tag:blogger.com,1999:blog-30555856169256039952024-03-18T20:47:47.317-07:00Greg Mbajiorgu's BlogMbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.comBlogger35125tag:blogger.com,1999:blog-3055585616925603995.post-704399856700667092017-11-08T09:12:00.000-08:002017-11-08T11:09:25.855-08:00MBAJIORGU AS AN ECOLOGICAL DRAMATIST: A BRIEF PROFILE<!--[if !mso]>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Greg Nnamdi Nnabike Mbajiorgu</span></b><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"> (NURESDEF Laureate) (B. A. (Hons) Dramatic Arts,
(Nigeria), M. A. Theatre Arts, (Ibadan) M. A. Mass Communication (Nigeria) is a
leading activist theatre and <span style="font-family: "Times New Roman",serif; font-size: 14.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">environmentalism and the poetics of climate change. He
is Nigeria</span>’s first dramatist to publish a
play that squarely addresses the problem of climate change in Nigeria (<i style="mso-bidi-font-style: normal;">Wake Up Everyone,</i> 2011, 2014). He is
also the first African to publish a monodrama (<i style="mso-bidi-font-style: normal;">The Prime Minister’s Son, </i>1991, 2000, 2014). His seminal play on
climate change, <i style="mso-bidi-font-style: normal;">Wake Up Everyone</i> won
first prize at the Inter-Universities Research and Development Competition
organized by the National Universities Commission (NUC) in 2012.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">This well-researched ecological drama foresaw the
flood that ravaged most parts of Nigeria in 2012; a situation which we are also
experiencing currently. Beyond writing plays, poems and songs on
environmentalism and climate change, Mbajiorgu has also co-authored a
mainstream academic paper on<i style="mso-bidi-font-style: normal;"> Climate Change
studies in Arts and the Humanities </i>(2015) with Prof. P. Okpoko and Prof.
Nnanyelugo as co-authors.</span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Wake Up Everyone </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">was first performed for the African Technologies
Policies Network, Nairobi, Kenya at the award/dinner night of their
international conference in 2009. It was equally produced at Nsukka for the
University of Nigeria’s African climate change adaptation initiative (ACCAI) in
2010 and in 2014, the University of Nigeria, again, commissioned its production
as the core highlight for its 44<sup>th</sup> convocation ceremony on 23<sup>rd</sup>
January, 2015 at the institution’s Arts Theatre. After that, other universities
and higher institutions started to emulate UNN by producing the play for the
convocation as well. Among the latest are Bishop Ajayi Crowther University, Oyo
State which used it for its seventh convocation ceremony and College of Education
Special, Ibadan, Oyo State.</span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Wake Up Everyone </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">is currently celebrated as a reference text in studies
of environmentalism and climate change in Nigerian universities. Teachers and
students of Theatre Arts, Linguistics, Music, Fine and Applied Arts, History,
Archaeology, Earth Sciences, Bio-resources Engineering and Agricultural
Sciences, are currently subscribing for it as a home-grown culture-oriented
material on the on topics in environmentalism, climate change mitigation and
adaptation in Africa.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Virtually
all major Nigerian newspapers have reviewed <i style="mso-bidi-font-style: normal;">Wake
Up Everyone</i>.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">The
success of this environmentally-oriented drama and other ground- breaking works
of his have won him several prestigious awards and honours among which include
the following:</span></div>
<span style="font-size: large;"><b><span style="font-family: "times new roman" , serif; line-height: 107%;">Awards </span></b></span>
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<span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;">1.<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><b><span style="font-family: "times new roman" , serif; line-height: 107%;">Most Innovative
Creative Artiste Award</span></b><span style="font-family: "times new roman" , serif; line-height: 107%;"></span></span></div>
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<span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;">Presented to him by the Department of English and
Literary studies, University of Nigeria, Nsukka, 2005 </span></span></div>
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<span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;">2.<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><b><span style="font-family: "times new roman" , serif; line-height: 107%;">First Prize for
Art and Humanities in the Arts and Humanities Research </span></b><span style="font-family: "times new roman" , serif; line-height: 107%;">Awarded by the National Universities Commission at
their 2012 inter-universities competition at Niger State tagged NURESDEF</span></span></div>
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<span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;">3.<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><b><span style="font-family: "times new roman" , serif; line-height: 107%;">SONTA Achievers’
Award</span></b><span style="font-family: "times new roman" , serif; line-height: 107%;"></span></span></div>
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<span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;">Conferred on him by the Society of Nigerian Theatre
Artistes, 2013</span></span></div>
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<span style="font-size: large;"><b><span style="font-family: "times new roman" , serif; line-height: 107%;">4.<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></b><b><span style="font-family: "times new roman" , serif; line-height: 107%;">Anambra State Literary Stars Award</span></b></span></div>
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<span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;">Presented by the Nigerian Book Foundation with support
from Anambra State Government, 2013</span></span></div>
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<span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;">5.<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"><b> </b></span></span><b><span style="font-family: "times new roman" , serif; line-height: 107%;">Award of
Excellence in Solo Drama and Award of Distinction as a leading eco-dramatist in
Africa</span></b><span style="font-family: "times new roman" , serif; line-height: 107%;"></span></span></div>
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<span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;">Both conferred on him by Nigerian-Turkish Nile
University, Abuja, 2014</span></span></div>
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<span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;">6.<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><b><span style="font-family: "times new roman" , serif; line-height: 107%;">Award of
Excellence as an Exponent of Ecological Theatre and Monodrama in Africa</span></b><span style="font-family: "times new roman" , serif; line-height: 107%;"></span></span></div>
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<span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;">Presented to him by the Association of Nigerian
Authors in collaboration with Enugu State Broadcasting Services [ESBS] on his
50<sup>th</sup> birthday in 2015.</span></span></div>
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<span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;">7.<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><b><span style="font-family: "times new roman" , serif; line-height: 107%;">Award of
Excellence in recognition of his contribution to Arts and Heritage promotion
and preservation in Nigeria through Theatre. </span></b><span style="font-family: "times new roman" , serif; line-height: 107%;"></span></span></div>
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<span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;">Conferred on him by the Anambra State Book and
Creativity Network (ANBUKRAFT), 2016</span></span></div>
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<span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;">8.<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><b><span style="font-family: "times new roman" , serif; line-height: 107%;"></span></b></span><span style="font-size: large;"><b><span style="font-family: "times new roman" , serif; line-height: 107%;"><span style="font-size: large;"><b><span style="font-family: "times new roman" , serif; line-height: 107%;">Top 10 </span></b></span>Most Popular
Lecturer Award </span></b><span style="font-family: "times new roman" , serif; line-height: 107%;"></span></span></div>
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<span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;">University of Nigeria Staff Awards, 2016</span></span><span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;"> </span></span></div>
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<span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;"> </span></span><span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;">9. <b>Shell-UNN CEMAC Sustainability Award</b></span></span></div>
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<span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;"><b> </b></span></span><span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;"><span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;">Conferred on him by </span></span>UNN/Shell Center for Environmental Management & Control (</span></span><span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;"><span style="font-size: large;"><span style="font-family: "times new roman" , serif; line-height: 107%;">CEMAC</span></span>), 2017 in recognition of his outstanding contributions in Environmental Education.<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"></span></span></span></div>
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<span style="font-size: x-large;"><b><span style="font-family: "times new roman" , serif; line-height: 107%;">Honours</span></b></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">In 2010, the Governor of Nassarawa State, His
Excellency (Dr.) Aliyu Akwe Doma (OON) presented a plaque of honour to G. N. N.
Mbajiorgu in recognition of his contribution to the role of theatre in Nigeira.
</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">In 2014, the department of English and Literary Studies,
Nigerian-Turkish Nile, University, Abuja organized a conference in honour of G.
N. N. Mbajiorgu tagged “Forty-eight Years of Solo Performing Art in
Post-colonial Nigeria (1966-2014)”</span></div>
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<span style="font-size: x-large;"><b><span style="font-family: "times new roman" , serif; line-height: 107%;">Drama and Poetry</span></b></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">The Prime Minister’s Son </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">(Monodrama, 2000)</span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Hands of Fate </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">(Drama
co-authored, 2000)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo2; text-align: justify; text-indent: -.25in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Wota na Wota </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">(Drama
on water conflict and water-related issues, 2003)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo2; text-align: justify; text-indent: -.25in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Water Monologue </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">(Poetic
Monologue, 2013)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo2; text-align: justify; text-indent: -.25in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Water Testaments </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">(World’s
first Anthology of poetry on Water and Water-related Issues, 2008)<i style="mso-bidi-font-style: normal;"> </i></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo2; text-align: justify; text-indent: -.25in;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Beyond the Golden
Prize </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">(Drama, 2013)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo2; text-align: justify; text-indent: -.25in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Wake Up Everyone </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">(Drama
on Climate change and environmentalism, 2014)</span></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l2 level1 lfo2; text-align: justify; text-indent: -.25in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Dancers from Africa </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">(Drama,
2015)</span></div>
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<span style="font-size: x-large;"><b><span style="font-family: "times new roman" , serif; line-height: 107%;">Edited Books</span></b></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Songs of Gold:
Fresh perspectives on J. P. Clarke</span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">
(Critical Essays, co-edited, 2011)</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">The Noisy World and other works (Anthology of Greg
Odo’s Poems and paintings, 2011)</span></div>
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<h3 class="r" style="text-align: center;">
<a data-cthref="/url?sa=t&rct=j&q=&esrc=s&source=web&cd=30&ved=0ahUKEwiSr-7i1vzWAhVoKcAKHcBrDyc4FBAWCFswCQ&url=https%3A%2F%2Fwww.gold.ac.uk%2Fmedia%2Fdocuments-by-section%2Fdepartments%2Ftheatre-and-performance%2Fabstracts-conference.doc&usg=AOvVaw20I1MBOuHyynAxkbEobPyw" href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=30&ved=0ahUKEwiSr-7i1vzWAhVoKcAKHcBrDyc4FBAWCFswCQ&url=https%3A%2F%2Fwww.gold.ac.uk%2Fmedia%2Fdocuments-by-section%2Fdepartments%2Ftheatre-and-performance%2Fabstracts-conference.doc&usg=AOvVaw20I1MBOuHyynAxkbEobPyw">Goldsmiths, University of London</a><b> </b></h3>
<b>ABSTRACT BY GREG MBAJIORGU</b><br />
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<span lang="EN-GB" style="font-size: 9.0pt;">The art of solo performance is becoming popular in America and Europe in every sense of the word. The increasing success
of this theatrical form has created fresh motivations and objectives for
theatre producers, playwrights, directors, actors and even designers. Though this
minimalist theatre thrives in the domain of the individual, recent studies in
America, in particular, has shown that <i style="mso-bidi-font-style: normal;">monodrama</i>
poses exciting challenges, not just for actors but playwrights, directors,
producers, designers, technicians and theatre scholars, who have found this
vibrant and unique art form a valuable educational tool with<br />
extreme creative and innovative possibilities that can enhance and develop
playwriting, acting and directing skills. But despite the scholarly and
artistic breakthroughs that have been recorded in this sub-field in recent
times, Nigerian theatre scholars, playwrights, directors and producers are
still unwilling to explore the potentials of <i style="mso-bidi-font-style: normal;">monodrama</i>. Strangely, theatre scholars in Nigeria still
regard this form as a theatrical sub-field that is incapable of stimulating
significant academic discourse. Similarly, most theatre artists and
professionals in Nigeria
tend to dismiss the solo play as an individualistic art that has little regard
for theatre concept of inter-relationship. </span></div>
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<br /></div>
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<span lang="EN-GB" style="font-size: 9.0pt;">On the basis of this background, the researcher hopes
to critically re-examine these contentious issues and to x-ray all other
factors that have impeded the academic and artistic growth of the solo
performance art in Nigeria.
Through this study, we may also be placed in a better position to appreciate
why the seemingly popular appeal and economic success of solo performances in
Nigeria rest squarely on sheer guts and creative resourcefulness of
multi-skilled and talented upcoming Nigerian actors (such as the late Funsho
Alabi and others) whose efforts in this direction can be greatly enhanced and
consolidated by the interest and support of seasoned and notable Nigerian
theatre historians, scholars, artists and critics who seem to have completely
neglected and ignored this bourgeoning art form.</span></div>
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<br /></div>
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<span lang="EN-GB" style="font-size: 9.0pt;">Available from <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=30&ved=0ahUKEwiSr-7i1vzWAhVoKcAKHcBrDyc4FBAWCFswCQ&url=https%3A%2F%2Fwww.gold.ac.uk%2Fmedia%2Fdocuments-by-section%2Fdepartments%2Ftheatre-and-performance%2Fabstracts-conference.doc&usg=AOvVaw20I1MBOuHyynAxkbEobPyw" target="_blank">here</a> </span></div>
Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-4921912537264382312017-10-19T05:20:00.003-07:002017-10-19T05:20:52.414-07:00EXPLORING THE PROSPECTS OF USING PROVERB AND MOOD STRUCTURE ANALYSES TO COMMUNICATE TEXTUAL MEANINGS AND GRAMMATICAL FUNCTIONS IN AN ESL CLASSROOM<div style="text-align: center;">
<span data-reactid="40"><span data-reactid="41"></span></span></div>
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<b>By Basil Friday Ovu<span class="" data-reactid="59"> </span></b><br /><div class="t m1 x0 h6 yf ff4 fs1 fc1 sc0 ls1 ws0">
ovubasil@yahoo.co.uk<span class="fc0 ws1"> </span></div>
<div class="t m1 x9 h6 y10 ff4 fs1 fc0 sc0 ls0 ws1">
+2348064833427 <div class="t m1 xa h5 y11 ff3 fs1 fc0 sc0 ls1 ws1">
Department of English Language and Literature </div>
<div class="t m1 xb h5 y12 ff3 fs1 fc0 sc0 ls1 ws1">
Alvan Ikoku Federal College of Education, Owerri, Imo State </div>
</div>
</div>
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<div class="t m0 xc h4 y1a ff3 fs0 fc0 sc0 ls1 ws1">
Being a Paper Presented at the Maiden National Conference of the Department of English </div>
<div class="t m0 x2 h4 y1b ff3 fs0 fc0 sc0 ls1 ws1">
Language and Literature, Faculty of Arts, Nnamdi Azikiwe University, Awka, Held be<span class="_ _0"></span>tween 7th </div>
<div class="t m0 xd h4 y1c ff3 fs0 fc0 sc0 ls1 ws1">
and 11th June, 2016. </div>
<b><br /></b></div>
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<b>Abstract</b></div>
<div class="nova-e-text nova-e-text--size-m nova-e-text--family-sans-serif nova-e-text--spacing-auto" data-reactid="69">
This paper reports an exploratory study into the use of proverbs and mood structure to communicate textual meaning and grammatical functions in a dramatic text. Using two models of analyses – Type and Token Content Analysis (TTCA) and Systemic Functional Analysis (SFA), the paper examines the use of proverbs to achieve effective character delineation and environmental education in Greg Mbajiorgu's Wake Up Everyone. A total of six (6) short dialogues containing eleven (11) proverbs drawn directly from the play text constitute the corpora. These were analysed in relation to their grammatical structure, mood structure and how the writer used them to communicate meaning to the reader using the 200 level NCE students from the Department of English Language and Literature, Alvan Ikoku Federal College of Education, Owerri as the research subjects. The TTCA reveals that the playwright used eight (8) bipartite; one (1) tripartite, and two (2) quadripartite proverbs; the SFA shows an incremental use of indicative mood by the playwright in a passionate cry against the mindless destruction of the ecosystem and a clarion call for more eco-friendly practices in Nigeria; while the result of the grammatical function test designed using the proverbs reveals that the students have challenges dividing the proverbs into their correct grammatical structures and labels even when they can accurately identify the appropriate mood structures of the proverbs. The paper, therefore, recommends an eclectic approach to teaching grammatical forms and functions using authentic literary texts in ESL classrooms.</div>
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<b> </b></div>
<div class="t m1 xe h5 y26 ff3 fs1 fc0 sc0 ls1 ws1">
<b>Abstract </b></div>
<div class="t m1 x2 h8 y27 ff5 fs1 fc0 sc0 ls1 ws1">
This paper <span class="_ _1"> </span>reports an <span class="_ _1"> </span>exploratory study into <span class="_ _1"> </span>the <span class="_ _1"> </span>use of <span class="_ _1"> </span>proverbs and <span class="_ _1"> </span>mood structure to </div>
<div class="t m1 x2 h8 y28 ff5 fs1 fc0 sc0 ls1 ws1">
communicate textual meaning and grammatical functions in a dramatic text. Using two </div>
<div class="t m1 x2 h8 y29 ff5 fs1 fc0 sc0 ls1 ws1">
models of <span class="_ _1"> </span>analyses <span class="_ _1"> </span>– <span class="_ _1"> </span>Type and <span class="_ _1"> </span>Token <span class="_ _1"> </span>Content <span class="_ _1"> </span>Analysis (TTCA) <span class="_ _1"> </span>and <span class="_ _1"> </span>Systemic Functional </div>
<div class="t m1 x2 h8 y2a ff5 fs1 fc0 sc0 ls1 ws1">
Analysis (SFA), <span class="_ _2"> </span>the paper <span class="_ _2"> </span>examines the <span class="_ _2"> </span>use of <span class="_ _2"> </span>proverbs to <span class="_ _2"> </span>achieve effective <span class="_ _2"> </span>character </div>
<div class="t m1 x2 h3 y2b ff5 fs1 fc0 sc0 ls1 ws1">
delineation and environmental education in <span class="ff2">Greg Mbajior<span class="_ _3"></span>gu’s</span> <span class="ff2">Wake Up Everyone. </span>A total of<span class="ff2"> </span></div>
<div class="t m1 x2 h8 y2c ff5 fs1 fc0 sc0 ls1 ws1">
six (<span class="_ _0"></span>6) <span class="_ _1"> </span>short <span class="_ _1"> </span>dialogues containing <span class="_ _3"> </span>eleven (11) <span class="_ _1"> </span>proverbs <span class="_ _1"> </span>drawn <span class="_ _1"> </span>directly from <span class="_ _3"> </span>the play <span class="_ _1"> </span>text </div>
<div class="t m1 x2 h8 y2d ff5 fs1 fc0 sc0 ls1 ws1">
constitute the <span class="_ _3"></span>corpora. These <span class="_ _3"></span>were analy<span class="_ _3"></span>sed in relat<span class="_ _3"></span>ion to the<span class="_ _3"></span>ir grammatical <span class="_ _3"></span>structure, mood </div>
<div class="t m1 x2 h8 y2e ff5 fs1 fc0 sc0 ls1 ws1">
structure and <span class="_ _3"></span>how the <span class="_ _3"></span>writer <span class="_ _3"></span>used them <span class="_ _3"></span>to communicate <span class="_ _3"></span>meaning to <span class="_ _3"></span>the reader <span class="_ _3"></span>using t<span class="_ _3"></span>he 200 </div>
<div class="t m1 x2 h8 y2f ff5 fs1 fc0 sc0 ls1 ws1">
level <span class="_ _3"> </span>NCE students from <span class="_ _1"> </span>the <span class="_ _1"> </span>Department <span class="_ _3"></span>of <span class="_ _1"> </span>English <span class="_ _3"></span>Language <span class="_ _1"> </span>and <span class="_ _3"> </span>Lite<span class="_ _3"></span>rature, <span class="_ _3"> </span>Alvan <span class="_ _1"> </span>Ikoku </div>
<div class="t m1 x2 h8 y30 ff5 fs1 fc0 sc0 ls1 ws1">
Federal <span class="_ _3"> </span>College <span class="_ _1"> </span>of <span class="_ _3"> </span>Education, <span class="_ _1"> </span>Owerri <span class="_ _3"> </span>as <span class="_ _1"> </span>the <span class="_ _3"></span>research <span class="_ _1"> </span>subjects. <span class="_ _3"> </span>The <span class="_ _1"> </span>TTCA <span class="_ _3"> </span>reveals <span class="_ _1"> </span>that <span class="_ _3"> </span>the </div>
<div class="t m1 x2 h8 y31 ff5 fs1 fc0 sc0 ls1 ws1">
playwright used eight <span class="_ _3"></span>(8) bipartite; one (1) <span class="_ _3"></span>tripartite, and two <span class="_ _3"></span>(2) quadripartite prove<span class="_ _3"></span>rbs; the </div>
<div class="t m1 x2 h8 yf ff5 fs1 fc0 sc0 ls1 ws1">
SFA <span class="_ _1"> </span>shows an <span class="_ _1"> </span>incremental use <span class="_ _3"> </span>of indicative m<span class="_ _0"></span>ood <span class="_ _1"> </span>by the <span class="_ _1"> </span>playwright <span class="_ _1"> </span>in a <span class="_ _3"> </span>passionate<span class="_ _3"></span> <span class="_ _1"> </span>cry </div>
<div class="t m1 x2 h8 y32 ff5 fs1 fc0 sc0 ls1 ws1">
against <span class="_ _1"> </span>the <span class="_ _3"> </span>mindless d<span class="_ _0"></span>estruction <span class="_ _1"> </span>of <span class="_ _3"></span>the <span class="_ _1"> </span>ecosystem <span class="_ _1"> </span>and <span class="_ _3"></span>a <span class="_ _1"> </span>clarion <span class="_ _1"> </span>call <span class="_ _3"> </span>f<span class="_ _3"></span>or <span class="_ _3"> </span>more <span class="_ _1"> </span>eco-friendly </div>
<div class="t m1 x2 h8 y33 ff5 fs1 fc0 sc0 ls1 ws1">
practices <span class="_ _1"> </span>in <span class="_ _1"> </span>Nigeria; while <span class="_ _3"></span>the result <span class="_ _3"> </span>of the <span class="_ _1"> </span>grammatical <span class="_ _1"> </span>function <span class="_ _1"> </span>test <span class="_ _1"> </span>designed <span class="_ _1"> </span>using <span class="_ _1"> </span>the </div>
<div class="t m1 x2 h8 y34 ff5 fs1 fc0 sc0 ls1 ws1">
proverbs <span class="_ _1"> </span>reveals <span class="_ _3"> </span>that the <span class="_ _3"></span>students <span class="_ _1"> </span>have <span class="_ _3"></span>challenges <span class="_ _1"> </span>dividing <span class="_ _1"> </span>the <span class="_ _3"> </span>proverbs <span class="_ _1"> </span>into <span class="_ _1"> </span>their <span class="_ _3"> </span>co<span class="_ _3"></span>rrect </div>
<div class="t m1 x2 h8 y35 ff5 fs1 fc0 sc0 ls1 ws1">
grammatical <span class="_ _1"> </span>structures <span class="_ _1"> </span>and <span class="_ _3"> </span>lab<span class="_ _3"></span>els <span class="_ _1"> </span>even <span class="_ _3"> </span>when they <span class="_ _3"> </span>can accurately <span class="_ _3"></span>identify <span class="_ _1"> </span>the <span class="_ _1"> </span>appropriate </div>
<div class="t m1 x2 h8 y36 ff5 fs1 fc0 sc0 ls1 ws1">
mood <span class="_ _3"></span>structures <span class="_ _3"></span>of <span class="_ _3"></span>the <span class="_ _3"></span>proverbs. <span class="_ _3"></span>The <span class="_ _3"> </span>paper, <span class="_ _3"> </span>therefore, <span class="_ _3"> </span>recommends<span class="_ _3"></span> <span class="_ _3"></span>an <span class="_ _3"></span>eclectic <span class="_ _3"></span>approach <span class="_ _3"></span>to </div>
<div class="t m1 x2 h8 y37 ff5 fs1 fc0 sc0 ls1 ws1">
teaching grammatical forms and functions using authentic literary <span class="_ _3"></span>texts in ESL classrooms. </div>
<div class="t m1 x2 h5 y38 ff3 fs1 fc0 sc0 ls1 ws1">
</div>
<div class="t m1 x2 h5 y38 ff3 fs1 fc0 sc0 ls1 ws1">
<b>Keywords</b>: <i><span class="ff4">proverbs, mood structure, grammatical form and function, <span class="_ _3"></span>TTCA, SFA</span></i></div>
<i>
</i><br /><div class="pdf-viewer-page">
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<div class="pc pc2 w0 h0">
<div class="t m1 x2 h5 y39 ff3 fs1 fc0 sc0 ls1 ws1">
<b>1. Introduction </b></div>
<div class="t m1 x2 h6 y3a ff4 fs1 fc0 sc0 ls1 ws1">
Understanding a <span class="_ _3"></span>writer’s <span class="_ _3"></span>use of <span class="_ _3"></span>language <span class="_ _3"></span>is germane<span class="_ _3"></span> to <span class="_ _3"></span>helping the <span class="_ _3"> </span>L2 <span class="_ _3"></span>learners t<span class="_ _3"></span>o appreciate </div>
<div class="t m1 x2 h6 y3b ff4 fs1 fc0 sc0 ls1 ws1">
not <span class="_ _1"> </span>just <span class="_ _1"> </span>the <span class="_ _1"> </span>import <span class="_ _1"> </span>and <span class="_ _3"> </span>purport of <span class="_ _3"> </span>a literary <span class="_ _3"></span>text but <span class="_ _3"></span>also l<span class="_ _0"></span>earning <span class="_ _1"> </span>grammatical <span class="_ _1"> </span>forms <span class="_ _1"> </span>and </div>
<div class="t m1 x2 h6 y3c ff4 fs1 fc0 sc0 ls1 ws1">
functions. <span class="_ _3"> </span>Again <span class="_ _1"> </span>since<span class="ff5 ls2"> </span>most <span class="_ _3"></span>writers <span class="_ _3"> </span>ul<span class="_ _3"></span>timately <span class="_ _3"></span>function <span class="_ _1"> </span>within <span class="_ _3"></span>the <span class="_ _3"> </span>social <span class="_ _1"> </span>milieu <span class="_ _3"></span>where <span class="_ _3"> </span>they </div>
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find <span class="_ _1"> </span>themselves, <span class="_ _1"> </span>their <span class="_ _1"> </span>artistic <span class="_ _1"> </span>creations <span class="_ _1"> </span>ultimately <span class="_ _3"> </span>re<span class="_ _3"></span>flect <span class="_ _1"> </span>the <span class="_ _1"> </span>cultural <span class="_ _1"> </span>dynamics <span class="_ _1"> </span>that <span class="_ _1"> </span>define </div>
<div class="t m1 x2 h6 y3e ff4 fs1 fc0 sc0 ls1 ws1">
their verbal repertoires. One of such verbal repertoires is proverb. To the Africans and </div>
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particularly <span class="_ _4"> </span>Igbo <span class="_ _2"> </span>wri<span class="_ _3"></span>ters, <span class="_ _4"> </span>proverb <span class="_ _2"> </span>is <span class="_ _4"> </span>an <span class="_ _4"> </span>important <span class="_ _4"> </span>linguistic <span class="_ _4"> </span>tool <span class="_ _4"> </span>through <span class="_ _4"> </span>which <span class="_ _4"> </span>they </div>
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communicate both <span class="_ _3"></span>their arts <span class="_ _3"></span>and <span class="_ _3"></span>thoughts. In <span class="_ _3"></span>this regard <span class="_ _3"></span>Chinua <span class="_ _3"></span>Achebe gave <span class="_ _3"></span>what has <span class="_ _3"></span>since </div>
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become the <span class="_ _3"></span>canonical <span class="_ _3"></span>expression <span class="_ _3"></span>of the <span class="_ _3"></span>idea <span class="_ _3"></span>of p<span class="_ _3"></span>roverbs among <span class="_ _3"></span>the <span class="_ _3"></span>Igbo when <span class="_ _3"></span>he <span class="_ _3"></span>wrote t<span class="_ _3"></span>hat </div>
<div class="t m1 x2 h6 y49 ff4 fs1 fc0 sc0 ls1 ws1">
proverb “is the palm oil with which words are eaten” (6). P.N. Okoli <span class="_ _2"> </span>further <span class="_ _2"> </span>defines proverbs <span class="_ _2"> </span>as “…pitchy <span class="_ _2"> </span>saying[s] <span class="_ _2"> </span>which had <span class="_ _2"> </span>gained credence through widespread <span class="_ _3"></span>or f<span class="_ _3"></span>requent use” <span class="_ _3"></span>(19) while <span class="_ _3"></span>H.C. Oko<span class="_ _3"></span>ye maintains <span class="_ _3"></span>that proverbs <span class="_ _3"></span>serve as a <span class="_ _3"></span>convenient <span class="_ _3"> </span>but <span class="_ _3"> </span>a<span class="_ _3"></span>rtistic <span class="_ _3"></span>“substitute <span class="_ _3"> </span>for <span class="_ _1"> </span>what <span class="_ _3"></span>is <span class="_ _3"></span>normally <span class="_ _3"> </span>expressed <span class="_ _1"> </span>in <span class="_ _3"></span>plain <span class="_ _3"></span>words” <span class="_ _3"> </span>(16). <span class="_ _1"> </span>In other words, proverbs provide <span class="_ _3"></span>the right platform in whi<span class="_ _3"></span>ch an issue may be <span class="_ _3"></span>discussed in a way that <span class="_ _3"></span>shows <span class="_ _3"></span>its <span class="_ _3"></span>urgency <span class="_ _3"></span>and <span class="_ _3"></span>importance. <span class="_ _3"></span>Consequently, <span class="_ _3"> </span>dramatists <span class="_ _3"> </span>like <span class="_ _3"> </span>Wole <span class="_ _3"> </span>Soyinka, <span class="_ _3"> </span>Ama<span class="_ _3"></span>ta Aidoo, Zulu <span class="_ _1"> </span>Sofola, <span class="_ _1"> </span><span class="ff5">et cetera</span> <span class="_ _1"> </span>have <span class="_ _1"> </span>used proverbs <span class="_ _1"> </span>with <span class="_ _1"> </span>a high <span class="_ _1"> </span>degree <span class="_ _1"> </span>of success <span class="_ _1"> </span>in <span class="_ _1"> </span>their works. These <span class="_ _3"></span>have been explored <span class="_ _3"></span>in various <span class="_ _3"></span>ways by schol<span class="_ _3"></span>ars. However, a <span class="_ _3"></span>linguistic study <span class="_ _3"></span>of </div>
<div class="t m1 x2 h6 y4a ff4 fs1 fc0 sc0 ls1 ws1">
proverbs has not been very much in c<span class="_ _3"></span>oming. For instance, out of the nineteen article<span class="_ _3"></span>s </div>
<div class="t m1 x2 h6 y4b ff4 fs1 fc0 sc0 ls1 ws1">
published in the Journal of Proverbs by the Department of Engl<span class="_ _0"></span>ish, Obafemi Awolowo </div>
<div class="t m1 x2 h6 y4c ff4 fs1 fc0 sc0 ls1 ws1">
University, <span class="_ _3"> </span>Ile-Ife <span class="_ _1"> </span>in <span class="_ _3"> </span>2008, <span class="_ _1"> </span>only <span class="_ _3"> </span>two <span class="_ _1"> </span>articles <span class="_ _1"> </span>were <span class="_ _3"></span>devoted <span class="_ _1"> </span>to <span class="_ _3"></span>the <span class="_ _1"> </span>study <span class="_ _3"></span>of <span class="_ _1"> </span>proverbs <span class="_ _3"></span>from <span class="_ _1"> </span>a </div>
<div class="t m1 x2 h6 y4d ff4 fs1 fc0 sc0 ls1 ws1">
linguistic perspective. Even in the two articles none o<span class="_ _0"></span>f them studied proverbs from the <div class="t m1 x2 h6 y4f ff4 fs1 fc0 sc0 ls1 ws1">
systemic func<span class="_ _3"></span>tional perspective <span class="_ _3"></span>rather t<span class="_ _3"></span>he study <span class="_ _3"></span>centred <span class="_ _3"></span>on sociolinguistic <span class="_ _3"></span>survey an<span class="_ _3"></span>d formal </div>
<div class="t m1 x2 h6 y50 ff4 fs1 fc0 sc0 ls1 ws1">
linguistic <span class="_ _3"></span>analysis res<span class="_ _3"></span>pectively. It <span class="_ _3"> </span>is <span class="_ _3"></span>against <span class="_ _3"></span>the <span class="_ _3"></span>foregoing bac<span class="_ _3"></span>kdrop that <span class="_ _3"> </span>this <span class="_ _3"></span>paper <span class="_ _3"></span>makes <span class="_ _3"></span>its </div>
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own contribution to scholarship. </div>
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</div>
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<b>2. Types and Categories of Proverbs </b></div>
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Proverbs are <span class="_ _1"> </span>at t<span class="_ _0"></span>imes conveniently <span class="_ _1"> </span>divided <span class="_ _1"> </span>into two <span class="_ _1"> </span>broad categories <span class="_ _1"> </span>using <span class="_ _1"> </span>structure and </div>
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genre. <span class="_ _1"> </span>According <span class="_ _3"> </span>t<span class="_ _3"></span>o <span class="_ _3"> </span>Ja<span class="_ _3"></span>sper <span class="_ _3"> </span>O<span class="_ _3"></span>nuekwusi, <span class="_ _1"> </span>proverbs <span class="_ _3"> </span>ca<span class="_ _3"></span>n <span class="_ _1"> </span>be <span class="_ _3"> </span>structurally <span class="_ _1"> </span>grouped <span class="_ _1"> </span>into <span class="_ _1"> </span>bipartite </div>
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(two <span class="_ _3"> </span>parts), <span class="_ _1"> </span>tripartite <span class="_ _1"> </span>(three <span class="_ _3"></span>parts), <span class="_ _1"> </span>quadripartite <span class="_ _3"></span>(four <span class="_ _1"> </span>parts), <span class="_ _3"> </span>and <span class="_ _1"> </span>so <span class="_ _3"> </span>forth <span class="_ _1"> </span>while <span class="_ _1"> </span>P.N. <span class="_ _3"></span>Okoli </div>
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opines <span class="_ _2"> </span>that <span class="_ _2"> </span>proverbs may <span class="_ _2"> </span>exist <span class="_ _2"> </span>as <span class="_ _2"> </span>wellerism, <span class="_ _2"> </span>exemplum, <span class="_ _2"> </span>epigrammatic <span class="_ _2"> </span>proverb, <span class="_ _2"> </span>poetic </div>
<div class="t m1 x2 h6 y57 ff4 fs1 fc0 sc0 ls1 ws1">
proverb, <span class="ff5">et cetera</span> based on their specific genres. <span class="_ _3"></span>Wellerism refers to an idea or thought that is </div>
<div class="t m1 x2 h6 y58 ff4 fs1 fc0 sc0 ls1 ws1">
attributed to <span class="_ _1"> </span>a fictional character <span class="_ _1"> </span>which could <span class="_ _1"> </span>be an an<span class="_ _0"></span>imal, object, <span class="_ _1"> </span>god, man <span class="ff5">et <span class="_ _1"> </span>cetera</span>. </div>
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Exemplum <span class="_ _3"></span>like <span class="_ _3"> </span>wellerism <span class="_ _3"> </span>is <span class="_ _3"> </span>no<span class="_ _3"></span>t <span class="_ _3"></span>to <span class="_ _3"></span>be <span class="_ _3"></span>understood <span class="_ _3"> </span>on <span class="_ _1"> </span>its <span class="_ _3"></span>surface <span class="_ _3"></span>meaning <span class="_ _3"></span>but <span class="_ _3"> </span>it <span class="_ _3"> </span>d<span class="_ _3"></span>iffers <span class="_ _3"></span>from </div>
<div class="t m1 x2 h6 y5a ff4 fs1 fc0 sc0 ls1 ws1">
wellerism in <span class="_ _3"></span>that it <span class="_ _3"></span>normally occurs as <span class="_ _3"></span>a short <span class="_ _3"></span>story with its <span class="_ _3"></span>morals exi<span class="_ _3"></span>sting side by <span class="_ _3"></span>side with </div>
<div class="t m1 x2 h6 y5b ff4 fs1 fc0 sc0 ls1 ws1">
the <span class="_ _3"></span>tale. <span class="_ _3"> </span>Epigrammatic<span class="_ _3"></span> <span class="_ _3"></span>proverb <span class="_ _3"></span>on <span class="_ _3"> </span>the <span class="_ _1"> </span>other <span class="_ _3"></span>hand <span class="_ _3"></span>exists <span class="_ _1"> </span>as <span class="_ _3"></span>a <span class="_ _3"></span>simple <span class="_ _3"> </span>st<span class="_ _3"></span>atement <span class="_ _3"></span>of <span class="_ _3"></span>facts <span class="_ _1"> </span>with </div>
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embedded mea<span class="_ _3"></span>ning while <span class="_ _3"></span>poetic proverb <span class="_ _3"></span>exists as <span class="_ _3"></span>a <span class="_ _3"></span>miniature poem<span class="_ _3"></span> with <span class="_ _3"></span>rhythmic elements. </div>
<div class="t m1 x2 h6 y5d ff4 fs1 fc0 sc0 ls1 ws1">
However, <span class="_ _3"></span>for <span class="_ _3"></span>the <span class="_ _3"></span>purpose <span class="_ _3"></span>of <span class="_ _3"></span>this <span class="_ _3"></span>paper <span class="_ _3"></span>and <span class="_ _3"></span>given <span class="_ _3"></span>the <span class="_ _3"> </span>fact <span class="_ _3"> </span>that <span class="_ _3"> </span>the <span class="_ _3"> </span>proverbs <span class="_ _3"> </span>used <span class="_ _3"> </span>throughout </div>
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the <span class="_ _3"></span>play <span class="_ _3"></span>maintained <span class="_ _3"></span>a <span class="_ _3"></span>stable <span class="_ _3"></span>epigrammatic <span class="_ _3"> </span>genre <span class="_ _3"></span>form, <span class="_ _3"> </span>only <span class="_ _3"> </span>their <span class="_ _1"> </span>structural aspect <span class="_ _3"> </span>would <span class="_ _3"> </span>be<span class="_ _3"></span> </div>
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discussed. This <span class="_ _3"></span>decision <span class="_ _3"></span>is further <span class="_ _3"></span>supported by <span class="_ _3"></span>the <span class="_ _3"></span>idea that <span class="_ _3"></span>classifying proverbs <span class="_ _3"></span>in terms <span class="_ _3"></span>of </div>
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genre is <span class="_ _3"></span>mainly for <span class="_ _3"></span>academic <span class="_ _3"></span>exercise since <span class="_ _3"></span>the <span class="_ _3"></span>“elders who <span class="_ _3"></span>are s<span class="_ _3"></span>killed in t<span class="_ _3"></span>he arts <span class="_ _3"></span>of proverb </div>
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and <span class="_ _2"> </span>rhetorics <span class="_ _2"> </span>ma<span class="_ _3"></span>ke <span class="_ _2"> </span>floods <span class="_ _2"> </span>of <span class="_ _4"> </span>speech <span class="_ _2"> </span>which <span class="_ _2"> </span>are <span class="_ _4"> </span>embellished <span class="_ _2"> </span>with <span class="_ _2"> </span>proverbs <span class="_ _2"> </span>w<span class="_ _3"></span>ith <span class="_ _2"> </span>total </div>
<div class="t m1 x2 h6 y62 ff4 fs1 fc0 sc0 ls1 ws1">
ignorance of their genres” (Okoye & Okoye 111). </div>
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</div>
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<b>3. Synopsis of the Text </b></div>
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The d<span class="_ _3"></span>rama te<span class="_ _3"></span>xt under <span class="_ _2"> </span>study,<span class="ff5"> <span class="_ _2"> </span>Wake <span class="_ _2"> </span>Up <span class="_ _2"> </span>Everyone</span> <span class="_ _2"> </span>(henceforth, <span class="_ _2"> </span><span class="ff5 ws0">WUE</span>), <span class="_ _2"> </span>written <span class="_ _2"> </span>by Greg </div>
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Mbajiorgu <span class="_ _3"></span>is <span class="_ _3"> </span>an <span class="_ _1"> </span>enlarged <span class="_ _3"></span>version <span class="_ _3"></span>of <span class="_ _3"> </span>an<span class="_ _3"></span> <span class="_ _3"></span>earlier <span class="_ _3"></span>short <span class="_ _3"> </span>commi<span class="_ _3"></span>ssioned <span class="_ _3"></span>play <span class="_ _3"> </span>written <span class="_ _1"> </span>in <span class="_ _3"></span>2009 <span class="_ _3"></span>for </div>
