marketing and publicity activities costume care is also crucial part of the role to ensure the public get the most out of their experience when visiting the theatre that is the public we be comfortable and as the same give the best in which they can offer.
Stage manager: can be defined as the theatre relations manager of any performance. He is the link between the director and his actors, the mediator between actors and the script. (Adedokun44) the work of the stage manager goes beyond the relation between himself and the crew. The stage manager is a discipline person because he come into the rehearsal ground as early as possible to make the place conductive for the actor, presence he sees that the temporary stage is ready with the set in place. He does this because most plays are rehearsed where they will not be performed.
HOW TO RECEIVE PROJECT MATERIAL(S)
After paying the appropriate amount (#5,000) into our bank Account below, send the following information to
08068231953 or 08168759420
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(2) Email Address
(3) Payment Name
(4) Teller Number
We will send your material(s) after we receive bank alert
BANK ACCOUNTS
Account Name: AMUTAH DANIEL CHUKWUDI
Account Number: 0046579864
Bank: GTBank.
OR
Account Name: AMUTAH DANIEL CHUKWUDI
Account Number: 3139283609
Bank: FIRST BANK
FOR MORE INFORMATION, CALL:
08068231953 or 08168759420