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ATPS 1, Nairobi, <span class="_ _3"></span>Kenya. <span class="_ _3"></span>It represents <span class="_ _3"></span>a passionate <span class="_ _3"></span>cry agai<span class="_ _3"></span>nst the <span class="_ _3"></span>mindless destruction <span class="_ _3"></span>of <span class="_ _3"></span>the </div>
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ecosystem <span class="_ _3"></span>and <span class="_ _3"></span>a <span class="_ _3"></span>clarion <span class="_ _3"></span>call <span class="_ _3"></span>for <span class="_ _3"></span>more <span class="_ _3"></span>eco-friendly <span class="_ _3"></span>practices <span class="_ _3"></span>in <span class="_ _3"> </span>Nigeria. <span class="_ _3"> </span>The <span class="_ _3"> </span>protagonist <span class="_ _3"> </span>is <span class="_ _3"> </span>a </div>
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professor <span class="_ _4"> </span>of <span class="_ _2"> </span>Agricultural <span class="_ _4"> </span>Extension <span class="_ _4"> </span>who <span class="_ _2"> </span>use<span class="_ _3"></span>s <span class="_ _2"> </span>theat<span class="_ _3"></span>re <span class="_ _2"> </span>as <span class="_ _4"> </span>a <span class="_ _2"> </span>me<span class="_ _3"></span>dium <span class="_ _2"> </span>of <span class="_ _4"> </span>environmental </div>
<div class="t m1 x2 h6 y69 ff4 fs1 fc0 sc0 ls1 ws1">
education <span class="_ _1"> </span>and <span class="_ _3"> </span>c<span class="_ _3"></span>ampaign <span class="_ _1"> </span>against <span class="_ _3"> </span>wh<span class="_ _3"></span>at <span class="_ _1"> </span>he <span class="_ _3"> </span>calls<span class="_ _3"></span> <span class="_ _1"> </span>“man’s <span class="_ _3"> </span>mindle<span class="_ _3"></span>ss <span class="_ _3"> </span>a<span class="_ _3"></span>ctivities <span class="_ _3"> </span>on earth” <span class="_ _3"> </span>(WUE </div>
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13). Prof. Ala<span class="_ _3"></span>dinma (as he <span class="_ _3"></span>is called in <span class="_ _3"></span>the play) ha<span class="_ _3"></span>s been providing <span class="_ _3"></span>free extension <span class="_ _3"></span>services to </div>
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rural <span class="_ _3"> </span>f<span class="_ _3"></span>armers. <span class="_ _1"> </span>The <span class="_ _3"> </span>play opens <span class="_ _3"></span>where <span class="_ _1"> </span>he <span class="_ _3"> </span>is having<span class="_ _0"></span> <span class="_ _3"> </span>a hard <span class="_ _3"></span>time <span class="_ _1"> </span>trying <span class="_ _3"> </span>t<span class="_ _3"></span>o <span class="_ _3"> </span>c<span class="_ _3"></span>onvince <span class="_ _3"> </span>hi<span class="_ _3"></span>s <span class="_ _3"> </span>local </div>
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government <span class="_ _3"></span>chairman <span class="_ _1"> </span>to <span class="_ _3"></span>take <span class="_ _3"> </span>some <span class="_ _1"> </span>proactive <span class="_ _3"></span>steps <span class="_ _3"> </span>by <span class="_ _1"> </span>sponsoring <span class="_ _3"></span>the <span class="_ _1"> </span>building <span class="_ _3"></span>of <span class="_ _3"> </span>a <span class="_ _1"> </span>dyke <span class="_ _3"></span>in </div>
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the local government in <span class="_ _1"> </span>order to forestall an <span class="_ _1"> </span>imminent flood disaster. <span class="_ _1"> </span>But the chairman </div>
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roundly rejects the proposal because he sees no reason why what he<span class="_ _3"></span> views as the fulfilment of </div>
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one of<span class="_ _3"></span> <span class="_ _3"></span>the biblical <span class="_ _3"> </span>prophecie<span class="_ _3"></span>s about <span class="_ _3"> </span>end <span class="_ _3"> </span>times <span class="_ _3"></span>can <span class="_ _3"></span>be <span class="_ _3"></span>averted <span class="_ _3"></span>by <span class="_ _3"></span>building <span class="_ _3"></span>a d<span class="_ _3"></span>yke. A<span class="_ _3"></span>lthough, </div>
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the chairman <span class="_ _3"></span>feigns ignorance <span class="_ _3"></span>of t<span class="_ _3"></span>he danger <span class="_ _3"></span>that his <span class="_ _3"></span>refusal to <span class="_ _3"></span>construct the <span class="_ _3"></span>dyke porten<span class="_ _3"></span>ds to </div>
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his people, his <span class="_ _3"></span>major reason f<span class="_ _3"></span>or not sponsoring the<span class="_ _3"></span> project lies <span class="_ _3"></span>squarely in his <span class="_ _3"></span>re-election bid. </div>
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When the flood eve<span class="_ _3"></span>ntually comes, the farmers be<span class="_ _3"></span>come so infuriated tha<span class="_ _3"></span>t they threaten to burn <div class="t m1 x2 h6 y4f ff4 fs1 fc0 sc0 ls1 ws1">
down <span class="_ _1"> </span>his <span class="_ _1"> </span>house. The <span class="_ _3"></span>play ends <span class="_ _3"> </span>with Prof. <span class="_ _3"> </span>A<span class="_ _3"></span>ladinma <span class="_ _1"> </span>addressing <span class="_ _1"> </span>the <span class="_ _1"> </span>rampaging <span class="_ _1"> </span>crowds to </div>
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show their grievances with caution and within the ambit of the law of the land.</div>
<br /><div class="t m1 x2 h6 y79 ff4 fs1 fc0 sc0 ls1 ws1">
<div class="t m1 x2 h5 y77 ff3 fs1 fc0 sc0 ls1 ws1">
<b>4. Theoretical and Methodological Considerations<span class="ff4"> </span></b></div>
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<b>4.1. Systemic Functional Analysis </b></div>
<b> </b></div>
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The systemic<span class="_ _3"></span> functional <span class="_ _3"></span>analysis <span class="_ _3"></span>(henceforth, SFA) <span class="_ _3"></span>is <span class="_ _3"></span>an <span class="_ _3"></span>analytical framework <span class="_ _3"></span>developed <span class="_ _3"></span>by </div>
<div class="t m1 x2 h6 y7a ff4 fs1 fc0 sc0 ls1 ws1">
the British-born <span class="_ _3"> </span>Aust<span class="_ _3"></span>ralian ling<span class="_ _0"></span>uist, Michael <span class="_ _3"> </span>A<span class="_ _3"></span>lexander <span class="_ _1"> </span>Kirkwood Halliday, <span class="_ _1"> </span>whose <span class="_ _1"> </span>works </div>
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ushered in what is <span class="_ _1"> </span>today known as Systemic Functional L<span class="_ _0"></span>inguistics. As an approach t<span class="_ _0"></span>o </div>
<div class="t m1 x2 h6 y7c ff4 fs1 fc0 sc0 ls1 ws1">
language, SFL <span class="_ _3"> </span>l<span class="_ _3"></span>ays emphasis <span class="_ _1"> </span>on language <span class="_ _3"> </span>s<span class="_ _3"></span>tructure and <span class="_ _1"> </span>functions. <span class="_ _1"> </span>Thus, language <span class="_ _1"> </span>use is </div>
<div class="t m1 x2 h6 y7d ff4 fs1 fc0 sc0 ls1 ws1">
conceived as <span class="_ _3"></span>embodying <span class="_ _3"></span>a <span class="_ _3"></span>three-fold pattern <span class="_ _3"></span>that <span class="_ _3"></span>reveals <span class="_ _3"></span>meaning as <span class="_ _3"></span>“message”, <span class="_ _3"></span>“exchange” </div>
<div class="t m1 x2 h6 y7e ff4 fs1 fc0 sc0 ls1 ws1">
and “representation”. <span class="_ _1"> </span>These coincide <span class="_ _1"> </span>with the <span class="_ _1"> </span>three “metafunctions” <span class="_ _1"> </span>of <span class="_ _1"> </span>language such <span class="_ _1"> </span>as </div>
<div class="t m1 x2 h6 y7f ff4 fs1 fc0 sc0 ls1 ws1">
textual, <span class="_ _7"> </span>interpersonal <span class="_ _7"> </span>and <span class="_ _7"> </span>experiential <span class="_ _7"> </span>or <span class="_ _7"> </span>ideational <span class="_ _7"> </span>metafunctions. <span class="_ _7"> </span>Each <span class="_ _7"> </span>of <span class="_ _7"> </span>these </div>
<div class="t m1 x2 h6 y80 ff4 fs1 fc0 sc0 ls1 ws1">
metafunctions <span class="_ _1"> </span>is <span class="_ _1"> </span>realised <span class="_ _1"> </span>through <span class="_ _3"> </span>a<span class="_ _3"></span> <span class="_ _1"> </span>three-fold <span class="_ _1"> </span>structural <span class="_ _1"> </span>formula: <span class="_ _1"> </span>thematic <span class="_ _3"> </span>structur<span class="_ _3"></span>e, <span class="_ _1"> </span>mood </div>
<div class="t m1 x2 h6 y81 ff4 fs1 fc0 sc0 ls1 ws1">
structure and grammatical structure (cf. Halliday & Matthiessen 88-356). Thus<span class="_ _0"></span>, in SFL, </div>
<div class="t m1 x2 h6 y82 ff4 fs1 fc0 sc0 ls1 ws1">
structural definitions are <span class="_ _3"></span>tied to functional c<span class="_ _3"></span>orrelates in which la<span class="_ _3"></span>nguage is used to <span class="_ _3"></span>construe “a </div>
<div class="t m1 x2 h6 y83 ff4 fs1 fc0 sc0 ls1 ws1">
mode <span class="_ _2"> </span>of <span class="_ _2"> </span>experience” <span class="_ _2"> </span>(i.e. <span class="_ _4"> </span>experiential <span class="_ _2"> </span>metafunctions); <span class="_ _2"> </span>enact <span class="_ _2"> </span>“s<span class="_ _3"></span>ocial re<span class="_ _3"></span>lationships” <span class="_ _2"> </span>(i.e. </div>
<div class="t m1 x2 h6 y84 ff4 fs1 fc0 sc0 ls1 ws1">
interpersonal <span class="_ _3"></span>metafunctions), <span class="_ _3"> </span>and <span class="_ _1"> </span>maintain <span class="_ _3"></span>contextual <span class="_ _3"></span>relevance <span class="_ _3"> </span>(i.e. <span class="_ _3"> </span>te<span class="_ _3"></span>xtual <span class="_ _3"></span>metafunctions). </div>
<div class="t m1 x2 h6 y85 ff4 fs1 fc0 sc0 ls1 ws1">
Both <span class="_ _3"></span>the <span class="_ _3"></span>experiential <span class="_ _3"></span>or <span class="_ _3"></span>ideational <span class="_ _3"></span>and <span class="_ _3"></span>interpersonal <span class="_ _3"></span><span class="ff5">metafunctions <span class="_ _3"></span></span>are <span class="_ _3"></span>relevant <span class="_ _3"></span>to <span class="_ _3"></span>the <span class="_ _3"></span>study. </div>
<div class="t m1 x2 h6 y86 ff4 fs1 fc0 sc0 ls1 ws1">
Ideational metafunction <span class="_ _2"> </span>focuses on <span class="_ _2"> </span>how form <span class="_ _2"> </span>communicates me<span class="_ _3"></span>aning and interpe<span class="_ _3"></span>rsonal </div>
<div class="t m1 x2 h6 y87 ff4 fs1 fc0 sc0 ls1 ws1">
metafunction looks at<span class="_ _3"></span> the relationships <span class="_ _3"></span>between the interlocutors <span class="_ _3"></span>in a discourse <span class="_ _3"></span>situation. The </div>
<div class="t m1 x2 h6 y88 ff4 fs1 fc0 sc0 ls1 ws1">
mood <span class="_ _1"> </span>system relates <span class="_ _3"> </span>t<span class="_ _3"></span>o <span class="_ _1"> </span>the <span class="_ _1"> </span>interpersonal metafunction. <span class="_ _1"> </span>According <span class="_ _1"> </span>to <span class="_ _1"> </span>Wale Osisanwo, <span class="_ _1"> </span>the </div>
<div class="t m1 x2 h6 y64 ff4 fs1 fc0 sc0 ls1 ws1">
mood <span class="_ _3"> </span>system <span class="_ _1"> </span>facilitates <span class="_ _3"> </span>the <span class="_ _1"> </span>ability <span class="_ _3"> </span>of <span class="_ _1"> </span>the <span class="_ _3"> </span>linguist <span class="_ _1"> </span>and <span class="_ _3"> </span>researcher <span class="_ _1"> </span>to <span class="_ _3"> </span>account <span class="_ _1"> </span>for <span class="_ _3"> </span>the <span class="_ _1"> </span>various </div>
<div class="t m1 x2 h6 y65 ff4 fs1 fc0 sc0 ls1 ws1">
options that <span class="_ _3"></span>are availa<span class="_ _3"></span>ble to speake<span class="_ _3"></span>rs in a<span class="_ _3"></span>ny discourse <span class="_ _3"></span>situation. Since <span class="_ _3"></span>speakers primarily <span class="_ _3"></span>use </div>
<div class="t m1 x2 h6 y66 ff4 fs1 fc0 sc0 ls1 ws1">
sentences a<span class="_ _3"></span>nd sentence <span class="_ _3"></span>fragments <span class="_ _3"></span>in communicating <span class="_ _3"></span>ideas, <span class="_ _3"></span>the mood <span class="_ _3"></span>system <span class="_ _3"></span>is c<span class="_ _3"></span>onsidered to </div>
<div class="t m1 x2 h6 y67 ff4 fs1 fc0 sc0 ls1 ws1">
relate to <span class="_ _1"> </span>sentence functions. <span class="_ _1"> </span>Thus, a <span class="_ _1"> </span>sentence may <span class="_ _1"> </span>be used <span class="_ _1"> </span>to approve <span class="_ _1"> </span>or disapprove, t<span class="_ _0"></span>o </div>
<div class="t m1 x2 h6 y68 ff4 fs1 fc0 sc0 ls1 ws1">
express <span class="_ _3"></span>doubt, <span class="_ _3"></span>to <span class="_ _3"></span>ask <span class="_ _3"></span>questions <span class="_ _3"></span>or <span class="_ _3"></span>give <span class="_ _3"></span>answers; <span class="_ _3"></span>to <span class="_ _3"></span>greet, <span class="_ _3"> </span>instruct, <span class="_ _3"> </span>or <span class="_ _3"></span>to <span class="_ _3"></span>command <span class="_ _3"> </span>others; <span class="_ _3"> </span>to </div>
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include <span class="_ _1"> </span>others <span class="_ _3"> </span>within <span class="_ _1"> </span>the <span class="_ _1"> </span>social <span class="_ _3"> </span>group <span class="_ _1"> </span>or <span class="_ _1"> </span>to <span class="_ _3"> </span>exclude others <span class="_ _3"></span>from <span class="_ _1"> </span>it. <span class="_ _3"> </span>These functions <span class="_ _3"></span>of <span class="_ _3"> </span>the </div>
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sentence <span class="_ _2"> </span>correspond <span class="_ _2"> </span>to <span class="_ _2"> </span>d<span class="_ _3"></span>ifferent <span class="_ _2"> </span>grammatical <span class="_ _2"> </span>categories <span class="_ _4"> </span>such <span class="_ _2"> </span>as <span class="_ _2"> </span>declarative <span class="_ _4"> </span>(including </div>
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imperatives e.g. commands, requests, et cetera) and exclamatory, sentences (Yeibo <span class="_ _3"></span>3). </div>
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Furthermore, the <span class="_ _3"></span>mood system<span class="_ _3"></span> operates <span class="_ _3"></span>in terms <span class="_ _3"></span>of mode, <span class="_ _3"></span>mood <span class="_ _3"></span>proper, and <span class="_ _3"></span>modality. Mode </div>
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relates <span class="_ _3"></span>to <span class="_ _3"></span>the <span class="_ _3"></span>manner <span class="_ _3"></span>or <span class="_ _3"></span>way <span class="_ _3"></span>of <span class="_ _3"></span>speaking <span class="_ _3"></span>or <span class="_ _3"></span>writing. <span class="_ _3"></span>If <span class="_ _3"></span>a <span class="_ _3"></span>speaker <span class="_ _3"></span>or <span class="_ _3"></span>writer <span class="_ _3"></span>is <span class="_ _3"></span>assertive, <span class="_ _3"></span>he <span class="_ _3"></span>is </div>
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using the indicative mood; if he <span class="_ _3"></span>is asking a question he is using the inte<span class="_ _3"></span>rrogative mood; and if </div>
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he is <span class="_ _3"></span>issuing a <span class="_ _3"></span>command <span class="_ _3"></span>he is <span class="_ _3"></span>using th<span class="_ _3"></span>e imperative <span class="_ _3"></span>mood while <span class="_ _3"></span>if <span class="_ _3"></span>he is <span class="_ _3"></span>expressing a <span class="_ _3"></span>wish <span class="_ _3"></span>he </div>
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will <span class="_ _1"> </span>be <span class="_ _3"> </span>us<span class="_ _3"></span>ing <span class="_ _3"> </span>the<span class="_ _3"></span> <span class="_ _3"> </span>opta<span class="_ _3"></span>tive <span class="_ _1"> </span>mood. <span class="_ _3"> </span>All these <span class="_ _3"></span>can <span class="_ _1"> </span>be <span class="_ _1"> </span>related <span class="_ _3"> </span>to the <span class="_ _3"></span>grammatical st<span class="_ _0"></span>atus <span class="_ _1"> </span>of <span class="_ _3"> </span>the </div>
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sentences <span class="_ _1"> </span>in <span class="_ _1"> </span>question. <span class="_ _1"> </span>Thus, <span class="_ _1"> </span>an <span class="_ _1"> </span>independent <span class="_ _1"> </span>sentence <span class="_ _1"> </span>(or <span class="_ _1"> </span>clause) <span class="_ _1"> </span>is <span class="_ _3"> </span>m<span class="_ _3"></span>ainly <span class="_ _1"> </span>declarative <span class="_ _1"> </span>(or </div>
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indicative) but an <span class="_ _1"> </span>embedded clause may <span class="_ _1"> </span>require the subjunctive form. <span class="_ _1"> </span>It may also hav<span class="_ _0"></span>e </div>
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special <span class="_ _3"></span>non-finite <span class="_ _3"></span>forms, <span class="_ _3"></span>such <span class="_ _3"></span>as <span class="_ _3"> </span>infinitive, <span class="_ _3"> </span>participle <span class="_ _3"> </span>or <span class="_ _1"> </span>gerund (cf: <span class="_ _1"> </span>Halliday & <span class="_ _3"> </span>Mat<span class="_ _3"></span>thiessen </div>
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97-99). Thes<span class="_ _3"></span>e are <span class="_ _3"></span>complemented <span class="_ _3"></span>by <span class="_ _3"></span>such <span class="_ _3"></span>grammatical <span class="_ _3"></span>labels li<span class="_ _3"></span>ke Subject, <span class="_ _3"></span>Finite, <span class="_ _3"></span>Predicator, </div>
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Adjunct and Complement. </div>
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4.2. Type and Token Analysis </div>
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Type <span class="_ _3"> </span>and <span class="_ _1"> </span>token <span class="_ _3"> </span>analysis <span class="_ _1"> </span>has <span class="_ _3"> </span>a <span class="_ _1"> </span>broad <span class="_ _3"> </span>spectrum<span class="_ _3"></span> <span class="_ _3"></span>of <span class="_ _3"> </span>a<span class="_ _3"></span>pplication <span class="_ _3"> </span>in <span class="_ _1"> </span>different <span class="_ _3"></span>fields <span class="_ _1"> </span>of <span class="_ _3"> </span>research </div>
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such <span class="_ _1"> </span>as <span class="_ _1"> </span>philosophy, <span class="_ _1"> </span>zoology, <span class="_ _3"> </span>l<span class="_ _3"></span>ogic, <span class="_ _1"> </span>linguistics <span class="_ _1"> </span>among <span class="_ _3"> </span>others (Wetzel <span class="_ _3"> </span>1). Its <span class="_ _3"></span>application to </div>
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linguistics is <span class="_ _3"> </span>traceable to <span class="_ _1"> </span>Joan <span class="_ _1"> </span>Bybee’s <span class="ff5">Frequency <span class="_ _3"> </span>o<span class="_ _3"></span>f <span class="_ _1"> </span>Use and <span class="_ _3"> </span>Organisation of <span class="_ _1"> </span>Language </span></div>
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which <span class="_ _3"> </span>cont<span class="_ _3"></span>ains <span class="_ _3"> </span>a <span class="_ _1"> </span>collection <span class="_ _1"> </span>of <span class="_ _3"> </span>both o<span class="_ _0"></span>ld <span class="_ _3"> </span>and n<span class="_ _0"></span>ew <span class="_ _3"> </span>articles in t<span class="_ _3"></span>he <span class="_ _3"> </span>field). <span class="_ _1"> </span>Bybee <span class="_ _1"> </span>distinguished </div>
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between t<span class="_ _3"></span>ype and <span class="_ _3"></span>token <span class="_ _3"></span>frequencies. <span class="_ _3"></span>According <span class="_ _3"></span>to h<span class="_ _3"></span>er, type <span class="_ _3"> </span>frequency <span class="_ _3"></span>deals <span class="_ _3"></span>with <span class="_ _3"></span>patterns of </div>
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language where <span class="_ _1"> </span>the primary <span class="_ _1"> </span>concern is <span class="_ _3"> </span>“<span class="_ _3"></span>how many<span class="_ _0"></span> distinct <span class="_ _1"> </span>items are <span class="_ _1"> </span>represented by <span class="_ _1"> </span>the </div>
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pattern”<span class="ff5 ls2 ws1"> </span><span class="ws1">while <span class="_ _3"></span>token <span class="_ _3"> </span>frequenc<span class="_ _3"></span>y <span class="_ _3"></span>“counts <span class="_ _3"></span>the <span class="_ _3"> </span>number <span class="_ _1"> </span>of <span class="_ _3"></span>times <span class="_ _3"></span>a <span class="_ _3"> </span>unit <span class="_ _3"> </span>appears <span class="_ _1"> </span>in <span class="_ _3"></span>running <span class="_ _3"></span>text” </span></div>
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(9)<span class="ff5 ls4">.</span><span class="ws1"> Both frequencies have diff<span class="_ _3"></span>erent effects on the linguisti<span class="_ _3"></span>c systems. For instance, <span class="_ _2"> </span>the </span></div>
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primary <span class="_ _3"></span>effect <span class="_ _1"> </span>of <span class="_ _3"> </span>type <span class="_ _1"> </span>frequency <span class="_ _3"></span>is <span class="_ _1"> </span>that <span class="_ _3"> </span>it <span class="_ _1"> </span>determines <span class="_ _3"></span>the <span class="_ _1"> </span>degree <span class="_ _3"></span>of <span class="_ _1"> </span>productivity <span class="_ _3"></span>of <span class="_ _3"> </span>a<span class="_ _3"></span> <span class="_ _3"></span>given </div>
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linguistic form <span class="_ _3"> </span>or construction <span class="_ _1"> </span>while <span class="_ _1"> </span>token frequency <span class="_ _3"> </span>ha<span class="_ _3"></span>s <span class="_ _1"> </span>two principal <span class="_ _3"> </span>effects<span class="_ _3"></span> <span class="_ _1"> </span>known <span class="_ _1"> </span>as </div>
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conserving <span class="_ _2"> </span>and <span class="_ _2"> </span>reducing <span class="_ _4"> </span>effects. <span class="_ _2"> </span>Conserving <span class="_ _4"> </span>effects <span class="_ _2"> </span>refers <span class="_ _2"> </span>t<span class="_ _3"></span>o <span class="_ _2"> </span>the <span class="_ _2"> </span>fact <span class="_ _4"> </span>that <span class="_ _2"> </span>“repetition </div>
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strengthens <span class="_ _1"> </span>memory <span class="_ _3"> </span>repre<span class="_ _3"></span>sentations <span class="_ _1"> </span>for <span class="_ _3"> </span>lin<span class="_ _3"></span>guistic <span class="_ _3"> </span>form<span class="_ _3"></span>s <span class="_ _3"> </span>and makes <span class="_ _3"></span>them <span class="_ _1"> </span>more <span class="_ _1"> </span>accessible” </div>
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while reducing effect refers t<span class="_ _3"></span>o the fact that expressions and <span class="_ _3"></span>grammatical items that are mostly </div>
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used <span class="_ _1"> </span>tend <span class="_ _3"> </span>to b<span class="_ _0"></span>e <span class="_ _3"> </span>aff<span class="_ _3"></span>ected <span class="_ _3"> </span>by <span class="_ _1"> </span>phonetic <span class="_ _1"> </span>reduction. <span class="_ _1"> </span>Specifically, <span class="_ _3"> </span>Bybee used <span class="_ _3"></span>the <span class="_ _1"> </span>first <span class="_ _3"> </span>effect <span class="_ _1"> </span>to </div>
<div class="t m1 x2 h6 ya1 ff4 fs1 fc0 sc0 ls1 ws1">
account for di<span class="_ _0"></span>achronic changes th<span class="_ _0"></span>at occur <span class="_ _1"> </span>in the <span class="_ _1"> </span>use of irregular <span class="_ _1"> </span>verbs, morphosyntactic </div>
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constructions <span class="_ _1"> </span>and <span class="_ _1"> </span>phonological <span class="_ _3"> </span>alterna<span class="_ _3"></span>tions <span class="_ _1"> </span>in <span class="_ _3"> </span>English <span class="_ _1"> </span>while <span class="_ _1"> </span>she <span class="_ _1"> </span>used <span class="_ _1"> </span>the <span class="_ _3"> </span>second effect <span class="_ _3"></span>to </div>
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account <span class="_ _3"> </span>for <span class="_ _1"> </span>mainly <span class="_ _3"></span>phonological <span class="_ _1"> </span>changes <span class="_ _3"></span>such <span class="_ _3"> </span>a<span class="_ _3"></span>s <span class="_ _3"></span>coalescence, <span class="_ _1"> </span>phonotactic <span class="_ _3"> </span>realignment, <span class="_ _1"> </span>etc </div>
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and morphosyntactic changes such as grammaticalisation (see Bybee 1<span class="_ _3"></span>1-180). </div>
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Similarly, Soren <span class="_ _3"></span>Eskildsen observes <span class="_ _3"></span>that both <span class="_ _3"></span>type and <span class="_ _3"></span>token frequency <span class="_ _3"></span>refer to <span class="_ _3"></span>two different </div>
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ways of <span class="_ _3"></span>counting <span class="_ _3"></span>linguistic <span class="_ _3"></span>occurrences <span class="_ _3"></span>in <span class="_ _3"></span>the body <span class="_ _3"></span>of <span class="_ _3"></span>a <span class="_ _3"></span>text. <span class="_ _3"></span>He distinguishes <span class="_ _3"> </span>between <span class="_ _3"></span>type </div>
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and <span class="_ _3"></span>token <span class="_ _3"> </span>frequenc<span class="_ _3"></span>y <span class="_ _3"></span>by <span class="_ _3"></span>stating <span class="_ _3"> </span>that<span class="_ _3"></span> <span class="_ _3"></span>while <span class="_ _3"></span>type <span class="_ _3"> </span>freque<span class="_ _3"></span>ncy <span class="_ _3"></span>refers <span class="_ _3"></span>to <span class="_ _3"> </span>“the <span class="_ _1"> </span>number <span class="_ _3"></span>of <span class="_ _3"> </span>different </div>
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instantiations <span class="_ _2"> </span>representing <span class="_ _2"> </span>a <span class="_ _2"> </span>given <span class="_ _2"> </span>morphological, <span class="_ _2"> </span>phonological, <span class="_ _2"> </span>or <span class="_ _2"> </span>syntactic <span class="_ _2"> </span>pattern <span class="_ _2"> </span>or </div>
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construction” toke<span class="_ _3"></span>n frequency ref<span class="_ _3"></span>ers to <span class="_ _3"></span>“the occurrence <span class="_ _3"></span>of a <span class="_ _3"></span>specific i<span class="_ _3"></span>tem, be <span class="_ _3"></span>it a <span class="_ _3"></span>morpheme, </div>
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a phoneme, <span class="_ _3"> </span>a syllable, <span class="_ _1"> </span>or <span class="_ _1"> </span>a specific <span class="_ _1"> </span>word <span class="_ _1"> </span>or <span class="_ _1"> </span>phrase” (661). <span class="_ _1"> </span>Finally, <span class="_ _1"> </span>Adele Goldberg <span class="_ _3"> </span>and </div>
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Devin Ca<span class="_ _3"></span>senhiser <span class="_ _2"> </span>in t<span class="_ _3"></span>rying to <span class="_ _2"> </span>improve <span class="_ _2"> </span>on <span class="_ _2"> </span>the <span class="_ _2"> </span>ideas <span class="_ _2"> </span>of <span class="_ _2"> </span>Joan <span class="_ _2"> </span>Bybee, <span class="_ _2"> </span>embarked <span class="_ _2"> </span>on <span class="_ _2"> </span>an </div>
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experimental, <span class="_ _3"> </span>usa<span class="_ _3"></span>ge-based, <span class="_ _3"></span>constructionist <span class="_ _1"> </span>study <span class="_ _3"></span>through <span class="_ _1"> </span>which <span class="_ _3"> </span>they <span class="_ _1"> </span>observed <span class="_ _3"> </span>tha<span class="_ _3"></span>t <span class="_ _3"></span>children </div>
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and <span class="_ _1"> </span>adults <span class="_ _1"> </span>learn <span class="_ _3"> </span>certain<span class="_ _3"></span> <span class="_ _3"> </span>c<span class="_ _3"></span>onstructions <span class="_ _1"> </span>faster <span class="_ _3"> </span>when they <span class="_ _3"></span>are <span class="_ _1"> </span>introduced <span class="_ _1"> </span>to <span class="_ _1"> </span>a <span class="_ _3"> </span>hi<span class="_ _3"></span>gh <span class="_ _3"> </span>fre<span class="_ _3"></span>quency </div>
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token and at <span class="_ _1"> </span>the same <span class="_ _1"> </span>time exposed to s<span class="_ _0"></span>everal similar types <span class="_ _1"> </span>that exemplify the <span class="_ _1"> </span>specific </div>
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construction (cf. Goldberg & Casenhiser 197-215). <span class="_ _3"></span>The present study relies on type and token </div>
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frequency while analysing the proverbs. </div>
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</div>
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<b>5. Data Presentation and Analysis </b></div>
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</div>
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The <span class="_ _3"></span>analysis <span class="_ _3"></span>of <span class="_ _3"></span>the <span class="_ _3"></span>proverbs <span class="_ _3"> </span>covers <span class="_ _1"> </span>their structural <span class="_ _1"> </span>types; their <span class="_ _1"> </span>use for <span class="_ _3"> </span>characte<span class="_ _3"></span>r <span class="_ _3"></span>delineation </div>
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and t<span class="_ _3"></span>heir mood, <span class="_ _3"> </span>thematic, <span class="_ _3"></span>and <span class="_ _3"></span>information <span class="_ _3"></span>structures. <span class="_ _3"></span>The <span class="_ _3"></span>structural <span class="_ _3"></span>analysis of<span class="_ _3"></span> t<span class="_ _3"></span>he proverbs </div>
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reveals <span class="_ _1"> </span>that <span class="_ _1"> </span>they <span class="_ _1"> </span>are <span class="_ _1"> </span>predominantly <span class="_ _1"> </span>bipartite. <span class="_ _1"> </span>This <span class="_ _1"> </span>is und<span class="_ _0"></span>erstandable <span class="_ _1"> </span>since <span class="_ _1"> </span>the <span class="_ _1"> </span>corpora <span class="_ _1"> </span>are </div>
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mainly <span class="_ _3"></span>short <span class="_ _3"></span>dialogues <span class="_ _3"></span>with <span class="_ _3"></span>a <span class="_ _3"></span>total <span class="_ _3"></span>of <span class="_ _3"> </span>eleven <span class="_ _3"> </span>proverbs. <span class="_ _3"> </span>Out <span class="_ _3"> </span>of<span class="_ _3"></span> the<span class="_ _3"></span>se, <span class="_ _3"></span>eight <span class="_ _3"></span>are <span class="_ _3"></span>bipartite; <span class="_ _3"></span>two </div>
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are <span class="_ _1"> </span>quadripartite <span class="_ _3"></span>and <span class="_ _1"> </span>one <span class="_ _3"> </span>ca<span class="_ _3"></span>n <span class="_ _3"> </span>be brok<span class="_ _0"></span>en <span class="_ _3"> </span>dow<span class="_ _3"></span>n <span class="_ _3"> </span>into <span class="_ _1"> </span>six <span class="_ _1"> </span>distinct <span class="_ _3"> </span>parts. <span class="_ _1"> </span>In <span class="_ _1"> </span>terms <span class="_ _3"> </span>of <span class="_ _1"> </span>character </div>
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delineation, the <span class="_ _3"></span>proverbs reveal <span class="_ _3"></span>the characte<span class="_ _3"></span>rs as be<span class="_ _3"></span>ing proactive, <span class="_ _3"></span>non-proactive and <span class="_ _3"></span>cautious </div>
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while the<span class="_ _3"></span> mood <span class="_ _3"></span>structure <span class="_ _3"></span>analysis <span class="_ _3"></span>reveals t<span class="_ _3"></span>he proverbs <span class="_ _3"></span>as <span class="_ _3"></span>being <span class="_ _3"></span>dominated by <span class="_ _3"></span>the <span class="_ _3"></span>indicative, </div>
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</div>
<div class="t m1 x2 h6 y4f ff4 fs1 fc0 sc0 ls1 ws1">
declarative, and fe<span class="_ _3"></span>w interrogative (wh-question a<span class="_ _3"></span>nd non-wh-question) clause <span class="_ _2"> </span>types. The </div>
<div class="t m1 x2 h6 y50 ff4 fs1 fc0 sc0 ls1 ws1">
internal elements <span class="_ _3"></span>of the clause <span class="_ _3"></span>is analysed <span class="_ _3"></span>using S, <span class="_ _3"></span>F, P, <span class="_ _3"></span>C, A, etc<span class="_ _3"></span> as structural <span class="_ _3"></span>labels. This <span class="_ _3"></span>is </div>
<div class="t m1 x2 h6 y51 ff4 fs1 fc0 sc0 ls1 ws1">
added <span class="_ _2"> </span>with <span class="_ _4"> </span>the <span class="_ _2"> </span>division <span class="_ _4"> </span>of <span class="_ _2"> </span>the <span class="_ _4"> </span>proverbs <span class="_ _2"> </span>in <span class="_ _4"> </span>terms <span class="_ _2"> </span>of <span class="_ _4"> </span>theme-rheme. <span class="_ _2"> </span>The<span class="_ _3"></span> <span class="_ _2"> </span>theme-rheme </div>
<div class="t m1 x2 h6 yb5 ff4 fs1 fc0 sc0 ls1 ws1">
dichotomy provides the semantic label <span class="_ _1"> </span>aimed at situating the proverbs <span class="_ _1"> </span>within the larger </div>
<div class="t m1 x2 h6 yb6 ff4 fs1 fc0 sc0 ls1 ws1">
discourse (information) structure. </div>
<div class="t m1 x2 h6 yb6 ff4 fs1 fc0 sc0 ls1 ws1">
</div>
<div class="t m1 x2 h5 yb7 ff3 fs1 fc0 sc0 ls1 ws1">
<b>5.1. Structural Analysis of the Proverbs Used in the Play </b></div>
<div class="t m1 x2 h5 yb7 ff3 fs1 fc0 sc0 ls1 ws1">
<b> </b></div>
<div class="t m1 x2 h6 y55 ff4 fs1 fc0 sc0 ls1 ws1">
Structurally, <span class="_ _2"> </span>the <span class="_ _2"> </span>proverbs <span class="_ _2"> </span>come<span class="_ _3"></span> <span class="_ _2"> </span>in <span class="_ _2"> </span>varying <span class="_ _2"> </span>length <span class="_ _2"> </span>and <span class="_ _2"> </span>c<span class="_ _3"></span>omplexities, <span class="_ _2"> </span>namely, <span class="_ _2"> </span>bipartite, </div>
<div class="t m1 x2 h6 y56 ff4 fs1 fc0 sc0 ls1 ws1">
quadripartite, <span class="ff5">et <span class="_ _3"></span>cetera</span>. <span class="_ _3"></span>The first <span class="_ _3"></span>recorded <span class="_ _3"></span>proverb in <span class="_ _3"></span>the play <span class="_ _3"></span>is from <span class="_ _3"></span>Prof. <span class="_ _3"></span>Aladinma. While </div>
<div class="t m1 x2 h6 y57 ff4 fs1 fc0 sc0 ls1 ws1">
trying <span class="_ _3"> </span>t<span class="_ _3"></span>o <span class="_ _3"> </span>c<span class="_ _3"></span>onvince <span class="_ _1"> </span>Edwin <span class="_ _3"> </span>Ochonke<span class="_ _3"></span>ya <span class="_ _1"> </span>to <span class="_ _3"> </span>invest i<span class="_ _0"></span>n <span class="_ _1"> </span>an <span class="_ _3"> </span>ecological project <span class="_ _3"></span>sited <span class="_ _1"> </span>at <span class="_ _1"> </span>Ndoliland, </div>
<div class="t m1 x2 h6 y58 ff4 fs1 fc0 sc0 ls1 ws1">
Prof. Aladinma uses the following proverb: </div>
<div class="t m1 x14 h6 yb8 ff4 fs1 fc0 sc0 ls1 ws1">
“//…<span class="ff5 ws1">when the drummer changes beat/the dancer must change his steps</span>//” (<span class="ff5 ws0">WUE</span> 13). </div>
<div class="t m1 x2 h6 y7f ff4 fs1 fc0 sc0 ls1 ws1">
Also Dimkpa <span class="_ _3"></span>while <span class="_ _3"></span>defending him<span class="_ _3"></span>self against <span class="_ _3"></span>those <span class="_ _3"></span>who have <span class="_ _3"></span>accused <span class="_ _3"></span>him of <span class="_ _3"></span>indolence <span class="_ _3"></span>and </div>
<div class="t m1 x2 h6 y80 ff4 fs1 fc0 sc0 ls1 ws1">
capriciousness releases two successive proverbs, which are presented as follow: </div>
<div class="t m1 x12 h6 yba ff4 fs1 fc0 sc0 ls1 ws0">
“//…<span class="ff5 ws1">it <span class="_ _2"> </span>is <span class="_ _2"> </span>only <span class="_ _4"> </span>a <span class="_ _2"> </span>wicked <span class="_ _2"> </span>mother</span>/<span class="ff5 ws1">that <span class="_ _2"> </span>throws <span class="_ _4"> </span>her <span class="_ _2"> </span>stubborn <span class="_ _2"> </span>child <span class="_ _4"> </span>away <span class="_ _2"> </span>with <span class="_ _2"> </span>the </span></div>
<div class="t m1 x12 h8 ybb ff5 fs1 fc0 sc0 ls1 ws1">
bathwater// That my <span class="_ _3"></span>brother is deaf-eared/ is<span class="_ _3"></span> not enough reason <span class="_ _3"></span>to allow him fall <span class="_ _3"></span>into </div>
<div class="t m1 x12 h6 ybc ff5 fs1 fc0 sc0 ls1 ws1">
a deep gully//<span class="ff4">” (</span><span class="ws0">WUE</span><span class="ff4"> p.27)</span>. <span class="ff4"> </span></div>
<div class="t m1 x2 h6 ybd ff4 fs1 fc0 sc0 ls1 ws1">
Both ins<span class="_ _3"></span>tances of <span class="_ _3"></span>proverb <span class="_ _3"></span>use <span class="_ _3"></span>illustrate an <span class="_ _3"></span>undeniably <span class="_ _3"></span>bipartite <span class="_ _3"></span>structure <span class="_ _3"></span>where <span class="_ _3"></span>each proverb </div>
<div class="t m1 x2 h6 ybe ff4 fs1 fc0 sc0 ls1 ws1">
naturally falls into two parts <span class="_ _3"></span>while the characters use them to c<span class="_ _3"></span>reate a balance of thoughts and </div>
<div class="t m1 x2 h6 ybf ff4 fs1 fc0 sc0 ls1 ws1">
arguments. Furthermore, <span class="_ _1"> </span>a quadripartite pr<span class="_ _0"></span>overb structure <span class="_ _1"> </span>is equally <span class="_ _1"> </span>reflected in <span class="_ _1"> </span>the play </div>
<div class="t m1 x2 h6 yc0 ff4 fs1 fc0 sc0 ls1 ws1">
during the long <span class="_ _1"> </span>verbal exchange between Nw<span class="_ _0"></span>akaego and some <span class="_ _1"> </span>group of village <span class="_ _1"> </span>farmers </div>
<div class="t m1 x2 h6 yc1 ff4 fs1 fc0 sc0 ls1 ws1">
(WUE, p.29), and <span class="_ _2"> </span>between Ifediegwu and <span class="_ _2"> </span>other farmers (WUE, <span class="_ _2"> </span>pp.75-76) respectively. </div>
<div class="t m1 x2 h6 yc2 ff4 fs1 fc0 sc0 ls1 ws1">
Nwakaego’s speech is reproduced below for easy understanding: </div>
<div class="t m1 x12 h8 yc3 ff5 fs1 fc0 sc0 ls1 ws1">
NWAKAEGO: //When green leaves cease to grow on the ground/ </div>
<div class="t m1 x15 h8 yc4 ff5 fs1 fc0 sc0 ls1 ws1">
ALL: /a goat will have no choice than to learn to feed on tree top/ </div>
<div class="t m1 x12 h8 yc5 ff5 fs1 fc0 sc0 ls1 ws1">
NWAKAEGO: /a</div>
<div class="c x16 yc6 w3 hd">
<div class="t m1 x17 h8 yc7 ff5 fs1 fc0 sc0 ls1 ws1">
nd to reach the tree top/ <span class="_ _3"></span> </div>
</div>
<div class="t m1 x15 h8 yc8 ff5 fs1 fc0 sc0 ls1 ws1">
ALL: /it must learn the art of tree climbing// </div>
<div class="t m1 x12 h6 yc9 ff5 fs1 fc0 sc0 ls1 ws1">
NWAKAEGO: //Ukpana Okpoko gburu/ <span class="ff4"> </span></div>
<div class="t m1 x15 h8 yca ff5 fs1 fc0 sc0 ls1 ws1">
ALL: /nti chiri ya// </div>
<div class="t m1 x12 h8 ycb ff5 fs1 fc0 sc0 ls1 ws1">
NWAKAEGO: //If the hunter learns to shoot without missing/ </div>
<div class="t m1 x12 h8 ycc ff5 fs1 fc0 sc0 ls1 ws1">
ALL: /Eneke the bird must learn to fly without perching// </div>
<div class="t m1 x2 h6 ycd ff4 fs1 fc0 sc0 ls1 ws1">
The first set of proverb has qua<span class="_ _3"></span>dripartite structure: “//<span class="ff5">When green leaves cease t<span class="_ _3"></span>o grow on the </span></div>
<div class="t m1 x2 h8 yce ff5 fs1 fc0 sc0 ls5 ws2">
ground# a <span class="_ _3"></span>goat <span class="_ _3"> </span>will <span class="_ _1"> </span>have <span class="_ _3"></span>no <span class="_ _3"></span>choice <span class="_ _3"> </span>than <span class="_ _3"> </span>t<span class="_ _3"></span>o <span class="_ _3"></span>learn <span class="_ _3"></span>to <span class="_ _3"> </span>feed <span class="_ _1"> </span>on <span class="_ _3"></span>tree <span class="_ _3"></span>top/and <span class="_ _3"> </span>to <span class="_ _1"> </span>reach <span class="_ _3"></span>the <span class="_ _3"></span>tree. <br /><div class="pc pc7 w0 h0">
<div class="t m0 x1 h2 y1 ff1 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m1 x2 h3 y2 ff2 fs1 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x2 h2 y4 ff1 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m1 x2 h6 y4f ff5 fs1 fc0 sc0 ls1 ws1">
top#/it must <span class="_ _3"></span>learn the <span class="_ _3"></span>art of <span class="_ _3"></span>tree climbing//<span class="ff4">” <span class="_ _3"></span>while the <span class="_ _3"></span>second and <span class="_ _3"></span>third sets <span class="_ _3"></span>all have <span class="_ _3"></span>bipartite </span></div>
<div class="t m1 x2 h6 y50 ff4 fs1 fc0 sc0 ls1 ws1">
structure as can be seen in the extract. </div>
<div class="t m1 x2 h6 y94 ff4 fs1 fc0 sc0 ls1 ws1">
On <span class="_ _3"></span>the <span class="_ _3"></span>other <span class="_ _3"></span>hand, <span class="_ _3"></span>Ifediegwu’s <span class="_ _3"></span>speech <span class="_ _3"></span>displays <span class="_ _3"></span>a <span class="_ _3"></span>slightly di<span class="_ _3"></span>fferent <span class="_ _3"></span>pattern <span class="_ _3"></span>of <span class="_ _3"></span>proverb <span class="_ _3"></span>use <span class="_ _3"></span>in </div>
<div class="t m1 x2 h6 y95 ff4 fs1 fc0 sc0 ls1 ws1">
that <span class="_ _1"> </span>he <span class="_ _1"> </span>initiates <span class="_ _1"> </span>the <span class="_ _3"> </span>proverb and <span class="_ _3"></span>then al<span class="_ _0"></span>lows <span class="_ _1"> </span>his <span class="_ _1"> </span>audience <span class="_ _1"> </span>to <span class="_ _3"> </span>c<span class="_ _3"></span>omplete <span class="_ _3"> </span>the<span class="_ _3"></span>m <span class="_ _1"> </span>as <span class="_ _3"> </span>the<span class="_ _3"></span> <span class="_ _1"> </span>extract </div>
<div class="t m1 x2 h6 y96 ff4 fs1 fc0 sc0 ls1 ws1">
below illustrates: </div>
<div class="t m1 x12 h8 y54 ff5 fs1 fc0 sc0 ls1 ws1">
IFEDIEGWU: //The fruit we saw afar/ is no longer the same at a cl<span class="_ _3"></span>ose range// </div>
<div class="t m1 x12 h8 y55 ff5 fs1 fc0 sc0 ls1 ws1">
ALL: It is not. </div>
<div class="t m1 x12 h8 y56 ff5 fs1 fc0 sc0 ls1 ws1">
IFEDIEGWU: //Can we allow the foam from our own soap to blind us<span class="_ _3"></span>/ while we are </div>
<div class="t m1 x1a h8 y57 ff5 fs1 fc0 sc0 ls1 ws1">
still in the river?// </div>
<div class="t m1 x2 h8 y58 ff5 fs1 fc0 sc0 ls1 ws1">
<span class="_ _8"> </span>ALL: No! </div>
<div class="t m1 x12 h8 y59 ff5 fs1 fc0 sc0 ls1 ws1">
IFEDIEGWU: //Now that we have discovered the hole/ that harbours the rattl<span class="_ _3"></span>e snake/ </div>
<div class="t m1 x15 h8 y5a ff5 fs1 fc0 sc0 ls1 ws1">
that str<span class="_ _3"></span>uck us <span class="_ _3"></span>with <span class="_ _3"></span>its <span class="_ _3"></span>tail/, do <span class="_ _3"></span>we f<span class="_ _3"></span>old our <span class="_ _3"></span>arms/ <span class="_ _3"></span>and w<span class="_ _3"></span>ait /until <span class="_ _3"></span>we <span class="_ _3"></span>are <span class="_ _3"></span>bitten </div>
<div class="t m1 x15 h8 y5b ff5 fs1 fc0 sc0 ls1 ws1">
by the same snake?// </div>
<div class="t m1 x12 h6 y5c ff5 fs1 fc0 sc0 ls1 ws1">
ALL: No!<span class="ff4"> </span></div>
<div class="t m1 x2 h6 y5d ff4 fs1 fc0 sc0 ls1 ws1">
From <span class="_ _3"> </span>the <span class="_ _1"> </span>extracts, <span class="_ _1"> </span>Ifediegwu <span class="_ _3"></span>uses <span class="_ _1"> </span>three <span class="_ _3"> </span>succes<span class="_ _3"></span>sive <span class="_ _3"></span>proverbs. <span class="_ _1"> </span>Two <span class="_ _3"> </span>of <span class="_ _1"> </span>them <span class="_ _3"> </span>h<span class="_ _3"></span>ave <span class="_ _3"> </span>a <span class="_ _1"> </span>bipartite </div>
<div class="t m1 x2 h6 y5e ff4 fs1 fc0 sc0 ls1 ws1">
structure while one<span class="_ _3"></span> of them c<span class="_ _3"></span>ontains a complex <span class="_ _3"></span>structure which may b<span class="_ _3"></span>e broken down <span class="_ _3"></span>into six </div>
<div class="t m1 x2 h6 y5f ff4 fs1 fc0 sc0 ls1 ws1">
parts a<span class="_ _3"></span>s indicated <span class="_ _3"></span>by <span class="_ _3"></span>the sla<span class="_ _3"></span>nt lines <span class="_ _3"></span>above. <span class="_ _3"></span>Thus, <span class="_ _3"></span>from the <span class="_ _3"></span>examples <span class="_ _3"></span>already gi<span class="_ _3"></span>ven and <span class="_ _3"></span>many </div>
<div class="t m1 x2 h6 y60 ff4 fs1 fc0 sc0 ls1 ws1">
more <span class="_ _3"></span>found <span class="_ _3"></span>in <span class="_ _3"></span>the <span class="_ _3"></span>play, <span class="_ _3"></span>it <span class="_ _3"></span>becomes <span class="_ _3"> </span>clear <span class="_ _3"> </span>that <span class="_ _3"> </span>t<span class="_ _3"></span>he cha<span class="_ _3"></span>racters <span class="_ _3"></span>preferred <span class="_ _3"></span>bipartite <span class="_ _3"></span>proverbs <span class="_ _3"></span>and </div>
<div class="t m1 x2 h6 y61 ff4 fs1 fc0 sc0 ls1 ws1">
used them more than other types.</div>
</div>
<br /><div class="t m1 x2 h5 yd7 ff3 fs1 fc0 sc0 ls1 ws1">
<b>5.2. Proverbs and Character Delineation in the Play </b></div>
<div class="t m1 x2 h5 yd7 ff3 fs1 fc0 sc0 ls1 ws1">
<b> </b></div>
<div class="t m1 x2 h6 y88 ff4 fs1 fc0 sc0 ls1 ws1">
As it has already been hinted at the beginning of this paper, the playwright uses Igbo </div>
<div class="t m1 x2 h6 y64 ff4 fs1 fc0 sc0 ls1 ws1">
proverbs, which <span class="_ _2"> </span>have been<span class="_ _3"></span> translated into <span class="_ _2"> </span>English, a<span class="_ _3"></span>s a ve<span class="_ _3"></span>hicle for <span class="_ _2"> </span>effective character </div>
<div class="t m1 x2 h6 y65 ff4 fs1 fc0 sc0 ls1 ws1">
delineation <span class="_ _3"></span>in <span class="_ _3"> </span>the <span class="_ _1"> </span>play. T<span class="_ _3"></span>hus, <span class="_ _3"></span>characters <span class="_ _3"> </span>like <span class="_ _1"> </span>Professor <span class="_ _3"></span>Aladinma, <span class="_ _3"> </span>Dimkpa, <span class="_ _3"> </span>Okosis<span class="_ _3"></span>i, <span class="_ _3"></span>Anayo, </div>
<div class="t m1 x2 h6 y66 ff4 fs1 fc0 sc0 ls1 ws1">
Mazi <span class="_ _3"></span>Chinedum, <span class="_ _3"></span>Ugodiya, <span class="_ _3"></span><span class="ff5">et <span class="_ _3"></span>cetera</span> <span class="_ _3"></span>intersperse <span class="_ _3"></span>their <span class="_ _3"></span>speech <span class="_ _3"></span>with <span class="_ _3"></span>enough <span class="_ _3"></span>doses <span class="_ _3"></span>of <span class="_ _3"></span>proverbs. </div>
<div class="t m1 x2 h6 y67 ff4 fs1 fc0 sc0 ls1 ws1">
But others like <span class="_ _3"></span>Edwin Ochonkeya, Jango, Ob<span class="_ _3"></span>ioma, Adaora, Ekene a<span class="_ _3"></span>nd Nweke, Desmond talk </div>
<div class="t m1 x2 h6 y68 ff4 fs1 fc0 sc0 ls1 ws1">
generally in plain language. </div>
<div class="t m1 x12 h6 yd8 ff4 fs1 fc0 sc0 ls1 ws1">
TEXT A (<span class="ff5 ws0">WUE</span> 13): </div>
<div class="t m1 x12 h6 yd9 ff4 fs1 fc0 sc0 ls1 ws1">
PROF. <span class="_ _1"> </span>ALADINMA<span class="ff5">: <span class="_ _3"> </span>You<span class="_ _3"></span> <span class="_ _1"> </span>see <span class="_ _3"> </span>Mr Chairman, <span class="_ _3"></span>when <span class="_ _1"> </span>the <span class="_ _3"> </span>dr<span class="_ _3"></span>ummer <span class="_ _3"> </span>c<span class="_ _3"></span>hanges <span class="_ _1"> </span>beat, <span class="_ _3"> </span>the </span></div>
<div class="t m1 x12 h6 yda ff5 fs1 fc0 sc0 ls1 ws1">
dancer m<span class="_ _3"></span>ust chang<span class="_ _3"></span>e his <span class="_ _3"></span>steps. <span class="_ _3"></span>…<span class="ff4">what <span class="_ _3"></span>we <span class="_ _3"></span>now witne<span class="_ _3"></span>ss are <span class="_ _3"></span>[sic] <span class="_ _3"></span>nothing <span class="_ _3"></span>but <span class="_ _3"></span>reactions </span></div>
<div class="t m1 x12 h6 y89 ff4 fs1 fc0 sc0 ls1 ws1">
to man’s mindless activities on earth<span class="ff5 ls7">.</span> </div>
<div class="t m1 x2 h6 y8a ff4 fs1 fc0 sc0 ls1 ws1">
Here, <span class="_ _3"> </span>Professor <span class="_ _1"> </span>Aladinma <span class="_ _3"></span>uses <span class="_ _3"> </span>a <span class="_ _1"> </span>proverb <span class="_ _3"></span>to <span class="_ _3"> </span>unde<span class="_ _3"></span>rscore <span class="_ _3"></span>the <span class="_ _1"> </span>reality <span class="_ _3"></span>of <span class="_ _3"></span>the <span class="_ _1"> </span>changing <span class="_ _3"></span>climate. </div>
<div class="t m1 x2 h6 y8b ff4 fs1 fc0 sc0 ls1 ws1">
Nature is <span class="_ _3"></span>compared <span class="_ _3"></span>to “the <span class="_ _3"></span>drummer” <span class="_ _3"></span>and atmospheric <span class="_ _3"></span>conditions <span class="_ _3"></span>as ‘the <span class="_ _3"></span>beat” <span class="_ _3"></span>while human </div>
<div class="t m1 x2 h6 y8c ff4 fs1 fc0 sc0 ls1 ws1">
beings are pictured as “the dancer”. As a change i<span class="_ _3"></span>n drum beats necessarily signals a change in </div>
<div class="t m1 x2 h6 y8d ff4 fs1 fc0 sc0 ls1 ws1">
the <span class="_ _1"> </span>dancer’s <span class="_ _3"> </span>steps, Professor <span class="_ _3"></span>Aladinma <span class="_ _1"> </span>advocates <span class="_ _1"> </span>a <span class="_ _1"> </span>similar <span class="_ _3"> </span>approach in <span class="_ _3"></span>combating <span class="_ _1"> </span>climate </div>
<div class="t m1 x2 h6 y8e ff4 fs1 fc0 sc0 ls1 ws1">
change. In essence, <span class="_ _3"></span>he is telli<span class="_ _3"></span>ng the local governme<span class="_ _3"></span>nt chairman and <span class="_ _3"></span>other characters that <span class="_ _3"></span>they </div>
<div class="t m1 x2 h6 y8f ff4 fs1 fc0 sc0 ls1 ws1">
must not <span class="_ _3"></span>fold <span class="_ _3"></span>their hands <span class="_ _3"></span>and watch <span class="_ _3"></span>the <span class="_ _3"></span>changing climate <span class="_ _3"></span>destroy all <span class="_ _3"></span>that <span class="_ _3"></span>they hold <span class="_ _3"></span>dear. <span class="_ _3"></span>His </div>
<div class="t m1 x2 h6 y90 ff4 fs1 fc0 sc0 ls1 ws1">
character <span class="_ _3"> </span>as <span class="_ _1"> </span>a <span class="_ _1"> </span>foresighted, <span class="_ _3"></span>passionate <span class="_ _1"> </span>and <span class="_ _3"> </span>proactive <span class="_ _1"> </span>environmentalist <span class="_ _3"> </span>an<span class="_ _3"></span>d <span class="_ _3"></span>social <span class="_ _1"> </span>crusader <span class="_ _3"> </span>is </div>
<div class="t m1 x2 h6 y91 ff4 fs1 fc0 sc0 ls1 ws1">
highlighted <span class="_ _1"> </span>by his <span class="_ _3"> </span>choi<span class="_ _3"></span>ce o<span class="_ _0"></span>f <span class="_ _1"> </span>proverbs. Even <span class="_ _1"> </span>the <span class="_ _1"> </span>chairman’s hy<span class="_ _0"></span>pocritical <span class="_ _1"> </span>and superstitious </div>
<div class="t m1 x2 h6 y92 ff4 fs1 fc0 sc0 ls1 ws1">
reference to <span class="_ _3"></span>ecological problems <span class="_ _3"> </span>as part <span class="_ _1"> </span>of <span class="_ _1"> </span>eschatological events <span class="_ _3"> </span>recorded in <span class="_ _1"> </span>the <span class="_ _1"> </span>Bible <span class="_ _1"> </span>is <div class="pc pc8 w0 h0">
<div class="t m0 x1 h2 y1 ff1 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m1 x2 h3 y2 ff2 fs1 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x2 h2 y4 ff1 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m1 x2 h6 y4f ff4 fs1 fc0 sc0 ls1 ws1">
vehemently <span class="_ _3"> </span>resisted <span class="_ _1"> </span>by <span class="_ _3"></span>the <span class="_ _1"> </span>professor <span class="_ _3"> </span>who <span class="_ _1"> </span>quickly <span class="_ _3"></span>remarks <span class="_ _1"> </span>that: <span class="_ _3"> </span><span class="ff5">“what <span class="_ _1"> </span>we <span class="_ _3"></span>now <span class="_ _1"> </span>witness <span class="_ _3"></span>are </span></div>
<div class="t m1 x2 h6 y50 ff5 fs1 fc0 sc0 ls1 ws1">
[sic] nothing but reactions to man’s mindless activities on earth” (ibid).<span class="ff4"> </span></div>
<div class="t m1 x2 h6 y94 ff4 fs1 fc0 sc0 ls1 ws1">
Furthermore, <span class="_ _3"></span>when Dimkpa<span class="_ _3"></span> discovers <span class="_ _3"></span>that <span class="_ _3"></span>his <span class="_ _3"></span>farmland ha<span class="_ _3"></span>s yielded <span class="_ _3"></span>nothing, <span class="_ _3"></span>he <span class="_ _3"></span>uses a<span class="_ _3"></span> series </div>
<div class="t m1 x2 h6 y95 ff4 fs1 fc0 sc0 ls1 ws1">
of <span class="_ _1"> </span>proverbs <span class="_ _3"> </span>to condemn <span class="_ _3"></span>in its <span class="_ _3"></span>centrality <span class="_ _1"> </span>what <span class="_ _1"> </span>he <span class="_ _1"> </span>deems <span class="_ _3"> </span>as a <span class="_ _3"></span>heartless <span class="_ _1"> </span>and <span class="_ _1"> </span>cruel <span class="_ _1"> </span>treatment </div>
<div class="t m1 x2 h6 y96 ff4 fs1 fc0 sc0 ls1 ws1">
meted <span class="_ _3"> </span>out <span class="_ _1"> </span>on <span class="_ _3"> </span>him <span class="_ _1"> </span>by <span class="_ _3"></span>Okosisi <span class="_ _1"> </span>who <span class="_ _3"></span>fails <span class="_ _3"> </span>to <span class="_ _1"> </span>tell <span class="_ _3"> </span>him <span class="_ _1"> </span>about <span class="_ _3"> </span>the <span class="_ _1"> </span>improved <span class="_ _3"></span>seedlings <span class="_ _1"> </span>and <span class="_ _3"></span>other </div>
<div class="t m1 x2 h6 y97 ff4 fs1 fc0 sc0 ls1 ws1">
eco-friendly <span class="_ _3"></span>farming <span class="_ _3"></span>techniques <span class="_ _3"></span>that <span class="_ _3"></span>Professor <span class="_ _3"> </span>Aladinma <span class="_ _3"> </span>tea<span class="_ _3"></span>ches <span class="_ _3"></span>him <span class="_ _3"></span>and <span class="_ _3"></span>other <span class="_ _3"></span>members <span class="_ _3"></span>of </div>
<div class="t m1 x2 h6 y98 ff4 fs1 fc0 sc0 ls1 ws1">
the co-operative society: </div>
<div class="t m1 x12 h6 y56 ff4 fs1 fc0 sc0 ls1 ws1">
TEXT B<span class="ff5 ls4"> </span>(WUE 25): </div>
<div class="t m1 x12 h6 ydb ff4 fs1 fc0 sc0 ls1 ws1">
DIMKPA: …<span class="ff5">who is the <span class="_ _3"></span>stubborn weed here that<span class="_ _3"></span> has denied the tender <span class="_ _3"></span>plant a chance </span></div>
<div class="t m1 x12 h6 ydc ff5 fs1 fc0 sc0 ls1 ws1">
to the sunlight.<span class="ff4"> </span></div>
<div class="t m1 x2 h6 y7e ff4 fs1 fc0 sc0 ls1 ws1">
Here <span class="_ _3"></span>Dimkpa <span class="_ _3"></span>compares <span class="_ _3"></span>himself <span class="_ _3"></span>to <span class="_ _3"></span>a <span class="_ _3"></span>tender <span class="_ _3"></span>plant <span class="_ _3"></span>and <span class="_ _3"></span>pictured <span class="_ _3"></span>Okosisi <span class="_ _3"></span>as <span class="_ _3"></span>the <span class="_ _3"></span>stubborn <span class="_ _3"></span>weed </div>
<div class="t m1 x2 h6 y7f ff4 fs1 fc0 sc0 ls1 ws1">
and the <span class="_ _3"></span>secret <span class="_ _3"></span>which Okosisi <span class="_ _3"></span>has <span class="_ _3"></span>denied him <span class="_ _3"></span>the <span class="_ _3"></span>chance to <span class="_ _3"></span>feel <span class="_ _3"></span>the sunlight. <span class="_ _3"></span>It <span class="_ _3"></span>is pertinent <span class="_ _3"></span>to </div>
<div class="t m1 x2 h6 y80 ff4 fs1 fc0 sc0 ls1 ws1">
note that although Dimkpa does not make any direct reference to the fact that Okosisi </div>
<div class="t m1 x2 h6 y81 ff4 fs1 fc0 sc0 ls1 ws1">
deliberately withholds suc<span class="_ _3"></span>h important informati<span class="_ _3"></span>on from him. He <span class="_ _3"></span>is able <span class="_ _3"></span>to elicit pity <span class="_ _3"></span>from his </div>
<div class="t m1 x2 h6 y82 ff4 fs1 fc0 sc0 ls1 ws1">
listeners. His vulnerability and preca<span class="_ _3"></span>rious condition coupled with the blea<span class="_ _3"></span>k prospect of </div>
<div class="t m1 x2 h6 y83 ff4 fs1 fc0 sc0 ls1 ws1">
imminent s<span class="_ _3"></span>tarvation as <span class="_ _3"></span>well <span class="_ _3"></span>as the<span class="_ _3"></span> threat <span class="_ _3"></span>of <span class="_ _3"></span>being deserted <span class="_ _3"></span>by <span class="_ _3"></span>his wife<span class="_ _3"></span> are <span class="_ _3"></span>all <span class="_ _3"></span>rolled into <span class="_ _3"></span>one </div>
<div class="t m1 x2 h6 y84 ff4 fs1 fc0 sc0 ls1 ws1">
proverb which <span class="_ _3"></span>shows <span class="_ _3"></span>his <span class="_ _3"></span>absolute <span class="_ _3"></span>dependence <span class="_ _3"></span>on other <span class="_ _3"></span>farmers <span class="_ _3"></span>for <span class="_ _3"></span>sustenance. A<span class="_ _3"></span>gain, when </div>
<div class="t m1 x2 h6 y85 ff4 fs1 fc0 sc0 ls1 ws1">
Ugodiya reminds him that he had no one to blame but himself since he refused <span class="_ _3"></span>to make use of </div>
<div class="t m1 x2 h6 y86 ff4 fs1 fc0 sc0 ls1 ws1">
the <span class="_ _3"> </span>free <span class="_ _3"> </span>e<span class="_ _3"></span>xtension <span class="_ _3"></span>services <span class="_ _1"> </span>provided <span class="_ _3"></span>by <span class="_ _3"> </span>Professor <span class="_ _1"> </span>Aladinma, <span class="_ _3"> </span>Dimkpa <span class="_ _1"> </span>accepted <span class="_ _3"></span>his <span class="_ _3"> </span>mistake<span class="_ _3"></span>s </div>
<div class="t m1 x2 h6 y87 ff4 fs1 fc0 sc0 ls1 ws1">
but <span class="_ _3"> </span>still <span class="_ _1"> </span>insists <span class="_ _3"></span>that <span class="_ _1"> </span>the <span class="_ _3"></span>punishment <span class="_ _1"> </span>that <span class="_ _3"></span>has <span class="_ _3"> </span>been <span class="_ _1"> </span>inflicted <span class="_ _3"> </span>on <span class="_ _1"> </span>him <span class="_ _3"> </span>by <span class="_ _1"> </span>not <span class="_ _3"></span>letting <span class="_ _1"> </span>him <span class="_ _3"></span>know </div>
<div class="t m1 x2 h6 y88 ff4 fs1 fc0 sc0 ls1 ws1">
about the profes<span class="_ _3"></span>sor’s improved crop <span class="_ _2"> </span>variety and an<span class="_ _3"></span>imal species that<span class="_ _3"></span> can withstand <span class="_ _2"> </span>the </div>
<div class="t m1 x2 h6 y64 ff4 fs1 fc0 sc0 ls1 ws1">
changing climate far outweighs his sin. This point is couched with two powerful <span class="_ _3"></span>proverbs.</div>
</div>
<br /><div class="t m1 x12 h6 ydd ff4 fs1 fc0 sc0 ls1 ws1">
TEXT C (WUE 27)<span class="ff5"> </span></div>
<div class="t m1 x12 h6 yde ff4 fs1 fc0 sc0 ls1 ws1">
DIMKPA: <span class="_ _3"></span><span class="ff5">But <span class="_ _3"> </span>it<span class="_ _3"></span> <span class="_ _3"></span>is <span class="_ _1"> </span>only <span class="_ _3"></span>a <span class="_ _3"> </span>wicked <span class="_ _1"> </span>mother <span class="_ _3"> </span>that <span class="_ _1"> </span>throws <span class="_ _3"></span>her <span class="_ _3"> </span>stubb<span class="_ _3"></span>orn <span class="_ _3"></span>child <span class="_ _3"> </span>away <span class="_ _1"> </span>with </span></div>
<div class="t m1 x12 h8 ydf ff5 fs1 fc0 sc0 ls1 ws1">
the <span class="_ _3"></span>bathwater. <span class="_ _3"> </span>That <span class="_ _3"> </span>my <span class="_ _3"> </span>brother<span class="_ _3"></span> <span class="_ _3"></span>is <span class="_ _3"></span>deaf-eared <span class="_ _3"></span>is <span class="_ _3"></span>not <span class="_ _3"> </span>enough<span class="_ _3"></span> <span class="_ _3"></span>reason <span class="_ _3"></span>to <span class="_ _3"></span>allow <span class="_ _3"></span>him <span class="_ _3"> </span>fall </div>
<div class="t m1 x12 h6 ye0 ff5 fs1 fc0 sc0 ls1 ws1">
into a deep gully. <span class="ff4"> </span></div>
<div class="t m1 x2 h6 ye1 ff4 fs1 fc0 sc0 ls1 ws1">
The above <span class="_ _3"></span>proverbs eve<span class="_ _3"></span>n make <span class="_ _3"></span>Dimkpa’s <span class="_ _3"></span>condition more <span class="_ _3"></span>pathetic <span class="_ _3"></span>as he <span class="_ _3"></span>compares <span class="_ _3"></span>himself to </div>
<div class="t m1 x2 h6 ye2 ff4 fs1 fc0 sc0 ls1 ws1">
a <span class="_ _3"></span>stubborn <span class="_ _3"></span>but <span class="_ _3"></span>helpless <span class="_ _3"></span>child. <span class="_ _3"></span>In <span class="_ _3"></span>essence, <span class="_ _3"> </span>Dimkpa <span class="_ _3"></span>is <span class="_ _3"> </span>arguing <span class="_ _3"> </span>that <span class="_ _3"> </span>regardles<span class="_ _3"></span>s <span class="_ _3"></span>of <span class="_ _3"></span>what <span class="_ _3"></span>he <span class="_ _3"></span>may </div>
<div class="t m1 x2 h6 ye3 ff4 fs1 fc0 sc0 ls1 ws1">
have <span class="_ _3"> </span>done<span class="_ _3"></span>, <span class="_ _3"> </span>it<span class="_ _3"></span> <span class="_ _3"> </span>is not e<span class="_ _3"></span>nough <span class="_ _3"></span>reason for <span class="_ _3"></span>his <span class="_ _1"> </span>trusted <span class="_ _3"></span>friend, Okosisi, <span class="_ _3"></span>to <span class="_ _3"> </span>leave him <span class="_ _3"></span>in <span class="_ _3"> </span>a<span class="_ _3"></span> <span class="_ _3"> </span>rather </div>
<div class="t m1 x2 h6 ye4 ff4 fs1 fc0 sc0 ls1 ws1">
precarious <span class="_ _3"> </span>situation.<span class="_ _3"></span> <span class="_ _3"></span>The <span class="_ _1"> </span>second <span class="_ _3"></span>proverb <span class="_ _1"> </span>highlights <span class="_ _3"></span>the <span class="_ _1"> </span>hopelessness <span class="_ _3"> </span>of <span class="_ _1"> </span>his <span class="_ _3"> </span>condition <span class="_ _1"> </span>as <span class="_ _3"> </span>he </div>
<div class="t m1 x2 h6 ye5 ff4 fs1 fc0 sc0 ls1 ws1">
likened <span class="_ _3"> </span>him<span class="_ _3"></span>self <span class="_ _3"> </span>to <span class="_ _1"> </span>one <span class="_ _3"> </span>w<span class="_ _3"></span>ho <span class="_ _3"> </span>has <span class="_ _1"> </span>fallen <span class="_ _1"> </span>into <span class="_ _3"></span>a <span class="_ _1"> </span>gully <span class="_ _3"> </span>without <span class="_ _1"> </span>any <span class="_ _1"> </span>hope <span class="_ _3"></span>of <span class="_ _1"> </span>coming <span class="_ _3"> </span>out<span class="_ _3"></span> <span class="_ _3"> </span>on <span class="_ _1"> </span>his </div>
<div class="t m1 x2 h6 ye6 ff4 fs1 fc0 sc0 ls1 ws1">
own. Thus, his problem is not only serious<span class="_ _3"></span> but also requires urgent attention. Like a drowning </div>
<div class="t m1 x2 h6 ye7 ff4 fs1 fc0 sc0 ls1 ws1">
man he throws his hands to <span class="_ _3"></span>clutch at any available tree branch to escape<span class="_ _3"></span> being drowned in the </div>
<div class="t m1 x2 h6 ye8 ff4 fs1 fc0 sc0 ls1 ws1">
sea of starvation and shame. </div>
<div class="t m1 x2 h6 ye9 ff4 fs1 fc0 sc0 ls1 ws1">
Similarly, <span class="_ _3"></span>after <span class="_ _3"></span>supporting <span class="_ _3"> </span>Dimkpa <span class="_ _1"> </span>with <span class="_ _3"></span>part <span class="_ _3"></span>of <span class="_ _3"></span>their <span class="_ _3"> </span>own <span class="_ _1"> </span>farm <span class="_ _3"></span>produce, <span class="_ _3"></span>Nwakaego <span class="_ _3"></span>and <span class="_ _3"> </span>his </div>
<div class="t m1 x2 h6 yea ff4 fs1 fc0 sc0 ls1 ws1">
colleagues use a series of p<span class="_ _3"></span>roverbs to promptly advise him to l<span class="_ _3"></span>earn from his mistakes and buy into Pr<span class="_ _0"></span>ofessor Aladinma’s <span class="_ _3"> </span>ne<span class="_ _3"></span>w <span class="_ _1"> </span>idea as <span class="_ _1"> </span>well <span class="_ _1"> </span>as <span class="_ _1"> </span>pay attention <span class="_ _3"> </span>t<span class="_ _3"></span>o <span class="_ _1"> </span>issues relating <span class="_ _3"> </span>to climate </div>
<div class="t m1 x2 h6 y50 ff4 fs1 fc0 sc0 ls1 ws1">
change particularly as they affect farming: </div>
<div class="t m1 x12 h6 y94 ff4 fs1 fc0 sc0 ls1 ws1">
TEXT D (WUE p.29): </div>
<div class="t m1 x12 h6 y95 ff4 fs1 fc0 sc0 ls8 ws3">
NWAKAEGO:<span class="ff5 ls4 ws1"> <span class="ff4 ls1">Yes, Dimkpa, we made similar mistakes in <span class="_ _3"></span>the past but we have learnt </span></span></div>
<div class="t m1 x12 h6 y96 ff4 fs1 fc0 sc0 ls1 ws1">
our lessons.<span class="ff5"> When green leaves cease to grow on the ground!</span> </div>
<div class="t m1 x12 h6 y97 ff4 fs1 fc0 sc0 ls1 ws0">
ALL:<span class="ff5 ws1"> A goat will have no choice than to learn to feed on tree top. </span></div>
<div class="t m1 x12 h6 y98 ff4 fs1 fc0 sc0 ls8 ws3">
NWAKAEGO:<span class="ff5 ls1 ws1"> And to reach the tree top! </span></div>
<div class="t m1 x12 h6 y99 ff4 fs1 fc0 sc0 ls1 ws0">
ALL:<span class="ff5 ws1"> It must learn the art of tree climbing! </span></div>
<div class="t m1 x12 h6 y9a ff4 fs1 fc0 sc0 ls8 ws3">
NWAKAEGO:<span class="ff5 ls1 ws1"> Ukpana Okpoko gburu! </span></div>
<div class="t m1 x12 h6 y9b ff4 fs1 fc0 sc0 ls1 ws1">
ALL: <span class="ff5">Nti chiri ya </span></div>
<div class="t m1 x12 h6 y9c ff4 fs1 fc0 sc0 ls8 ws3">
NWAKAEGO:<span class="ff5 ls1 ws1"> If the hunter learns to shoot without missing. </span></div>
<div class="t m1 x12 h6 y9d ff4 fs1 fc0 sc0 ls1 ws0">
ALL:<span class="ff5 ws1"> Eneke the bird must learn to fly without perching. <span class="ff4"> </span></span></div>
<div class="t m1 x2 h6 y5b ff4 fs1 fc0 sc0 ls1 ws1">
The <span class="_ _3"> </span>c<span class="_ _3"></span>rux <span class="_ _3"></span>of <span class="_ _1"> </span>the <span class="_ _3"></span>above <span class="_ _1"> </span>verbal <span class="_ _3"> </span>exchange <span class="_ _1"> </span>is <span class="_ _3"> </span>for <span class="_ _1"> </span>one <span class="_ _1"> </span>to <span class="_ _3"></span>be <span class="_ _3"> </span>ope<span class="_ _3"></span>n <span class="_ _3"></span>to <span class="_ _1"> </span>change. <span class="_ _3"> </span>The <span class="_ _1"> </span>idea <span class="_ _3"> </span>of g<span class="_ _0"></span>oats </div>
<div class="t m1 x2 h6 y5c ff4 fs1 fc0 sc0 ls1 ws1">
climbing trees or Eneke the bird flying without <span class="_ _3"></span>perching does not suggest any impossible ta<span class="_ _3"></span>sk </div>
<div class="t m1 x2 h6 y5d ff4 fs1 fc0 sc0 ls1 ws1">
rather <span class="_ _3"></span>it <span class="_ _3"></span>shows the<span class="_ _3"></span> need <span class="_ _3"> </span>for <span class="_ _3"> </span>the <span class="_ _3"> </span>farmers <span class="_ _3"></span>to <span class="_ _3"></span>develop <span class="_ _3"></span>adaptive <span class="_ _3"></span>strategies <span class="_ _3"></span>that <span class="_ _3"></span>will <span class="_ _3"></span>help <span class="_ _3"></span>them <span class="_ _3"></span>to </div>
<div class="t m1 x2 h6 y5e ff4 fs1 fc0 sc0 ls1 ws1">
conquer the <span class="_ _1"> </span>ugly effects <span class="_ _1"> </span>of climate ch<span class="_ _0"></span>ange while <span class="_ _1"> </span>the proverb <span class="_ _1"> </span>about <span class="ff5 ws0">Ukpana</span> is <span class="_ _3"> </span>a<span class="_ _3"></span>imed at </div>
<div class="t m1 x2 h6 y5f ff4 fs1 fc0 sc0 ls1 ws1">
reminding <span class="_ _3"> </span>Dimkpa <span class="_ _1"> </span>of <span class="_ _3"> </span>a<span class="_ _3"></span>n <span class="_ _3"></span>even <span class="_ _3"> </span>gre<span class="_ _3"></span>ater <span class="_ _3"> </span>dan<span class="_ _3"></span>ger <span class="_ _3"></span>that <span class="_ _1"> </span>awaits <span class="_ _3"></span>him <span class="_ _1"> </span>should <span class="_ _3"></span>he <span class="_ _1"> </span>in <span class="_ _3"></span>any <span class="_ _1"> </span>way <span class="_ _3"></span>ignore </div>
<div class="t m1 x2 h6 y60 ff4 fs1 fc0 sc0 ls1 ws1">
Professor Aladinma’s teachings about climate change. </div>
<div class="t m1 x2 h6 yeb ff4 fs1 fc0 sc0 ls1 ws1">
Even <span class="_ _3"></span>the <span class="_ _3"></span>domestic <span class="_ _3"> </span>squabble <span class="_ _3"> </span>between <span class="_ _1"> </span>Mazi Chinedum <span class="_ _3"> </span>a<span class="_ _3"></span>nd <span class="_ _3"></span>his <span class="_ _3"></span>wife <span class="_ _3"></span>also <span class="_ _3"></span>attracts <span class="_ _3"></span>the <span class="_ _3"> </span>use <span class="_ _3"> </span>of <span class="_ _3"> </span>a </div>
<div class="t m1 x2 h6 yec ff4 fs1 fc0 sc0 ls1 ws1">
proverb. <span class="_ _3"></span>As <span class="_ _3"> </span>the <span class="_ _1"> </span>woman <span class="_ _3"></span>asks <span class="_ _3"> </span>her <span class="_ _1"> </span>husband <span class="_ _3"></span>if <span class="_ _3"></span>his <span class="_ _3"> </span>inabili<span class="_ _3"></span>ty <span class="_ _3"></span>to <span class="_ _3"></span>catch <span class="_ _3"> </span>any <span class="_ _1"> </span>fish <span class="_ _3"></span>for <span class="_ _3"></span>weeks <span class="_ _1"> </span>means </div>
<div class="t m1 x2 h6 yed ff4 fs1 fc0 sc0 ls1 ws1">
that he<span class="_ _3"></span>r soup <span class="_ _3"></span>pot w<span class="_ _3"></span>ill continue <span class="_ _3"></span>to be<span class="_ _3"></span> empty, <span class="_ _3"></span>he <span class="_ _3"></span>becomes inf<span class="_ _3"></span>uriated until <span class="_ _3"></span>he <span class="_ _3"></span>is pacified <span class="_ _3"></span>by hi<span class="_ _3"></span>s </div>
<div class="t m1 x2 h5 yee ff4 fs1 fc0 sc0 ls1 ws1">
friend, Anayo. Below is the extract of what transpires among the trio.</div>
<div class="t m1 x2 h5 yee ff4 fs1 fc0 sc0 ls1 ws1">
<div class="t m1 x12 h6 y65 ff4 fs1 fc0 sc0 ls1 ws1">
TEXT E (WUE 62-63) <span class="ff5"> </span></div>
<div class="t m1 x12 h6 y66 ff4 fs1 fc0 sc0 ls1 ws0">
ANAYO:<span class="ff5 ls7 ws1"> </span><span class="ws1">Chinedum, I hope you are not scolding my wife?<span class="ff5"> </span></span></div>
<div class="t m1 x12 h6 y67 ff4 fs1 fc0 sc0 ls1 ws1">
MAZI CHINEDUM: This woman gets on my nerves at times.<span class="ff5"> </span></div>
<div class="t m1 x12 h6 y68 ff4 fs1 fc0 sc0 ls1 ws0">
ANAYO:<span class="ff5 ls7 ws1"> </span><span class="ws1">Yet, you are still married to her?<span class="ff5"> </span></span></div>
<div class="t m1 x12 h6 y69 ff4 fs1 fc0 sc0 ls1 ws1">
MAZI CHINEDU:<span class="ff5"> That the hunch is not heavy on its bearer does not mean that<span class="_ _3"></span> he is </span></div>
<div class="t m1 x12 h6 y6a ff5 fs1 fc0 sc0 ls1 ws1">
comfortable with it.<span class="ff4"> </span></div>
<div class="t m1 x2 h6 yda ff4 fs1 fc0 sc0 ls1 ws1">
The <span class="_ _3"></span>last <span class="_ _3"></span>statement <span class="_ _3"></span>from <span class="_ _3"></span>Mazi <span class="_ _3"></span>Chinedum <span class="_ _3"></span>reveals <span class="_ _3"></span>his <span class="_ _3"></span>attitude <span class="_ _3"></span>towards <span class="_ _3"></span>his <span class="_ _3"></span>wife <span class="_ _3"></span>whom <span class="_ _3"></span>he <span class="_ _3"></span>sees </div>
<div class="t m1 x2 h6 y89 ff4 fs1 fc0 sc0 ls1 ws1">
as an <span class="_ _3"></span>unnecessary burden <span class="_ _3"></span>thrust upon <span class="_ _3"></span>him by t<span class="_ _3"></span>radition and <span class="_ _3"></span>society who <span class="_ _3"></span>through her <span class="_ _3"></span>frivolous </div>
<div class="t m1 x2 h6 y8a ff4 fs1 fc0 sc0 ls1 ws1">
demands always <span class="_ _3"></span>gets on <span class="_ _3"></span>his <span class="_ _3"></span>nerves. Although <span class="_ _3"></span>the quarrel <span class="_ _3"></span>between <span class="_ _3"></span>him and <span class="_ _3"></span>his wife <span class="_ _3"></span>is <span class="_ _3"></span>purely </div>
<div class="t m1 x2 h6 y8b ff4 fs1 fc0 sc0 ls1 ws1">
a family affair, <span class="_ _3"></span>it is not <span class="_ _3"></span>unconnected to the <span class="_ _3"></span>overall issue within <span class="_ _3"></span>the play, namely, <span class="_ _3"></span>the problem </div>
<div class="t m1 x2 h6 y8c ff4 fs1 fc0 sc0 ls1 ws1">
of <span class="_ _1"> </span>climate change. <span class="_ _3"> </span>Mazi Chinedum’s <span class="_ _1"> </span>anger <span class="_ _1"> </span>hinges on <span class="_ _3"> </span>the fact <span class="_ _1"> </span>that <span class="_ _1"> </span>his <span class="_ _1"> </span>wife se<span class="_ _0"></span>ems <span class="_ _1"> </span>not to<span class="_ _0"></span> </div>
<div class="t m1 x2 h6 y8d ff4 fs1 fc0 sc0 ls1 ws1">
appreciate the situation. Therefore he remarks: </div>
<div class="t m1 x12 h6 yef ff4 fs1 fc0 sc0 ls1 ws1">
What <span class="_ _3"></span>is <span class="_ _3"></span>wrong with <span class="_ _3"> </span>you?<span class="_ _3"></span> I <span class="_ _3"> </span>am <span class="_ _3"></span>talking <span class="_ _3"></span>about <span class="_ _3"></span>the <span class="_ _3"></span>world <span class="_ _3"></span>being <span class="_ _3"></span>at <span class="_ _3"></span>the <span class="_ _3"></span>brink <span class="_ _3"></span>of c<span class="_ _3"></span>ollapse </div>
<div class="t m1 x12 h6 yf0 ff4 fs1 fc0 sc0 ls1 ws1">
and y<span class="_ _0"></span>ou <span class="_ _1"> </span>are worried <span class="_ _1"> </span>about your <span class="_ _3"> </span>soup.<span class="_ _3"></span> <span class="_ _1"> </span>Must you <span class="_ _3"> </span>wome<span class="_ _3"></span>n always <span class="_ _3"> </span>struggle<span class="_ _3"></span> <span class="_ _1"> </span>with the </div>
<div class="t m1 x12 h6 yf1 ff4 fs1 fc0 sc0 ls1 ws1">
intestines and <span class="_ _3"></span>excrement e<span class="_ _3"></span>ach time <span class="_ _3"></span>the men <span class="_ _3"></span>are slaughteri<span class="_ _3"></span>ng the <span class="_ _3"></span>festive cow?” <span class="_ _3"></span>(WUE </div>
<div class="t m1 x12 h6 yf2 ff4 fs1 fc0 sc0 ls1 ws1">
62). </div>
<br /><div class="t m1 x2 h6 y4f ff4 fs1 fc0 sc0 ls1 ws1">
Finally, the persuasive eff<span class="_ _3"></span>ect of proverbs is am<span class="_ _3"></span>ply exploited by Ifedi<span class="_ _3"></span>egwu when he stirs other </div>
<div class="t m1 x2 h6 y50 ff4 fs1 fc0 sc0 ls1 ws1">
angry farmers a<span class="_ _3"></span>gainst Edwin Ochonkeya <span class="_ _2"> </span>for being so <span class="_ _2"> </span>insensitive to <span class="_ _2"> </span>their plights; their </div>
<div class="t m1 x2 h6 y51 ff4 fs1 fc0 sc0 ls1 ws1">
conversation is reproduced below: </div>
<div class="t m1 x12 h6 yb5 ff4 fs1 fc0 sc0 ls1 ws1">
TEXT F (WUE pp.75-76): <span class="ff5"> </span></div>
<div class="t m1 x12 h6 yb6 ff4 fs1 fc0 sc0 ls1 ws0">
IFEDIEGWU<span class="ff5 ws1">: The<span class="_ _3"></span> fruit <span class="_ _3"></span>we <span class="_ _3"></span>saw <span class="_ _3"></span>afar i<span class="_ _3"></span>s no <span class="_ _3"></span>longer <span class="_ _3"></span>the s<span class="_ _3"></span>ame at <span class="_ _3"> </span>a <span class="_ _3"></span>close <span class="_ _3"></span>range. Is <span class="_ _3"></span>it <span class="_ _3"></span>not </span></div>
<div class="t m1 x12 h8 yf3 ff5 fs1 fc0 sc0 ls1 ws1">
painful t<span class="_ _3"></span>hat it <span class="_ _3"></span>is <span class="_ _3"></span>the <span class="_ _3"></span>same jobless <span class="_ _3"></span>Edwin <span class="_ _3"></span>who <span class="_ _3"></span>was al<span class="_ _3"></span>most on <span class="_ _3"></span>his <span class="_ _3"></span>knees <span class="_ _3"></span>begging us <span class="_ _3"></span>for </div>
<div class="t m1 x12 h8 yf4 ff5 fs1 fc0 sc0 ls1 ws1">
our votes<span class="_ _3"></span> just <span class="_ _3"></span>last year,<span class="_ _3"></span> that <span class="_ _3"></span>has <span class="_ _3"></span>now refused <span class="_ _3"></span>to <span class="_ _3"></span>look into <span class="_ _3"></span>our <span class="_ _3"></span>plights? Is <span class="_ _3"></span>this <span class="_ _3"></span>the best </div>
<div class="t m1 x12 h8 yf5 ff5 fs1 fc0 sc0 ls1 ws1">
way to pay us back for the massive support we gave him? </div>
<div class="t m1 x12 h6 yf6 ff4 fs1 fc0 sc0 ls1 ws1">
ALL: It is not (They sigh and murmur aloud).<span class="ff5"> </span></div>
<div class="t m1 x12 h6 yf7 ff4 fs1 fc0 sc0 ls1 ws0">
IFEDIEGWU:<span class="ff5 ws1"> Can we allow the foam from our own soap to blind <span class="_ _3"></span>us while we are </span></div>
<div class="t m1 x12 h8 yf8 ff5 fs1 fc0 sc0 ls1 ws1">
still in the river? </div>
<div class="t m1 x12 h6 yf9 ff4 fs1 fc0 sc0 ls1 ws1">
ALL: No! </div>
<div class="t m1 x12 h6 yfa ff4 fs1 fc0 sc0 ls1 ws1">
PROF. ALADINMA:<span class="ff5 ls7"> </span>It’s enough, my people. It’s enough.<span class="ff5"> </span></div>
<div class="t m1 x12 h6 yfb ff4 fs1 fc0 sc0 ls1 ws1">
IFEDIEGWU: No, Prof. You have tried your best, let us do <span class="_ _1"> </span>the rest. People of </div>
<div class="t m1 x12 h6 yfc ff4 fs1 fc0 sc0 ls1 ws1">
Ndoliland. </div>
<div class="t m1 x12 h6 yfd ff4 fs1 fc0 sc0 ls1 ws1">
ALL: Eeeeh! </div>
<div class="t m1 x12 h6 yfe ff4 fs1 fc0 sc0 ls1 ws0">
IFEDIEGWU:<span class="ff5 ws1"> Now that we have discovered the hole that harbours the rattle snake </span></div>
<div class="t m1 x12 h8 yff ff5 fs1 fc0 sc0 ls1 ws1">
that struck us with its tail, do we fold our arms and wait until we are <span class="_ _3"></span>bitten by the </div>
<div class="t m1 x12 h8 y100 ff5 fs1 fc0 sc0 ls1 ws1">
same snake? </div>
<div class="t m1 x12 h5 y101 ff4 fs1 fc0 sc0 ls1 ws1">
ALL: No! <span class="_ _9"> </span><span class="ff3"> </span></div>
<div class="t m1 x2 h6 y102 ff4 fs1 fc0 sc0 ls1 ws1">
In <span class="_ _3"></span>summary, <span class="_ _1"> </span>the <span class="_ _3"></span>use <span class="_ _3"></span>of <span class="_ _3"> </span>prove<span class="_ _3"></span>rbs <span class="_ _3"></span>in <span class="_ _3"> </span>the <span class="_ _1"> </span>play <span class="_ _3"></span>provides <span class="_ _1"> </span>a <span class="_ _3"></span>clue <span class="_ _3"></span>into <span class="_ _1"> </span>the <span class="_ _3"></span>personality <span class="_ _3"> </span>of <span class="_ _1"> </span>the <span class="_ _3"></span>key </div>
<div class="t m1 x2 h6 y103 ff4 fs1 fc0 sc0 ls1 ws1">
characters <span class="_ _1"> </span>in <span class="_ _1"> </span>the play<span class="_ _0"></span>. <span class="_ _1"> </span>Prof. A<span class="_ _0"></span>ladinma <span class="_ _1"> </span>is <span class="_ _1"> </span>depicted <span class="_ _1"> </span>as <span class="_ _1"> </span>a charismatic, <span class="_ _3"> </span>selfless and <span class="_ _3"> </span>visionary </div>
<div class="t m1 x2 h6 y104 ff4 fs1 fc0 sc0 ls1 ws1">
leader who is <span class="_ _3"></span>committed to the <span class="_ _3"></span>survival of his <span class="_ _3"></span>people. Dimkpa i<span class="_ _3"></span>s a flippant, <span class="_ _3"></span>carefree and lazy </div>
<div class="t m1 x2 h6 y105 ff4 fs1 fc0 sc0 ls1 ws1">
individual who has to wait <span class="_ _3"></span>until there is a major disaster (i<span class="_ _3"></span>n terms of poor plant yields<span class="_ _3"></span>) before </div>
<div class="t m1 x2 h6 y106 ff4 fs1 fc0 sc0 ls1 ws1">
rising to <span class="_ _3"> </span>his <span class="_ _3"> </span>duties. <span class="_ _3"></span>Nwakaego <span class="_ _3"></span>and <span class="_ _3"></span>Ifediegwu <span class="_ _3"></span>like Prof.<span class="_ _3"></span> Aladinma <span class="_ _3"></span>are <span class="_ _3"></span>not <span class="_ _3"></span>only proa<span class="_ _3"></span>ctive <span class="_ _3"></span>but </div>
<div class="t m1 x2 h6 y107 ff4 fs1 fc0 sc0 ls1 ws1">
also know <span class="_ _3"></span>how to <span class="_ _3"></span>deploy the resourc<span class="_ _3"></span>es of proverb <span class="_ _3"></span>to communicate <span class="_ _3"></span>their thoughts <span class="_ _3"></span>and visions </div>
<div class="t m1 x2 h6 y108 ff4 fs1 fc0 sc0 ls1 ws1">
for <span class="_ _1"> </span>Ndoli <span class="_ _1"> </span>land. T<span class="_ _0"></span>hus, <span class="_ _1"> </span>in <span class="_ _1"> </span>terms of <span class="_ _3"></span>character delineation, <span class="_ _3"> </span>the proverbs <span class="_ _3"> </span>pe<span class="_ _3"></span>rform <span class="_ _1"> </span>an <span class="_ _1"> </span>effective </div>
<div class="t m1 x2 h6 y109 ff4 fs1 fc0 sc0 ls1 ws1">
discourse function in <span class="_ _3"></span>the play <span class="_ _3"></span>as they help <span class="_ _3"></span>the reader <span class="_ _3"></span>to study the <span class="_ _3"></span>situation and <span class="_ _3"></span>appreciate the </div>
<div class="t m1 x2 h6 y10a ff4 fs1 fc0 sc0 ls1 ws1">
roles played <span class="_ _3"> </span>by each in<span class="_ _0"></span>dividual in <span class="_ _3"> </span>the play. <span class="_ _1"> </span>It is, <span class="_ _3"> </span>the<span class="_ _3"></span>refore, <span class="_ _1"> </span>doubtful if <span class="_ _3"> </span>suc<span class="_ _3"></span>h an <span class="_ _3"> </span>effective </div>
<div class="t m1 x2 h6 y10b ff4 fs1 fc0 sc0 ls1 ws1">
communication and <span class="_ _1"> </span>discourse function <span class="_ _1"> </span>could have <span class="_ _1"> </span>been achieved <span class="_ _1"> </span>without the<span class="_ _0"></span> appropriate </div>
<div class="t m1 x2 h6 y10c ff4 fs1 fc0 sc0 ls1 ws1">
deployment of proverbs as witnessed in the play. </div>
<div class="t m1 x2 h6 y10c ff4 fs1 fc0 sc0 ls1 ws1">
<b> </b></div>
<div class="t m1 x2 h5 y10d ff3 fs1 fc0 sc0 ls1 ws1">
<b>5.3. Proverbs Used in the Play and their Mood Structure Analysis </b></div>
<div class="t m1 x2 h6 y10e ff4 fs1 fc0 sc0 ls1 ws1">
Within <span class="_ _1"> </span>the <span class="_ _3"> </span>gramma<span class="_ _3"></span>tical <span class="_ _3"> </span>mode<span class="_ _3"></span>l <span class="_ _1"> </span>adopted <span class="_ _3"> </span>i<span class="_ _3"></span>n <span class="_ _3"> </span>t<span class="_ _3"></span>his <span class="_ _3"> </span>pa<span class="_ _3"></span>per, <span class="_ _1"> </span>mood <span class="_ _3"> </span>structure<span class="_ _3"></span> <span class="_ _1"> </span>relates <span class="_ _3"> </span>to the <span class="_ _3"></span>clausal </div>
<div class="t m1 x2 h6 y10f ff4 fs1 fc0 sc0 ls1 ws1">
grammatical categories. <span class="_ _3"></span>The mo<span class="_ _3"></span>od structure <span class="_ _3"></span>analysis shows <span class="_ _3"></span>the nature <span class="_ _3"></span>of the <span class="_ _3"></span>proverbs <span class="_ _3"></span>within </div>
<div class="t m1 x2 h6 y110 ff4 fs1 fc0 sc0 ls1 ws1">
the dialogues <span class="_ _3"></span>between c<span class="_ _3"></span>haracters in <span class="_ _3"></span>the <span class="_ _3"></span>play. These <span class="_ _3"></span>proverbs have <span class="_ _3"></span>been <span class="_ _3"></span>grouped into <span class="_ _3"></span>various </div>
<div class="t m1 x2 h6 y111 ff4 fs1 fc0 sc0 ls1 ws1">
categories within <span class="_ _3"></span>the mood <span class="_ _3"></span>system as <span class="_ _3"></span>recognised in <span class="_ _3"></span>SFL using <span class="_ _3"></span>Wale Os<span class="_ _3"></span>isanwo framework <span class="_ _3"></span>in </div>
<div class="t m1 x2 h6 y112 ff4 fs1 fc0 sc0 ls1 ws1">
what <span class="_ _2"> </span>he <span class="_ _2"> </span>calls <span class="_ _2"> </span>“mood <span class="_ _2"> </span>systems <span class="_ _4"> </span>networks” <span class="_ _2"> </span>where <span class="_ _2"> </span>various <span class="_ _2"> </span>kinds <span class="_ _2"> </span>of<span class="_ _3"></span> <span class="_ _2"> </span>clauses <span class="_ _2"> </span>or <span class="_ _2"> </span>sentences </div>
<div class="t m1 x2 h6 y113 ff4 fs1 fc0 sc0 ls1 ws1">
correspond <span class="_ _3"></span>to diffe<span class="_ _3"></span>rent moods <span class="_ _3"></span>of <span class="_ _3"></span>an <span class="_ _3"></span>utterance <span class="_ _3"></span>such as <span class="_ _3"></span>indicative, <span class="_ _3"></span>imperative <span class="_ _3"></span>and subj<span class="_ _3"></span>unctive </div>
<div class="t m1 x2 h6 y114 ff4 fs1 fc0 sc0 ls1 ws1">
moods. Mood <span class="_ _1"> </span>indicative i<span class="_ _0"></span>s often <span class="_ _1"> </span>realised t<span class="_ _0"></span>hrough <span class="_ _1"> </span>declarative and <span class="_ _1"> </span>interrogative sentences, </div>
<div class="t m1 x2 h6 y115 ff4 fs1 fc0 sc0 ls1 ws1">
where interrogatives sentences <span class="_ _3"></span>are further classified into <span class="_ _3"></span>wh-questions and non-wh-questions.</div>
<br /><div class="t m1 x2 h6 y4f ff4 fs1 fc0 sc0 ls1 ws1">
Mood <span class="_ _3"></span>imperative <span class="_ _3"></span>comprises <span class="_ _3"></span>jussives <span class="_ _3"> </span>and <span class="_ _3"> </span>non-j<span class="_ _3"></span>ussives, <span class="_ _3"></span>where <span class="_ _3"></span>jussive <span class="_ _3"></span>is <span class="_ _3"></span>further <span class="_ _3"></span>grouped <span class="_ _3"> </span>into </div>
<div class="t m1 x2 h6 y50 ff4 fs1 fc0 sc0 ls1 ws1">
“exclusives” <span class="_ _4"> </span>and <span class="_ _2"> </span>“<span class="_ _3"></span>inclusive” <span class="_ _4"> </span>while <span class="_ _2"> </span>t<span class="_ _3"></span>he <span class="_ _2"> </span>non-j<span class="_ _3"></span>ussives <span class="_ _2"> </span>are <span class="_ _4"> </span>grouped <span class="_ _4"> </span>into <span class="_ _4"> </span>“volitives” <span class="_ _4"> </span>and </div>
<div class="t m1 x2 h6 y51 ff4 fs1 fc0 sc0 ls1 ws1">
“optatives” (cf. <span class="_ _1"> </span>Bloor & Bloor <span class="_ _1"> </span>38-83). Table <span class="_ _1"> </span>1 presents the <span class="_ _1"> </span>analytical framework which<span class="_ _0"></span> </div>
<div class="t m1 x2 h6 yb5 ff4 fs1 fc0 sc0 ls1 ws1">
captures the mood, thematic and discourse (information) structure network <span class="_ _3"></span>of the proverbs. </div>
<div class="t m1 x2 h6 yb5 ff4 fs1 fc0 sc0 ls1 ws1">
</div>
<div class="t m1 x2 h6 yb5 ff4 fs1 fc0 sc0 ls1 ws1">
<div class="t m1 x2 h5 y1a0 ff3 fs1 fc0 sc0 ls1 ws1">
Table 1: <span class="_ _2"> </span>Analytic Fr<span class="_ _3"></span>amework for<span class="_ _3"></span> Mood, <span class="_ _2"> </span>Thematic and <span class="_ _2"> </span>Information <span class="_ _2"> </span>Structures of </div>
<div class="t m1 x2 h5 y1a1 ff3 fs1 fc0 sc0 ls1 ws1">
Proverbs Used in <span class="_ _3"></span>the Play.<span class="ff4"> </span></div>
<div class="t m4 x44 h18 y1a1 ff2 fs4 fc0 sc0 ls1 ws6">
KEYS<span class="ff5 ws1">: B–Bipartite; T–Tri<span class="_ _3"></span>partite; Q–Quadripartite; <span class="_ _3"></span>S–Subject; P–Predicate; </span></div>
<div class="t m4 x2 h19 y27 ff5 fs4 fc0 sc0 ls1 ws1">
F–Finite (Aux) C–Complement; <span class="_ _3"></span>A–Adjunct; <span class="ff7 ls13">α</span>-clause–Main Clause; <span class="_ _3"></span><span class="ff7 ws7">β</span>-clause–Subordinate Clause </div>
<div class="t m1 x45 h6 y27 ff4 fs1 fc0 sc0 ls1 ws1">
</div>
<div class="t m5 x2 h1a y1a2 ff3 fs5 fc0 sc0 ls1 ws1">
</div>
<div class="t m1 x2 h6 y1a3 ff4 fs1 fc0 sc0 ls1 ws1">
From the table <span class="_ _3"></span>above, bipartite, tripa<span class="_ _3"></span>rtite and quadripartite st<span class="_ _3"></span>ructural labels refer to <span class="_ _3"></span>categories </div>
<div class="t m1 x2 h6 y1a4 ff4 fs1 fc0 sc0 ls1 ws1">
of <span class="_ _3"> </span>the prov<span class="_ _0"></span>erbs <span class="_ _3"> </span>as discussed <span class="_ _3"></span>in <span class="_ _3"> </span>sec<span class="_ _3"></span>tion <span class="_ _3"> </span>2 <span class="_ _1"> </span>above; <span class="_ _1"> </span>subject, <span class="_ _3"> </span>predicate, <span class="_ _1"> </span>finite, <span class="_ _1"> </span>complement <span class="_ _3"> </span>and </div>
<div class="t m1 x2 h6 y1a5 ff4 fs1 fc0 sc0 ls1 ws1">
adjuncts <span class="_ _3"></span>are <span class="_ _3"></span>traditional <span class="_ _3"></span>functional <span class="_ _3"> </span>labels <span class="_ _1"> </span>used to <span class="_ _3"> </span>an<span class="_ _3"></span>alyse <span class="_ _3"></span>the <span class="_ _3"></span>internal <span class="_ _3"></span>structure <span class="_ _3"></span>of <span class="_ _3"></span>a <span class="_ _3"></span>clause <span class="_ _3"> </span>or </div>
<div class="t m1 x2 h1b y1a6 ff4 fs1 fc0 sc0 ls1 ws1">
sentence <span class="_ _1"> </span>in <span class="_ _3"> </span>SFG; <span class="ff8 ws8">α</span>-clause <span class="_ _3"></span>(main <span class="_ _1"> </span>clause); <span class="_ _1"> </span><span class="ff8 ls14">β</span>-clause <span class="_ _3"> </span>(subordinate<span class="_ _3"></span> <span class="_ _3"> </span>clau<span class="_ _3"></span>se) <span class="_ _3"> </span>refer to <span class="_ _3"></span>the <span class="_ _1"> </span>clausal </div>
<div class="t m1 x2 h6 y1a7 ff4 fs1 fc0 sc0 ls1 ws1">
structure <span class="_ _3"></span>of <span class="_ _3"> </span>the<span class="_ _3"></span> <span class="_ _3"></span>proverbs; <span class="_ _3"></span> <span class="_ _3"> </span>theme <span class="_ _1"> </span>and <span class="_ _3"></span>rheme <span class="_ _3"></span>or <span class="_ _3"> </span>re<span class="_ _3"></span>sidue <span class="_ _3"></span>refer <span class="_ _3"></span>to <span class="_ _3"> </span>the<span class="_ _3"></span> <span class="_ _3"></span>thematic <span class="_ _3"> </span>structure <span class="_ _1"> </span>while </div>
<div class="t m1 x2 h6 y1a8 ff4 fs1 fc0 sc0 ls1 ws1">
given and new refer t<span class="_ _3"></span>o the information structure. On the <span class="_ _3"></span>whole, the mood structure ca<span class="_ _3"></span>rries the </div>
<div class="t m1 x2 h6 y1a9 ff4 fs1 fc0 sc0 ls1 ws1">
interpersonal <span class="_ _3"></span>metafunction of <span class="_ _3"> </span>a <span class="_ _3"></span>clause <span class="_ _3"></span>or sent<span class="_ _3"></span>ence and <span class="_ _3"> </span>it <span class="_ _3"></span>consists <span class="_ _3"></span>of subj<span class="_ _3"></span>ect and <span class="_ _3"></span>finite <span class="_ _3"></span>where </div>
<div class="t m1 x2 h6 y1aa ff4 fs1 fc0 sc0 ls1 ws1">
the subject is realised <span class="_ _3"></span>by a nominal <span class="_ _3"></span>group while the finite is <span class="_ _3"></span>realised by the first verba<span class="_ _3"></span>l group. </div>
<div class="t m1 x2 h6 y1ab ff4 fs1 fc0 sc0 ls1 ws1">
The rest <span class="_ _3"></span>of the clause <span class="_ _3"></span>is the <span class="_ _3"></span>predicate which forms <span class="_ _3"></span>part of <span class="_ _3"></span>the residue. Thus, <span class="_ _3"></span>a clause <span class="_ _3"></span>is made </div>
<div class="t m1 x2 h6 y1ac ff4 fs1 fc0 sc0 ls1 ws1">
up of two <span class="_ _3"></span>principal parts: mood <span class="_ _3"></span>and residue. Again, <span class="_ _3"></span>in terms of <span class="_ _3"></span>thematic structure, a <span class="_ _3"></span>clause is </div>
<div class="t m1 x2 h6 y1ad ff4 fs1 fc0 sc0 ls1 ws1">
made up of theme and rheme while<span class="_ _3"></span> in terms of information structure it <span class="_ _3"></span>is made up of new and </div>
<div class="t m1 x2 h6 y1ae ff4 fs1 fc0 sc0 ls1 ws1">
given (cf. Chong 6-14). </div>
</div>
<br /><div class="pdf-viewer-page">
<div class="pf w0 h0" data-page-no="b" id="pfb">
<div class="pc pcb w0 h0">
<div class="t m0 x10 h4 y117 ff3 fs0 fc0 sc0 ls1 ws1">
[PROF. ALADINMA] </div>
<div class="t m0 x10 h4 y11b ff3 fs0 fc0 sc0 ls1 ws1">
THEME </div>
<div class="c x10 y11c w6 h11">
<div class="t m0 x17 h4 y11d ff3 fs0 fc0 sc0 ls1 ws1">
[Mood] [Given</div>
</div>
<div class="c xa y11c w7 h11">
<div class="t m0 x17 h4 y11d ff3 fs0 fc0 sc0 ls1">
]</div>
</div>
<div class="c x1e y11c w8 h11">
<div class="t m0 x17 h4 y11d ff3 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x16 h4 y11b ff3 fs0 fc0 sc0 ls1 ws1">
RHEME [Residue] [New] </div>
<div class="t m0 x1d h4 y11e ff3 fs0 fc0 sc0 ls1 ws1">
1. </div>
<div class="t m0 x1d h7 y11f ff4 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x1d h4 y120 ff3 fs0 fc0 sc0 ls1 ws1">
B </div>
<div class="t m0 x10 h4 y11e ff6 fs0 fc0 sc0 ls1 ws4">
α<span class="ff3 ws1">-clause </span></div>
<div class="t m0 x10 h7 y11f ff4 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x16 h7 y121 ff4 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x16 h7 y11f ff4 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x1f h4 y11e ff6 fs0 fc0 sc0 ls1 ws4">
β<span class="ff3 ws1">-clause </span></div>
<div class="t m0 x10 h7 y122 ff4 fs0 fc0 sc0 ls1 ws1">
You <span class="_ _b"> </span>see <span class="_ _c"> </span>Mr </div>
<div class="t m0 x20 h7 y123 ff4 fs0 fc0 sc0 ls1 ws1">
Chairman </div>
<div class="c x20 y124 w8 h11">
<div class="t m0 x17 h7 y125 ff4 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x1f h7 y122 ff4 fs0 fc0 sc0 ls1 ws1">
when the drummer changes beat the dancer must </div>
<div class="t m0 x1f h7 y123 ff4 fs0 fc0 sc0 ls1 ws1">
change his steps </div>
<div class="t m0 x10 h4 y126 ff3 fs0 fc0 sc0 ls1 ws1">
S <span class="_ _d"> </span>P <span class="_ _e"> </span>C </div>
<div class="t m0 x1d h4 y127 ff3 fs0 fc0 sc0 ls1 ws1">
MOOD <span class="_ _f"> </span>indicative <span class="ff6 ws4">→</span> declarative <span class="ff6 ws4">→</span> non-wh-question <span class="ff6 ws4">→</span> exclusive </div>
<div class="t m0 x10 h4 y128 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x1d h4 y129 ff3 fs0 fc0 sc0 ls1 ws5">
2.<span class="ff4 ws1"> </span></div>
<div class="t m0 x1d h7 y12a ff4 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x1d h4 y12b ff3 fs0 fc0 sc0 ls1 ws1">
B </div>
<div class="t m0 x10 h4 y129 ff3 fs0 fc0 sc0 ls1 ws1">
[DIMKPA] </div>
<div class="t m0 x10 h4 y12c ff3 fs0 fc0 sc0 ls1 ws1">
THEME </div>
<div class="t m0 x10 h4 y12d ff3 fs0 fc0 sc0 ls1 ws1">
[Mood] </div>
<div class="t m0 x10 h4 y12e ff3 fs0 fc0 sc0 ls1 ws1">
[Given] </div>
<div class="t m0 xa h4 y12c ff3 fs0 fc0 sc0 ls1 ws1">
RHEME [Residue] [New] </div>
<div class="t m0 x10 h4 y12f ff6 fs0 fc0 sc0 ls1 ws4">
α<span class="ff3 ws1">-clause <span class="_ _10"> </span> <span class="_ _11"> </span></span>β<span class="ff3 ws1">-clause </span></div>
<div class="t m0 x10 h7 y130 ff4 fs0 fc0 sc0 ls1 ws1">
who <span class="_ _12"> </span> is <span class="_ _13"> </span>the stubborn weed </div>
<div class="t m0 x21 h7 y17 ff4 fs0 fc0 sc0 ls1 ws1">
here </div>
<div class="t m0 x22 h7 y130 ff4 fs0 fc0 sc0 ls1 ws1">
that has denied the tender plant a chance to the </div>
<div class="t m0 x22 h7 y17 ff4 fs0 fc0 sc0 ls1 ws1">
sunlight? </div>
<div class="t m0 x10 h4 y131 ff3 fs0 fc0 sc0 ls1 ws1">
S <span class="_ _14"> </span>P <span class="_ _e"> </span>C </div>
<div class="t m0 x1d h12 y132 ff3 fs0 fc0 sc0 ls1 ws1">
MOOD <span class="_ _f"> </span>indicative <span class="ff6 ws4 v0">→</span><span class="v0">interrogative <span class="ff6 ws4">→</span><span class="ws5">wh</span></span>-question <span class="ff6 ws4 v0">→<span class="ff3 ws5">exclusive</span></span> </div>
<div class="t m0 x1d h4 y133 ff3 fs0 fc0 sc0 ls1 ws1">
3. </div>
<div class="t m0 x1d h4 y134 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x1d h4 y135 ff3 fs0 fc0 sc0 ls1 ws1">
B </div>
<div class="t m0 x10 h4 y133 ff3 fs0 fc0 sc0 ls1 ws1">
[DIMKPA] </div>
<div class="t m0 x10 h4 y136 ff3 fs0 fc0 sc0 ls1 ws1">
THEME </div>
<div class="t m0 x10 h4 y137 ff3 fs0 fc0 sc0 ls1 ws1">
[Mood] </div>
<div class="t m0 x10 h4 y138 ff3 fs0 fc0 sc0 ls1 ws1">
[Given] </div>
<div class="t m0 x1e h4 y136 ff3 fs0 fc0 sc0 ls1 ws1">
RHEME </div>
<div class="t m0 x10 h4 y139 ff6 fs0 fc0 sc0 ls1 ws4">
α<span class="ff3 ws1">-clause <span class="_ _15"> </span> <span class="_ _16"> </span></span>β<span class="ff3 ws1">-clause </span></div>
<div class="t m0 x10 h7 y13a ff4 fs0 fc0 sc0 ls1 ws1">
it <span class="_ _14"> </span>is <span class="_ _f"> </span>only a wicked mother</div>
<div class="c x6 y13b w9 h13">
<div class="t m0 x17 h7 y13c ff4 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x23 h7 y13a ff4 fs0 fc0 sc0 ls1 ws1">
that throws her stubborn child away with the </div>
<div class="t m0 x23 h7 y13d ff4 fs0 fc0 sc0 ls1 ws1">
bathwater </div>
<div class="t m0 x10 h4 y13e ff3 fs0 fc0 sc0 ls1 ws1">
S <span class="_ _14"> </span>P <span class="_ _17"> </span>C </div>
<div class="t m0 x1d h4 y13f ff3 fs0 fc0 sc0 ls1 ws1">
MOOD <span class="_ _f"> </span>Indicative <span class="ff6 ws4">→</span> declarative <span class="ff6 ws4">→</span> non-wh-question <span class="ff6 ws4">→</span> exclusive </div>
<div class="t m0 x1d h4 y140 ff3 fs0 fc0 sc0 ls1 ws1">
4. </div>
<div class="t m0 x1d h4 y141 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x1d h4 y142 ff3 fs0 fc0 sc0 ls1 ws1">
B </div>
<div class="t m0 x10 h4 y140 ff3 fs0 fc0 sc0 ls1 ws1">
[DIMKPA] </div>
<div class="t m0 x10 h4 y143 ff3 fs0 fc0 sc0 ls1 ws1">
THEME[Mood] </div>
<div class="t m0 x10 h4 y144 ff3 fs0 fc0 sc0 ls1 ws1">
[Given] </div>
<div class="t m0 x24 h4 y143 ff3 fs0 fc0 sc0 ls1 ws1">
RHEME [Residue] [New] </div>
<div class="t m0 x10 h4 y145 ff6 fs0 fc0 sc0 ls1 ws4">
β<span class="ff3 ws5">-clause<span class="ff4 ls9 ws1"> </span></span>α<span class="ff3 ws5">-clause<span class="ff4 ws1"> </span></span></div>
<div class="t m0 x10 h7 yb3 ff4 fs0 fc0 sc0 ls1 ws1">
That my brother is <span class="_ _18"> </span> <span class="_ _19"> </span> </div>
</div>
</div>
</div>
<div class="pdf-viewer-page">
<div class="pf w0 h0" data-page-no="c" id="pfc">
<div class="pc pcc w0 h0">
<div class="t m0 x1 h2 y1 ff1 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m1 x2 h3 y2 ff2 fs1 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x1b h2 y3 ff1 fs0 fc0 sc0 ls1 ws1">
12 </div>
<div class="t m0 x2 h2 y4 ff1 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x10 h7 y147 ff4 fs0 fc0 sc0 ls1 ws1">
deaf-eared <span class="_ _1a"> </span>is <span class="_ _13"> </span>not enough reason to allow him fall into a deep gully </div>
<div class="t m0 x10 h4 y148 ff3 fs0 fc0 sc0 ls1 ws1">
S <span class="_ _1b"> </span>P <span class="_ _13"> </span>C </div>
<div class="t m0 x1d h4 y149 ff3 fs0 fc0 sc0 ls1 ws5">
MOOD<span class="ff4 lsa ws1"> </span>indicative<span class="ff6 ws4">→</span><span class="ws1"> declarative <span class="ff6 ws4">→</span> non-wh-question <span class="ff6 ws4">→</span> exclusive<span class="ff4"> </span></span></div>
<div class="t m0 x1d h4 y14a ff3 fs0 fc0 sc0 ls1 ws1">
[NWAKAEGO] AND [ALL] </div>
<div class="t m0 x1d h4 y14b ff3 fs0 fc0 sc0 ls1 ws1">
5. </div>
<div class="t m0 x1d h4 y14c ff3 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x1d h4 y14d ff3 fs0 fc0 sc0 ls1 ws1">
Q </div>
<div class="t m0 x12 h4 y14b ff3 fs0 fc0 sc0 ls1 ws1">
THEME [Mood] [Given]<span class="ff4 lsb"> </span>RHEME [Residue] [New]<span class="ff4"> </span></div>
<div class="t m0 x12 h4 y14e ff6 fs0 fc0 sc0 ls1 ws4">
β<span class="ff3 ws5">-clause<span class="ff4 lsc ws1"> </span></span>α<span class="ff3">-</span></div>
<div class="t m0 x0 h4 y14f ff3 fs0 fc0 sc0 ls1 ws1">
clause </div>
<div class="t m0 x7 h4 y14e ff3 fs0 fc0 sc0 lsd ws1">
<span class="ff6 ls1 ws4">β</span><span class="ls1">-clause <span class="_ _10"> </span><span class="ff6 ws4">α</span>-clause </span></div>
<div class="t m0 x12 h7 y150 ff4 fs0 fc0 sc0 ls1 ws1">
When green leaves cease to </div>
<div class="t m0 x12 h7 y151 ff4 fs0 fc0 sc0 ls1 ws1">
grow on the ground </div>
<div class="t m0 x0 h7 y150 ff4 fs0 fc0 sc0 ls1 ws1">
a goat <span class="_ _13"> </span>will </div>
<div class="t m0 x7 h7 y151 ff4 fs0 fc0 sc0 ls1 ws1">
have </div>
<div class="t m0 x25 h7 y150 ff4 fs0 fc0 sc0 ls1 ws1">
no choice </div>
<div class="t m0 x25 h7 y151 ff4 fs0 fc0 sc0 ls1 ws1">
than to </div>
<div class="t m0 x25 h7 y152 ff4 fs0 fc0 sc0 ls1 ws1">
learn to </div>
<div class="t m0 x25 h7 y153 ff4 fs0 fc0 sc0 ls1 ws1">
feed on tree </div>
<div class="t m0 x25 h7 y154 ff4 fs0 fc0 sc0 ls1 ws1">
top </div>
<div class="t m0 x26 h7 y150 ff4 fs0 fc0 sc0 ls1 ws1">
and to reach </div>
<div class="t m0 x26 h7 y151 ff4 fs0 fc0 sc0 ls1 ws1">
the tree top </div>
<div class="t m0 x27 h7 y150 ff4 fs0 fc0 sc0 ls1 ws1">
it must </div>
<div class="t m0 x27 h7 y151 ff4 fs0 fc0 sc0 ls1 ws1">
learn the </div>
<div class="t m0 x27 h7 y152 ff4 fs0 fc0 sc0 ls1 ws1">
art of tree </div>
<div class="t m0 x27 h7 y153 ff4 fs0 fc0 sc0 ls1 ws1">
climbing! </div>
<div class="t m0 x12 h4 y155 ff3 fs0 fc0 sc0 ls1 ws1">
A <span class="_ _1c"> </span>S <span class="_ _1d"> </span>P <span class="_ _1e"> </span>C </div>
<div class="t m0 x1d h4 y156 ff3 fs0 fc0 sc0 ls1 ws1">
MOOD <span class="_ _18"> </span>indicative <span class="ff6 ws4">→</span> declarative <span class="ff6 ws4">→</span> non-wh-question <span class="ff6 ws4">→</span> exclusive </div>
<div class="t m0 x1d h4 y157 ff3 fs0 fc0 sc0 ls1 ws1">
6. </div>
<div class="t m0 x1d h4 y158 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x1d h4 y159 ff3 fs0 fc0 sc0 ls1 ws1">
B </div>
<div class="t m0 x12 h4 y157 ff3 fs0 fc0 sc0 ls1 ws1">
[NWAKAEGO] AND [ALL]<span class="ff4"> </span></div>
<div class="t m0 x12 h4 y15a ff3 fs0 fc0 sc0 ls1 ws1">
THEME [Mood] [Given] <span class="_ _1f"> </span>RHEME [Residue] [New] </div>
<div class="t m0 x12 h4 y15b ff6 fs0 fc0 sc0 ls1 ws4">
α<span class="ff3 ws1">-clause <span class="_ _20"> </span></span>β<span class="ff3 ws1">-clause </span></div>
<div class="t m0 x12 h7 y15c ff4 fs0 fc0 sc0 ls1 ws1">
Ukpana Okpoko gburu! <span class="_ _21"> </span>nti chiri ya </div>
<div class="t m0 x12 h4 y15d ff3 fs0 fc0 sc0 ls1 ws1">
S <span class="_ _22"> </span>P </div>
<div class="t m0 x1d h4 y15e ff3 fs0 fc0 sc0 ls1 ws5">
MOOD<span class="ff4 lse ws1"> </span><span class="ws1">indicative <span class="ff6 ws4">→</span> declarative <span class="ff6 ws4">→</span> non-wh-question <span class="ff6 ws4">→</span> exclus<span class="_ _0"></span>ive<span class="ff4"> </span></span></div>
<div class="t m0 x1d h4 y15f ff3 fs0 fc0 sc0 ls1 ws1">
7. </div>
<div class="t m0 x1d h4 y160 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x1d h4 y161 ff3 fs0 fc0 sc0 ls1 ws1">
B </div>
<div class="t m0 x12 h4 y15f ff3 fs0 fc0 sc0 ls1 ws1">
[NWAKAEGO] AND [ALL]<span class="ff4"> </span></div>
<div class="t m0 x12 h4 y162 ff3 fs0 fc0 sc0 ls1 ws1">
THEME [Mood] [Given]<span class="ff4 lsf"> </span>RHEME[Residue] [New]<span class="ff4"> </span></div>
<div class="t m0 x12 h4 y163 ff6 fs0 fc0 sc0 ls1 ws4">
β<span class="ff3 ws1">-clause <span class="_ _20"> </span></span>α<span class="ff3 ws1">-clause <span class="_ _a"> </span> </span></div>
<div class="t m0 x12 h7 y164 ff4 fs0 fc0 sc0 ls1 ws1">
If the hunter learns to shoot without </div>
<div class="t m0 x12 h7 y165 ff4 fs0 fc0 sc0 ls1 ws1">
missing </div>
<div class="t m0 x28 h7 y164 ff4 fs0 fc0 sc0 ls1 ws1">
Eneke the </div>
<div class="t m0 x28 h7 y165 ff4 fs0 fc0 sc0 ls1 ws1">
bird </div>
<div class="c x29 y166 wa h13">
<div class="t m0 x17 h7 y167 ff4 fs0 fc0 sc0 ls1 ws1">
must </div>
</div>
<div class="t m0 x2a h7 y164 ff4 fs0 fc0 sc0 ls1 ws1">
learn <span class="_ _23"> </span>to fly without </div>
<div class="t m0 x2b h7 y165 ff4 fs0 fc0 sc0 ls1 ws1">
perching </div>
<div class="t m0 x12 h4 y168 ff3 fs0 fc0 sc0 ls1 ws1">
A <span class="_ _24"> </span>S <span class="_ _25"> </span>F <span class="_ _26"> </span>P <span class="_ _a"> </span>C </div>
<div class="t m0 x1d h4 y169 ff3 fs0 fc0 sc0 ls1 ws1">
MOOD <span class="_ _18"> </span>indicative <span class="ff6 ws4">→</span> declarative <span class="ff6 ws4">→</span> non-wh-question <span class="ff6 ws4">→</span> exclusive<span class="ff4"> </span></div>
<div class="t m0 x1d h4 y16a ff3 fs0 fc0 sc0 ls1 ws1">
8. </div>
<div class="t m0 x1d h4 y16b ff3 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x1d h4 y16c ff3 fs0 fc0 sc0 ls1 ws1">
T </div>
<div class="t m0 x12 h4 y16a ff3 fs0 fc0 sc0 ls1 ws1">
[MAZI CHINEDU] </div>
<div class="t m0 x12 h4 y16d ff3 fs0 fc0 sc0 ls1 ws1">
THEME [Mood] [Given] <span class="_ _27"> </span>RHEME [Residue] [New] </div>
<div class="t m0 x12 h4 y16e ff6 fs0 fc0 sc0 ls1 ws4">
β<span class="ff3 ws1">-clause <span class="_ _28"> </span></span>α<span class="ff3 ws1">-clause <span class="_ _29"> </span></span>β<span class="ff3 ws1">-clause </span></div>
</div>
</div>
</div>
<div class="pdf-viewer-page">
<div class="pf w0 h0" data-page-no="d" id="pfd">
<div class="pc pcd w0 h0">
<div class="t m0 x1 h2 y1 ff1 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m1 x2 h3 y2 ff2 fs1 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x1b h2 y3 ff1 fs0 fc0 sc0 ls1 ws1">
13 </div>
<div class="t m0 x2 h2 y4 ff1 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x12 h7 y147 ff4 fs0 fc0 sc0 ls1 ws1">
That the hunch is not heavy on its </div>
<div class="t m0 x12 h4 y170 ff4 fs0 fc0 sc0 ls1 ws5">
bearer<span class="ff3 ws1"> </span></div>
<div class="t m0 x2c h7 y147 ff4 fs0 fc0 sc0 ls1 ws1">
does </div>
<div class="c x2d y171 wb h11">
<div class="t m0 x17 h4 y172 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x2e h7 y147 ff4 fs0 fc0 sc0 ls1 ws1">
not </div>
<div class="c x2f y171 wc h11">
<div class="t m0 x17 h4 y172 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x2e h4 y173 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x30 h7 y147 ff4 fs0 fc0 sc0 ls1 ws5">
mean</div>
<div class="c x31 y171 w8 h11">
<div class="t m0 x17 h4 y172 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x2a h7 y147 ff4 fs0 fc0 sc0 ls1 ws1">
that he is comfortable with it </div>
<div class="t m0 x12 h4 y174 ff3 fs0 fc0 sc0 ls1 ws1">
S <span class="_ _2a"> </span>F <span class="_ _12"> </span>P <span class="_ _a"> </span>C </div>
<div class="t m0 x1d h4 y175 ff3 fs0 fc0 sc0 ls1 ws1">
MOOD <span class="_ _18"> </span>indicative <span class="ff6 ws4">→</span> declarative <span class="ff6 ws4">→</span> non-wh-question <span class="ff6 ws4">→</span> exclusive </div>
<div class="t m0 x32 h4 y176 ff3 fs0 fc0 sc0 ls1 ws1">
[IFEDIEGWU] </div>
<div class="t m0 x1d h4 y177 ff3 fs0 fc0 sc0 ls1 ws1">
9. </div>
<div class="t m0 x1d h4 y178 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x1d h4 y179 ff3 fs0 fc0 sc0 ls1 ws1">
B </div>
<div class="t m0 x10 h4 y177 ff3 fs0 fc0 sc0 ls1 ws1">
THEME [Mood] [Given] <span class="_ _2b"> </span>RHEME [Residue] [New] </div>
<div class="t m0 x10 h4 y17a ff6 fs0 fc0 sc0 ls1 ws4">
β<span class="ff3 ws5">-clause<span class="ff4 ls10 ws1"> </span></span>α<span class="ff3 ws5">-clause<span class="ff4 ws1"> </span></span></div>
<div class="t m0 x10 h7 y17b ff4 fs0 fc0 sc0 ls1 ws1">
The fruit we saw afar <span class="_ _1b"> </span>is <span class="_ _2c"> </span>no longer the same at a close range </div>
<div class="t m0 x10 h4 y17c ff3 fs0 fc0 sc0 ls1 ws1">
S <span class="_ _2d"> </span>P <span class="_ _8"> </span>C </div>
<div class="t m0 x1d h12 y17d ff3 fs0 fc0 sc0 ls1 ws5">
MOOD<span class="ff4 lsa ws1"> </span><span class="ws1">indicative <span class="ff6 ws4 v0">→</span><span class="v0"> declarative <span class="ff6 ws4">→</span> non</span>-wh-question <span class="ff6 ws4 v0">→</span><span class="v0"> exclusive</span><span class="ff4"> </span></span></div>
<div class="t m0 x1d h4 y17e ff3 fs0 fc0 sc0 ls1 ws1">
[IFEDIEGWU] </div>
<div class="t m0 x1d h4 y17f ff3 fs0 fc0 sc0 ls1 ws1">
10. </div>
<div class="t m0 x1d h4 y180 ff3 fs0 fc0 sc0 ls1 ws1">
B </div>
<div class="t m0 x10 h4 y17f ff3 fs0 fc0 sc0 ls1 ws1">
THEME </div>
<div class="t m0 x10 h4 y181 ff3 fs0 fc0 sc0 ls1 ws1">
[Mood][Given] </div>
<div class="t m0 x20 h4 y17f ff3 fs0 fc0 sc0 ls1 ws1">
RHEME [Residue] [New] </div>
<div class="t m0 x10 h4 y182 ff6 fs0 fc0 sc0 ls1 ws4">
α<span class="ff3 ws1">-clause <span class="_ _2e"> </span> <span class="_ _2f"> </span></span>β<span class="ff3 ws1">-clause </span></div>
<div class="t m0 x10 h7 y183 ff4 fs0 fc0 sc0 ls1 ws5">
Can</div>
<div class="c x33 y184 w8 h11">
<div class="t m0 x17 h4 y185 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 xb h7 y183 ff4 fs0 fc0 sc0 ls1 ws5">
we</div>
<div class="c x34 y184 w8 h11">
<div class="t m0 x17 h4 y185 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x20 h7 y183 ff4 fs0 fc0 sc0 ls1 ws5">
allow</div>
<div class="c x0 y184 wd h11">
<div class="t m0 x17 h4 y185 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x8 h7 y183 ff4 fs0 fc0 sc0 ls1 ws1">
the <span class="_ _3"> </span>foam from <span class="_ _3"></span>our <span class="_ _3"> </span>own soa<span class="_ _0"></span>p </div>
<div class="t m0 x8 h4 y186 ff4 fs0 fc0 sc0 ls1 ws1">
to blind us <span class="ff3"> </span></div>
<div class="t m0 x35 h7 y183 ff4 fs0 fc0 sc0 ls1 ws1">
while <span class="_ _4"> </span>we <span class="_ _4"> </span>are <span class="_ _4"> </span>still <span class="_ _4"> </span>in <span class="_ _4"> </span>the </div>
<div class="t m0 x35 h4 y186 ff4 fs0 fc0 sc0 ls1 ws5">
river?<span class="ff3 ws1"> </span></div>
<div class="t m0 x1d h4 y187 ff3 fs0 fc0 sc0 ls1 ws1">
<span class="_ _30"> </span>F <span class="_ _a"> </span>S <span class="_ _31"> </span>P <span class="_ _a"> </span>C <span class="_ _32"> </span>A </div>
<div class="t m0 x1d h4 y188 ff3 fs0 fc0 sc0 ls1 ws1">
MOOD <span class="_ _f"> </span>indicative <span class="ff6 ws4">→</span>interrogative <span class="ff6 ws4">→</span>non-wh-question <span class="ff6 ws4">→</span>inclusive </div>
<div class="t m0 x1d h4 y189 ff3 fs0 fc0 sc0 ls1 ws1">
[IFEDIEGWU] </div>
<div class="t m0 x1d h4 y18a ff3 fs0 fc0 sc0 ls1 ws1">
11. <span class="_ _2c"> </span>THEME [Mood] </div>
<div class="c x36 y18b we h11">
<div class="t m0 x17 h4 y18c ff3 fs0 fc0 sc0 ls1 ws5">
[Given]</div>
</div>
<div class="c x37 y18b w8 h11">
<div class="t m0 x17 h4 y18c ff3 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x38 h4 y18a ff3 fs0 fc0 sc0 ls1 ws1">
RHEME [Residue] [New] </div>
<div class="t m0 x36 h4 y18d ff6 fs0 fc0 sc0 ls1 ws4">
β<span class="ff3 ws1">-clause <span class="_ _1a"> </span> <span class="_ _33"> </span></span>β<span class="ff3 ws1">-clause <span class="_ _34"> </span></span>β<span class="ff3 ws1">-clause </span></div>
<div class="t m0 x1d h16 y18e ff3 fs0 fc0 sc0 ls1 ws1">
Q <span class="_ _1d"> </span><span class="ff4 ws5 v0">Now</span></div>
<div class="c x39 y18f wf h11">
<div class="t m0 x17 h4 y190 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x37 h7 y191 ff4 fs0 fc0 sc0 ls1 ws5">
that</div>
<div class="c x34 y18f w10 h11">
<div class="t m0 x17 h4 y190 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x3a h7 y191 ff4 fs0 fc0 sc0 ls1 ws5">
we</div>
<div class="c x3b y18f w8 h11">
<div class="t m0 x17 h4 y190 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x38 h7 y191 ff4 fs0 fc0 sc0 ls1 ws5">
have</div>
<div class="c x20 y18f w8 h11">
<div class="t m0 x17 h4 y190 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x3c h7 y191 ff4 fs0 fc0 sc0 ls1 ws5">
discovered</div>
<div class="c x3d y18f w11 h11">
<div class="t m0 x17 h4 y190 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x7 h7 y191 ff4 fs0 fc0 sc0 ls1 ws1">
the hole</div>
<div class="c x2e y18f w8 h11">
<div class="t m0 x17 h4 y190 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x25 h7 y191 ff4 fs0 fc0 sc0 ls1 ws1">
that <span class="_ _7"> </span>harbours <span class="_ _35"> </span>the </div>
<div class="t m0 x25 h4 y192 ff4 fs0 fc0 sc0 ls1 ws1">
rattle snake<span class="ff3"> </span></div>
<div class="t m0 x3e h7 y191 ff4 fs0 fc0 sc0 ls1 ws1">
that <span class="_ _3"> </span>struck us <span class="_ _3"></span>with </div>
<div class="t m0 x3e h4 y192 ff4 fs0 fc0 sc0 ls1 ws1">
its tail<span class="ff3"> </span></div>
<div class="t m0 x36 h4 y193 ff3 fs0 fc0 sc0 ls1 ws1">
A <span class="_ _19"> </span> <span class="_ _10"> </span>S <span class="_ _36"> </span>F <span class="_ _a"> </span>P <span class="_ _12"> </span>C </div>
<div class="t m0 x1d h4 y194 ff3 fs0 fc0 sc0 ls1 ws1">
<span class="_ _37"> </span> <span class="_ _38"> </span><span class="ff6 ws4">α</span>-clause <span class="_ _39"> </span> <span class="ff6 ls11">β</span>-clause </div>
<div class="t m0 x3f h4 y195 ff3 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x7 h7 y196 ff4 fs0 fc0 sc0 ls1 ws1">
do we fold <span class="_ _3"></span>our </div>
<div class="t m0 x7 h7 y197 ff4 fs0 fc0 sc0 ls1 ws1">
arms and wait </div>
<div class="c x7 y198 w8 h11">
<div class="t m0 x17 h7 y199 ff4 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x3f h7 y196 ff4 fs0 fc0 sc0 ls1 ws1">
until </div>
<div class="c x2a y19a w12 h13">
<div class="t m0 x17 h7 y19b ff4 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x3f h7 y197 ff4 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x35 h7 y196 ff4 fs0 fc0 sc0 ls1 ws1">
we </div>
<div class="t m0 x35 h7 y197 ff4 fs0 fc0 sc0 ls1 ws1">
</div>
<div class="t m0 x2b h7 y196 ff4 fs0 fc0 sc0 ls1 ws1">
are </div>
<div class="c x40 y19a w11 h13">
<div class="t m0 x17 h7 y19b ff4 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x41 h7 y196 ff4 fs0 fc0 sc0 ls1 ws1">
bitten <span class="_ _3a"> </span>by <span class="_ _4"> </span>the </div>
<div class="t m0 x42 h7 y197 ff4 fs0 fc0 sc0 ls1 ws1">
same </div>
<div class="c x42 y198 w13 h11">
<div class="t m0 x17 h7 y199 ff4 fs0 fc0 sc0 ls1 ws5">
snake?</div>
</div>
<div class="c x43 y198 w8 h11">
<div class="t m0 x17 h7 y199 ff4 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
<div class="t m0 x7 h7 y19c ff4 fs0 fc0 sc0 ls12 ws1">
<span class="ff3 ls1 v0">A <span class="_ _18"> </span>S <span class="_ _17"> </span>F <span class="_ _e"> </span>P <span class="_ _15"> </span>C </span></div>
<div class="t m0 x1d h4 y19d ff3 fs0 fc0 sc0 ls1 ws1">
MOOD <span class="_ _c"> </span>indicative <span class="ff6 ws4">→</span>interrogative <span class="ff6 ws4">→</span>non-wh-question <span class="ff6 ws4">→</span><span class="ws5">inclusive</span><span class="ff4"> </span></div>
<div class="t m0 x36 h7 y19e ff4 fs0 fc0 sc0 ls1 ws1">
</div>
</div>
</div>
</div>
<div class="pdf-viewer-page">
</div>
<br /><div class="t m1 x2 h5 y1a0 ff3 fs1 fc0 sc0 ls1 ws1">
Table 1: <span class="_ _2"> </span>Analytic Fr<span class="_ _3"></span>amework for<span class="_ _3"></span> Mood, <span class="_ _2"> </span>Thematic and <span class="_ _2"> </span>Information <span class="_ _2"> </span>Structures of </div>
<div class="t m1 x2 h5 y1a1 ff3 fs1 fc0 sc0 ls1 ws1">
Proverbs Used in <span class="_ _3"></span>the Play.<span class="ff4"> </span></div>
<div class="t m4 x44 h18 y1a1 ff2 fs4 fc0 sc0 ls1 ws6">
KEYS<span class="ff5 ws1">: B–Bipartite; T–Tri<span class="_ _3"></span>partite; Q–Quadripartite; <span class="_ _3"></span>S–Subject; P–Predicate; </span></div>
<div class="t m4 x2 h19 y27 ff5 fs4 fc0 sc0 ls1 ws1">
F–Finite (Aux) C–Complement; <span class="_ _3"></span>A–Adjunct; <span class="ff7 ls13">α</span>-clause–Main Clause; <span class="_ _3"></span><span class="ff7 ws7">β</span>-clause–Subordinate Clause </div>
<div class="t m1 x45 h6 y27 ff4 fs1 fc0 sc0 ls1 ws1">
</div>
<div class="t m5 x2 h1a y1a2 ff3 fs5 fc0 sc0 ls1 ws1">
</div>
<div class="t m1 x2 h6 y1a3 ff4 fs1 fc0 sc0 ls1 ws1">
From the table <span class="_ _3"></span>above, bipartite, tripa<span class="_ _3"></span>rtite and quadripartite st<span class="_ _3"></span>ructural labels refer to <span class="_ _3"></span>categories </div>
<div class="t m1 x2 h6 y1a4 ff4 fs1 fc0 sc0 ls1 ws1">
of <span class="_ _3"> </span>the prov<span class="_ _0"></span>erbs <span class="_ _3"> </span>as discussed <span class="_ _3"></span>in <span class="_ _3"> </span>sec<span class="_ _3"></span>tion <span class="_ _3"> </span>2 <span class="_ _1"> </span>above; <span class="_ _1"> </span>subject, <span class="_ _3"> </span>predicate, <span class="_ _1"> </span>finite, <span class="_ _1"> </span>complement <span class="_ _3"> </span>and </div>
<div class="t m1 x2 h6 y1a5 ff4 fs1 fc0 sc0 ls1 ws1">
adjuncts <span class="_ _3"></span>are <span class="_ _3"></span>traditional <span class="_ _3"></span>functional <span class="_ _3"> </span>labels <span class="_ _1"> </span>used to <span class="_ _3"> </span>an<span class="_ _3"></span>alyse <span class="_ _3"></span>the <span class="_ _3"></span>internal <span class="_ _3"></span>structure <span class="_ _3"></span>of <span class="_ _3"></span>a <span class="_ _3"></span>clause <span class="_ _3"> </span>or </div>
<div class="t m1 x2 h1b y1a6 ff4 fs1 fc0 sc0 ls1 ws1">
sentence <span class="_ _1"> </span>in <span class="_ _3"> </span>SFG; <span class="ff8 ws8">α</span>-clause <span class="_ _3"></span>(main <span class="_ _1"> </span>clause); <span class="_ _1"> </span><span class="ff8 ls14">β</span>-clause <span class="_ _3"> </span>(subordinate<span class="_ _3"></span> <span class="_ _3"> </span>clau<span class="_ _3"></span>se) <span class="_ _3"> </span>refer to <span class="_ _3"></span>the <span class="_ _1"> </span>clausal </div>
<div class="t m1 x2 h6 y1a7 ff4 fs1 fc0 sc0 ls1 ws1">
structure <span class="_ _3"></span>of <span class="_ _3"> </span>the<span class="_ _3"></span> <span class="_ _3"></span>proverbs; <span class="_ _3"></span> <span class="_ _3"> </span>theme <span class="_ _1"> </span>and <span class="_ _3"></span>rheme <span class="_ _3"></span>or <span class="_ _3"> </span>re<span class="_ _3"></span>sidue <span class="_ _3"></span>refer <span class="_ _3"></span>to <span class="_ _3"> </span>the<span class="_ _3"></span> <span class="_ _3"></span>thematic <span class="_ _3"> </span>structure <span class="_ _1"> </span>while </div>
<div class="t m1 x2 h6 y1a8 ff4 fs1 fc0 sc0 ls1 ws1">
given and new refer t<span class="_ _3"></span>o the information structure. On the <span class="_ _3"></span>whole, the mood structure ca<span class="_ _3"></span>rries the </div>
<div class="t m1 x2 h6 y1a9 ff4 fs1 fc0 sc0 ls1 ws1">
interpersonal <span class="_ _3"></span>metafunction of <span class="_ _3"> </span>a <span class="_ _3"></span>clause <span class="_ _3"></span>or sent<span class="_ _3"></span>ence and <span class="_ _3"> </span>it <span class="_ _3"></span>consists <span class="_ _3"></span>of subj<span class="_ _3"></span>ect and <span class="_ _3"></span>finite <span class="_ _3"></span>where </div>
<div class="t m1 x2 h6 y1aa ff4 fs1 fc0 sc0 ls1 ws1">
the subject is realised <span class="_ _3"></span>by a nominal <span class="_ _3"></span>group while the finite is <span class="_ _3"></span>realised by the first verba<span class="_ _3"></span>l group. </div>
<div class="t m1 x2 h6 y1ab ff4 fs1 fc0 sc0 ls1 ws1">
The rest <span class="_ _3"></span>of the clause <span class="_ _3"></span>is the <span class="_ _3"></span>predicate which forms <span class="_ _3"></span>part of <span class="_ _3"></span>the residue. Thus, <span class="_ _3"></span>a clause <span class="_ _3"></span>is made </div>
<div class="t m1 x2 h6 y1ac ff4 fs1 fc0 sc0 ls1 ws1">
up of two <span class="_ _3"></span>principal parts: mood <span class="_ _3"></span>and residue. Again, <span class="_ _3"></span>in terms of <span class="_ _3"></span>thematic structure, a <span class="_ _3"></span>clause is </div>
<div class="t m1 x2 h6 y1ad ff4 fs1 fc0 sc0 ls1 ws1">
made up of theme and rheme while<span class="_ _3"></span> in terms of information structure it <span class="_ _3"></span>is made up of new and </div>
<div class="t m1 x2 h6 y1ae ff4 fs1 fc0 sc0 ls1 ws1">
given (cf. Chong 6-14). </div>
<div class="t m1 x2 h6 y1ae ff4 fs1 fc0 sc0 ls1 ws1">
<b> </b></div>
<div class="t m1 x2 h5 y1af ff3 fs1 fc0 sc0 ls1 ws1">
<b>6. Discussion and Implications of the Findings </b></div>
<div class="t m1 x2 h6 y1b0 ff4 fs1 fc0 sc0 ls1 ws1">
In order to determine<span class="_ _3"></span> the prospects of <span class="_ _3"></span>using the analytical model <span class="_ _3"></span>being proposed in this <span class="_ _3"></span>paper </div>
<div class="t m1 x2 h6 y1b1 ff4 fs1 fc0 sc0 ls1 ws1">
to develop students’ <span class="_ _3"></span>awareness of mood <span class="_ _3"></span>structure and grammatical <span class="_ _3"></span>structures of proverbs, <span class="_ _3"></span>the </div>
<div class="t m1 x2 h6 y1b2 ff4 fs1 fc0 sc0 ls1 ws1">
researcher <span class="_ _3"></span>designed <span class="_ _1"> </span>a <span class="_ _3"></span>test <span class="_ _3"> </span>instrument <span class="_ _1"> </span>which <span class="_ _3"></span>was <span class="_ _3"></span>administered <span class="_ _1"> </span>to <span class="_ _3"></span>a <span class="_ _3"></span>group <span class="_ _3"> </span>of <span class="_ _1"> </span>200 <span class="_ _3"></span>level <span class="_ _3"> </span>NCE </div>
<div class="t m1 x2 h6 y1b3 ff4 fs1 fc0 sc0 ls1 ws1">
students from the departments o<span class="_ _3"></span>f Theatre Arts, Igbo, French a<span class="_ _3"></span>nd History, Alvan Ikoku </div>
<div class="t m1 x2 h6 y1b4 ff4 fs1 fc0 sc0 ls1 ws1">
Federal College of Education, Owerri. The choice of the<span class="_ _3"></span> students is hinged on the fact each of </div>
<div class="t m1 x2 h6 y1b5 ff4 fs1 fc0 sc0 ls1 ws1">
them <span class="_ _3"> </span>takes <span class="_ _3"> </span>c<span class="_ _3"></span>ourses <span class="_ _3"></span>from <span class="_ _3"> </span>the <span class="_ _1"> </span>Department <span class="_ _3"> </span>of <span class="_ _1"> </span>English <span class="_ _3"></span>Language <span class="_ _3"></span>and <span class="_ _1"> </span>Literature. <span class="_ _3"></span>As <span class="_ _3"> </span>such<span class="_ _3"></span> <span class="_ _3"></span>they </div>
<div class="t m1 x2 h6 y1b6 ff4 fs1 fc0 sc0 ls1 ws1">
have been <span class="_ _3"></span>taught Basi<span class="_ _3"></span>c Grammar <span class="_ _3"></span>in first <span class="_ _3"></span>semester of <span class="_ _3"></span>the present <span class="_ _3"></span>session where <span class="_ _3"></span>issues <span class="_ _3"></span>related </div>
<div class="t m1 x2 h6 y1b7 ff4 fs1 fc0 sc0 ls1 ws1">
to <span class="_ _2"> </span>structural <span class="_ _2"> </span>analyses <span class="_ _2"> </span>of <span class="_ _2"> </span>sentences <span class="_ _2"> </span>have <span class="_ _2"> </span>be<span class="_ _3"></span>en <span class="_ _2"> </span>discussed <span class="_ _2"> </span>and <span class="_ _2"> </span>they <span class="_ _2"> </span>are <span class="_ _2"> </span>currently <span class="_ _2"> </span>taking </div>
<div class="t m1 x2 h6 y1b8 ff4 fs1 fc0 sc0 ls1 ws1">
Advanced <span class="_ _3"></span>Composition <span class="_ _3"></span>where <span class="_ _3"></span>the <span class="_ _3"></span>ability <span class="_ _3"></span>to <span class="_ _3"></span>construct <span class="_ _3"></span>and <span class="_ _3"></span>manipulate <span class="_ _3"> </span>sentence <span class="_ _3"> </span>varieties <span class="_ _3"></span>that </div>
<div class="t m1 x2 h6 y1b9 ff4 fs1 fc0 sc0 ls1 ws1">
match <span class="_ _3"></span>thoughts <span class="_ _3"> </span>and <span class="_ _1"> </span>styles c<span class="_ _3"></span>onstitutes <span class="_ _3"></span>one <span class="_ _3"> </span>of <span class="_ _1"> </span>the learni<span class="_ _3"></span>ng <span class="_ _3"></span>outcomes. <span class="_ _3"></span>Thus, <span class="_ _3"> </span>5<span class="_ _3"></span>0 <span class="_ _3"></span>students <span class="_ _3"></span>from </div>
<div class="t m1 x2 h6 y1ba ff4 fs1 fc0 sc0 ls1 ws1">
each d<span class="_ _0"></span>epartment were <span class="_ _3"> </span>selected. This <span class="_ _1"> </span>gave <span class="_ _1"> </span>a sample <span class="_ _3"> </span>of 200 <span class="_ _1"> </span>students drawn <span class="_ _3"> </span>fro<span class="_ _3"></span>m <span class="_ _1"> </span>the <span class="_ _1"> </span>four </div>
<div class="t m1 x2 h6 y1bb ff4 fs1 fc0 sc0 ls1 ws1">
departments. The results of the two tests are presented below.</div>
<div class="t m1 x2 h6 y1bb ff4 fs1 fc0 sc0 ls1 ws1">
</div>
<div class="t m1 x2 h6 y1bb ff4 fs1 fc0 sc0 ls1 ws1">
<div class="t m1 x2 h6 y4f ff4 fs1 fc0 sc0 ls1 ws1">
The <span class="_ _3"> </span>a<span class="_ _3"></span>bove <span class="_ _3"> </span>chart <span class="_ _1"> </span>shows <span class="_ _3"> </span>the<span class="_ _3"></span> <span class="_ _3"> </span>students’ <span class="_ _1"> </span>performance <span class="_ _1"> </span>in <span class="_ _3"> </span>the <span class="_ _1"> </span>test <span class="_ _3"> </span>on mood s<span class="_ _3"></span>tructure, <span class="_ _3"> </span>where t<span class="_ _0"></span>he </div>
<div class="t m1 x2 h6 y50 ff4 fs1 fc0 sc0 ls1 ws1">
average scores <span class="_ _3"></span>are as f<span class="_ _3"></span>ollows: Theatre Arts<span class="_ _3"></span>/ English 68%; <span class="_ _3"></span>English/Igbo 66%; <span class="_ _3"></span>English/French </div>
<div class="t m1 x2 h6 y51 ff4 fs1 fc0 sc0 ls1 ws1">
58% <span class="_ _1"> </span>and <span class="_ _1"> </span>English/History <span class="_ _3"> </span>74<span class="_ _3"></span>%. <span class="_ _1"> </span>Similarly, <span class="_ _1"> </span>the <span class="_ _1"> </span>result <span class="_ _1"> </span>of <span class="_ _1"> </span>the <span class="_ _3"> </span>t<span class="_ _3"></span>est <span class="_ _1"> </span>on <span class="_ _1"> </span>students’ <span class="_ _1"> </span>knowledge <span class="_ _3"> </span>of<span class="_ _3"></span> </div>
<div class="t m1 x2 h6 yb5 ff4 fs1 fc0 sc0 ls1 ws1">
grammatical functions like subject, predicate, etc is presented <span class="_ _3"></span>below. </div>
<br /><div class="t m1 x2 h6 y1bf ff4 fs1 fc0 sc0 ls1 ws1">
The above<span class="_ _3"></span> chart <span class="_ _3"></span>shows <span class="_ _3"></span>the students’ <span class="_ _3"></span>performance <span class="_ _3"></span>in the<span class="_ _3"></span> test <span class="_ _3"></span>on <span class="_ _3"></span>grammatical function, <span class="_ _3"> </span>where </div>
<div class="t m1 x2 h6 y1c0 ff4 fs1 fc0 sc0 ls1 ws1">
the <span class="_ _3b"> </span>average <span class="_ _3b"> </span>scores <span class="_ _3b"> </span>are <span class="_ _3b"> </span>as <span class="_ _3b"> </span>follows: <span class="_ _3b"> </span>Theatre <span class="_ _3b"> </span>Arts/ <span class="_ _3b"> </span>English <span class="_ _3b"> </span>54%; <span class="_ _3b"> </span>English/Igbo <span class="_ _3b"> </span>48%; </div>
<div class="t m1 x2 h6 y1c1 ff4 fs1 fc0 sc0 ls1 ws1">
English/French 50% <span class="_ _3"></span>and English/History 38%.<span class="_ _3"></span> This <span class="_ _3"></span>result is in <span class="_ _3"></span>sharp contrast f<span class="_ _3"></span>rom what was </div>
<div class="t m1 x2 h6 ya4 ff4 fs1 fc0 sc0 ls1 ws1">
obtained in the first t<span class="_ _3"></span>est. As such, it is <span class="_ _2"> </span>obvious from the test result<span class="_ _3"></span>s that the students </div>
<div class="t m1 x2 h6 y1c2 ff4 fs1 fc0 sc0 ls1 ws1">
understood the mood <span class="_ _3"></span>structure faster than grammat<span class="_ _3"></span>ical function. Tentatively, thi<span class="_ _3"></span>s may be as a </div>
<div class="t m1 x2 h6 y1c3 ff4 fs1 fc0 sc0 ls1 ws1">
result <span class="_ _3"></span>of <span class="_ _3"></span>them <span class="_ _3"></span>relying <span class="_ _3"></span>on <span class="_ _3"></span>not <span class="_ _3"></span>just <span class="_ _3"></span>grammatical <span class="_ _3"></span>information <span class="_ _3"> </span>but <span class="_ _3"></span>also <span class="_ _3"> </span>discourse <span class="_ _3"> </span>and <span class="_ _3"> </span>pra<span class="_ _3"></span>gmatic </div>
<div class="t m1 x2 h6 y1c4 ff4 fs1 fc0 sc0 ls1 ws1">
information made available by the context. </div>
<div class="t m5 x2 h1a y1c5 ff3 fs5 fc0 sc0 ls1 ws1">
<b> </b></div>
<div class="t m5 x2 h1a y1c5 ff3 fs5 fc0 sc0 ls1 ws1">
<b>7. Conclusion </b></div>
<div class="t m5 x2 h1d y3d ff4 fs5 fc0 sc0 ls1 ws1">
This <span class="_ _3"></span>paper <span class="_ _3"></span>set <span class="_ _3"></span>out to <span class="_ _3"> </span>analyse <span class="_ _3"> </span>the <span class="_ _3"> </span>proverbs <span class="_ _3"> </span>used <span class="_ _3"> </span>in <span class="_ _3"></span>Greg <span class="_ _3"></span>Mbajiorgu’s <span class="_ _3"></span>Wake <span class="_ _3"></span>Up <span class="_ _3"></span>Everyone. <span class="_ _3"></span>In <span class="_ _3"></span>the </div>
<div class="t m5 x2 h1d y1c6 ff4 fs5 fc0 sc0 ls1 ws1">
course of the analysis, the paper identified eleven proverbs with their respective structures,<span class="_ _0"></span> </div>
<div class="t m5 x2 h1d y1c7 ff4 fs5 fc0 sc0 ls1 ws1">
functions <span class="_ _3"></span>in <span class="_ _3"></span>providing <span class="_ _3"> </span>information <span class="_ _3"> </span>on <span class="_ _1"> </span>the <span class="_ _3"></span>major <span class="_ _3"></span>characters <span class="_ _3"> </span>in <span class="_ _3"> </span>the <span class="_ _3"> </span>pla<span class="_ _3"></span>y a<span class="_ _3"></span>nd <span class="_ _3"></span>their <span class="_ _3"></span>mood <span class="_ _3"> </span>structure </div>
<div class="t m5 x2 h1d y1c8 ff4 fs5 fc0 sc0 ls1 ws1">
and <span class="_ _3"> </span>grammatical <span class="_ _1"> </span>functions. <span class="_ _3"></span>The <span class="_ _3"> </span>results <span class="_ _1"> </span>of <span class="_ _3"></span>the <span class="_ _3"> </span>empirical <span class="_ _1"> </span>study <span class="_ _3"></span>carried <span class="_ _1"> </span>out <span class="_ _3"></span>to <span class="_ _3"> </span>ascertain <span class="_ _1"> </span>students’ </div>
<div class="t m5 x2 h1d y1c9 ff4 fs5 fc0 sc0 ls1 ws1">
knowledge <span class="_ _2"> </span>of bo<span class="_ _3"></span>th <span class="_ _2"> </span>mood <span class="_ _2"> </span>structure <span class="_ _2"> </span>and <span class="_ _2"> </span>grammatical <span class="_ _2"> </span>functions <span class="_ _2"> </span>in <span class="_ _2"> </span>relation to <span class="_ _4"> </span>the <span class="_ _2"> </span>proverbs </div>
<div class="t m5 x2 h1d y1ca ff4 fs5 fc0 sc0 ls1 ws1">
identified <span class="_ _3"> </span>in <span class="_ _3"> </span>t<span class="_ _3"></span>he <span class="_ _3"></span>play <span class="_ _3"> </span>were <span class="_ _1"> </span>also <span class="_ _3"> </span>presented. <span class="_ _1"> </span>All <span class="_ _3"></span>in <span class="_ _3"> </span>all <span class="_ _1"> </span>the <span class="_ _3"></span>paper <span class="_ _3"> </span>has <span class="_ _1"> </span>contributed <span class="_ _3"></span>to <span class="_ _3"> </span>knowledge <span class="_ _1"> </span>in </div>
<div class="t m5 x2 h1d y1cb ff4 fs5 fc0 sc0 ls1 ws1">
that it <span class="_ _3"> </span>di<span class="_ _3"></span>d <span class="_ _1"> </span>only s<span class="_ _0"></span>how how <span class="_ _3"> </span>proverbs can be <span class="_ _3"> </span>use<span class="_ _3"></span>d <span class="_ _1"> </span>to discuss <span class="_ _3"> </span>t<span class="_ _3"></span>opical <span class="_ _1"> </span>environmental issues <span class="_ _3"> </span>like </div>
<div class="t m5 x2 h1d y1cc ff4 fs5 fc0 sc0 ls1 ws1">
climate <span class="_ _3"></span>change <span class="_ _3"> </span>but <span class="_ _3"> </span>also <span class="_ _1"> </span>indicated <span class="_ _3"></span>that <span class="_ _3"></span>an <span class="_ _3"></span>eclectic <span class="_ _3"> </span>approach <span class="_ _1"> </span>in <span class="_ _3"></span>which <span class="_ _3"></span>authentic <span class="_ _3"></span>texts <span class="_ _3"> </span>are <span class="_ _1"> </span>used <span class="_ _3"></span>to </div>
<div class="t m5 x2 h1d y1cd ff4 fs5 fc0 sc0 ls1 ws1">
teach <span class="_ _3"> </span>mood <span class="_ _1"> </span>structure <span class="_ _3"> </span>i<span class="_ _3"></span>n <span class="_ _3"> </span>combination <span class="_ _1"> </span>with <span class="_ _3"></span>grammatical <span class="_ _1"> </span>functions <span class="_ _3"> </span>to <span class="_ _1"> </span>students <span class="_ _3"> </span>is <span class="_ _1"> </span>a <span class="_ _3"> </span>desirable <span class="_ _1"> </span>and </div>
<div class="t m5 x2 h1d y45 ff4 fs5 fc0 sc0 ls1 ws1">
innovative <span class="_ _3"> </span>venture that ES<span class="_ _3"></span>L <span class="_ _3"></span>teachers <span class="_ _1"> </span>can <span class="_ _3"> </span>exploit<span class="_ _3"></span> <span class="_ _3"> </span>in <span class="_ _1"> </span>order <span class="_ _3"> </span>to enhance <span class="_ _3"></span>their <span class="_ _3"> </span>effectiveness <span class="_ _1"> </span>in <span class="_ _3"> </span>the </div>
<div class="t m5 x2 h1d y1ce ff4 fs5 fc0 sc0 ls1 ws1">
classroom.</div>
</div>
<div class="t m1 x2 h6 y1bb ff4 fs1 fc0 sc0 ls1 ws1">
<div class="t m5 x47 h1a y1d3 ff3 fs5 fc0 sc0 ls1 ws1" style="text-align: center;">
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Achebe, Chinua. <span class="ff5">Things Fall Apart</span>. London: Heinemann Publishers. 1958. Print </div>
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Bloor, Thomas and Meriel Bloor. <span class="ff5">The Functional Analysis of English:<span class="_ _3"></span> A Hallidayan </span></div>
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Approach. <span class="ff4">(2nd. Ed). UK. Hodder Education. 2004. Print </span></div>
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Bybee, Joan. <span class="ff5">Frequency of Use and the Organisation of Language. </span>New York: <span class="_ _3"></span>Oxford </div>
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University Press. 2007. Print </div>
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Chong, Chai Suan. “What is Systemic Functional Grammar?”. <span class="ff5">Onli<span class="_ _3"></span>ne Linguistic Blog Posts</span>. </div>
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Crystal, David. <span class="ff5">A Dictionary of Linguistics and Phonetics</span> (6th Ed.). USA: Blackwell. 2008. Print </div>
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Esildsen, Soren. “Type and Token Frequency in SLA” In Peter Robinson (Ed.). <span class="ff5">The </span></div>
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Routledge Encyclopaedia of Second Language Acquisition.<span class="ff4"> New York/UK.2013 <span class="_ _3"></span> </span></div>
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(pp.659-663). Print </div>
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Goldberg, Adele and David Casenhiser. “Construction Lea<span class="_ _3"></span>rning and Second Language </div>
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Acquisition”. <span class="ff5">Handbook of Cognitive Linguistics and Second <span class="_ _3"></span>Language Acquisition. </span></div>
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Peter Robinson and Nick C. Ellis (Eds.). UK: The Tailor and Francis. 20<span class="_ _3"></span>08 (pp. 197-</div>
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215). Print </div>
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Halliday, Michael Alexander and Christian Matthiessen. <span class="ff5">Hallid<span class="_ _3"></span>ay's Functional Grammar. </span></div>
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(4th Ed.). London and New York: Routledge. 2014. Print </div>
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Mbajiorgu, Greg. <span class="ff5">Wake Up Everyone</span>. Ibadan: Kraft Books. 2011. Print </div>
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Nwachukwu-Agbada, J.O.J. <span class="ff5">The Igbo Proverb: A Study of Its Context, Performance and </span></div>
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Functions.<span class="ff4 ws1"> Enugu: John Jacob’s Classic Publishers. 2002. Print </span></div>
<div class="t m5 x2 h1d y1e4 ff4 fs5 fc0 sc0 ls1 ws1">
Okoli, G.N. “Igbo Proverbs as a Means of Conflict Resolution” in N.A. Nwokoye (Ed.), <span class="ff5"> </span></div>
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Oja an <span class="_ _3"></span>International <span class="_ _3"></span>Journal <span class="_ _3"></span>of Igbo<span class="_ _3"></span>, Africa <span class="_ _3"></span>and <span class="_ _3"></span>Asian Studies. <span class="_ _3"></span><span class="ff4">Awka: <span class="_ _3"></span>Nnamdi <span class="_ _3"></span>Azikiwe </span></div>
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University. 2012: (pp.18-25). Print </div>
<div class="t m5 x2 h1d y1e7 ff4 fs5 fc0 sc0 ls1 ws1">
Okoye, P.I.N. and Okoye, H.C. <span class="ff5">Introduction to Oral Literature: The Igbo <span class="_ _1"> </span>Example. </span>Awka: </div>
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Amaka Dreams Ltd. 2009. Print </div>
<div class="t m5 x2 h1d y1e9 ff4 fs5 fc0 sc0 ls1 ws1">
Okoye, P.I.N. <span class="ff5">Orature of the Igbo-Speaking People</span>. Awka: Amaka Dreams Ltd. 2012. Print </div>
<div class="t m5 x2 h1d y1ea ff4 fs5 fc0 sc0 ls1 ws1">
Onuekwusi, J.A. <span class="ff5">Fundamentals of African Oral Literature</span>. Owerri: Alphabet Publishers. 2001. </div>
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Print </div>
<div class="t m5 x2 h1d y1ec ff4 fs5 fc0 sc0 ls1 ws1">
Osisanwo, Wale. <span class="ff5">Introduction to Discourse Analysis and Pragmatics</span>. (2nd Ed.). Lagos: Femolus- </div>
<div class="t m5 x12 h1d y1ed ff4 fs5 fc0 sc0 ls1 ws1">
Fetop. 2008. Print </div>
<div class="t m1 x2 h6 y1ee ff4 fs1 fc0 sc0 ls1 ws1">
Watzel, Linda. <span class="ff5">Types and Tokens on Abstract Objects</span>. Massachuse<span class="_ _3"></span>tts: The MIT Press. 2009. </div>
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Print </div>
<div class="t m5 x2 h1d y1f0 ff4 fs5 fc0 sc0 ls1 ws1">
Yeibo, Ebi. “A Discourse-stylistic Analysis of Mood Structures in Selected Poems of J.P. Clark- </div>
<div class="t m5 x12 h1d y1f1 ff4 fs5 fc0 sc0 ls1 ws1">
Bekederemo,” <span class="_ _1"> </span><span class="ff5">International <span class="_ _1"> </span>Journal <span class="_ _1"> </span>of <span class="_ _3"> </span>Humanitie<span class="_ _3"></span>s <span class="_ _3"> </span>and Social <span class="_ _3"> </span>Science. </span><span class="ws9">Vol.</span><span class="ff5 ls15"> </span>1. <span class="_ _3"></span>No.16, </div>
<div class="t m5 x12 h1d y1f2 ff4 fs5 fc0 sc0 ls1 ws1">
November 2011.USA: Centre for Promoting Ideas.<span class="ff5"> www.ijhssnet.com</span><span class="ws9">.18/11/15<span class="ff5">.</span></span> Web</div>
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<i>EXPLORING THE PROSPECTS OF USING PROVERB AND MOOD STRUCTURE ANALYSES TO COMMUNICATE TEXTUAL MEANINGS AND GRAMMATICAL FUNCTIONS IN AN ESL CLASSROOM (PDF Download Available)</i>. Available from: <a href="https://www.researchgate.net/publication/310753723_EXPLORING_THE_PROSPECTS_OF_USING_PROVERB_AND_MOOD_STRUCTURE_ANALYSES_TO_COMMUNICATE_TEXTUAL_MEANINGS_AND_GRAMMATICAL_FUNCTIONS_IN_AN_ESL_CLASSROOM">https://www.researchgate.net/publication/310753723_EXPLORING_THE_PROSPECTS_OF_USING_PROVERB_AND_MOOD_STRUCTURE_ANALYSES_TO_COMMUNICATE_TEXTUAL_MEANINGS_AND_GRAMMATICAL_FUNCTIONS_IN_AN_ESL_CLASSROOM</a> [accessed Oct 19 2017].</div>
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Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-44153251934626690982017-10-19T04:53:00.001-07:002017-10-19T04:53:21.100-07:00The Philosophy of Being and the Practical Implication of Literature: Greg Mbajiorgu’s The Prime Minister’s Son and Nuruddin Farah’s Secrets<h4 style="text-align: center;">
Ile, Onyebuchi James </h4>
<h4 style="text-align: center;">
Head of Department of English Language and Literature, Nigerian Turkish Nile University, Plot 681, Cadastral Zone C-00, Research and Institution Area, Jabi Airport Road Bypass, Abuja, FCT, Nigeria </h4>
<h3 style="text-align: left;">
<b><span style="font-weight: normal;">Abstract </span></b></h3>
<h4 style="text-align: left;">
<span style="font-weight: normal;">The Philosopher, Arthur Schopenhauer, is regarded as the great pessimist of philosophy. It is in his philosophy that one can locate Greg Mbajiorgu’s and Nuruddin Farah’s The Prime Minister’s Son and Secrets respectively. Arthur Schopenhauer’s philosophy was a reaction to both Kantian and Hegelian Philosophies. The objective of this essay was to see where Greg Mbajiorgu’s The Prime Minister’s Son and Nuruddin Farah’s Secrets complied with Schopenhauer’s idea of the absurd, which the world is. The questions the essay tried to answer are: Why is there so much suffering in the world? Why did the characters such as Ezinma and her son have to endure so much suffering in The Prime Minister’s Son? Why did Damac have to be gang-raped in Secrets? Why do we hold secrets? Why are there taboos, which humans will so willingly not adhere to in their privacy? The paper sought answers to these questions in the two texts under study using qualitative method. Quantitative data in the form of interview published in a book was also used to support both the deductive and inductive analysis of texts. The importance of this research paper cannot be overemphasized when one considers the suffering that most humankind experience in the process of living. It is expected to provide enlightenment to Governments of the world, especially in developing countries on the need to reducing the suffering that many in these countries face. Keywords: Arthur Schopenhauer, Hegelian and Kantian Philosophies, Absurd, the World </span></h4>
<div style="text-align: left;">
Read full paper <a href="https://www.blogger.com/:///C:/Users/GREG%20MBAJIORGU/Downloads/30134-32949-1-PB.pdf" target="_blank">here.</a></div>
Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-16414531896246827822017-10-19T04:47:00.000-07:002017-10-19T04:47:34.458-07:00A Cooperative Principle Analysis of Greg Mbarjiorgu’s Wake up Everyone<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrJ15qPDCyY460CLAzpx5ZPCUjjA-F8Gi3sqmzhGmqWbdvJ4wbubJs1NIOebCt_dwULEGXuAZ7cuM7UghxkVFibd0u3uK9oSh4F0MSQ5Ac3oZ6z7NCkYHYzHFFKN1QhuW4xf_VEVVDQl4/s1600/Wake+up+Front.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1434" data-original-width="995" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrJ15qPDCyY460CLAzpx5ZPCUjjA-F8Gi3sqmzhGmqWbdvJ4wbubJs1NIOebCt_dwULEGXuAZ7cuM7UghxkVFibd0u3uK9oSh4F0MSQ5Ac3oZ6z7NCkYHYzHFFKN1QhuW4xf_VEVVDQl4/s320/Wake+up+Front.jpg" width="222" /></a></div>
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By Attabor, Ocheja Theophilus</div>
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Department of English and Literary Studies, Faculty of Arts and Humanities, Kogi State</div>
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University, Anyigba</div>
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<b>Abstract </b></div>
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The paper is an application of Cooperative Principle to dramatic conversation using Greg Mbajiorgu’s play, Wake Up Everyone. The play is an ecological play in which fictional Ndoli land is faced with flood related disaster and the dialogue between Prof Aladinma and the Chairman determines the fate of the community. If communication is to be effective and successful, then interlocutors should cooperate in talk exchanges. However, people fail often to cooperate in talk exchanges by not observing</div>
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the Maxims. Our analysis is purely textual and qualitative and the primary source of data is Wake Up Everyone. We chose the dialogue between Prof. Aladinma and the Chairman of Ndoli local government on pages 13-18 as resources for analysis. There are 32 speech contacts between them all in Act one, Scene one which were analyzed in line with H.P Grice’ Cooperative Principle in which seventeenspeeches failed to cooperate while fifteen speeches cooperated. In our findings, most of the Chairman’s<div data-angle="0" data-canvas-width="635.8039308107378" data-font-name="Times" dir="ltr" style="font-family: serif; font-size: 18.4px; left: 120px; top: 618.8px; transform-origin: 0% 0% 0px; transform: rotate(0deg) scale(0.99674, 1);">
contributions reflect looting and embezzling disposition which some Nigerian public servants and politicians glamorize today at the expense of the plight of the masses by not cooperating in talk exchanges. We concluded that expressions do not reflect intentions and it is evident in those dialogues</div>
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<br />
<b>Key words</b>: <i>Implicatures, maxims, cooperation, non-observance</i></div>
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Introduction</div>
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Opinions of scholars are diverse on the issue of Pragmatics. Holmes (1992p.357)</div>
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interaction” But further studies show that “Pragmatics studies the use of language in human communication as determined by the conditions of society” (Mey 1993:6). Therefore Pragmatics is the extended analysis of meaningbeyond grammar and word meaning to the relationship between the participants and the</div>
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background knowledge they bring to a situation. Homes (1992) noticed that context of situation is one of the crucial factors in Pragmatics when it comes to interpreting what is meant. This can be further expatiated using the sentence I can hear someone talking. This sentence is amenable to different meanings depending on the speaker. The meaning it gives if uttered by a teacher in a classroom setting is different from the meaning it gives when uttered by one</div>
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of two police officers investigating an empty house, or when uttered by two abandoned kidnapped women in a forest <br />
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All speech occurs in an interactive context in which the discussants make choices from the linguistic system including lexical and grammatical choices that express appropriatemeaning. Pragmatics studies how the transmission of meaning depends not only on structural and linguistic knowledge (e.g. grammar) of the speaker and listener, but also on the context of the utterance. In this respect, Pragmatics explains how language users are able to overcome apparent ambiguity, since meaning relies on the manner, place, etc of an utterance. It is against this background that this paper investigates language within contextualized parameters (dramatic conversation) using Greg Mbajiorgu’s Wake Up Everyone as primary source and H.P Grice'<div data-angle="0" data-canvas-width="292.0051142189266" data-font-name="Times" dir="ltr" style="font-family: serif; font-size: 20px; left: 218px; top: 209.8px; transform-origin: 0% 0% 0px; transform: rotate(0deg) scale(0.999504, 1);">
cooperative Principle as Theoretical Framework.</div>
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For further reading, please download the PDF file from http://www.africaresearchcorps.com/images/INT-JSSH-11-2-1.pdf </div>
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Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com2tag:blogger.com,1999:blog-3055585616925603995.post-64127996260542769492017-10-19T04:17:00.003-07:002017-10-19T04:17:27.999-07:00 ANBUKRAFT honours creative professionals in Anambra<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEKXQ89NdWKhzytTc0NDpAjzEO17SY5TJmMuHlbbx9NKhXokNCWkccWoWYUvk4vU66L5uKKfB-Kab86Gp0-xsLuunyYF7orDk_hLpJgHqPZF2fLS_GqQYIYN2ap4ahp6WOTZ_AdevIcMw/s1600/ANBUKRAFT.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="972" data-original-width="1600" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEKXQ89NdWKhzytTc0NDpAjzEO17SY5TJmMuHlbbx9NKhXokNCWkccWoWYUvk4vU66L5uKKfB-Kab86Gp0-xsLuunyYF7orDk_hLpJgHqPZF2fLS_GqQYIYN2ap4ahp6WOTZ_AdevIcMw/s320/ANBUKRAFT.jpg" width="320" /></a></div>
<br />
<span style="font-size: medium;"><span style="font-family: "times" , "times new roman" , serif;">Hon
Bob-Manuel Udokwu receiving an award from Dr Krydz Ikwuemesi, courtesy
of 2016 edition of Anambra Book and Creativity Festival (ANBUKRAFT), in
Awka…recently. Other awardees included VC of University of Nigeria,
Nsukka, Prof Benjamin Ozumba; The Guardian’s Arts and Culture writer,
Tajudeen Sowole; Quintessence Gallery Curator, Moses Ohiomokhare; MD of
Crunchies, Mr Jude Nwosu; and actor/ author, Greg Mbajiorgu.</span></span><br /><span style="font-size: medium;"><span style="font-family: "times" , "times new roman" , serif;"></span></span><br />
Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-82182030715802605882017-10-19T04:15:00.000-07:002017-10-19T04:15:28.068-07:00Celebrating Prof. Ezenwa Ohaeto<h3>
Brief Biography </h3>
Ezenwa-Ohaeto is one of those rare
Nigerian scholars whose world-wide travels were almost exclusively
occasioned by the innumerable fellowship, workshops, and seminars that
constituted his intellectual quest. And in almost all circumstances they
were sponsored by his wining one fellowship visiting professorship or
foreign lecturing appointments. As early as 1993 at the age of 35,
Ohaeto travelled to Germany on the Alexander von Humbolt stiffung
research fellowship. Between 1993 and 1995. Ohaeto was a visiting
research Fellow, University of Maniz, Germany. In 1998, Ohaeto
incredibly was Rockefeller Foundation Resident Fellow in Bellagio,
Italy. In 1999, Ezenwa Ohaeto found himself as Mellons Fellow,
University of Texas at Austin, U.S.A. Stranger than fiction as this
seems, in the year 2000, Ohaeto found himself at Uppsala, Sweden, as
Research scholar-at its Nordic Africa Institute, Senior Rockefeller
Humanities Follow in the W.E.B. du Bois Institute, Harvard University
Cambridge, U.S.A. In the very next year, 2002, he became the Institute
Fellow. Finally, in 2003, Ohaeto returned to Germany as visiting
professor. The record of Ohaeto’s fellowships, and foreign visiting
appointments (eight in ten years) is one yet to be equaled by any
Nigerian scholar or professor in any intellectual field of endeavour.
Because he stayed away from Nigeria in pursuit of the Golden Fleece par
excellence, Ezenwa Ohaeto, in spite of the intimidating number of
publications, stagnated in his promotions to deserving academic ranks in
the Nigerian institutions where he worked. The result: his
professorship was achieved posthumously. Prize and Awards Professor
Ohaeto’s achievement in this regard is an stunning and intimidating as
his fellowships. Few academics living or dead in Nigeria could lay claim
to the dizzying heights to which Ohaeto soared in his brief but
distinguished life on earth. As early as 1971, at the age of twelve,
when many of his mates were struggling to pass standard six, Ezenwa
Ohaeto won a third prize corticated for poetry in the zonal festival of
arts. In 1978, Ohaeto won first prize, short story competition, English
Department, University of Nigeria, Nsukka. In 1979, he won a certificate
of excellence in drama performance, University of Nigeria, Nsukka.
Professor Ezenwa-Ohaeto’s outstanding performance in the NYSC service
year won him the chairman’s award in 1980. Following what naturally
seems to have become his lot, Ezenwa-Ohaeto won the BBC poetry award,
Arts and Africa in 1981. Again, expectedly, since whatever Ezenwa-Ohaeto
touches, turns to gold, in 1985, he won the best free verse poem,
orphic lute, U.S.A. In 1997, he won the ANA Cadbury poetry prize and in
1999, Ohaeto won the choice outstanding academic book award for his
publication of the biography of Chinua Achebe. If we add the prizes to
the innumerable fellowships and visiting professorial and scholarly appointments, you will agree with me that Ezenwa-Ohaeto still remains
the most award-winning academic that has appeared on the Nigerian scene
so far. He capped his award winning exploits with the award of the
Nigerian Liquefied Natural Gas (LNG) African’s most prestigious Nigeria
literature prize (2005) as join winner with his mentor Gabriel Okara. We
are now agreed that Ezenwa-Ohaeto’s life was marked by unusual
excellence. What’s in a name Shakespeare would ask. There is sometimes
something in a name. The name of our head of state, Goodluck Jonathan
seems to be one remarkable example. Ezenwa literally means King Boy and
he lived out the meaning of his name in everything he touched. He was a
dramatist, a poet of world class stature, an outstanding academic. He
shone like a meteor and is appeared in a blaze of glory. His academic
laurels and publications are intimidating both quantitatively and
qualitatively. He was at once, a poet of note, a world-class biographer,
and an incisive critic renowned for his bestriding the major genres of
belles letters. Professor Ohaeto was best known in Nigeria s a
distinguished literary journalist cum critic. His interviews with
Nigeria’s eminent writers and critics provoked debates and critical
controversies in the daily times and the guardian newspapers over three
decades, thus creating a new genre of critical information and insights
into the minds and thinking of the people intervened, especially as some
rejoinders provoked further debates between writers, readers, and
critics. Thus. Professor Ezenwa Ohaeto took credit in creating an
atmosphere of interaction between artistes and critics, to which few
others could claim such credit. Professor Ohaeto’s interviews of Nigeria
writers and critics were collected in a book Winging Words (Kraft
Books, (2003). As an interviewer-critic, Professor Ezenwa Ohaeto’s
efforts surpassed itself in his Chinua achebe: straight from the heart
which is a conflation abringing together under one volume various
interviews Achebe had subjected himself to, over the eyars. Only a
scholar with the vast exposure to the world of literature, like Ezenwa
Ohaeto, would subject himself to synthesize, collect, collate Achebe’s
commentaries on social and literary issues around him. It is a
collector’s time. It would now be stressing the obvious to delve into
Professor Ezenwa Ohaeto’s scholarly expertise because that is what has
engaged us, all along, as a poet, he had won many poetry prizes both
local and international. But it is his experietise in oral poetry that
bears comment. His poetry has its charm on its Oral base. His pidgin
poetry is part of this Oral base. Titles of his published books of poems
like “I Wan Bi President”, “The voice of the Night masquerade”, the
chants of a minstrel” (winner of the Nigeria prize for literature) and
the scholarly work contemporary Nigerian poetry and the poetics of
morality establish Professor Ezenwa Ohaeto as very accomplished in this
innovative genre of poetry. Younger or fourth generation Nigerian
critics whom I had tagged “lazy” may note that Professor Ezenwa-Ohaeto
was an exception. Here was a young academic in his prime who lived no
other life than of a very diligent worker in the vineyard of literature.
He traversed the length and breadth of this country interviewing fellow
writers and critics; he established, almost single-handedly journalism
provoking debates, comments, and rejoinders in various important
Nigerian newspapers. His interest in the feminist Nigerian writers like
Flora Newapa and Buch Emecheta found outlet in his many contributions to
various journals around the globe, and his travels and visiting
appointments to the world’s most famous universities are indices of a
genius whose endeavours most of us would like to emulate. Ezenwa (King
Boy) you left us in a blaze of glory. Come again, Nigeria has need of
another you. Come back again but this time, stay longer with us. We
would appreciate you the more, a more mature you who would live to be a
sage, and an elder. Meantime, we know that what can’t be helped, must be
endured. We take consolation that in the world beyond, you dine with
that noble and select company of writers and critics among who are
Homer, Sphocles, Virgil, Shakespearean, Flaubert, Dostoyevsky, Tolstoy,
Flora Nwapa, John Munoye, Richard Wright, Esiaba Irobi. Where else would
you find a more distinguished company. Culled from Professor Charles.
E. Nnolim’s Ezenwa Ohaeto: Biographia Intellectuale A Brief History of
Ezenwa Ohaeto Resource Centre The Prof. Ezenwa Ohaeto Resource Centre
was inaugurated on March, 31, 2011 in memory of Professor Ezenwa Ohaeto
who was a foremost African poet, literary critic, essayist and a teacher
of reputable standing. Prof. Ezenwa Ohaeto is a world renowned
professor of Literature who died in 2005 at the age of 47 soon after
winning the most prestigious literary prize in Nigeria - the NLNG Prize
for Literature. The inauguration of the Centre was an occasion of great
importance and was memorable on many scores which most importantly was
because it marks the beginning of the actualization of a dream to immortalize the name of
Late Prof. Ezenwa Ohaeto and provides a forum and contact point for
scholars and critics to tap from his rich fountain of knowledge and also
provides an avenue for the reading public to have access to his
‘intimidating’ resource materials gathered and built in all the years of
his academic sojourn on earth. The dream of this centre started with
the painful demise of Ezenwa Ohaeto who had a library that can best be
described as very rich. The wife of Ezenwa-Ohaeto is always fond of
sharing her early memories and attachment to those books. They were
simply too many to belong to one person, her husband. She confessed that
each time she went to the library she kept asking her husband, Ezenwa,
who he left the books for. She never felt the enormity and presence of
those books as much as she did when her husband died. It was until his
death that she encountered each morning, piles of books staring at her
with imploring eyes to put them to good use. They were begging her to
continue reading them like her husband did or to help find some people
who could read them and make them satisfied. She never stopped wondering
what to do with those books which at some point she considered donating
part of them to university libraries across the country until the idea
of establishing a Resource Centre in honour of her late husband came to
her. Again at that time she was under constant pressure from many
students who were on one kind of research or the other who kept coming
and were requesting for Ezenwa’s works and works on him. So the idea of
establishing the Centre was the only avenue she considered best in
making these materials easily accessible to anybody who might need them.
The wife of Ezenwa Ohaeto went through a whole lot in her bid to
acquire the proper compensation due to her husband which was the money
with which she hoped to start off the project of a resource Centre. It
was such an experience, a sordid tale that is best told by her alone.
After the rigours, herculean tasks and experiences she passed through in
those five years of trying to assess the money, she finally got it in
July 2010 and that was when the dream began to take a shape that later
saw to its actualization. That year marked the beginning of the building
that is today housing Prof. Ezenwa-Ohaeto Resource Centre for which
many people gathered the next year, on the 31st day of March, 2011 to
inaugurate. 31st March was apt and is a very significant date to the
centre because it is Ezenwa’s birthday. The inauguration was festive as
it was a gathering of literary giants and icons of African Literature.
In attendance includes but not limited to HRH, Eze Prof, Chukwuemeka
Ike, the Ikelionwu XI of Ndikelionwu, HRH, Eze Boniface Unogu; the Eze
of Owerri-Nnkworji, the special guest of honour, Prof, Boniface Egboka,
the Vice Chancellor, Nnamdi Azikwe University, Awka, Nigeria, our guest
speakers, Prof. Charles Nnolim and Prof. Kalu Uka, The chairman of this
occasion, Prof. E. I Nwana, The Honourable, Victor Nnadiekwe, Chairman, Nkwerre Local
Government Area, Imo State, Prof. J.O.J Nwachukwu-Agbada among other
dignitaries too numerous to be mentioned here. It was indeed a fulfilled
day. The centre having been established has continued to carry out
laudable programmes annually. These are programmes that are targeted
towards the promotion of literature and literary creativity as well as
immortalizing the evergreen memory of late Professor Ezenwa Ohaeto. In
2012, a Literary Festival was organized courtesy of the Ezenwa Ohaeto
Resource Centre in honour of the fallen literary icon and godfather,
Late Professor Ezenwa Ohaeto. The event was held at the Nnamdi Azikiwe
University Auditorium and it attracted scholars and critics locally and
internationally. Also many top government officials were there to add
more colour to such a colourful event. The event which started in the
university auditorium earlier in the day was laid to rest later that
evening with a literary night held at Finotel Hotel, Awka in their
magnificent and serene garden that proved vital in ensuring that the
artists and audience had a fun-filled night. Poets, comedians and
artists performed till late in the night to allow the audience have what
they described as ‘one of the best literary nights ever and the most
memorable in their lives.’ The students of Theatre Arts Department were
there to thrill the audience with only a tip of the ice berg which can
only be obtained within the confinements of their department. Dr. Elvan
Nwanara graced the event with his musical troupe which everybody danced
to till the early hours of the next day. Dr. Chike Okoye was there as
the trusted master of ceremony to ensure a harmonized and well packaged
night. That same year saw to a literary symposium held in the
prestigious Ezenwa Ohaeto Resource Centre. The event provided a platform
for an in-depth academic discussion on the topic “African Literature:a
Cup half open or half empty” and thorough criticism on many diverse and
topical academic issues that were raised during the symposium. The
symposium attracted the likes of Prof. Ernest Emenyeonu who was the
guest speaker, Prof. Charles Nnolim among other distinguish professors
and members of the academia gleaned from various higher institutions in
the country. On the 6th of March 2013, the centre organized a Youth
Literary Convention that featured a poetry and drama competition from
many selected secondary school in Anambra state. The Theme of the event
was tagged: The Nigerian Child and the Environment and was held at the prestigious Whyte View Hotels in Awka.
The programme was aimed at sensitizing the youths as well as the general
public on the need for proper care of our environment. The theme was
apt and timely as the event coincided with the time many parts of the
country became victims of the heavy flood that saw to loss of many lives
and property. The need to address the general public on many
environmental hazards and the realities of other future events became
the driving force that gave birth to the theme of the conference. The
environment goes hand in hand with our survival as humans and it
behooves us to protect it. Many negative actions on nature are
invariably negative actions that will in the long run militate against
out survivals as humans. Nature and environment is ours to protect as
safeguard. Greg Mbajiorgu, a renowned dramatist whose works are
environmental friendly was there to witness the performance of one of
his drama works on environment titled Wake Up Everyone which was
performed by the students of Anerobi International School, Amansea. One
of the highlights of the event was the unveiling and launching of a book
titled The Minstrel Never Die, volume 2. It was a collection of many of
the fine essays and articles written by late Prof. Ezenwa Ohaeto and
edited by Dr. Ezenwa Ohaeto. The occasion was colourful as it was
remarkable in nurturing and sustaining the creative ingenuity among
youths that are the leaders of tomorrow. The event attracted the likes
of Barr. Dr. Obinna Uzoh who was the chairman of the event. Also in
attendance was the bishop of Onitsha, Valerian Okeke among other
dignitaries. The event was concluded with a literary night/ festival
held at Bassino Hotels, Awka. The gathering was worth the effort as it
was a gathering of poets and dramatists from various institutions and
organizations. Poets, artists and comedians had their fill of exciting
performances that all unanimously begged for a repeat of the event in
the coming year. Many other programmes of great importance and delight
are in the pipeline already packaged by the centre. They are all waiting
for the allotted time to see the light of the day and thrill the
general public. The Vision The vision of the centre is to create a
foremost forum for prodigious engagement in creative writing, training,
mentoring, discourse and study that will attract the best brains in
African and global literature and culture. The Mission The project of
the Resource centre, which is dedicated to academic research, revolves
around the following objectives: • To immortalize Professor Ezenwa Ohaeto’s literary legacies
as writer, critic, essayist, and community leader; • To provide a forum
for the discussion of Ezenwa Ohaeto’s work as a critical factor in the
development of African literature and aesthetics; • To support the
growth the research in both indigenous and foreign language literature; •
To provide outlets for young writers, as well as create for a for the
discussion of the literary business; • To advance the pursuit of
literature as performance; • To sensitize society to the values of
creative writing and the scribal arts; • To advance the development of
culture as a living and liveable environment; • To foster consciousness
of the environment as integral to human existence and literature as a
core factor in its sustenance. Moreover, it hopes to pursue every
opportunity to support and organize lectures, symposia, workshops,
exhibitions and literary performances with a bi-annual roster, during
which experienced writers from within and outside the country will
interact with young writers who will thereby enjoy the prospect of not
only being heard, but also finding publishing outlets for their works.
Means of Sustaining the Resource Centre The resource centre which is a
non-profile making outfit is fundamentally a non-borrowing library with
the intention of bridging that gulf between library facilities and local
communities. In other words, it aims at bringing library facilities
closer to the people. In full operation, the centre has managed to
provide internet facilities for writers and the general public as well
as mount a user-friendly access to inter-library services. The centre
has established a digital library in order to be in line with modern
trends of things in reputable and standard library in the world over.
The library has and will continue to boost symposia, workshops,
exhibitions and literary performances from time to time outside the
strategic bi-annual events which will bring in writers from across the
country and beyond. In order to meet the needs of routine
self-maintenance, the Centre introduced a structure of membership
through a systematized registration based on affordably levy. The levy
is subject to renewal annually. The Board The centre has the following
as her Board members who have continued to work tirelessly to the
sustenance and enhancement of the human and academic resources of the
centre: 1. Odia Ofeimum - Chairman 2. Dr. Ngozi Ezenwa-Ohaeto - C.E.O 3.
HRM Prof. Chukwuemeka Ike - Ikelionwu XI of Ndi Ikelionwu 4. Prof.
Ernest Emenyonu - African Studies, University of Michigan-Flint USA 5.
Prof. Stella Okunna - Hon. Commissioner for Planning & Budget,
Anambra State of Nigeria 6. Rev. Fr. (Prof.) J. Obi Oguejiofor -
Department of Philosophy, UNIZIK 7. Prof. Ike Odimegwu - Department of
Philosophy, UNIZIK 8. Prof. Charles Nnolim - Retired Department of English and literary Studies UNIPORT 9.
Chibuzo Asomugha - Project Co-ordinator 10. Asika Ikechukwu - Assist.
Project Co-ordinator Location The centre is located at Oganiru Estate,
Ahocol Phase 3 opposite Esther Obiakor Estate, Awka, a giant building
that housed great intellectual tools and resource materials that will
continue to feed thousands of academic-hungry and excellence driven
students. And many more will it continue to feed in the near future all
to the glory of academics and scholarship at large. The centre is ever
posed and has continued to grow and expand as the world continues to
turn into a global village under the auspicious eyes of Dr. Ngozi Ezenwa
Ohaeto, the C.E.O whose love for a beloved departed husband and
singular drive to achieve a difference combined with the efforts of many
to see to the establishment of this reputable house of learning and
academic feast. Visit the centre today if you have never done that… If
you have, visit it again because more surprises have been packaged for
your delight alone… You can call us on these numbers: 08033713548
07084012668 Someone is waiting to talk to you. What you are looking for
is here with us… why not try? We are expecting you…Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-23216336205599514972017-10-19T03:45:00.000-07:002017-10-19T03:45:19.640-07:00Nigeria: How I Used Poetry And Drama to Resolve Communal Conflict -Mbajiorgu Daily Independent (Lagos)<br />
<div class="story-body">
<div class="story-body-text" data-para-word-count="107">
<em>Poetry,
they say, is a language of the wise. Not many people have all the
patience to decode or understand what a poet, like a talking drummer,
conjure. But in this interview, Greg Mbajiorgu, a.k.a. Wota Na Wota,
ex-officio member of Association of Nigerian Authors (ANA) and author of
'Water Testaments: Anthology of Poems on Water and water-related
Issues,' use poetry and drama to resolve conflict in one of the suburbs
around Enugu, Enugu State. He told the media his vision about the new
innovation and how great poets like Gabriel Okara accepted to submit
entries for his book. Correspondent Yemi Adebisi was at the session.
Excerpts:</em></div>
<div class="story-body-text" data-para-word-count="19">
<strong>You claimed to have assisted a community to resolve their clash through drama and poetry. How did it happen?</strong></div>
...<br />
Details at http://allafrica.com/stories/200811241433.html <br />
</div>
Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-54417287311901825452017-10-19T03:35:00.001-07:002017-10-19T03:35:39.588-07:00"Wake Up Everyone" as Ajayi Crowther University, Oyo Convocation Play<article class="item-page post-375 post hentry status-publish category-page-articles ">
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<strong>SEVENTH CONVOCATION CEREMONY </strong></h2>
The Vice – Chancellor, Rt. Revd. Prof. Dapo F. Asaju on behalf of the
Council and Senate of Ajayi Crowther University, Oyo, wishes to notify
the general public of the 11<sup>th</sup> Founders’ and 7<sup>th</sup> Convocation Ceremonies of the University as follows:<br />
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<strong>SUNDAY, 29<sup>TH </sup>NOVEMBER 2015 </strong><br />
Founders’ Day and Convocation Thanksgiving Service<br />
<strong>Time:</strong> 10:00 am <br />
<strong>Venue: </strong>University Chapel <br />
<strong>Preacher: </strong>Rt. Rev. J. Oyekpen <br />
Bishop of the Diocese of Akoko-Edo<br />
<br />
<strong>TUESDAY, 1<sup>ST</sup> DECEMBER 2015</strong><br />
i. Matriculation Ceremony<br />
<strong>Time:</strong> 11:00am<br />
<strong>Venue: </strong>University Auditorium<br />
Collection of Academic Gowns by graduating students<br />
<strong>Time</strong>: As from 12 Noon<br />
Town and Gown Interaction<br />
<strong>Time:</strong> 1:00 pm<br />
<strong>Venue</strong>: Physically Challenged Home<br />
<br />
<strong>THURSDAY, 3<sup>RD</sup> DECEMBER 2015</strong><br />
<strong>Convocation Play (for Students and Staff)</strong><br />
<strong>Title: </strong>Wake up everyone (A drama on climate change<strong>)</strong><br />
<strong>Written by: </strong>Greg Mbajiorgu<br />
<strong>Directed by: </strong>Bode Sowande<br />
<strong>Venue: </strong>University Auditorium<br />
<strong>Time: </strong>7:00 pm<br />
<br />
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<strong>MONDAY, 30<sup>TH</sup> NOVEMBER 2015 </strong><br />
Press Conference<br />
<strong>Time:</strong> 10:00 am<br />
<strong>Venue:</strong> Senate Chamber<br />
ii ACU Library Exhibition<br />
ACU: The Journey so Far<br />
<strong>Time</strong>: 12 Noon<br />
<strong>Venue</strong>: University Library <br />
<br />
<strong>WEDNESDAY, 2<sup>ND</sup> DECEMBER 2015</strong><br />
Alumni Day<br />
<br />
<strong>FRIDAY, 4<sup>TH</sup> DECEMBER 2015</strong><br />
<strong>Convocation Lecture</strong><br />
Guest Lecturer: Professor Jide Alo<br />
D.V.C., University of Lagos, Lagos<br />
<strong>Time:</strong> 11:00 am<br />
<strong>Venue</strong>: University Auditorium<br />
<br />
<strong>SATURDAY, 5<sup>TH</sup> DECEMBER 2015</strong><br />
Convocation Ceremony for Admission to First degrees and Presentation of Prizes<br />
<strong>Time</strong>: 10:00 am<br />
<strong>Venue</strong>: Convocation Arena<br />
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<br /></div>
<div align="center">
<br /></div>
<div align="center">
<strong>R.S.V.P.</strong></div>
<div style="text-align: center;">
<strong>Chairman , Ceremonials Committee Information Officer</strong></div>
<div align="center">
08033259714 08104408768</div>
<div align="center">
Dr Mrs Josephine Oyebanji</div>
<div align="center">
<strong>Registrar</strong></div>
</section></article>Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-81398678696320820952017-10-19T03:29:00.001-07:002017-10-19T03:29:18.817-07:00"Water Testament" on UNN Online Store<div class="separator" style="clear: both; text-align: center;">
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Purchase on: http://unnecommerce.com/index.php?route=product/product&product_id=50</div>
<br />Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-42813789672465920942017-10-16T09:46:00.001-07:002017-10-16T09:46:27.298-07:00 Nigerian theatre mixes oil and climate, on the ground <br />
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<a href="http://sites.cardiff.ac.uk/environmentalfuturesdialogue/files/2013/10/Wallace-Heim-EfD.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://sites.cardiff.ac.uk/environmentalfuturesdialogue/files/2013/10/Wallace-Heim-EfD.jpg" data-original-height="800" data-original-width="792" height="320" width="316" /></a></div>
<i>Wallace Heim</i><br />
<br />
by Nikolai Huckle (London)<br />
<br />
<br />
<i>The world is in dire need of eco-dramatists at this age of ecological crisis</i><br />
<br />
<br />
<strong><em>Wallace Heim writes:</em></strong><br />
“The Nigerian playwright and academic <a href="http://gregmbajiorgu.blogspot.co.uk/" target="_blank"><strong>Greg Mbajiorgu</strong></a> got in touch with us after reading Robert Butler’s blogs on <strong>Ashdenizen</strong> on the difficulties of writing <a href="http://ashdenizen.blogspot.co.uk/search?q=climate+change+plays+science" target="_blank">plays about climate change</a>. Greg sent us his play, <em><strong>Wake Up Everyone</strong></em>, which has a preface quoting from this blog.<br />
<em>Wake Up Everyone</em> began as a commission by the <strong>African Technology Policy Studies Network</strong>, Nairobi, Kenya for their international conference on climate change in Nigeria in 2009.<span id="more-8091"></span><br />
That policy world is represented in the main character, <strong>Maukwe Aladinma</strong>,
a retired professor of agriculture, now attempting to get the local
government in the rural Ndoli area to build flood defences and advising
communal farmers on using organic waste and planting stronger, non-GMO
seeds. The professor, too, is a dramatist. In a play-within-a-play, the
actors of his theatre company rehearse scenes describing the effects of
climate change, those happening now and those anticipated: rivers dried,
torrential floods, tornadoes, plagues, famines and poverty. The
surrounding scenes are of a naturalistic theatre style; the rehearsals
are a play to be performed as if in a dream or possessed.<br />
A local official, Chairperson of the Ndoli Local Government Area, Hon. <strong>Edwin Ochonkeya</strong>,
blocks the building of the defences. When the threatened flood sweeps
the land, the farmers become an angry mob, running off-stage to extract
revenge on the official.<br />
Greg’s writing is purposeful: to support impoverished farmers, to
educate, to build resilience against the effects of climate change in
rural Nigeria.<br />
The information on climate change is familiar enough, if
uncomfortable. The role of the expert in presenting knowledge to farmers
is familiar, too, the belief and disbelief, the sometimes awkward
juncture of different kinds of experience, the social power implicit in
different kinds of knowledge.<br />
The depiction of the official, Ochonkeya, is what startles. His
actions are presented as commonplace. A militant against the oil
companies, he was on the verge of forming his own kidnapping gang when a
massive oil spill damaged his family’s land and killed his father. He
employed a lawyer to bring an action against the companies, who settled
out of court for three hundred million naira and funded his campaign for
local office on the condition that he didn’t make any further case on
behalf of affected farmers. He won his campaign with the rhetoric of
environmentalism: ‘Before this plague of climate change the oil
companies had milked our land dry, but have given nothing to nourish it.
All that is left (of my family’s farmland) is thick layers of oil, oil
in our waters, oil in our wet lands, oil in our fragile soil, down to
the roots of our edible crops, oil and more oil…’<br />
And now, he is stopping any adaptation to or mediation of climate damage.<br />
In a single character, the play conveys the immediate, turbulent,
deceptive forces underlying oil production in Nigeria and in Canada,
Baku-Tbilisi, Iraq, the Arctic, a world not wholly expressed by the
activists against it, working across political boundaries.<br />
It couldn’t be more topical. Last week, in The Hague, four Nigerians and Friends of the Earth began a <a href="http://www.aljazeera.com/news/africa/2012/10/201210115247620573.html" target="_blank">lawsuit against Royal Dutch Shell Plc</a>
for its environmental record in the Niger Delta, a case that may set a
precedent for claims related to the activities of international
corporations.<br />
And on Friday, <strong>Wake Up Everyone</strong> received a first
Individual Award in Arts and Humanities Research at the 5th Nigerian
Universities Research and Development Fair in Mina, Niger State.” <br />
<br />
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Cultural Fieldworks for Sustainability</div>
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</header>Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-1538446173634502142017-10-16T09:33:00.000-07:002017-10-16T09:34:15.588-07:00IROBI’S PLAY FOR A ROYAL TREAT<ins id="aswift_2_expand" style="background-color: transparent; border: none; display: inline-table; height: 250px; margin: 0; padding: 0; position: relative; visibility: visible; width: 300px;"></ins><br />
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<b><i>Royal</i></b><i> <b>Guests</b> at the convocation drama pose in front of a life-sized flexible banner of Esiaba Irobi for a photoshoot before the show.</i></div>
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<div style="text-align: justify;">
<b><i>By Greg Mbajiorgu </i></b></div>
<div style="text-align: justify;">
<b><i>Mbajiorgu is a NURESDEF Laureate
and a Senior Lecturer at the Department of Theatre and Film Studies of the
University of Nigeria, Nsukka.</i></b></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
It was Friday, February 19. The
University of Nigeria, Nsukka’s New Arts Theatre was thrice
capacity-filled. The event was the tertiary institution’s 45th
convocation drama. This grand convocation cultural night, which featured
Esiaba Irobi’s The Colour of Rusting Gold, was unique in so many ways.</div>
<br />
<div style="text-align: justify;">
First, it was a command performance
packaged as a reception highlight for the Ooni of Ife, Adeyeye Enitan
Ogunwusi Ojaja II, who is also the newly invested Chancellor of the
university. Also, the double-pronged theatrical ceremony, which
celebrated both the visit of the Chancellor and the works and life of
Irobi, the doyen of Nsukka school of drama, was preceded by an opening
glee performed by the Ooni’s griots and praise-singers to the delight of
the special audience eagerly awaiting the arrival of His Majesty into
the Arts Theatre. A deafening ovation heralded the arrival of the Ooni
to the venue.</div>
<div style="text-align: justify;">
The occasion was also planned and
conceived to commemorate the life and works of the doyen of Nsukka
School of Drama-the late Esiaba Irobi. Irobi was a prolific playwright
and poet with a frightening and fascinating harvest of highly remarkable
classics of literary works. His published and frequently produced plays
includes: Nwokedi, Hangmen Also Die, Cemetery Road, Put out the House
Lights, What Songs Do Mosquitoes Sing, Fronded Circle, Gold,
Frankincense and Myrrh and most recently, Sycorax. His collection of
published poems includes: Inflorescence, Cotyledons and Why I Don’t like
Philip Larkin. Professor Irobi, a theatre professor at Ohio University,
Athens, was on sabbatical leave from his job at the Freie Universitat,
Berlin, Germany when he took ill on the May 29, 2010 and died at the age
of 49. His classical play, Cemetery Road clinched the Nigeria
LNG-endowed prize for literature in 2010. But, unfortunately, he died
before the date of the conferment of the prestigious award.</div>
<div style="text-align: justify;">
Irobi’s The Colour of Rusting Gold –
directed by Greg Mbajiorgu and Ikechukwu Erojikwe – was performed by the
staff and students of the Department of Theatre and Film Studies of the
university. The Colour of Rusting Gold is a drama on corruption and
dilemma of the contemporary man as he strives for moral rectitude. The
play is a marriage of tradition and modernity but the copious appearance
of tradition in the play is a veneer to explore the issue of morality,
integrity and honour in the face of money politics. Thus the play
captures in all ramifications the place of sound judgment and lore of
our traditional belief and value system.</div>
<div style="text-align: justify;">
It opens in the shrine of the great
herbalist Otagburuagu. Boldly inscribed on the wall in the far end of
the stage is “Herbalist Otagburuagu Specialist in Madness, Rain Making
and Barrenness. A Trial Will Convince You, 080336664191”. This notice
takes us into the soul of the man we are about to encounter. The
performance opens on a very serene note with the auditorium in pitch
darkness and the orchestra intoning a call and response chant. This ends
abruptly, then the flute filters in which is followed intermittently by
the Ikolo and the Ogene, which ebbs off slowly as the dirge “Ihe dike
Mere Moo” is rendered at the same time with the lights clearly
indicating that it is early morning. Lights reveal two figures;
Otagburuagu and Ogidi on stage, one on a bamboo bed the other on a mat
on the floor.</div>
<div style="text-align: justify;">
Otagburuagu was played by Daniel Chibuko
a graduate of theatre and film studies, who chose to be part of the
production due to his love for the theatre on the one hand and Irobi on
the other. His interpretation of the role elicited commendations from
many including Prof. Chimalu Nwankwo, Irobi’s teacher who flew in from
the US to see the production. “This is the best showing of The Colour of
Rusting Gold I have seen so far,” he said.</div>
<div style="text-align: justify;">
The second movement also resumed on a
high tone and pace, Nnenna the pregnant woman played by Sandra Chioma
Samuel engages Alika (Christian Nwokocha) in a funny but thought
provoking conversation which is suddenly interrupted by the distinct
voice of Ngasi played by Cindy Anene Ezeugwu, a lecturer in the
department of Theatre and Film Studies, who rattled the audience with
her melancholic lamentation which flows thus “I’m the unlucky woman, who
wanted to blow her nose but blew out her eyes, I stretched my hands to
pick my eyes but broke my hands…” Ezeugwu held the audience spell bound
during her entire appearance, even more magical was the epic sensation
which her sudden entrance from the right aisle of the auditorium
created.</div>
<div style="text-align: justify;">
Her enactment enchanted the audience so
much that they started asking if she was the real Ngasi and
Oriakanjonauchichi’s mother. She was so alive in the role that she got
some members of the audience to shed tears. The appearance of Ngasi and
Oriakanjo brought a sober mood to the performance. Empathy was drawn to
the characters of Ngasi and Oriakanjo (the lunatic) which was played by
Justin Anakwe a final year student, Anakwe’s performance needs to be
experienced because words cannot paint how the young man was able to
interpret the role of the mad man so well. As the movement progressed
Nnanimgaebi (Ugochukwu Frank) and Nketa (Stella Offor) enter with sharp
and angry movements which changed the mood of the play. Nanimgaebi’s
entrance changes everything, his movement, speech variations, gestures
and delivery took the play to another dimension.</div>
<div style="text-align: justify;">
As the audience began to get excited,
Oriakanjonuchichi attacks and holds Nketa captive, Nnanimgaebi’s
attempts to rescue her become futile as Oriakanjo seizes the gun which
he wants to use to rescue Nketa. From then on the performance blazingly
x-rayed the problems of our present society- for example, the mad man
and the gun, the lawless nature of the corrupt politician, the helpless
pregnant woman who was not allowed to see the dibia due the selfish
attitude of the corrupt politician. The story goes on.</div>
<div style="text-align: justify;">
Nnanimgaebi in his bid to hold onto
parliamentary power tries to blackmail Otagburuagu to kill his opponent,
unfortunately this backfires and Nnanimgaebi falls into the pit he dug
for another. From there the walls of Otagburuagu’s soul begin to crack.
The great dibia, the human tiger with four eyes enters the level of
psychosis. His conscience has been smeared with blood, the blood of the
innocent child and that of Nanimgaebi. Unfortunately, Ogidi steals the
money, which Otagburuagu refers to as blood money, the very money that
Nanimgaebi left in his shrine after the oath swearing before Ahanjoku,
he is immediately murdered by Otagburuagu.</div>
<div style="text-align: justify;">
Subsequently, he moves ahead to kill
Oriankanjo with the belief that he saw everything. Sadly, his friends
and fellow members of the Osuagwu cult, apprehends him. Kevin Omah who
played Ijere in the play, though a minor character, transported the
audience from the physical world to the spiritual plane, Oma’s deep
rooted interpretation and research of the role brought in metaphysical
and esoteric aesthetics into the performance, Ogene Ugochukwu Ugwu and
Okaaomee Lambert Abbah arrive but realize that they cannot defeat
Otagburuagu on their own, thus they send for Mmaju the female Osuagwu
whose magical and metaphysical appearance rescued the situation.</div>
<div style="text-align: justify;">
Mmaju’s exhilarating and exotic display
of supernaturalism thrilled the audience beyond words. Nkechi Udensi who
starred as Mmaju made extra effort to add colour to the role. She is
dexterous and skillful as an actress. Her delivery which was filled with
ritual essence and grandeur was further heightened by the mystifying
make-up and costume. Otagburuagu is defeated, his taproot unearthed, his
medicine pot discovered. The other dibia’s destroy Otagburagu’s shrine
amidst a soul touching dirge.</div>
<div style="text-align: justify;">
The infusion of dance, ritual music,
chants and spectacle into the play by the directors’ helped to entice
and mesmerize the audience from the beginning of the play to the end.
Making it possible for them to go home reflecting on the very message
contained in the production brochure “it is our expectation that our
special audience for this year’s convocation drama will go home with the
following question: Why must we allow our great nation, Nigeria, which
we cherish even more than Gold to rust in our age and time”?<br />
The technical elements of the play: sound, lights, set and orchestra
were effectively employed except for few glitches resulting from poor
funding of the production.</div>
<div style="text-align: justify;">
Although most of our distinguished
guests could not hide their feelings that the performance was well
executed, it is pertinent to note that the theatre architecture and its
accoutrements cry out for urgent attention. The Nsukka theatre is far
from being an ideal example of what a modern theatre building should
look like. The stage is narrow, the auditorium lacks modern seats and
facilities, there is no cooling system in the theatre, no conveniences,
and no ergonomics. However, it is delightful to mention that the
president of the University Alumni Association, Chief Andrew Oru, has
promised to help in the renovation and re-equipping of the arts theatre.</div>
<div style="text-align: justify;">
This, he said, is in his priority list
of problems to solve because “… the Arts Theatre is a strategic
building, a place where we say welcome to distinguished visitors to the
university with dramatic offerings”. Nevertheless, I must frankly state
that these technical and structural short comings did not quite
undermine this year’s convocation production as such, because the
superlative performance of the actors and actresses diminished most of
these shortcomings.</div>
<div style="text-align: justify;">
Having impressed the Vice-Chancellor and
all our distinguished convocation guests and uplifted the image of the
university through this singular theatrical outing, we sincerely hope
that the UNN Alumni Association will not allow next year’s convocation
drama to be staged in a poor theatrical arrangement.</div>
Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-42388498442749782062017-10-16T09:23:00.001-07:002017-10-16T09:23:14.638-07:00THE PLACE OF WATER IN SUSTAINABLE DEVELOPMENT: READINGS FROM GREG MBAJ IORGU’S WRITINGS<br />
<br />
<div data-angle="0" data-canvas-width="536.8521759994411" data-font-name="Times New Roman" dir="ltr" style="font-family: sans-serif; font-size: 18.72px; left: 141.947px; text-align: center; top: 146.867px; transform-origin: 0% 0% 0px; transform: rotate(0deg) scale(1.03716, 1);">
THE PLACE OF WATER IN SUSTAINABLE DEVELOPMENT: </div>
<div data-angle="0" data-canvas-width="186.71328556448938" data-font-name="g_font_14_0" dir="ltr" style="font-family: sans-serif; font-size: 18.72px; left: 460.093px; text-align: center; top: 168.307px; transform-origin: 0% 0% 0px; transform: rotate(0deg) scale(1.02599, 1);">
READINGS FROM GREG MBAJIORGU’S WRITINGS.</div>
<div data-angle="0" data-canvas-width="171.92000512361525" data-font-name="Times New Roman" dir="ltr" style="font-family: sans-serif; font-size: 16px; left: 321.987px; text-align: center; top: 208.011px; transform-origin: 0% 0% 0px; transform: rotate(0deg) scale(0.981185, 1);">
Agatha Njideka Nwanya.</div>
<div data-angle="0" data-canvas-width="107.60000320672991" data-font-name="Times New Roman" dir="ltr" style="font-family: sans-serif; font-size: 16px; left: 442.653px; text-align: center; top: 226.091px; transform-origin: 0% 0% 0px; transform: rotate(0deg) scale(0.916525, 1);">
Department of Theatre and Cultural Studies,</div>
<div data-angle="0" data-canvas-width="174.19200519132616" data-font-name="Times New Roman" dir="ltr" style="font-family: sans-serif; font-size: 16px; left: 320.707px; text-align: center; top: 244.491px; transform-origin: 0% 0% 0px; transform: rotate(0deg) scale(0.908196, 1);">
Nasarawa State University,</div>
<div data-angle="0" data-canvas-width="37.74400112485886" data-font-name="Times New Roman" dir="ltr" style="font-family: sans-serif; font-size: 16px; left: 298.627px; text-align: center; top: 262.891px; transform-origin: 0% 0% 0px; transform: rotate(0deg) scale(0.964908, 1);">
PMB </div>
<div data-angle="0" data-canvas-width="180.73600538635256" data-font-name="Times New Roman" dir="ltr" style="font-family: sans-serif; font-size: 16px; left: 336.387px; text-align: center; top: 262.891px; transform-origin: 0% 0% 0px; transform: rotate(0deg) scale(0.908373, 1);">
1022 Keffi, Nasarawa State,</div>
<div data-angle="0" data-canvas-width="51.82400154447555" data-font-name="Times New Roman" dir="ltr" style="font-family: sans-serif; font-size: 16px; left: 381.987px; text-align: center; top: 281.291px; transform-origin: 0% 0% 0px; transform: rotate(0deg) scale(0.939976, 1);">
Nigeria.</div>
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</div>
For full essay, visit: http://www.eajournals.org/wp-content/uploads/The-Place-Of-Water-In-Sustainable-Development-Readings-From-Greg-Mabajiorgu---s-Writings..pdf<br />
<br /><div data-angle="0" data-canvas-width="237.41888707563407" data-font-name="Times New Roman" dir="ltr" style="font-family: sans-serif; font-size: 14.72px; left: 344.067px; text-align: left; top: 48.1645px; transform-origin: 0% 0% 0px; transform: rotate(0deg) scale(0.949676, 1);">
<b>International Journal of African Society </b></div>
<div data-angle="0" data-canvas-width="138.48576412719729" data-font-name="Times New Roman" dir="ltr" style="font-family: sans-serif; font-size: 14.72px; left: 581.693px; text-align: left; top: 48.1645px; transform-origin: 0% 0% 0px; transform: rotate(0deg) scale(0.920477, 1);">
<b>Cultures and Traditions</b></div>
<div data-angle="0" data-canvas-width="25.598080762882233" data-font-name="Times New Roman" dir="ltr" style="font-family: sans-serif; font-size: 14.72px; left: 603.813px; text-align: left; top: 80.9645px; transform-origin: 0% 0% 0px; transform: rotate(0deg) scale(0.914217, 1);">
VOL.2,No.1,pp.1</div>
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-9, March 2015</div>
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Published by European Centre for Research Training and Development </div>
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UK (www.eajournals.org)</div>
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1ISSN 20565771(Print) ISSN 2056578X(Online)</div>
Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-1451598401840863252017-10-16T09:16:00.000-07:002017-10-16T09:16:08.154-07:00Drama and the Quest for Provision of Portable Water in Rural Communities – A Study of Wota na Wota Experiment<div id="articleTitle">
<h3>
<em>Author: Greg Mbajiorgu </em></h3>
<h3>
<em>Email: mbajiorgugreg@gmail.com </em></h3>
</div>
<b>Abstract</b>
<br />
<div>
The objective of this paper is to examine how drama can be used to<br />exemplify the complex nature of the water and sanitation crises in rural<br />communities. In this paper, we will come to terms with how Wota na<br />Wota as an instrument of advocacy has compelled the reader to consider<br />the challenges of water scarcity that exist in our rural communities, thus,<br />stimulating the reader to psychological re-programme his/her mind<br />towards seeking lasting solutions to such problems. Using both the<br />observational and descriptive designs, this paper focuses our attention on<br />those aspects of water crises and water-related issues that most Nigerian<br />dramatists and theater scholars have tended to ignore or have taken for<br />granted (such as the socio-cultural dimension and implication of water). It<br />is thus, hoped that the study of Greg Mbajiorgu and Chike Aniakor’s wota<br />na wota will serve as a pathfinder towards re-orienting humanity on the<br />path to safe water and sanitation for all. On the other hand, this study is<br />equally designed to increase our literary appreciation of water as well as<br />serve as a warning against the consequences of water scarcity and its<br />related economic, social and health implication in rural communities.<br />
<br />
Read more on https://www.unilorin.edu.ng/ejournals/index.php/ijopa/article/view/880/0 </div>
Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-29213897462107419782017-10-16T09:07:00.002-07:002017-10-16T09:07:58.384-07:00Book Review: The Prime Minister’s Son @ 20<span class="cb-title-fi"><a class="author url fn" href="http://thenews-chronicle.com/author/webmaster/" rel="author" title="Posts by By Uzor Maxim Uzoatu">By Uzor Maxim Uzoatu</a></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1CwySozVrrPmcjGE8TBofrZ6chjDbGwFxoNj6FiIlwFZt79i6_sGyTOAVlvKYcQFbbesgHvsMmyxjsCmfmIj4pn-_FuAEP_5O269wzLTiwS7KxUQje5w3x7eFMSxri7LYLGQnWMaj2NI/s1600/20.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="460" data-original-width="819" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1CwySozVrrPmcjGE8TBofrZ6chjDbGwFxoNj6FiIlwFZt79i6_sGyTOAVlvKYcQFbbesgHvsMmyxjsCmfmIj4pn-_FuAEP_5O269wzLTiwS7KxUQje5w3x7eFMSxri7LYLGQnWMaj2NI/s320/20.jpg" width="320" /></a></div>
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<div style="text-align: justify;">
<i>The Prime Minister’s Son </i>(20 Years Anniversary Edition) by Greg Mbajiorgu; Kraftgroits, Kraft Books Limited, Ibadan; 2011</div>
<div style="text-align: justify;">
The one-man theatre represents a
revolution of sorts against the background of the emphasis on crowd
scenes in African theatre. The solo performance is completely opposed to
the work of, say, a stand-up comedian who just tells jokes for the heck
of it. Greg Mbajiorgu has for the past 20 years championed the cause of
the one-man theatre with <i>The Prime Minister’s Son, </i>a performance
that is at once spectacular and very penetrating. First performed in
1991 at the National Youths Service Corps (NYSC) Secretariat, Calabar,
Cross River State by its creator Greg Mbajiorgu, <i>The Prime Minister’s Son </i>has ever since toured most of the states of Nigeria, North and South, without any sponsorship whatsoever. The 20<sup>th</sup> anniversary edition of the play is a grand testimony to belief.</div>
<div style="text-align: justify;">
As a mono-dramatist, Mbajiorgu stands
likened to the exploits of the late Funsho Alabi and the living Tunji
Sotimirin. The difference is that unlike Alabi and Sotimirin, Greg
Mbajiorgu has a published text to show for his efforts. The play is
remarkably dedicated “To Funsho Alabi, king of solo, whose indelible
footprints have continued to guide me on this solitary journey.”</div>
<div style="text-align: justify;">
According to Professor Dapo Adelugba in his foreword to the play, “Greg Mbajiorgu’s <i>The Prime Minister’s Son </i>debunks
the old myth that the dramatist, the performer and the director are
three separate sub-worlds of the world of theatre. He has shown in his
work, which he has created, directed and acted, that these three worlds
can be collapsed into one, which is exactly what has happened.” Of
course the play as it is presented now has been revised and re-revised
from what it was in its first incarnation 20 years ago.</div>
<div style="text-align: justify;">
The eponymous character is the rejected
son of the Prime Minister who embodies 12 other characters in the play.
Multiple role-playing is the essence of the drama as it unfolds from a
cemetery beside a local church where the Prime Minister’s Son in a
completely tattered outfit dirges as he advances towards his dead
mother’s tombstone.</div>
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<br /></div>
<div style="text-align: justify;">
It makes for captivating theatre that
an ill-starred boy is misbegotten through the illicit liaison of a Prime
Minister and his house-girl Ezinma. When the pregnancy manifests the
Prime Minister deigns to foist responsibility upon his houseboy Emenike.
Both house-helps are then banished from the household of the Prime
Minister. The luckless Emenike and Ezinma must perforce find a way to
survive in a very hostile landscape. They get married and then Ezinma
delivers the Prime Minister’s unwanted son. It is a tough call bringing
up the child after Emenike tragically dies. Ezinma then withdraws the
boy from the boarding school he had been attending. Ezinma tries all her
best to give the boy all she could afford until the State Task Force on
Environmental Sanitation destroys her stall. She runs mad and then
dies. After the death of his mother the orphan then learns the truth
about his actual parentage as a prime minister’s son. His attempt to get
through to his father, the Prime Minister, fails and he ends up
lamenting as a homeless wanderer.</div>
<div style="text-align: justify;">
In all, the sole actor reprises 13
roles, from his pivotal role as the Prime Minister’s son to the 12 other
characters of the play, notably Ezinma, Emenike, Blind Woman, Mr.
Okafor, Adaku, Wife, Ozoemena, Our Master, Papa Adaeze, The Landlady and
Enyinnia. <i>The Prime Minister’s Son </i>is so demanding on the actor
such that only one with plenty reserves of protean resources can
undertake a staging of the play. The actor is called upon to become a
redoubtable ventriloquist. The alteration of voice is of great import.
Music is an essential aspect of the play in the manner of the chorus of
Ancient Greek drama. Greg Mbajiorgu deploys the flashback technique to
flesh out the enactment of the story.</div>
<div style="text-align: justify;">
This 20<sup>th</sup> anniversary edition of <i>The Prime Minister’s Son </i>has an appendix entitled <i>“The Prime Minister’s Son, </i>Nineteen
Years After: Reflections (A Prelude to the 2oth anniversary)” written
by Greg Mbajiorgu and first published in 2010 by Unizik Journal of Arts
and Humanities to mark the 19<sup>th</sup> anniversary of the play. The author there offers insights on his working methods and intellectual motifs.</div>
<div style="text-align: justify;">
Born on May 24, 1964, Greg Mbajiorgu who
was educated at the University of Nigeria and the University of Ibadan
had in the 1980s experimented with the improvisational theatre outfit
known as Release Mandela Campaign Theatre, staging in 1986 the
anti-apartheid play “The Freedom Charter”. It was in 1991 that he broke
bold ground by venturing into mono-drama via <i>The Prime Minister’s Son.</i></div>
<div style="text-align: justify;">
The play is fast moving and never boring
as most plays with minimalist casting are wont to. Greg Mbajiorgu
deserves celebration for taking <i>The Prime Minister’s Son </i>into progressive adulthood at 20.</div>
<div style="text-align: justify;">
<br /></div>
Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-21718399049922969642017-10-16T08:58:00.002-07:002017-10-16T08:58:51.008-07:00THE PRIME MINISTER’S SON, 19 YEARS AFTER: REFLECTIONS<div id="header">
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<strong>AUTHOR: GREG MBAJIORGU</strong><strong></strong></div>
<strong>DEPARTMENT OF THEATRE AND FILM STUDIES, UNN</strong><br />
<strong> </strong><br />
<strong></strong><strong>FROM UJAH- UNIZIK JOURNAL OF ARTS AND HUMANITIES VOL II NO. 2, 2010</strong><br />
<strong>PUBLISHED BY FACULTY OF ARTS</strong><br />
<strong>NNAMDI AZIKIWE UNIVERSITY, AWKA </strong><br />
<br />
The growth of the solo theatrical sub-genre seems to have been
stultified in Nigeria because of the fact that the pioneer soloists
(Funsho Alabi and Tunji Sotimirin) did not find it necessary to document
their solo performances in print after their production tours. The
performance context of their art has created problems for theatre
scholars and aspiring solo performers who have no tangible hold on their
ephemeral works. In this study, I seek to show both the pattern of
development in The Prime Minister’s Son and, to unveil the solo dramatic
techniques that facilitated the creat on, production and publication of
this work. By studying the improvisational outline and the ultimate
text that emerged through rigorous improvisational effort, this
reflection will help to provide few lessons for future studies in this
area.<br />
<strong>TO VIEW THE FULL CONTENT OF THIS DOCUMENT, PLEASE VISIT THE UNIZIK LIBRARY WEBSITE USING THIS LINK, <a href="http://www.naulibrary.org/dglibrary/admin/book_directory/Addresses/10995.pdf" target="_blank">http://www.naulibrary.org/dglibrary/admin/book_directory/Addresses/10995.pdf</a></strong><br />
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<a href="https://naudigitallibrary.wordpress.com/">Nnamdi Azikiwe University Digital Library</a></h1>
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Digital Library for Online resource sharing among the University communities</div>
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Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-6532888606232968082017-10-16T08:51:00.003-07:002017-10-16T08:51:49.320-07:00The Art of Solo Performance: A Study of Funsho Alabi’s Escape From Drugs<div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><i>By Greg Mbajiorgu</i></span></b></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><i> </i> </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">What
readily come to the mind at the mention of the word “solo performance” are the
horrible dreary talk shows of some stand up comedians that are predominant in
our cultural scenes today. This paper however has no interest in such static
unconnected comic talk-shows of stand-up comedians reputed for its frivolous
subject matter and its undisguised main objective which is to elicit laughter
from the audience<b style="mso-bidi-font-weight: normal;"><span style="color: red;">.</span></b></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>The concern of this paper is the exciting,
vibrant, lively, pure theatre of Funsho Alabi that has opened our minds to the
power, beauty, multi dimensionality and economic potentials of a true solo
production. The researcher’s objective, thus, is to critically review Alabi’s
Escape from Drugs with the intention of discovering the peculiar theatrical
techniques that have greatly facilitated the realization of his unique form of
theatre practice. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>In this regard, it is the researcher’s hope
that this study will equally help in establishing the theoretical basis for
subsequent studies of Alabi’s Escape from Drugs. Because of the laboratory
nature of Alabi’s art, the observational design was adopted as a strategy of
inquiry. The researcher did not only study the live production and the video
recording of Escape From Drugs, significant data were equally gathered through
extensive oral interview with Alabi as well as through various public and private
libraries. </span></div>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Charter BT",serif; font-size: 16.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br clear="all" style="mso-special-character: line-break; page-break-before: always;" />
</span></b>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Charter BT",serif; font-size: 16.0pt; mso-bidi-font-size: 11.0pt;">Brief Professional Profile of The Artist
</span></b></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Funsho Alabi’s interest in acting dates back
to 1979 under the direction of J.D. Bullock (the then principal of Federal
Government College, Kano) then in secondary school, Alabi participated in
several college drama presentations. After high school, he studied Theatre Arts
at the Obafemi Awolowo University, Ile-Ife, where he obtained a B.A. degree in
1983. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>From 1983 till April, 2006 when he died, he
was one of Nigeria’s notable and respected freelance actor-directors. He played
lead roles in over fifty different stage and screen productions. His first solo
performance (Martin Luther King Remembered) had its world premiere in 1988. His
other interesting solo performances are <i style="mso-bidi-font-style: normal;">Escape
From Drugs</i> (1989) and AIDS (1989). Alabi’s one man shows are mainly geared
towards educating and conscientizing his audience. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Charter BT",serif; font-size: 16.0pt; mso-bidi-font-size: 11.0pt;">A Brief Introduction of The Play </span></b></div>
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<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Escape
From Drugs</i> is a typical narrative theatre. In this performance the
predominant character, who is the only visible character, enacts the story of
his brother (Bracy) through the use of narrative flash-Back techniques, the
lone character on stage explores both the presentational and representational
approaches in enacting the story of Bracy’s past drug life, the tragic
consequences of Bracy’s drug habit and Bracy’s present state of guilt,
repentance and self- realization. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Charter BT",serif; font-size: 16.0pt; mso-bidi-font-size: 11.0pt;">Alabi’s Sketchy Plot Out-Line </span></b></div>
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<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-family: "Charter BT"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Charter BT";"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Bracy’s brother introduces the play with
few anti-drug songs.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: 36.7pt; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-align: justify; text-indent: -27.35pt;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-family: "Charter BT"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Charter BT";"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">He makes few introductory remarks about
his drug addicted brother (Bracy). </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: 36.7pt; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-align: justify; text-indent: -27.35pt;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-family: "Charter BT"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Charter BT";"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">The dramatic circumstances that led to
Bracy’s initiation into hard Drugs. </span></div>
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<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-family: "Charter BT"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Charter BT";"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">How Bracy loses his dream girl because
of drugs. </span></div>
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<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-family: "Charter BT"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Charter BT";"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Bracy’s misconduct in the exam hall and
the consequences of his stupid actions. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: 36.7pt; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-align: justify; text-indent: -27.35pt;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-family: "Charter BT"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Charter BT";"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">The scenario in which Bracy indulges in
petty stealing because of drugs. </span></div>
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<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-family: "Charter BT"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Charter BT";"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">The enactment of how Bracy assaulted his
Mum. </span></div>
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<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-family: "Charter BT"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Charter BT";"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">How Bracy finally deserted home. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: 36.7pt; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-align: justify; text-indent: -27.35pt;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-family: "Charter BT"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Charter BT";"><span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Bracy’s subsequent initiation into an
armed robbery gang as a driver. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: 36.7pt; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-align: justify; text-indent: -27.35pt;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-family: "Charter BT"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Charter BT";"><span style="mso-list: Ignore;">10.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">The bloody operation where Bracy’s gang
shed the blood of innocent citizens. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-align: justify; text-indent: -27.0pt;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-family: "Charter BT"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Charter BT";"><span style="mso-list: Ignore;">11.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Bracy’s escape from arrest and his
mysterious survival from a major auto-crash.<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-align: justify; text-indent: -27.0pt;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-family: "Charter BT"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Charter BT";"><span style="mso-list: Ignore;">12.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Bracy’s sorrow and pain where mum gave
up her last breath. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-align: justify; text-indent: -27.0pt;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-family: "Charter BT"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Charter BT";"><span style="mso-list: Ignore;">13.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Bracy’s confessions and lamentations. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-align: justify; text-indent: -27.0pt;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-family: "Charter BT"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Charter BT";"><span style="mso-list: Ignore;">14.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Ends with a Dirge<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>The success of Alabi’s Escape From
Drugs as a performance is not determined or measured by the above jottings, but
by the improvisational skills, experience and proficiency of the actor. Alabi’s
plot outlineis a product of his imagination and it is from this that his
skillfully improvised performance emanates. In other words, his solo
performance is conceptualized and realized in the context of performance and
not as a literary text.</span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify; text-indent: .5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Alabi’s
working outline is necessary only at the early stage of his improvisational
experiments, when he is still battling to internalize the story sequence. In
the passage below, Funsho Alabi throws more light on how he conceptualizes his
plot outline, and the processes through which it materializes into a full-blown
performance. According to him: </span></div>
<div class="MsoNormal" style="line-height: normal; margin-right: 2.35pt; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 2;"> </span>First
there is a flash of idea, the driving force of a flimsy plot, <span style="mso-tab-count: 2;"> </span>then I scribble down the
skeletal sequence on a paper as I <span style="mso-tab-count: 3;"> </span>ponder
on the raw guideline, a more graphic scenario begins to <span style="mso-tab-count: 2;"> </span>form in my mind. At this stage, the key point, the
skeletal note <span style="mso-tab-count: 2;"> </span>on paper is
modified and retained as my secret code or <span style="mso-tab-count: 4;"> </span>password
that connects me to the detailed scenario in my mind. <span style="mso-tab-count: 2;"> </span>Then, I enter into the more practical phase of my work
– the <span style="mso-tab-count: 3;"> </span>rigorous
improvisational stage.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Having watched <i style="mso-bidi-font-style: normal;">Escape From Drugs</i> over and over again, one is not in doubt that the
performance can be transcribed and published for educational purposes. The big
question is whether the published version will retain the vital life and
natural context that characterized the improvised one. The answer to this
question is obvious; an improvised theatre lives as an enactment on stage and
not on paper. According to Isidore Okpewho “when a scholar jots them down
without being able to evoke the atmosphere in which they flourished, he has
given in but a mutilated bit of reality.” (1990) It is on this ideological
premise that Alabi perceives his work as performance and not as literature. In
the words of Alabi, “Improvisation makes sense to me as performance. It loses
its intensity and originality once it transforms into a text”. The fragile outline
of <i style="mso-bidi-font-style: normal;">Escape From Drugs</i> is the only
driving force for Alabi’s performances. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Just like the interactive performers, Funsho
Alabi employs improvisational technique as one of his strategies for generating
sensible and complex words and actions on stage. His body, voice and inner
resources are the indispensable tools with which he creates and sustains the
performance. In the words of Garry Izzo (1997: 28): </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 10.0pt; margin-left: .5in; margin-right: 2.35pt; margin-top: 0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">actors
carry the stage on their back. All the essential elements needed to make
theatre happen are incorporated into their characterization and made active
through improvisation. They are not dependent on any exterior support system to
aid them. Actors must create the illusion of reality with their body and their
voice. They must gather focus and hold their audience. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify; text-indent: .5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Izzo
shares the solo actor’s view that such responsibility will liberate the actor’s
imagination and transform him into “a well-grounded master of his art.” For
him, the creative stage actor is the one who is imaginative. This creative
actor whom he refers to as an interactive actor is both an auto dramatist and
director of some sort. Thus he declares: </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 10.0pt; margin-left: .5in; margin-right: 2.35pt; margin-top: 0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">‘‘no
where else will actors learn to be responsible for their work, and no where
will it be more readily apparent when they succeed or fail” (59). </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Despite all that Alabi as a solo artist
shares in common with Izzo’s interactive actors, there is still a clear
dividing line between his form of theatre and interactive theatre of Garry
Izzo. Izzo’s explorative technique is inspired by the playwright’s text, while
Alabi as solo actor is the originator and creator of his orally composed story
line. Again, creativity in interactive acting thrives basically on
extraordinary form of actor-driven characterization that is rooted on the
playwright’s blueprints.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Charter BT",serif; font-size: 16.0pt; mso-bidi-font-size: 11.0pt;">Structure And Form in Alabi’s <i style="mso-bidi-font-style: normal;">Escape From Drugs</i> </span></b></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify; text-indent: .5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">As
observed by Louis Catron “the one-person play varies in structure. It may be as
carefully plotted <span style="mso-spacerun: yes;"> </span>as a <span style="mso-spacerun: yes;"> </span>multi-character full-length play, with
conflict and complications that create building action. Alternatively it may be
a brief character sketch or a mood piece that seeks to evoke emotion” (40). Funsho
Alabi’s <i style="mso-bidi-font-style: normal;">Escape From Drugs</i> is a good
example of a full length plotted solo play. Louis Catron has isolated for us
some of the essential characteristics and qualities of the plotted solo play: </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 10.0pt; margin-left: 31.5pt; margin-right: -2.7pt; margin-top: 0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">The
structure of the plotted monodrama resembles that of multi-character play. It
usually contains essential elements of plot, such as inciting incidents,
foreshadowing, exposition, point of attack, complications and reversals
creating rising action, and a climax. The characters face a major conflict
between significant choices. For example, he or she might be considering
marriage, divorce, suicide, abortion, and issues involving drugs, dropping out
of school, quitting a job, dealing with troublesome relative, or the likes. A
significant aspect of the plot is a conflict that affects the character now,
giving the play a sense of the present not past, and giving the character a
highly important vested emotional interest in the outcome (40). </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify; text-indent: 31.5pt;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Alabi’s predominant character (Bracy’s brother) is confronted
by Problems resulting from his brother’s drug life. His story about Bracy is
sequentially arranged in a linear point – to – point story telling order.<span style="mso-spacerun: yes;"> </span>There is no formal breakdown of dramatic
events into scenes and acts. The story is outlined to flow smoothly; its
uninterrupted flow is expected because the locations where the events in the
story took place are imaginary locations that are improvised in an empty space.
This makes it possible for Alabi to sustain the story line without breaks except
for necessary intervals of songs, dance and silence, and since the whole play
is structured around The Narrator (Bracy’s brother), he remains the sole
dominant character in this performance and the only handle that guides us
through the “realities” of the situation, incidents and events of the play. It
is through The Narrator’s perspective or subjective point of view that we
perceive the actions and inactions of the other unseen characters in the play.
As mentioned earlier, the narrator is telling the tragic story of his drug
addicted brother, Bracy (the invisible central character in the story) whose
conscious and subconscious action dominates the story line of the play. But
despite the fact that Bracy is the central character in the story, it is from
The Narrator’s perspective (not from Bracy’s perspective) that we perceive the
actions and reactions of all the other characters. Because of the
narratological techniques adopted for the play’s performance, only The Narrator
can be said to be truly independent. All the other characters are dependent on
The Narrator who gives life to them. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>The structure of <i style="mso-bidi-font-style: normal;">Escape From Drugs</i> encourages a perfect blending of “dialogue”,
narrative, monologue, mime, songs, silence and movement, a practice which
Patrice Pavis (1996:371) traced back to “vitez’s vendredi ou la vie souvage”:
“what we cannot act we tell; what cannot be fully told, we act!!”. According to
Pavis (1996: 371), “this technique which allows for the dramatization of
non-dramatic materials compel the audience to use their imagination to conjure
the environment as it is described by the storyteller.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>In <i style="mso-bidi-font-style: normal;">Escape
From Drugs</i>, Funsho Alabi explores two forms of reality: the inner reality
of the various characters in the story and the ulterior reality of the
actor-dramatist. The Narrator in Escape From Drugs is kind of compelled to
identify with the sentiments, philosophy and ideology of the Actor-dramatist
(Funsho Alabi). In other words, The Narrator guides our perception of the
entire story in a manner that suits the Actor-dramatist. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Apart from providing authorial direction,
The Narrator unifies the other characters in the performance by giving them
deterministic idioms that define their roles. The Narrator also unifies the
various incidents in the play; he also unifies time, theatre exists only in the
present tense, it is The Narrator that recalls the significant past that
interprets the present and evokes the sense of the future. Louis Catron also
commented on solo dramatists’ ability to evoke a sense of the future. As
explained by Catron (2005: 3) “…the play is dramatic because of a sense of
future. Where is it going? What will the character do? What’s going to happen?”
Catron also thinks that the solo play should not simply tell us about the past
but should: “seek to show us what is happening now and what this action will
lead to” (2005: 3). </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>A careful study of both the live
presentation and video recording of <i style="mso-bidi-font-style: normal;">Escape
From Drugs</i> reveals that the progressive drug-induced misbehaviour of The
Narrator brother (Bracy) is the propelling factor that ignites the sequence of
tragic happenings in the performance. The more drugs Bracy takes into his
system, the more damage he does to himself and the people around him.</span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Escape
From Drugs</i> is highly innovative in the sense that it is a one-actor
presentation that subsumes the multi-character demands of a full length
performance into the multi-dimensional potential of a single actor. Alabi’s
work is unique because it is an improvised-full-length uninterrupted
presentation that is enacted by a single actor who occasionally switches from
one character to another, from dramatized narrative to a strange and
interesting technique of dialogue. Unlike Tunji Sotimirin (another notable Nigerian
Solo performer), Alabi does not change costume during his performance. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Charter BT",serif; font-size: 16.0pt; mso-bidi-font-size: 11.0pt;">Language in Alabi’s <i style="mso-bidi-font-style: normal;">Escape From Drugs. </i></span></b></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify; text-indent: .5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Language,
according to Mel Shapiro (1997: 24):<span style="mso-spacerun: yes;"> </span>is
a principal tool of both the playwright and the actor. Using words is to the
actor what using the body is to the dancer… language creates a style as well as
a form to contain the play’s content. Put very simply, it is what the actor
acts. You can act to silence and you can act to movement alone. (24)<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify; text-indent: .5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Louis
E. Catron also sees language as one of the secrets of the solo play. As
gathered from Catron, another secret is language. The solo play is “drama of
words” Jane Martin, author of Talking With… is a master. She gives concrete
words specific images and marvelous details. That’s one of the problems
beginners need to solve when writing a solo play. They think all they have to
do is a turn on the faucet and write stream of consciousness. But that leads to
very talky works, ideally, the playwright will weigh each word, each phrase,
each sentence just as carefully as a poet. The adage of “murder your darling”
really applies here.( <i style="mso-bidi-font-style: normal;">the power</i> 5) </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Catron here is talking about the scripted solo
play. However, although alabi’s <i style="mso-bidi-font-style: normal;">Escape
From Drugs</i> is not scripted, it is still a typical play of words. This
performance is sustained by simple prose narrative,<span style="mso-spacerun: yes;"> </span>monologues and one-actor dialogue techniques
that emerged from a rigorous and protracted improvisational process. Apart from
the long narrative speeches of the story teller in <i style="mso-bidi-font-style: normal;">Escape From Drugs</i>, the speeches of all the other characters in the
play are relatively short and precise. That of The Narrator is justifiably long
because he is the source through which we experience and encounter the main
character and other characters in the play. Alabi’s long narratological lines
are systematically interlinked with intervals of monologues, songs, dance,
movement, mime and monopolylogues (a kind of dialogue played by a single
actor). This form of dialogue is employed as theatrical means of representing
the words, actions and behaviour of the other characters that The Narrator
encounters directly or indirectly. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>In Alabi’s performances, songs are also
employed, not just as a means of expression but also as an aesthetic way of
highlighting the mood and the subject matter of the performance. Alabi also
employed language as a strategy for achieving effective characterization. For
example, Bracy’s use of ghetto slang whenever he is high helps a lot in
establishing his drugged state of mind. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Charter BT",serif; font-size: 16.0pt; mso-bidi-font-size: 11.0pt;">Character and Characterization
Techniques in Escape From Drugs. </span></b></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify; text-indent: .5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Bracy
in Alabi’s <i style="mso-bidi-font-style: normal;">Escape From Drugs</i> is a
full blown character. As such he is far from being ordinary. It is interesting
to observe the series of drug-induced negative actions and its consequences
that compel him to finally reject drugs and turn overnight into a repentant
anti-drug crusader.</span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Achieving group dynamics is part of the
beauty of drama but the nature of the solo play makes this almost impossible.
Funsho Alabi’s performance of multiple seen and unseen characters is one
interesting technique for creating a sense of group dynamics on his empty
stage. In Escape From Drugs, we see Alabi shifting from one role to another or
evoking the presence of “other unseen characters” on stage. This is achieved
through the solo actor’s evocation technique, an approach to one-actor dialogue
which Alabi employs to achieve the effect of dialogue even when only the figure
and voice of one character is seen or heard by the audience. The other
characters in the dialogue are unseen, unheard but the audience can perceive
their supposed responses or actions through the suggestive utterances and
actions of the visible character on stage.</span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify; text-indent: .5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>Below is a brief transcription from Alabi’s
improvised performance that shows how this technique of dialogue works on
stage. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Narrator:
(as Bracy) </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Bobo Shone. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">What’s up men </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">I see you after exam. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">I mean after. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">I am sorry sir. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">It’s my friend Bobo Shone. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">My pady mi ni sir, </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Sorry Sir, I won’t disturb again. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Okay Sir, I will start after writing my name. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Am very sorry sir, it is this stubborn questions, </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">I pamed it and it entered. (Strange laughter) </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">(Sudden change of mood) </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Excuse me sir, paper… I want some paper, </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">(Angry) what do you mean? </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Give me some paper; I want some paper… </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">It is not your business what I have done with it. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: 1.0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Just give me another paper! </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Louis
Catron has this to say, about this technique solo performers employ to achieve
dialogue on stage: </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 10.0pt; margin-left: .5in; margin-right: 2.35pt; margin-top: 0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">The
solo play can evoke the presence of other characters who are present although
unseen. Ruth Drapper, whom I think of as the grand mother of solo play, quite
often peopled her plays with a number of people. They weren’t exactly there,
but the audience saw them anyhow. Evoking the presence of invisible others is a
neat trick. (2005: 4)<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-right: 2.35pt; text-align: justify; text-indent: .5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">The character evocation technique is not the
only technique explored to establish other character and their words in <i style="mso-bidi-font-style: normal;">Escape From Drugs</i>. Alabi equally
employed the shift technique in his performance. The shift technique is the
solo actor’s device for alternating between the roles of two or more characters
in a scene. At one point, the solo actor is playing character “A”; at another
he shifts or switches over to character “B” or “C”. Alabi employed this
technique in his performance, particularly in the encounter between Bracy and
his mother. At one point in that scene, we see Alabi as The Narrator, then he
becomes Bracy and after a while he transforms and becomes Bracy’s Mother.
Effective enactment of the words, actions and behaviour of different characters
by one actor is not an easy task, because changing frequently from one role to
another, from dramatic narrative to dramatized dialogue is a very strenuous
artistic exercise. Greg Mbajiorgu also discusses the challenges of solo acting
and its demands on the audience in his introductory note to The Prime
Minister’s Son. According to Mbajiorgu (2000: vii-viii): </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 10.0pt; margin-left: .5in; margin-right: 2.35pt; margin-top: 0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Transforming
the visual aspect of dramatic action to the purely psychological, demands a lot
of task on the part of the single actor. A very high level of imaginary and
perceptive instinct is required to enable the audience cue to the psychological
level of the performance and thus, overcoming the constraint of scenography in
sustaining dramatic action. For a one-man theatre, the appropriate scenography
is psychological rather than physical. The lone actor is expected to
internalize the scenographic aspect of the story in order to express its
psychological essence. This level of performance will no doubt force the
audience to live up to their own task: the audience should be part of the
strategy for producing meaning in the theatre. For a one-man show, the actor’s
dramatic code is his strategy of appropriation; the techniques and the devices
he employs to ensure a successful performance. Theatre is illusion. The power
of illusion is very important in dramatic arts and the tangibility of illusion
is when you are there as yourself and yet can transit into the various
characters in the story. Dramatic action is not denying the identity of self,
it accepts it as a basis for transition into the “otherness” of the other character
in the story.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>For
Alabi’s <i style="mso-bidi-font-style: normal;">Escape From Drugs</i>, physical
changes in terms of costume and stage properties are not required. In fact,
on-the-scene make-up is unnecessary because it will be outrightly illogical to
worry about spectacle and general details of the character’s physiological
background such as age, facial featuares, etc, since solo plays are
intellectual and psychological plays designed with a single actor in mind.
While most theatre scholars see this lack of spectacle as solo theatre’s
greatest disadvantage, Charlotte Lee and Timothy Gura (two notable performance
theorists) have taken a contrary stand on this issue. According to Lee and Gura
“…although spectacle is part of drama, the spectacle need not to be the fact of
a staged production”.(283) </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>On this question of spectacle, Alabi had this
to add: “As a solo actor, I have no business bothering about the reality of my
scenery or stage activities”. This is understandable because the solo
performer’s theatre should not strive to be realistic in anyway. According to
Lee and Gura, what is important to the solo performer is: “not what goes on in
front of the audiences’ eyes but what goes on in the audiences’ mind. The
audience help in creating the scenographic elements using their imagination”. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Funsho Alabi’s scenes are not presented
scenographically to his audience, and because of the technical constraints of
this form of theatre, Alabi portrays the significant life of the dominant
character who represents or suggests the action and inactions of all the
subordinate characters that he encounters using the solo performer’s narrative,
dialogue and evocation techniques. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Also it should be noted at this point that
Alabi’s overt reliance on improvisation did not start with him. This technique
was popularized by the Italian comedians called Commedia dell’arte. As
reiterated by Effiong Johnson, the commedia dell’arte group is not even the
only company of actors in the past that relied strongly on improvisation. Thus
he recalls: ‘‘Most experimental groups such as Joseph Chaikin’s The Open
Theatre, Jerzy Grotowski’s The Poor Theatre Peter Brook’s The Immediate Theatre
and Richard Schechner’s The Performers Group, to mention but few, approach
performance or arrive at play productions mostly through improvisation”
(Johnson, 131). </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Charter BT",serif; font-size: 16.0pt; mso-bidi-font-size: 11.0pt;">The Power of Alabi’s Solitary Body And
Voice<span style="mso-spacerun: yes;"> </span></span></b></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Essentially, Funsho Alabi interprets his
self-oriented play with nothing else but his body and voice. Like all solo
actors, he electrifies the empty space on stage not only with his physical body
and voice but also with his creative energy, his performance intensity, his
charismatic stage presence and power of concentration. As rightly observed by
Lee and Gura: </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 10.0pt; margin-left: .5in; margin-right: 2.35pt; margin-top: 0in; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">The
solo performer works alone in a playing space that is reduced to the boundaries
sketched by one body and one voice. He succeeds only by training his body and
voice to bring the world of the play to life. Each choice he makes measures his
sensitivity, acuity and accuracy as a solo actor. Each choice testifies to the
work done or not. (264). </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>These scholars do not see the limitation of
the solo performer’s body as any constraint. For them, the actor’s frame
doesn’t have to be as large as the stage, what matters ultimately is the
magnitude, power and significance of what he does on stage. Other peculiar
aspects of Alabi’s art are the power of Alabi’s voice and the interesting and
complex rhythm of his well sustained speeches. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>In this performance (<i style="mso-bidi-font-style: normal;">Escape From Drugs</i>), Alabi combines the individual speech rhythms,
the emotional tension and anxiety of different characters he enacts in an
alternating manner. These alterations in style and manner of speech and voice
production are what Lee and Gura qualify as changes in content, stylistic
approach, linguistic technique and grammatical/syntactical changes. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Charter BT",serif; font-size: 16.0pt; mso-bidi-font-size: 11.0pt;">Silence As A Strategy For Achieving
Theatrical Effects. </span></b></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>An interesting strategy which Alabi employs
for achieving theatrical effect is silence. The artful and occasional
patterning of silence is noticeable in <i style="mso-bidi-font-style: normal;">Escape
From Drugs</i>. Through this strategy or device, he achieves emphasis and
variation in dramatic tempo. Silence, according to Lee and Gura,“…has the power
to elevate the pause to a dramatic force that can be ominous and poetic at the
same time”.(283) This was most clearly illustrated in the scene where Bracy’s
Mother dies. For about a minute, Bracy finds himself in a traumatic state of
silence before finally breaking into tears. Another theatrical device employed
by Alabi in his performance is the use Narrative Flash-back Technique. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>The Narrative Flash-back Technique was very
useful in realizing his story based solo performance. The sequence of events in
Escape From Drugs were properly blended because of this technique. Bracy’s
brother who is the Narrator, employed this story-telling device as a means of
unifying the story of his brother’s past and present life Without this
technique it will be impossible and non plausible for Alabi to unite past and
present events in a one hour thirty minutes show. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Having discussed Alabi’s <i style="mso-bidi-font-style: normal;">Escape From Drugs</i> performance, its basic form, structure, language,
style, character and characterization techniques, it will be proper at this
point to mention that solo performance is not really a new art, and although
its current form is different from what it used to be in the past, some of its
basic techniques and artistic elements are still traceable to the ritual
practices in the pre-historic era of the Shaman, the Greek classical era of
Thespis and The Age Long Cultural Tradition of African Griots, Minstrels and
Story Tellers. What is apparently new and innovative is the sudden outburst of
scholarly interest in the art and practice of solo performance. </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>In conclusion, this study advocates the need
for greater academic interest in the video documents and theoretical fragments
of the late Funsho Alabi’s eighteen years of solo performance experiments in
Nigeria. This is necessary because his many years of independent approach to
theatre practice, opened our eyes to the fact that the solo performance form is
the most economic and affordable means of sustaining live theatre practice in a
developing country like ours.<span style="mso-spacerun: yes;"> </span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Charter BT",serif; font-size: 16.0pt; mso-bidi-font-size: 11.0pt;">Works Cited</span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify; text-indent: -.5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Alabi,
Funsho. Personal Interview. Lagos, May 24, 2001. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify; text-indent: -.5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Catron,
Louis E., <i style="mso-bidi-font-style: normal;">The Power of One</i> – The Solo
Play for Playwrights, Actors and Directors. Portsmouth: Heinemann, 2000. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify; text-indent: -.5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Catron,
L. E. Jenna Glatzer’s Interview with L.E. Catron. 14 May, 2005, </span><a href="http://www.absolutewrite.com/screenwriting/louiscatron.htm"><span style="color: windowtext; font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt; text-decoration: none; text-underline: none;">www.absolutewrite.com/screenwriting/louiscatron.htm</span></a><span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">.
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify; text-indent: -.5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Izzo,
Garry The Art of Play, The New Genre of Interactive Theatre. Portsmouth,
Heinemann, 2000.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify; text-indent: -.5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Johnson,
Effions. The Art of Acting – A Student – friendly Anthony.cd. Effiong Johnson,
Lagos: Concept Publications, 2005. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify; text-indent: -.5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Lee,
C. and T Gura. Oral Interpretation Eight Edition. Boston: Houghton Mifflin
Company, 1993. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify; text-indent: -.5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Mbajiorgu,
Gres. The Prime Minister’s Son. Enugu: Snaap Press, 2000. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify; text-indent: -.5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Okpewho,
Isidore. “Introduction: The Study of Performance” The Oral Performance in
African. Ibadan: Spectrum Books, 1990.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify; text-indent: -.5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Pavis,
P. Dictionary of Theatre Terms, Concepts and Analysis. Toronto: University of
Toronto Press, 1996. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify; text-indent: -.5in;">
<span style="font-family: "Charter BT",serif; font-size: 13.0pt; mso-bidi-font-size: 11.0pt;">Shapiro,
M. An Actor Performs. New York: Harcourt Brace College Publishers, 1997.<span style="mso-spacerun: yes;"> </span></span></div>
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<![endif]--><br />Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-73885270063908826092017-10-16T08:45:00.001-07:002017-10-16T08:45:47.186-07:00IMPROVISATION AS A STRATEGY FOR INVENTING DYNAMIC SOLO PLAYS: A STUDY OF TUNJI SOTIMIRIN’S MOLUE <div class="separator" style="clear: both; text-align: center;">
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<b>Abstract</b> </div>
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Tunji Sotimirin’s pioneering work, Molue, set the pace for the development of one-actor theatre in Nigeria. Ever since, this theatrical genre has grown, attracting various shades of attention, but also encountering its own kind of problems. Through the use of observational design, this study focuses on the story, form, structure, language, character and characterization techniques employed in the making of Sotimirin’s improvised solo play Molue. The study unveils how this laboratory oriented artist conceptualises and actualises his one-actor oriented comic production. <br /><br /><b>Introduction </b></div>
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Theatre in Nigeria has witnessed the development and growth of solo performances. The radicalism and sheer unorthodoxy of this seemingly new approach to theatre practice are as interesting as its attendant economic and artistic potentials. Within the last two decades a number of Nigerian theatre artists have been striving to popularize the actor-based-improvised form of theatre. Sotimirin’s Molue and Funsho Alabi’s Escape From Drugs are typical examples of this burgeoning avant-garde theatrical form. Instead of depending primarily on the playwrights’ lexical repertoire as the basis for full-blown dramatic production, Tunji Sotimirin and few other Nigerian actors have resorted to a rather impromptu technique of theatre as a strategy for inventing dynamic solo performances with interesting characters. However, it is important to note, that while Tunji Sotimirin remains the first Nigerian to create his own one-actor piece, Wale Ogunyemi, a renowned Nigerian playwright, actor and director is (historically speaking), the first Nigerian actor to perform a solo drama on the modern stage. Ogunyemi made his historic appearance in a one-actor mime play called, Acts without Words, on the nights of 24th and 25th November, 1966, at the School of Drama, University of Ibadan. Acts Without Words as read from Okotie’s production bill “is an absurd theatre of gestures that show the bewilderment of man in an irrational world” (Okotie:1966). The researcher’s curiosity to find out why Ogunyemi chose to perform this play at the time he did yielded the following response: I did not choose to do Acts Without Words, I was asked to do it by Betty Okotie…..realizing this play was not an easy task for me and my director, but I was happy to be able to convey the meaning of my acts to the audience. Again, one being alone on stage with so many people back-stage facilitated my performance that relied squarely on music and movements. (Ogunyemi, Oral Interview, 2001) Although, Okotie and Ogunyemi are both celebrated as the first Nigerians to embark on a solo theatrical presentation, it is Tunji Sotimirin - in terms of originality of material - that eventually created the first notable one-man-based theatrical art in Nigeria. Years after Okotie and Ogunyemi’s production of Beckett’s mime play, Sotimirin staged his one-man theatrical presentation, Molue in 1987. The significance of this production rests on the fact that it was solely created, directed and performed by Sotimirin. Osewele (1995:5) rightly identified Sotimirin as “…one sole comedian who can hold his own in the entertainment industry in Nigeria”. Sotimirin is also credited for a successful production of another solo play – Gboromiro (1990). In the introductory note to Gboromiro, Reuben Abati (1990) described the performance as: A mixture of the dramatic, the rhetorical and the poetic….in this performance, Sotimirin borrowed the aesthetics and the spirit of the school’s debate format to make a case for the relevance of the theatre and the artists to the growth of the individual in the society. <br /><br />Although Sotimirin has several other solo productions to his credit, his success as a solo performer rests on his first experiment, Molue. In 1988, barely one year after Sotimirin was celebrated as the first actor to create and produce a one-man-drama, Funsho Alabi, on the sponsorship of U.S.I.S, embarked on a tour of Nigerian Universities with his own solo play Martin Luther King Remembered – a dramatization of selected speeches of the legendry black American civil rights activist, which Martin Aginam (1989:20) rightly described as “a montage of loosely connected speeches, structured around the theme of struggle for equality and social justice, but lacking in dramatic conflict”. Alabi’s production of Martin Luther King remembered was followed by Escape from Drugs a more original solo play he improvised and produced in August, 1989. subsequently, there were solo dramatic experiments and performances by Hafiz Oyetoro, Bayo Alawiye and Tunde Awosanmi. In April, 2001 for example, the University of Ibandan Arts Theatre witnessed a fresh adaptation of The Prime Minister’s son recreated and directed by Dele Ogunsola and performed by Bayo Alawiye with Rosline Okoye and Funke Olowu as background choral figures. According to Sanayon Olaoluwa 2001, : The troika of Ogusola the creative director, Alawiye the actor Okoye and Olowu the back-ground singers deserves special commendation for inaugurating another dimension in the “self apprehension project of theatre”. <br /><br />With that survey of the key solo performers in Nigeria, it is important at this point to present a brief professional background of Tunji Sotimirin, the solo performer whose work is the main interest and focus of this study. <br /><br /><b>A Brief Professional Background of Tunji Sotimirin </b></div>
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Tunji Sotimirin’s acting career traces back to 1980 when he was recruited as a trainee actor by the University of Lagos centre for cultural studies. In 1984, he obtained a diploma from the Theatre Art Department, University of Ibadan, and was reabsorbed at the centre for cultural studies University of Lagos as Arts Assistant in 1985. On study leave, he went back to University of Ibadan and bagged both his first degree and master’s degree in theatre arts. Sotimirin has played prominent roles in numerous stage, film and television productions. He was one of the several Nigerian actors that starred in Wole Soyinka’s premire production of King Baabu in August 2005. Tunji Sotimirin is rightly acknowledged as the first Nigerian to create, direct and perform a one-man theatrical presentation on the contemporary Nigerian stage. His successful self-based solo experiments are Molue (1987) and Gboromiro (1989) Sotimirin’s hilarious performances are essentially designed to entertain and amuse his populist audience. <br /><br /><b>Sotimirin’s Molue </b></div>
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According to Ezeani and Ewuziem (1989) Molue is a series of comic sketches that highlights the everyday happenings in the ram shackled Lagos city buses”. Beyond merely throwing light on the daily occurrences, the researcher sees the Molue series of sketches as theatrical interpretations of road side characters frequently found in our commercial buses. In one of the sketches, the bus conductor, Sotimirin attempts to produce the typical words, behaviour and gestures of an interesting Lagos commercial bus conductor. The respective archetypal characters that informed the other sketches are, the bus driver, the itinerant drug hawker, the traditional herbalist and the itinerant beggar. All these are phenomenal characters found in the Lagos city commercial buses. Molue sketches are inspired by the actions and reactions of true-life characters. An illustrative outline of one of the five sketches that make up the Molue series is as follows: </div>
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The Bus Conductor <br /><br />1st Bit: Bus conductor is seen screaming the different bus routes and ushering in passengers, etc. 2nd Bit: An imaginary road transport worker stops the bus. There in an encounter between the driver and the road transport worker. Fight ensues… driver and bus conductor with support of passengers triumph at last, etc. 3rd Bit: Bus conductor, in a more aggressive and authoritative Mood, is seen, shouting and quarrelling with passengers over tickets and change etc. <br /><br />4th Bit: (the bus is filled to the brim) Bus conductor makes a signal to bus driver to move and resumes his hilarious songs. As he sings, he moves from seat to seat, collecting money from passengers, issuing tickets and announcing the different bus routes and bus stops, etc. <br /><br /> The notations above are illustrative of the fragile improvisational out-line or scenario that inspire the actions, dialogues and words in Sotimirin’s series of comic sketches. Sotimirin’s sketchy scenario or jotting contains nothing but the necessary reference points that are meant to guide and inspire him through the rigorous process of theatrical construction that goes beyond the verbal domain. The outline above, does not even give us a thorough clue of what the characters say or do. As we can see from the diagrams above; what Sotimirin presents as his performance plan on paper contains no hint of the actual statements and actions of The Bus Conductor, The Bus Driver or The Road Transport Worker. According to Sotimirin (2001): It is only my rehearsal guidelines that I put down on paper So as not to mix up the different stages in the development of the improvisation. I only look at the guideline to remember which character or which situation or action to focus on or what movement that should guide my improvisation on stage. Like the traditional folklorist, I do not work with a fixed text or a written script. Molue was conceived as I pondered on the regular hilarious Behaviour of the every day characters in the Molue buses. As I consciously observe these characters, I started to visualize each character’s actions and statements as distinct theatrical sketches and performances… if I encounter difficulty while rehearsing at home, I go back to the bus the next day and re-observe the behaviour of these phenomenal characters again. I spend a lot of time observing how each character exhibits his peculiar traits and mannerisms. <br /><br />Sotimirin’s jottings or guidelines which enable him to recall the details of events and actions in the buses can be seen as the visible structural foundation of his highly humorous performances. Though his self-based variety of solo episodes are steeped in the superficiality of day to day occurrences, he still excites and electrifies his audience each time he goes on stage. As observed by Andy Ike Ezeani and Alvan Ewuzie (1989:20): Molue was one of those stage presentations that the Audience enjoyed.. The Unilag Arts Theatre jampacked, only had a few slow moments while the performance lasted. These were either when the actor retired to change costume or when towards the end of the performance there were signs that he had drained too much humour for one evening. <br /><br />Unlike other Nigerian Solo Performers such as Funsho Alabi, Tunde Awosanmi, Hafiz Oyetoro, etc. who imagine and create their plot outlines, Tunji Sotimirin creates his plot outline by direct observation of true life situations. In other words, his plot outline is not the product of his imagination but the product of his careful observation. Like Traditional African Griots, Sotimirin has no need to master a fixed oral text. As earlier pointed out, he simply studies his sketchy outlines, based on which he improvises the details of his stories and actions during each performance. His oral text which is not fixed gives him room for re-adjustment and improvement. David Buchan (1990) , has this to say about the traditional oral text composition technique which this solo performer is currently exploring: One of the major literary findings of this century was the discovery that although we habitually equate composition with writing, another method of composition has also existed: oral composition employed by non-literate people for literary creation. It presumably antedated and certainly paralleled the method of written composition. Milman Parry and Albert Lord (1960) of Harvard, demonstrated through their field research with Living oral epic tradition in Yugoslavia how people who Could not read and write were able to create and perform poems of length and complexity, and their findings have, for many, literature implications that are still being investigated. It appears probably, however, that the Odyssey and parts of the Bible were orally composed. The Nonliterate composer-performer learns not a fixed text but a story outline and a technique for re-creation of the story in performance. The technique involves the deployment of formulaic language and formulaic narrative element within basic structural patterns. <br /><br />Despite the high literacy level of Sotimirin, he still prefers to explore this oral compositional technique, not only because it is a convenient method for his “self based” theatre, but also because he is truly interested in reviving and perpetuating this technique associated with Traditional African Griots and Story Tellers. <br /><br />Form and Structure in Sotimirin’s Molue Sotimirin’s sketches are segmented and episodic, each sketch is a study of the statements and mannerisms of a single character with minimal characterization. These characters that are studied separately in the different sketches are roadside, undignified characters whose actions and utterances provide a pertinent interpretation to reality. According to Funsho Alabi, (2001): The beauty of Sotimirin’s performance lies in his ability to recreate the everyday phrases of these funny and subversive elements in a way that baffle his audience. Through direct dramatic imitation, he reproduces in words and gestures the funny statements and actions of bus conductors, bus drivers, drug hawkers, itinerant beggars and other such characters in the Lagos city commercial buses popularly known as Molue. <br /><br />Despite the apparent strength and attractive features of Sotimirin’s One-man Oriented Comic Presentations, the probability of his monologue – prone acts being boring is very high, but as mentioned earlier, his presentations are usually lively and highly entertaining. The success of his solo performance lies not only in his meticulous representation of daily occurrences but also in his ability to explore the comic in real life. For these reasons, Sotimirin’s theatre provides great amusement for his audience. The five sketches that make up his performances have no direct structural links at all. The only things that unite the sketches are the setting, the moving bus and the fact that Sotimirin is the solo actor that performs all the sketches. Sotimirin also establishes imaginary dramatic environments and imaginary stage properties through highly expressive mime techniques, gestures, movements and verbal utterances. Nothing is provided for these sketches except costume. All the other stage items are established through the use of body and voice. This variety of sketches contains no implied dramatic conflict and does not require the single-actor dialogue techniques explored in Funsho Alabi’s Escape from Drugs. He creates his sketches directly out of the statements, behaviour or the actions of these true life characters. His Molue sketches belong to the category of presentations that Patrice Pavis classified as Theatre of Everyday Life. This kind of theatre, according to Pavis (1996:391); “Aims to discover and display every day life, which has always been considered too insignificant and specific to be shown on stage” . Pavis refers to such true life sketches as “…an assemblage of fragments of every day reality, tatters of language showing the banal every day life of the disadvantaged class” (1996:391). One also observes that despite the humorous nature of Sotimirin’s characters, his sketches are mostly static because they simply display unconnected statements and portraits that can be humorously realized even without detailed movement of the actor’s body. His Molue sketches would have strongly appealed to us as comedy of character if he had carefully explored the psychological and “moral” attributes of these every day figures. <br /><br />Language, Character and Characterization Techniques in Molue Like most solo plays, Sotimirin’s Molue is rooted in language. In a recent interview, Louis Catron draws our attention to the language based nature of all solo plays. According to Catron (2005); “A friend who is a solo playwright - actor says she believes monodramas depend more on language – they are dramas of language – than do multi-character plays”. The language of the characters in Molue is the language of the impoverished and oppressed, the language of hopeless, undignified Road-side-touts and clowns. Their use of Vernacular, Pidgin English and Wrong Grammatical Expressions helps a lot in depicting their banal state of being. Sotimirin’s characters are complete illiterates who combine words with visual comic postures and movements to make humorous statements. These non-intellectual characters, utter verbal abuses and say things that sound odd, ludicrous and amusing at the same time. Again, Sotimirin’s ability to create mechanical sound and other forms of sounds through his voice, adds to the beauty of his comic sketches. He employs humour as his main tool for establishing his characters, and all his sketches satirize the funny but disgusting happenings in our city commercial buses. According to Sotimirin (2001), “I see Molue as a mini Nigeria, the characters in Molue reflect the chaotic state of the Nigerian Nation”. This chaotic state is vividly captured in Sotimirin’s humorous interpretations that are steeped in comic words and actions Like most solo actors, Tunji Sotimirin uses his vocal instrument to evoke the psychological and physical nature of his characters. Through conscious exploration of his vocal apparatus, Sotimirin has learnt to formulate the different tones and vocal rhythms for different roles. He utilizes a great deal of his rehearsal time to practice and master how to get into the physical, psychological and vocal characteristics of his different roles, how best to manipulate imaginary objects and make them perceptible and visible in the minds of his audience. The noticeable lack of character transformation and depth in Molue sketches results from the fact that Sotimirin’s style of dramaturgy is rooted in specific character traits and peculiar mannerisms. Such specific character studies that abound in Sotimirin’s sketches are clear examples of those that Louis Catron (2000) describes as showing “selected basic essential of the subject but not all details”. The characters in Molue are woven around tiny plots and the beauty of Molue sketches emerge not from their brief plots but from specific fascinating mannerisms, words and actions of the phenomenal true-life characters that are portrayed. From this study, we can see that improvisation, language, gestures, postures and other forms of body expressions and movements are among the Solo Performers strategies for inventing dynamic characterization. Some of the important dramatic and literary devices that Sotimirin appropriates in his solo performance projects are discussed below: <br /><br /><b>Use of Expressionistic Device </b></div>
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The banal statements and lamentations of the Bus Conductor, the Bus Driver, the Itinerant herbalist and other such characters in Molue are expressions that in one way or the other x – ray the Solo Performer’s state of mind, his attitude to the social problems that hinder his progress. In other words, Sotimirin’s presentations, to some extent, reveal his psychic make-up. <br /><br /><b>Use of Autobiographical Techniques </b></div>
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According to Mel Shapiro (1997-2), “autobiography starts when the actor begins exploiting feelings, memories, dreams and fantasies that he or she has experienced” Although Tunji Sotimirin is not telling his true life story in Molue, his performance can be referred to as an autobiography in the sense that he is enacting and presenting the story or lives of other people whose experiences in one way or the other affect his existence. <br /> <b><br />The Wanderer Motif in Molue </b></div>
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In Sotimirin’s production of Molue, we find some characters that can be described as roving characters. For example the conductor in Sotimirin’s Molue hovers from one end of the bus to the other, collecting each imaginary passenger’s bus fare and ushering in more “passengers” Other wanderers in Sotimirin’s imaginary bus are: The Itinerant Fulani Beggar and Hawker. These wanderers are no repository of significant events in their communities. Their acts do not project ideas that border on cultural pride, e.g., Sotimirin’s typical characters like The Drug Hawker, The Traditional Herb seller, the Fulani Beggar, etc. are characters that wander from place to place, characters whose sole means of survival is generated from endless wandering. <br /><br /><b>Poverty of Theatrical Logistics </b></div>
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Sotimirin produced his Molue sketches in line with Jerzy Grotowski’s minimalist performing style that is known for its extreme economy of such production resources as cast, set, props, costume, etc. In fact, the success of his Solo Performance rests squarely on his ability to mimic the different archetypal characters that are normally seen in our commercial buses. <br /><br /><b>Conclusion</b> </div>
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So far, we have examined how this laboratory oriented artist of the theatre conceptualized and actualized his solo play (Molue). The one interesting thing which has been observed from this study and previous studies in this area is that solo production in Nigeria has developed more as performing arts. Contrary to the Nigeria experience, the practice of contemporary monodrama in Europe and America has grown both as a collaborative art and as a literary art. In Nigeria, as I mentioned earlier, the solo theatrical experiment has been championed by actors alone and almost all Nigerian solo plays are improvised. So far, apart from the pioneering, contribution of the late Wale Ogunyemi (Playwright/Actor) and the living Betty Okotie (Director), no other notable Nigerian director and playwright has contributed to the growth and development of this sub-theatrical genre. Finally, it is important to mention that experiments in solo productions have created many problems and prospects for theatre scholars, artists, historians and critics in Nigeria. In this era of home video productions and multi-channel television services, it can no longer be disputed that experiments and studies in minimalist approaches to theatre production are among the many challenges that theatre scholars and practitioners must have to face in order to capture the 21st century entertainment market. <br /><br /><b> <br />References.</b></div>
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Abati, R. Foreword to Sotimirin’s production bill for Gboromiro. Ibdadan, 1990. Alabi, F. Oral Interview, Lagos, May 24, 2001. Buchan, D. “Folk Literature” Encyclopedia of Literature and Criticism. Martin Coyle, Peter Garside, Malcom Kelsal and John Reck edited, London: Routledge, 1990. Catron, L.E. “Jenna Glatzers Interview with L.E Catron” 14 May, 2005. www.absolutewrite,com.screenwriting/louisctron.htm. Catron, L.E The Power of One – The Solo Play for Playwrights, Actors and Directors, Portsmouth: Heinemann. 2000. Ezeani, A. and Ewuzie, A. “One man many Antics” Daily Champion. Saturday, April 22, 1989, 20. Oditta, I. “Conflicting Image of The Prime Minister’s Son” “Comet” Saturday, July, 7, 2001,20. Ogunyemi, W. Oral Interview, Ibadan, July 20, 2001. Okotie, B. Director’s Note for Acts without words. (Production bill) Ibadan 1966. Olaoluwa, S. “From King Baabu to The Prime Minister’s Son” Post Express. Sunday, August 26, 2001,21. Osewele, N. “It’s Not Easy To Make People Laugh” National Concord. Thursday, March 22, 1990. Pavis, P. Dictionary of Theatre: Terms, Concepts and Analysis, Toronto: University of Toronto press Inc. 1996. Shapiro, M. An Actor Performs New York: Harcourt Brace College Publishers, 1997. Sotimirin, T. Oral Interview, Lagos, May 13, 2001. <br /><br /> </div>
Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-81421024827696925202017-10-16T08:36:00.000-07:002017-10-16T08:36:51.973-07:00GREG MBAJIORGU'S WORLD CATALOGUE RATING<div class="identitiesSectionHead" id="identitiesoverview">
<div class="identitiesLabel">
<b>Overview</b></div>
<div class="identitiesLabel">
<b><span id="goog_729175366"></span><span id="goog_729175367"></span> </b></div>
<table id="identitiestbl_overview">
<tbody>
<tr>
<th>Works:</th>
<td>9
works in
12
publications in
1
language and
63
library holdings
</td>
</tr>
<tr>
<th>Genres:</th>
<td><a href="http://www.worldcat.org/search?q=su%3a%22Drama%22+AND+kw%3a%22Mbajiorgu,%20Greg%22" target="_top" title="15">Drama</a>
<a href="http://www.worldcat.org/search?q=su%3a%22Criticism,%20interpretation,%20etc%22+AND+kw%3a%22Mbajiorgu,%20Greg%22" target="_top" title="6">Criticism, interpretation, etc</a>
<a href="http://www.worldcat.org/search?q=su%3a%22Biography%22+AND+kw%3a%22Mbajiorgu,%20Greg%22" target="_top" title="6">Biography</a>
<a href="http://www.worldcat.org/search?q=su%3a%22Poetry%22+AND+kw%3a%22Mbajiorgu,%20Greg%22" target="_top" title="1">Poetry</a>
</td>
</tr>
<tr>
<th>Roles:</th>
<td><a href="http://www.worldcat.org/search?q=no:028840270+OR+no:877890809+OR+no:045503222+OR+no:789143173+OR+no:046876168+OR+no:058525635+OR+no:936431408+OR+no:903668424+OR+no:891416581" target="_top" title="50">Author</a>, <a href="http://www.worldcat.org/search?q=no:828633406" target="_top" title="6">Editor</a></td>
</tr>
<tr>
<th>Classifications:</th>
<td>PR9387.9.M38,
<a href="http://dewey.info/class/823/about">823</a></td>
</tr>
</tbody></table>
</div>
<div class="identitiesSectionHead" id="identitiesTimeLine">
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Publication Timeline</div>
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<table><thead>
<tr><th><br /></th><th>By</th><th>Posthumously by</th><th>About</th></tr>
</thead><tbody>
<tr><td>1990-1991</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>1991-1992</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>1992-1993</td><td>5</td><td>0</td><td>0</td></tr>
<tr><td>1993-1994</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>1994-1995</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>1995-1996</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>1996-1997</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>1997-1998</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>1998-1999</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>1999-2000</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>2000-2001</td><td>15</td><td>0</td><td>0</td></tr>
<tr><td>2001-2002</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>2002-2003</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>2003-2004</td><td>5</td><td>0</td><td>0</td></tr>
<tr><td>2004-2005</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>2005-2006</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>2006-2007</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>2007-2008</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>2008-2009</td><td>5</td><td>0</td><td>0</td></tr>
<tr><td>2009-2010</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>2010-2011</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>2011-2012</td><td>15</td><td>0</td><td>0</td></tr>
<tr><td>2012-2013</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>2013-2014</td><td>5</td><td>0</td><td>0</td></tr>
<tr><td>2014-2015</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>2015-2016</td><td>5</td><td>0</td><td>0</td></tr>
<tr><td>2016-2017</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>2017-2018</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>2018-2019</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>2019-2020</td><td>0</td><td>0</td><td>0</td></tr>
<tr><td>2020-2021</td><td>0</td><td>0</td><td>0</td></tr>
</tbody></table>
</div>
</div>
</div>
</div>
</div>
</div>
<div class="identitiesSectionHead" id="identitiesworksby">
<div class="identitiesLabel">
Most widely held works by
Greg Mbajiorgu
</div>
<div class="identitiesWorksByEntry">
<span>
</span><a href="http://www.worldcat.org/oclc/28840270" target="_top"><span>The prime minister's son</span></a> by <span>
</span> Greg Mbajiorgu<span class="identitiesformat">(
Book
)</span><br /><br />3
editions published
between
<span>1992</span>
and
2000
in
<span>English</span>
and held by
25 WorldCat member
libraries
worldwide
<br /></div>
<div class="identitiesWorksByEntry">
<span>
</span><a href="http://www.worldcat.org/oclc/877890809" target="_top"><span>Beyond the golden prize</span></a> by <span>
</span> Greg Mbajiorgu<span class="identitiesformat">(
Book
)</span><br /><br />1
edition published
in
<span>2013</span>
in
<span>English</span>
and held by
7 WorldCat member
libraries
worldwide
<br /></div>
<div class="identitiesWorksByEntry">
<span>
</span><a href="http://www.worldcat.org/oclc/828633406" target="_top"><span>Songs of gold : fresh perspectives on Clark : 50 floods of the writings of J.P. Clark-Bekederemo: 1961-2011</span></a><span class="identitiesformat">(
Book
)</span><br /><br />1
edition published
in
<span>2011</span>
in
<span>English</span>
and held by
6 WorldCat member
libraries
worldwide
<br /></div>
<div class="identitiesWorksByEntry">
<span>
</span><a href="http://www.worldcat.org/oclc/789143173" target="_top"><span>Wake up, everyone (a drama on climate change) : drama</span></a> by <span>
</span> Greg Mbajiorgu<span class="identitiesformat">(
Book
)</span><br /><br />1
edition published
in
<span>2011</span>
in
<span>English</span>
and held by
5 WorldCat member
libraries
worldwide
<br /></div>
<div class="identitiesWorksByEntry">
<span>
</span><a href="http://www.worldcat.org/oclc/780415929" target="_top"><span>The noisy world and other works : an anthology of poems, painting and drawings</span></a> by Greg Odo<span class="identitiesformat">(
Book
)</span><br /><br />1
edition published
in
<span>2011</span>
in
<span>English</span>
and held by
5 WorldCat member
libraries
worldwide
<br /></div>
<div class="identitiesWorksByEntry">
<span>
</span><a href="http://www.worldcat.org/oclc/46876168" target="_top"><span>Hands of fate</span></a> by <span>
</span> Greg Mbajiorgu<span class="identitiesformat">(
Book
)</span><br /><br />2
editions published
in
<span>2000</span>
in
<span>English</span>
and held by
5 WorldCat member
libraries
worldwide
<br /></div>
<div class="identitiesWorksByEntry">
<span>
</span><a href="http://www.worldcat.org/oclc/58525635" target="_top"><span>Wota na wota : a water project drama and poetic monologue for mass mobilization and rural development</span></a> by <span>
</span> Greg Mbajiorgu<span class="identitiesformat">(
Book
)</span><br /><br />1
edition published
in
<span>2003</span>
in
<span>English</span>
and held by
3 WorldCat member
libraries
worldwide
<br /></div>
<div class="identitiesWorksByEntry">
<span>
</span><a href="http://www.worldcat.org/oclc/458592408" target="_top"><span>Water testaments : anthology of poems on water and water-related issues</span></a><span class="identitiesformat">(
Book
)</span><br /><br />1
edition published
in
<span>2008</span>
in
<span>English</span>
and held by
1 WorldCat member
library
worldwide
<br /></div>
<div class="identitiesWorksByEntry">
<span>
</span><a href="http://www.worldcat.org/oclc/936431408" target="_top"><span>Dancers from Africa : (a pro-innovation drama)</span></a> by <span>
</span> Greg Mbajiorgu<span class="identitiesformat">(
Book
)</span><br /><br />1
edition published
in
<span>2015</span>
in
<span>English</span>
and held by
1 WorldCat member
library
worldwide
<br /></div>
<div id="identitiesworksbyLine">
</div>
</div>
<div class="identitiesLabel">
Audience Level</div>
<table id="identitiestblAudLvl">
<tbody>
<tr>
<td><br /></td>
<td colspan="3"><br /></td>
<td><br /></td></tr>
<tr><td><br /></td><td class="identitiesAudMarker" style="text-align: left;"><br /></td><td class="identitiesAudMarker" style="text-align: center;"><br /></td><td class="identitiesAudMarker" style="text-align: right;"><br /></td><td><br /></td></tr>
</tbody></table>
<span id="identitiesaudlevelcomment"><a href="https://www.blogger.com/null"><em title="Dancers from Africa : (a pro-innovation drama) /"></em></a></span>Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-1451740147455812492017-10-16T08:10:00.000-07:002017-10-16T08:10:43.457-07:00<header class="entry-header">
<h1 class="entry-title">
Drama and the Politics of Climate Change in Nigeria: A Critical Appraisal of Greg Mbajiorgu’s Wake Up Everyone</h1>
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<i>By Norbert Oyibo Eze, University Of Nigeria, Nsukka</i><br />
<div style="text-align: right;">
<a href="http://rupkatha.com/V5/n1/07_Greg_Mbajiorgu_Wake_Up_Everyone.pdf" target="_blank"><strong> Download PDF Version</strong></a></div>
<div style="text-align: justify;">
<b>Abstract</b></div>
<div style="text-align: justify;">
Johnny Igbonekwu observes that ‘an
obvious primal instinctive human quest” is to “conquer the world” but he
equally notes that man has not been able to achieve this goal, in spite
of his “formidable intellectual assaults on the multifarious stupendous
mysteries of the world” (<i>Talk About Man </i>1). The quest for all
manner of domination-economic, political, territorial, and spatial, etc,
has driven man into invention and mindless application of technology
which in choking nature, cause it to frequently retaliate through global
warming, tsunami, landslide, erosion, and flooding of different
dimensions. The constant decimation of human lives, businesses,
buildings, and municipal services as well as the emergence of perturbing
diseases owing to these palpable effects of natural disaster, force the
issue of climate change to occupy a significant place in the world of
environmental studies and research. This paper seeks to explain the
place of drama in tackling the problem of climate change through a
detailed analysis and interpretation of Greg Mbajiorgu’s <i>Wake Up Everyone </i>considered to be a giant impact assessment study and provocative wake-up call.<span id="more-791"></span></div>
<div style="text-align: justify;">
<b>[Keywords: </b>Johnny Igbonekwu, Wake Up Everyone, politics, climate change, environmental studies, technology]</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>Introduction</b></div>
<div style="text-align: justify;">
<i>Wake Up Everyone</i> is a dramatic
tour de force on the subject of climate change. It articulates its
causes, dramatizes its effects, and politics and demonstrates how the
latter makes the idea of its mitigation in the country a tragic one.
However, the playwright sees climate change as a result of man’s
ruthlessness against nature and posits that the menance can be redressed
by humanity through pragmatic efforts. The dramatization of the play in
its abridged form at the Princess Alexandria’s Auditorium of the
University of Nigeria Nsukka, in 2011, convinces the elated audience
that drama can make any familiar human condition” “alive and immediate”
(Edman 26), thereby debunking Butler’s view that “climate change is a
difficult issue for dramatists”. Indeed, what Mbajiorgu’s play shows is
that climate change requires inter-disciplinary approach and that drama
is a crucial tool for exploring its intricacies and communicating its
messages in a produced and urgent way than any other means of
communication.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<a href="https://water104website.weebly.com/uploads/2/0/6/5/20654586/970768946_orig.jpg?314" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" src="https://water104website.weebly.com/uploads/2/0/6/5/20654586/970768946_orig.jpg?314" /></a><b> </b></div>
<div style="text-align: justify;">
<b>Synopsis </b></div>
<div style="text-align: justify;">
<i>Wake Up Everyone</i> is a play in
three Acts, set in Ndoli, a fictitious oil–rich community. It depicts
how the politics of oil revenue prevents the leaders of the community
from tackling the environmental problems of the land and to ignore the
warning to take proactive step to avert impending flood. As a matter of
fact, the play brings the people, the intelligentsia, and the
politicians together in a climate changing scene in order to show how
conservatism, lack of unity of purpose, and self–aggrandizement thwart
genuine efforts at climate change mitigation and adaptation.</div>
<div style="text-align: justify;">
<b>Analysis </b></div>
<div style="text-align: justify;">
In the first place, the playwright sees
climate change as an aspect of “the contradiction of the world’s
capitalism”, a direct result of a mad rush “to share in the spoils of
the new global economy” (<i>Natural Causes </i>xvi). In other words, he
argues that climate change is not something externally imposed on man by
an angry God as a punishment for the fall of man, but a consequence of
“man’s mindless activities on earth” (Act One, Scene one). According to
Professor Aladinma who represents the image of the intelligentsia in the
play:</div>
<div style="text-align: justify;">
The soil and the rivers have become
unproductive because of the chemicals and oil we pour on them. The flood
and erosion we experience are caused by our senseless attempts to
reclaim wet lands and our blockages of original water channels and
drainages. What about carbon monoxide from power generators and all
kinds of vehicles, or the unfriendly substances flared up into the air
by oil companies on daily basis. The problems of our world are created
by man (Act One, Scene One)</div>
<div style="text-align: justify;">
Above is an eloquent statement that the
history of climate change is the history of man and his quest for
development. It shows that climate change is an effervescence of man’s
economic activities and the politics that goes with them. In fact, the
reasons posited as the causes of climate change in the text suggest that
man is at war with nature. James O’ Connor in his book, <i>Natural Causes: Essays in Ecological Marxism </i>states that nature is both “tap” and “sink”. According to him:</div>
<div style="text-align: justify;">
Nature is a tap in the sense that the
means and objects of production and reproduction (i.e., all human
material products) are appropriated in various forms from the earth.
Nature is a sink in that ultimately all human products, including
unwanted byproducts of the immediate process of production, are returned
in different forms to the earth (xi).</div>
<div style="text-align: justify;">
The implication is that there must be a
constant balance between the function of nature as both tap and sink and
that any imbalance between the two (which is mostly the case) spells
doom for humanity. The play suggests that the ecosystem is severely
under human pressure. It demonstrates that mindless exploitation of oil
puts unbearable burden on nature leading to unabated “loss in
biodiversity, rapid deterioration of land cover and depletion of water
availability through destruction of catchments and aquifers” (<i>Global Warming</i> 54). Antonia Darder in her preface to Kahn’s <i>Critical Pedagogy </i>states that:</div>
<div style="text-align: justify;">
In its consuming frenzy to gobble up the
natural resources of the planet earth for its own hyperbolic quest for
material domination, the exploitative nature of capitalism and its
bourgeoning technocracy has dangerously deepened the structures of
social exclusion through the destruction of the very biodiversity that
has been the key to our global survival for millennia (xii).</div>
<div style="text-align: justify;">
In a play-within-the-play anchored in
Act two, Scene three, the playwright carefully dramatizes the awful
effects of climate change on the lives of the people. Adaora laments the
draught in the north which is attributed to “global warming” arising
from “stripping nature the fundamental resources that sustain life”. It
is here argued that “Humanity’s brutal and outrageous quest for wealth
and development has nothing but the promise of doom and poverty for the
children’s generation”. Thus, in a dream-like-world, Ekene, one of the
characters in the play, is frightened by tornadoes and earthquakes
tumbling down buildings and other efforts of the so-called civilized
man. But the fiction of the imaginary world is reinforced by the shards
of experiences arising from the Calabar flood in which the character
lost everything and everyone dear to her. In her words:</div>
<div style="text-align: justify;">
I lost every soul and everything</div>
<div style="text-align: justify;">
I cherished to that flood… and for
months I had no means of livelihood. The angry water turned me into a
hopeless wanderer for months (Act Two, Scene one).</div>
<div style="text-align: justify;">
This actual loss becomes a distressing
nightmare and a thorn in the flesh for Adaora, constantly harassing her
and even inducing in her a death-wish.</div>
<div style="text-align: justify;">
The hullabaloo between Mazi Chinedum and
his wife Ugodiya in Act Three, scene two over lack of fish for soup
preparation illustrates the impact of climate change on the family. The
absence of fish in the river which breeds the quarrel between husband
and wife, clearly demonstrates that as N.J. Bello states, “the aquatic
ecosystems are the most vulnerable to the impacts of climate
fluctuations and change” (20). Oil spillage which is the major cause of
the loss of biodiversity is also a principal factor that leads to poor
agricultural yield. In the same Act and scene of the play poor harvest
is attributed to the barrenness of the earth and intolerable rainfall.</div>
<div style="text-align: justify;">
Furthermore, a fundamental issue analyzed in <i>Wake Up Everyone </i>is
government’s insensitivity to climate change mitigation, and
adaptation, and this borders on poor leadership, which Chinua Achebe
sees as the trouble with Nigeria. Professor Aladinma who is posited in
the play as a symbol of hope and salvation and who has been educating
the rural farmers on the new modalities of planting in a changing
environment, alerts, the local government Chairman on the impending doom
arising from anticipated flooding. He tells him that The United Nations
Development Programme has made provisions for projects like the
construction of dykes that will fortify our river banks so that our land
doesn’t become vulnerable to flood in future (Act One Scene one), but
the Chairman apparently not interested in the plights of the people,
considers the project a white-elephant affair and is unwilling to
mobilize effort to generate counterpart fund. Rejecting the suggestion
to contact oil firms working in the area for help, the Chairman tells
Professor Aladinma unreservedly:</div>
<div style="text-align: justify;">
Listen, this local government
headquarters was recently refurbished by Zodiac Oils, the
three-eighteen-seater buses and two Toyota Hilux trucks out there were
donated by Continental Petroleum, my official Prado Jeep came three
weeks ago as a birthday gift from the Managing Director of Diamond Oil,
and all of these oil companies came together to raise me a loan with
which I ran the election for this position. I have not even begun to
think of how to pay back the money and you are asking me to go back to
them, plate in hand like Oliver Twist, asking for more?</div>
<div style="text-align: justify;">
The Chairman’s statement above makes
certain facts about the idea of governance in the play’s environment
obvious. Here government is seen as a means of self – aggrandizement.
Every element which money is spent on in Chairman’s speech, is a token
of status symbol and ego massage, a means of showcasing and entrenching
the self. Not a single item there serves the interest of the people. The
Chairman’s opinion represents government’s apathy to the problems of
the people. He merely asks the Professor to go and package a proposal to
be presented to the council, as a way of respectfully pushing the
octogenarian out of his office, for immediately the Professor leaves, he
begins to fume about his demand:</div>
<div style="text-align: justify;">
Stupid old man. What does he think he
is? I Edwin Onyechonkeya, the crocodile of the creeks, the unsterilized
knife that cuts the thick balls of Oyibo, release money for such useless
project? Nonsense, Nonsense! (Act One, Scene one).</div>
<div style="text-align: justify;">
The personality of the local government
Chairman, indeed, paints a tragic picture of the disturbing social
relations in Nigeria. One aligns with the people in search of power and
soon dumps them immediately the dream is actualized. The Chairman was
formerly a member of a militant group that fought oil companies for
desecrating their land through oil spillage. His discussion with Jango
below illustrates how he secured power:</div>
<div style="text-align: justify;">
<b>Jango</b>: So tell me, how did it happen?</div>
<div style="text-align: justify;">
<b>Chairman</b>: Jango my brother, it
was a fierce battle, one that I’m glad I won. You know, with the
government clamp down and subsequent amnesty for militants, it was no
longer good business remaining in the creeks. Some of our leaders
negotiated their ways into high positions in government while others who
had no better alternatives for surviving, resorted to kidnapping and
other illegal practices. I was at the verge of forming my own kidnapping
gang when the massive oil spillage which almost damaged the entire
agricultural land in Ndele village occurred.</div>
<div style="text-align: justify;">
<b>Jango</b>: Yes, I heard about the spillage, man that was a terrible one.</div>
<div style="text-align: justify;">
<b>Chairman</b>: It was. The most painful side of it is that it claimed my father’s life.</div>
<div style="text-align: justify;">
<b>Jango</b>: Oh, my God! Your father is late?</div>
<div style="text-align: justify;">
<b>Chairman</b>: Yes, my brother, but I made those blood suckers pay for it.</div>
<div style="text-align: justify;">
<b>Jango</b>: Very good! How many of their staff did you waste?</div>
<div style="text-align: justify;">
<b>Chairman</b>: No, no, no, no, my
brother. I am too wise to do that. All of the lives we wasted in the
creeks, what have they benefited us? Was it not the bomb you exploded at
the local police station that made you to escape to U.S.? (they laugh
mischievously)</div>
<div style="text-align: justify;">
<b>Jango</b>: So how did you smoke them?</div>
<div style="text-align: justify;">
<b>Chairman</b>: I saw in the oil
spillage incident a grand opportunity to get back at the multinational
oil companies. When the event occurred, I got a fiery lawyer that has
been at the vanguard of environmental issues to initiate a legal action
against the oil companies. When they perceived the legal consequences
and the attendant damages, they resolved to invite me, as the plaintiff,
for alternative dispute resolution.</div>
<div style="text-align: justify;">
<b>Jango</b>: Wao! I can’t believe this. So, what finally happened?</div>
<div style="text-align: justify;">
<b>Chairman</b>: Through my lawyer, of course, we agreed that they pay three hundred million naira.</div>
<div style="text-align: justify;">
<b>Jango</b>: Three hundred million naira!</div>
<div style="text-align: justify;">
<b>Chairman</b>: Yes, three hundred
million naira cash, and in addition, they agreed to bankroll my
political bid to be the Chairman of Ndoli local government area, on the
condition that I don’t make any further case on behalf of the other
affected farmers (Act One, Scene One).</div>
<div style="text-align: justify;">
The discussion between the Chairman and
his friend Jango is quoted elaborately in order to highlight the
intricacies inherent in power acquisition and climate change politics in
the country. The discussion reveals clearly how the incessant oil
spillages in the Delta region of the country has become a springboard
and handsome means for the fittest to become rich and powerful. Also,
the revelation of the Chairman shows the negative effect of global
finance and how international agencies control governments of local
nation-states. The play demonstrates that certain people in authority
are installed by the oil companies and this makes it utterly impossible
for them to genuinely deal with the problem of environmental degradation
occasioned by oil exploitation in the region. In his inaugural lecture,
Okechukwu Ibeanu argues that “politics is about managing or reconciling
affluence and affliction, principally though not exclusively through
the instrumentality of states power” (9). He maintains that a genuine
politician or office-holder aspires to “establish inverse relation
between affluence and affliction such that there is a steady increase in
the numbers experiencing affluence and decrease in the numbers
experiencing affliction” (9). However, the Chairman’s notion of politics
and his attitude towards climate change mitigation merely agree with
Ibeanu’s opinion that “political science in Nigeria is oriented towards
the affluent and pays lip service to the afflicted” (10).</div>
<div style="text-align: justify;">
The Chairman’s utterances and behaviour
indicate that, in the context of the play, “politics is about creating
affluence for a few, not about eliminating affliction for the many”
(10). In fact, Ndoli local government is posited by the playwright as a
microcosm of Nigeria. What happens in the world of the text is,
according to Ibeanu, “emblematic of all that is wrong with political
science in Nigeria” (15). The envisaged flood which finally occurred at
the end of the play is part of the conflagration occurring in the
country and which showcases government’s indifference to the plight of
the masses.</div>
<div style="text-align: justify;">
Barely, one year after its publication,
the flood anticipated in the text and which eventually took place at the
end of the play, occurred in all the regions of Nigeria. And this shows
that climate change is not a fiction but a fact that must be taken
seriously. By juxtaposing different segments of our society in the play –
the people, the intelligentsia, and the politicians, Mbajiorgu appears
to be saying that the issue of climate change adaptation and mitigation
is a collective responsibility. Elaborating this, Damian Opata states in
the blurb of the play that:</div>
<div style="text-align: justify;">
The reality and seriousness of the
issues dramatized in this play call for sustained concern by political
and community leaders at whatever level of governance. Indeed, the play
suggests that sustaining a balanced and productive environment is an
insistent social obligation for all of humanity.</div>
<div style="text-align: justify;">
<i>Wake Up Everyone </i>is a provocation
call for us to “defend ecological values and sensibilities” (O’connor
xv). It argues that playing politics with our environment amounts to
gambling with our lives and world. It suggests that there should be a
new view of our world and that there should be urgent and meaningful
solutions to the problematic of climate change, “solutions unfettered by
the dehumanized thought we have tragically allowed to develop through
(Fill, 30), the years. In the “Wake up! Wake up!” song, Mbajiorgu who
feels that it is not yet Armageddon, outlines practical steps that must
be taken to ameliorate the extremities of climate change as follows:</div>
<div style="text-align: justify;">
Wake up! Wake up! Everyone, X<sup>2</sup></div>
<div style="text-align: justify;">
To build our world anew</div>
<div style="text-align: justify;">
No burning down our bushes</div>
<div style="text-align: justify;">
No polluting our rivers</div>
<div style="text-align: justify;">
No more deforestation.</div>
<div style="text-align: justify;">
To guarantee our future</div>
<div style="text-align: justify;">
No greenhouse gas emission</div>
<div style="text-align: justify;">
No heating up our planet…</div>
<div style="text-align: justify;">
Let’s stop oil pollution</div>
<div style="text-align: justify;">
No more flaring of gases</div>
<div style="text-align: justify;">
No cutting down our forests</div>
<div style="text-align: justify;">
Wake up!</div>
<div style="text-align: justify;">
For new green world agenda</div>
<div style="text-align: justify;">
Let’s plant some trees today</div>
<div style="text-align: justify;">
Let’s save wild life from dying</div>
<div style="text-align: justify;">
Wake up!</div>
<div style="text-align: justify;">
The above theme song of the play
encapsulates the playwright’s position that the thought of conquering
nature ought to be turned into thought of friendly relationship with
nature. It is a known fact that aggressive reduction in vegetation cover
has opened many parts of the country to dangerous action of both rain
and wind erosion. In the northern part of the country excessive
temperature leads “to dry conditions which underlie accelerated wind
erosion” (Eheazu 55), while excessive rainfall in the south occasions
catastrophic rain – induced erosion. This is the reason the idea of
avoiding deforestation is salient. Similarly, emission of carbon
monoxide, gas flaring, and pollution of land and rivers through oil
spillage are known to have caused loss in biodiversity, deterioration of
land and increase in sea level. Erection of construction sites and
buildings indiscriminately have continued to cause blockages to natural
waterways thus exposing the country to constant flooding. It is in the
light of all this that the playwright’s strategies for climate change
mitigation and adaptation in the play must be taken seriously.</div>
<div style="text-align: justify;">
<b>Conclusion</b></div>
<div style="text-align: justify;">
<i>Wake Up Everyone,</i> the first
African play on the subject of climate change, demonstrates vividly that
climate change is a palpable human experience in Nigeria. It shows that
the causes of climate change such as deforestation, emission of
greenhouse gases, blockage of natural water ways, and constant oil
spillage arising from aggressive global competition for oil, all occur
in the country. The text equally dramatizes the disturbing effects of
climate change on the Nigerian environment and human lives. The vexing
issue is not that the climate is rapidly changing in the country but,
according to the play, government’s indifference and lip-service
approach to the issue of climate change adaptation and mitigation. What
is painful is that the Chairman of Ndoli local government area in the
play initially posed as an environmental activist before an oil spillage
that killed his father gave him advantage to hobnob with oil companies
that eventually sponsored him to win election. Now in rapturous embrace
with the power that be, “Hon. Edwin Onyechonkeya” blocks the building of
defences… and “resilience against the effects of climate change in
rural Nigeria” (“Nigerian theatre mixes oil” 1). In the personality of
this “single character, the play conveys the immediate, turbulent,
deceptive forces underlying oil production in Nigeria” (1).</div>
<div style="text-align: justify;">
However, the playwright through the
character, Madukwe Aladinma, insists that there is still hope.
Aladinma’s role in educating the rural farmers on the modalities of
coping with their changing world is a significant effort in the
direction of climate change adaptation and mediation, but the playwright
equally feels that the intelligentsia and the rural people’s effort
must be strongly supported by government if the environment must be
saved from utter destruction. The flood which occurred at the end of the
play is an eloquent testimony of “the danger of ignoring the warnings
of the natural world, especially when coupled with egregious
governmental neglect of impoverished people” (<i>Critical</i> <i>Pedagogy</i>
xi). Greg Mbajiorgu’s play seeks to move us beyond capitalist
consumerism, beyond the rhetoric of environmentalism masked by
neoliberal politics, to that concrete and pragmatic context where urgent
and meaningful steps must be taken to redeem our world from the
ravaging effects of technology.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>Works Cited</b></div>
<div style="text-align: justify;">
Bello, N.J. “Climate Change: Implications for Food Production and Security in Nigeria”. <i>Climate Change Impacts and Adaptation: Development Issues. </i>Akure: Nigerian Meteorological Society, 2010.</div>
<div style="text-align: justify;">
Butler, Richard. “The Drama of Climate Change”. http://Ashdenizen. blogspot.com</div>
<div style="text-align: justify;">
Darder, Antonia. “Preface” to Richard Kahn’s <i>Critical Pedagogy: Ecoliteracy and Planetary Crisis</i>. New York: Peter Lang, 2010.</div>
<div style="text-align: justify;">
Edman, Irwin. <i>Art and the Man: An Introduction to Aesthetics. </i>New York: Mentor Books, 1939.</div>
<div style="text-align: justify;">
Eheazu, Global <i>Warming and Climate Change: A Sustainability Alert To Ndigbo. </i>Owerri: Lamonde, 2011.</div>
<div style="text-align: justify;">
Ibeanu, Okechukwu. <i>Affluence and Affliction: The Niger Delta as a Critique of Political Science in Nigeria. </i>Nsukka: University of Nigeria Press, 2008.</div>
<div style="text-align: justify;">
Igbonekwu, Johnny. <i>Talk About Man Talk About Genius. </i>Enugu: Snaap Press, 2011.</div>
<div style="text-align: justify;">
Mbajiorgu, Greg. <i>Wake Up Everyone. </i>Ibadan: Kraftgriots, 2011.</div>
<div style="text-align: justify;">
“Nigerian theatre mixes oil and climate on the ground. <a href="http://ashderizen/">http://ashderizen</a> blogspot.com.</div>
<div style="text-align: justify;">
O’Connor, <i>Natural Causes. Essays in Ecological Marxism. </i>New York: The Guilford Press, 1998.</div>
<div style="text-align: justify;">
Opata, Damian. “Blurb” to Greg Mbajiorgu’s <i>Wake Up Everyone</i>. Ibadan: Kraftgoits, 2011. <i> </i></div>
<div style="text-align: justify;">
<br /></div>
<i>Norbert Oyibo Eze is a senior
lecturer at the Dept. of Theatre and Film Studies, University of Nigeria
Nsukka.He has written two commissioned books for the National Open
University of Nigeria. and has published in local and international
journals.Norbert has presented papers in local and international
conferences, including European Conference on African Studies.He reviews
papers for reputable journals and has been listed in international
bibliographies on African literature.</i><br />
<br />
<i><strong><i>Rupkatha Journal on Interdisciplinary Studies in Humanities </i>(ISSN 0975—2935), Vol. V, No. 1, 2013. Ed. Tirtha Prasad Mukhopadhyay. URL of the Issue: <a href="http://rupkatha.com/v5n1.php">http://rupkatha.com/v5n1.php</a> .URL of the article: <a href="http://rupkatha.com/V5/n1/07_Greg_Mbajiorgu_Wake_Up_Everyone.pdf">http://rupkatha.com/V5/n1/07_Greg_Mbajiorgu_Wake_Up_Everyone.pdf</a> . Kolkata, India. © www.rupkatha.com</strong> </i>Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-83896437699927771262017-10-16T07:22:00.000-07:002017-10-16T07:56:58.204-07:00WHY I CHOSE TO BE A SOLO PERFORMER –GREG MBAJIORGU<br />
By Sola Balogun<br />
As a University teacher, writer, director and actor, Greg Mbajiorgu’s career centres virtually on all areas of <span class="IL_AD" id="IL_AD8">creative</span>
arts. His choice of Theatre as a profession was made out of passion and
conviction that he can only thrive best as a dramatist. He eventually
came to limelight as a solo performer, an art, which only a few
Nigerians have dabbled into.<br />
After the late Funso Alabi and popular actor, Tunji Sotimirin,
Mbajiorgu is the third known artiste in the solo performance genre.
According to him, stage acting could be so tedious but solo acting is
even more challenging. But the fast rising star said he is willing to
be.<br />
<br />
Mbajiorgu who lectures in the Department of Theatre and Film Studies
at the University of Nigeria, Nsukka recently directed Son of a Chief, a
play written by Chris Nyimoga for his department. He engaged the 200
level students who proved their mettle by staging an ambitious
production, which had in attendance the playwright himself.<br />
Shortly after the production, which was equally graced by other
senior members of the department as well as English department,
Mbajiorgu spoke to Daily Sun:<br />
Why I directed Son of a Chief <br />
I have worked for the National Council for <span class="IL_AD" id="IL_AD4">Arts and Culture</span>
for three years now as an adjudicator on cultural events and last year,
Nasarawa state came first. I discovered that Dr Chris Iyimoga and Hajia
Lantana together with Dr Emmanuel Dandaura had a formidable team that
worked for the success of the state.<br />
<br />
So I wanted to know them better and I discovered that Chris is a
wonderful writer. Incidentally, I’ve never heard about his writings and I
decided to read him. Later when I read his collection of poems, I
discovered him as a poet, a good poet for that matter. And then I
suddenly discovered his play of draft label and then got it on my own
and after reading it I said wow, he’s even more of a dramatist than any
other thing and the kind of playwright that should be celebrated if he
were to be a noise maker.<br />
<div style="clear: none; height: auto; text-align: center; width: 100%;">
</div>
<div style="clear: none; height: auto; text-align: center; width: 100%;">
Among other things, I discovered that the only production of this
work was the one he did in 1975 when it was still in manuscript form.
Since then, there hasn’t been a premiere production of the published
text. So having known the man very well and having fallen in love with
the text myself, coupled with the fact that the department also gave me a
very vibrant class to teach, I had the right set of students to teach
and the right material in my hands to interpret the work.
</div>
As a student production, what challenges did you face producing Son of a Chief?<br />
The greatest challenge I faced was that of scheduling rehearsals because
students had other lectures running at the same time so when we
discovered that we couldn’t do meaningful rehearsals in the day we
decided to do 6am-8am and then 6pm-10pm. We did that for more than six
weeks and the cast and crew were affected because we all had sleepless
nights.<br />
You are a writer, director and teacher, how have you been able to merge all three tasks?<br />
I see myself as an actor. People call me a playwright and I say I’m not a
playwright but if I can write a play that I can act, then maybe on that
ground, I’m a playwright. I am an actor who has a sense of stage,
anyone who has a sense of stage can write a play because what it takes
to have a good play is to have a sense of stage. So as an actor of the
minimalist school, I do a lot of solo performances. I always look for
materials that are economical and that don’t have any encumbrances here
and there. So to realize such performances, I realize that I had to
write the scripts myself. So from writing economical theatre, I realize
that one can also apply the same principle to write conventional drama.<br />
But as a director, I say no to that. I’m not a drifter. The truth is
that any actor who is passionate about any play text can direct that
play. For example, I have directed four plays in the recent past. Four
of these plays are all plays that I’m passionate about. They include
Hopes of the Living Dead by Ola Rotimi, Midnight Black Out by Femi
Osofisan, Tony Duruaku’s <span class="IL_AD" id="IL_AD6">Cash Prize</span> and Play of the Giants by Wole Soyinka. Any day I touch a script that I like, how to put it on stage is easy.<br />
The problem I have with directing is that if you force a work on me,
it would not work because it would amount to directing for directing
sake. A work naturally should move me. Once I’m passionate to direct a
work, then the problem of doing it well will be completely out of the
question. When I produced Tony Duraku’s Cash Prize, students who
featured in the play and who are now lecturers in the department would
remember how I tortured them during the rehearsals.<br />
From your experience, what are the qualities of a good play?<br />
When I read a play, I read it as an actor. I want to see the play
unfolding in my imagination. Once a play I read begins to unfold in my
mind’s theatre, then that is it.<br />
Where <span class="IL_AD" id="IL_AD1">does</span> the conflict or choice of themes come into play?<br />
The choice of theme does comes into play because immediately I touched
Ehimoga’s Song of a Chief ñ this is a play about political change, a
King has just passed on and a new king is to be elected and the whole
process culminated in a season of change, one political tenure was about
to end, and there were intrigues and political manipulations to see
those who would constitute the next tenure. So I saw a relationship
between the script and the Nigerian situation.<br />
Having taught theatre for many years, what would you say are the challenges facing the Theatre <span class="IL_AD" id="IL_AD5">Arts teacher</span>/lecturer?<br />
I think the greatest challenge today is that of people claiming <span class="IL_AD" id="IL_AD7">competence</span> where they don’t have competence.
We have a lot of people who find themselves in the University system;
they are doing the job of imparting skills but they too do not have the
skills. But nobody can give what he or she doesn’t have. There’s so much
claim about preparing people to acquire knowledge in the university
system. A lot of people are more interested in the claiming of a
certificate than in the proving of that certificate.<br />
How do you then prepare your students for the challenges they’re likely to face in the field?<br />
There is need for some kind of re-engineering of the staff strength in
most of our institutions of higher learning. For those who are in an <span class="IL_AD" id="IL_AD3">area</span>
where they don’t have enough training, the institution is obligated to
send them for training to acquire the prerequisite knowledge needed to
enable them function properly in those areas.<br />
Most students who come into these institutions are not fools, once
they don’t get what they want from those who are expected to teach them,
they just work to obtain the certificates. After getting the
certificates, they don’t pretend to want to use the certificates; they
would rather use them to get other jobs.<br />
By so doing, graduates of Theatre easily drift into other professions. The challenge to these institutions is to review their <span class="IL_AD" id="IL_AD2">programmes</span>
and ensure that those who are properly trained are employed to train
others. With this, graduates of Theatre would be able to acquire skills
that would make them thrive in the labour market.<br />
<br />
Read more on http://www.nigerianbestforum.com/blog/why-i-chose-to-be-a-solo-performer-%E2%80%93greg-mbajiorgu/ Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-61027891659182888532017-10-16T06:30:00.001-07:002017-10-16T06:30:33.273-07:00Mbajiorgu: Our Scholars, Artists Are Too Lazy To Innovate<a data-field="link" href="https://guardian.ng/art/mbajiorgu-our-scholars-artists-are-too-lazy-to-innovate/">I
feel blessed and privileged to be the first Nigerian to write a play on
climate change. I am also humbled by this prestigious award from NUC. A
lot of scholars in Nigeria and overseas have used my climate change
drama...</a><br />
More on https://guardian.ng/tag/greg-mbajiorgu/ Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-40487548365100155492017-10-16T06:26:00.000-07:002017-10-16T06:26:17.737-07:00 Nigeria: Celebrating 48 years of solo drama in Post-colonial Nigeria<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxdpF4NHh_loH-kKZqkZHru9xSIBoyCwEELOzYVIPKepsWoZLSvuk_Zr9sd9JeZDPMlkgOeNa1N8T_Hq5NwJfLo8PomxZC5heNRPmGiQ_K51nhFw2OMjkYi_F3tEvhIZMsyHI_bI1G9Lg/s1600/Edited.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="574" data-original-width="860" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxdpF4NHh_loH-kKZqkZHru9xSIBoyCwEELOzYVIPKepsWoZLSvuk_Zr9sd9JeZDPMlkgOeNa1N8T_Hq5NwJfLo8PomxZC5heNRPmGiQ_K51nhFw2OMjkYi_F3tEvhIZMsyHI_bI1G9Lg/s320/Edited.jpg" width="320" /></a></div>
<br />
By <a class="meta" href="https://www.premiumtimesng.com/author/uzor-maxim-uzoatu">Uzor Maxim Uzoatu</a><br />
Nigeria’s foremost Mono Dramatist, Greg Mbajiorgu is currently on
sabbatical in the Department of English Language and Literature of the
Nigerian Turkish Nile University, Abuja, Nigeria. The Maverick MONODRAMATIST and THEATRE SCHOLAR is an avant-garde of solo performance art
in Africa and a multiple award-winning Dramatist. He is historically…<br />
Read more on Premium Times @ https://www.premiumtimesng.com/entertainment/154772-nigeria-celebrating-48-years-solo-drama.htmlMbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-16130182295655709622017-10-16T06:08:00.001-07:002017-10-16T06:08:49.457-07:00A BRIEF EXPOSITION OF GREG MBAJIORGU’S WORKS ON ECO-DRAMA AND ENVIRONMENTALISM<!--[if gte mso 9]><xml>
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" /> </span></b></div>
<h3 class="MsoNormal" style="text-align: justify; text-indent: .5in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">GREG NNAMDI NNABIKE MBAJIORGU</span></b><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"> (NURESDEF
Laureate) (B. A. (Hons) Dramatic Arts, (Nigeria), M. A. Theatre Arts, (Ibadan)
M. A. Mass Communication (Nigeria) is a leading activist on climate change and
Africa’s first dramatist to publish a play that squarely addresses the problem
of climate change in Nigeria (<i style="mso-bidi-font-style: normal;">Wake Up
Everyone,</i> 2011, 2014). He is also the first African to publish a monodrama
(<i style="mso-bidi-font-style: normal;">The Prime Minister’s Son, </i>1991, 2000,
2014). His seminal play on climate change, <i style="mso-bidi-font-style: normal;">Wake
Up Everyone</i> won first prize at the Inter-Universities Research and
Development Competition organized by the National Universities Commission (NUC)
in 2012.</span></h3>
<div class="MsoNormal" style="text-align: justify; text-indent: .5in;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">This well-researched ecological drama foresaw the
flood that ravaged most parts of Nigeria in 2012; a situation which we are also
experiencing currently. Beyond writing plays, poems and songs on
environmentalism and climate change, Mbajiorgu has also co-authored a
mainstream academic paper on<i style="mso-bidi-font-style: normal;"> Climate Change
studies in Arts and the Humanities </i>(2015) with Prof. P. Okpoko and Prof.
Nnanyelugo Okoro as co-authors.</span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Wake Up Everyone </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">was first performed for the African Technologies
Policies Network, Nairobi, Kenya at the award/dinner night of their
international conference in 2009. It was equally produced at Nsukka for the
University of Nigeria’s African climate change adaptation initiative (ACCAI) in
2010 and in 2014, the University of Nigeria, again, commissioned its production
as the core highlight for its 44<sup>th</sup> convocation ceremony on 23<sup>rd</sup>
January, 2015 at the institution’s Arts Theatre. After that, other universities
and higher institutions started to emulate UNN by producing the play for the
convocation as well. Among the latest are Bishop Ajayi Crowther University, Oyo
State which used it for its first convocation ceremony and College of Education
Special, Ibadan, Oyo State.</span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Wake Up Everyone </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">is currently celebrated as a reference text in studies
of environmentalism and climate change in Nigerian universities. Teachers and
students of Theatre Arts, Linguistics, Music, Fine and Applied Arts, History,
Archaeology, Earth Sciences, Bio-resources Engineering and Agricultural
Sciences, are currently subscribing for it as a home-grown culture-oriented
material on the on topics in environmentalism, climate change mitigation and
adaptation in Africa.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Virtually
all major Nigerian newspapers have reviewed <i style="mso-bidi-font-style: normal;">Wake
Up Everyone</i>.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">The
success of this environmentally-oriented drama and other ground- breaking works
of his have won him several prestigious awards and honours among which include
the following:</span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"> </span></b><br />
<br />
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">AWARDS</span></b><br />
</div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l3 level1 lfo1; text-align: justify; text-indent: -.25in;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Most Innovative
Creative Artiste Award</span></b><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"></span></div>
<div class="MsoListParagraphCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Presented to him by the Department of English and
Literary studies, University of Nigeria, Nsukka, 2005 </span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l3 level1 lfo1; text-align: justify; text-indent: -.25in;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">First Prize for
Art and Humanities in the Arts and Humanities Research </span></b><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Awarded by the National Universities Commission at
their 2012 inter-universities competition at Niger State tagged NURESDEF</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l3 level1 lfo1; text-align: justify; text-indent: -.25in;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">SONTA Achievers’
Award</span></b><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"></span></div>
<div class="MsoListParagraphCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Conferred on him by the Society of Nigerian Theatre
Artistes, 2013</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l3 level1 lfo1; text-align: justify; text-indent: -.25in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Anambra State Literary Stars Award</span></b></div>
<div class="MsoListParagraphCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Presented by the Nigerian Book Foundation with support
from Anambra State Government, 2013</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l3 level1 lfo1; text-align: justify; text-indent: -.25in;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Award of
Excellence in Solo Drama and Award of Distinction as a leading eco-dramatist in
Africa</span></b><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"></span></div>
<div class="MsoListParagraphCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Both conferred on him by Nigerian-Turkish Nile
University, Abuja, 2014</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l3 level1 lfo1; text-align: justify; text-indent: -.25in;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Award of
Excellence as an Exponent of Ecological Theatre and Monodrama in Africa</span></b><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"></span></div>
<div class="MsoListParagraphCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Presented to him by the Association of Nigerian
Authors in collaboration with Enugu State Broadcasting Services [ESBS] on his
50<sup>th</sup> birthday in 2015.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l3 level1 lfo1; text-align: justify; text-indent: -.25in;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Award of
Excellence in recognition of his contribution to Arts and Heritage promotion
and preservation in Nigeria through Theatre.</span></b><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"></span></div>
<div class="MsoListParagraphCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Conferred on him by the Anambra State Book and
Creativity Network (ANBUKRAFT), 2016</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l3 level1 lfo1; text-align: justify; text-indent: -.25in;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Most Popular
Lecturer Award (Top 10)</span></b><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"></span></div>
<div class="MsoListParagraphCxSpLast" style="text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">University of Nigeria Staff Awards, 2016</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-tab-count: 1;"> </span>Among his published creative works
are:</span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .25in;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .25in;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .25in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">HONOURS</span></b><br />
</div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo4; text-align: justify; text-indent: -.25in;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">In 2010, the Governor of Nassarawa State, His
Excellency (Dr.) Aliyu Akwe Doma (OON) presented a plaque of honour to G. N. N.
Mbajiorgu in recognition of his contribution to the role of theatre in Nigeira.
</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo4; text-align: justify; text-indent: -.25in;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">In 2014, the department of English and Literary Studies,
Nigerian-Turkish Nile, University, Abuja organized an honorary conference in honour of G.
N. N. Mbajiorgu tagged “Forty-eight Years of Solo Performing Art in
Post-colonial Nigeria (1966-2014)”</span></div>
<div class="MsoListParagraphCxSpLast" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .25in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">DRAMA AND POETRY</span></b><br />
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><br /></span></b></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l2 level1 lfo2; text-align: justify; text-indent: -.25in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">The Prime Minister’s Son </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">(Monodrama, 2000)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo2; text-align: justify; text-indent: -.25in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Hands of Fate </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">(Drama
co-authored, 2000)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo2; text-align: justify; text-indent: -.25in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Wota na Wota </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">(Drama
on water conflict and water-related issues, 2003)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo2; text-align: justify; text-indent: -.25in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Water Monologue </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">(Poetic
Monologue, 2013)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo2; text-align: justify; text-indent: -.25in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Water Testaments </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">(World’s
first Anthology of poetry on Water and Water-related Issues, 2008)<i style="mso-bidi-font-style: normal;"> </i></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo2; text-align: justify; text-indent: -.25in;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Beyond the Golden
Prize </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">(Drama, 2013)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo2; text-align: justify; text-indent: -.25in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Wake Up Everyone </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">(Drama
on Climate change and environmentalism, 2014)</span></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l2 level1 lfo2; text-align: justify; text-indent: -.25in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";">
</span></span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Dancers from Africa </span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">(Drama,
2015)</span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: .25in;">
<br />
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">EDITED WORKS</span></b><br />
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><br /></span></b></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo3; text-align: justify; text-indent: -.25in;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">Songs of Gold:
Fresh perspectives on J. P. Clarke</span></i><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;">
(Critical Essays, co-edited, 2011)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo3; text-align: justify; text-indent: -.25in;">
<span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> <i> </i></span></span></span><span style="font-family: "times new roman" , serif; font-size: 14.0pt; line-height: 107%;"><i>The Noisy World and other works </i>(Anthology of Greg
Odo’s Poems and paintings, 2011)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpLast" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0tag:blogger.com,1999:blog-3055585616925603995.post-76129258177978055362015-05-10T11:56:00.000-07:002017-10-19T06:13:36.327-07:00Greg Mbajiorgu: A Profile<!--[if !mso]>
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<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 20.0pt; line-height: 107%;">PROFESSIONAL
PROFILE</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt;"><img height="568" src="file:///C:\DOCUME~1\desire03\LOCALS~1\Temp\msohtmlclip1\01\clip_image002.jpg" width="379" /></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt;"></span></b>
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<div class="MsoNormal" style="text-indent: .5in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif";">GREG MBAJIORGU</span></b><span style="font-family: "times new roman" , "serif";">, exponent of solo and ecological
theatre, is the First African to publish a monodrama and a seminal drama on
climate change. His eco-drama <i style="mso-bidi-font-style: normal;">Wake Up Everyone
</i>won the first prize for arts and humanities Research at the2012 National
Universities Research and Development Fair (NURESDEF) organized by the National
Universities Commission (NUC). From 1991 to 2000 during his self-sponsored
historic national tour with his one-man show (The Prime Minister’s Son),
Mbajiorgu recorded over six hundred successful performances in<span style="mso-spacerun: yes;"> </span>universities, secondary schools, Army
Barracks, Cultural centers and several other Educational institutions across
Nigeria and beyond. As a Theatre Artist and professional interested in
innovation and challenging assignments, Mbajiorgu has executed the following
professional Theatre contracts/duties in the last two decades.</span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">1. <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">The
Lion on Exit</i></b> (1992), a send-off play commissioned by the Governing
Council of the University of Nigeria as part of the activities marking the last
days of Prof. Chimere Ikoku as vice Chancellor </span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">2. <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">The
lion of Lions</i></b> (1996) a solo documentary drama with background chorus-
Based on the poems and the speeches of RT. Hon. Dr. Nnamdi Azikiwe, First
President of Nigeria and founder of the University of Nigeria.</span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">3. <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Wota
na Wota</i></b>- a water conflict resolution drama (2003) commissioned by
OEP/JDP Water programme, Enugu, with funding from MISEREO, Germany. Premiered
in 2008 at the New Arts Theatre UNN during the National Universities Game (NUGA).</span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">4. <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Trial
of the Fitest</i></b> (2007) written for the end of year retreat of the African
Institute for Applied Economics (AIAE). Performed at the Bridge Water Hotel,
Enugu.</span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">5. <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Keep
The Dream Alive</i></b> (2008) written for AIAE 2008 retreat and Performed at
the Bridge Water Hotel, Enugu.</span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">6. <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Beyond
The Golden Prize</i></b> (Miniaturized Version) written for the 10<sup>th</sup>
Anniversary of Seat of Wisdom Secondary School, Enugu.</span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">7. <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Wake
Up Everyone</i></b> (brief version) 2009, commissioned by ATPS, Nairobi, Kenya,
for their International Conference on Climate Change,which held at Nicon Luxury
Hotel Abuja.</span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">8. <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Toward
a New Dawn</i></b> (2010) Commissioned by Presidential Task Force on Power and
Performed at the Presidential Banquet Hall, Aso Rock Villa Abuja for the 2010
Power Stake Holders Forum.</span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">9. <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">United
against Climate Change</i></b> (2011) Commissioned by the University of
Nigeria’s African Climate Change Adaptation Initiative (ACCAI, UNN), Performed
at Princess Alexandra Auditorium, UNN (2011).</span></div>
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<span style="font-family: "times new roman" , "serif";">10. Mbajiorgu
was also appointed the Official Dramatis for the Innovation prize for Africa
(IPA) by the African Innovation Foundation, Switzerland during which he wrote
and produced <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Dancers from Africa</i></b> with Benedict Bine Bai. The Pro-Innovation
drama was performed during the Award Ceremony at Ibeto Hotels Abuja in May,
2014.</span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">11.
Appointed member of the Educational Advisory Council of UNNESCO Club for Global
Education by the Board of Directors for UNNESCO Club for Global Education.</span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">12. <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Wake
Up Every one</i></b> (2014 Edition) was staged on the 23<sup>rd</sup> January
2014 as special command performance for the 44<sup>th</sup> Convocation
Ceremony of University of Nigeria Nsukka <span style="mso-spacerun: yes;"> </span>and as reception drama for the visitor and the
Minister for Education Mallam Ibrahim Shekarau. </span></div>
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<span style="font-family: "times new roman" , "serif";">13.
Appointed Adjudicator 23<sup>rd</sup> and 24<sup>th</sup> Edition of National
Festival of Arts and Culture (NAFEST).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: "times new roman" , "serif";"><span style="mso-spacerun: yes;"> </span>Greg<span style="mso-spacerun: yes;">
</span>Mbajiorgu who hails Ihiala in Anambra State, is a Senior Lecturer in the
Department of Theatre and Film Studies UNN, He is the editor of four scholarly Books
including a recent one on J.P Clark, co-edited with Sonny Ododo. (<i style="mso-bidi-font-style: normal;">Song of Gold: fresh perspectives on Clark</i>).</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: "times new roman" , "serif";">Mbajiorgu
is married to Imelda Chineze Mbajiorgu (Nee Anakudo) and they are blessed with
three children.</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif";"><span style="mso-spacerun: yes;"> </span>MAJOR AWARDS </span></b></div>
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<span style="font-family: "times new roman" , "serif";">1.2005
most innovative creative artist award Department of English and Literally
Studies, UNN.</span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">2.2012
First position Individual Award in Arts and Humanities (Research) Awarded by
the National Universities Commission (NUC).<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">3. 2013
Anambra Literary Stars Award Awarded By Nigerian Book Foundation.</span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">4.2013
Archivers Award. Awarded By the Society of Nigerian Theatre Artists.</span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">5. 2009
Golden Pen Award. Awarded by Association of Nigerian Authors, Imo State Chapter.
</span></div>
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<span style="font-family: "times new roman" , "serif";">6. Award
of Excellence in Arts, and Distinction in Solo performance Art by The Nigerian
Turkish Nile University, Abuja.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif";"><span style="mso-spacerun: yes;"> </span>CONFERENCE IN HONOR OF GREG MBAJIORGU<span style="mso-spacerun: yes;"> </span></span></b></div>
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<span style="font-family: "times new roman" , "serif";">The
Nigerian Turkish Nile University, Abuja in 2014 during Mbajiorgu’s sabbatical
leave at the University, hosted a conference in honour of Mbajiorgu,
celebrating 48 years of Solo performing Arts in Nigeria<span style="mso-spacerun: yes;"> </span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 107%;">Published
Plays by Greg Mbajiorgu </span></b></div>
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<span style="font-family: "times new roman" , "serif";">1</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 107%;">.<i style="mso-bidi-font-style: normal;"> Hands of Fate Snaap press Ltd Enugu 2000</i></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 107%;">2.
wota na wota Snaap press Ltd Enugu 20033. The Prime Minister’s Son (monodrama)
second edition Kraft Books Ltd 2011</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 107%;">4.
Beyond the Golden Prize (school drama) Kraft Books Ltd 2013</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 107%;">5.
Wake up Everyone (latest edition) Palace press Ltd Abuja 2014</span></i></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 107%;">Unpublished
Books </span></i></b></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 107%;">1.
Towards a New Dawn</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 107%;">2.
Who Bears the Blame?</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 107%;">3.
Keep the Dream Alive</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 107%;">4.
Trial of the Fittest</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 107%;">5.
Dancers from Africa</span></i><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif";"></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif";">6.</span></i></b><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif";">The
Blind Man and the Whirl wind </span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif";">COMMAND PERFORMANCE OF GREG
MBAJIORGU’S <b style="mso-bidi-font-weight: normal;">WAKE UP EVERYONE</b> FOR THE
RECEPTION OF THE MINISTER FOR EDUCATION DURING THE 44<sup>TH</sup> CONVOCATION
CEREMONY OF THE UNICVERSITY OF NIGERIA NSUKKA ON 23<sup>RD</sup> JANUARY 2015.</span></i></div>
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THE VICE CHANCELLOR OF UNN PROF.
BENJAMIN OZUMBA THANKING THE MINISTER FOR HIS HANDSOME DONATION FOR THE
TROUPE AND COMMENDING THE PLAY WRIGHT (GREG MBAJIORGU ) AND THE <span style="mso-spacerun: yes;"> </span>CAST AND CREW FOR AN ELECTRIFYING <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>PERFOMANCE</div>
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Mbajiogugreg@ blogspot.comhttp://www.blogger.com/profile/16956478150803818833noreply@blogger.com0