Investigating the Structural Gap in Igbo Dance Theatre through the Primary, Performative and Quoting Repertoire Theories

Christian Ikechukwu Nwaru

doi:doi:10.11648/j.hss.20150305.16

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Investigating the Structural Gap in Igbo Dance Theatre through the Primary, Performative and Quoting Repertoire Theories

Christian Ikechukwu Nwaru

Received: 8 September 2015 Accepted: 25 September 2015 Published: 10 October 2015

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Abstract

This work represents an on-going Ph.D. investigation of Igbo dance theatre in eastern Nigeria. Existing research on Igbo dance theatre reveals that different authors wrote about the forms of Igbo dance theatre and called them ‘Igbo dance theatre’. Furthermore, some scholars have also shown and commented on dance forms such as Okunmkpo, Odo and Ekpe as Igbo dance theatre. The concept of Igbo dance theatre as used in this study differs from those presentations and forms characterised by incomplete structures and plots that do not best describe Igbo dance theatre. In some forms of Igbo contemporary dance theatre, what audiences and participants witness is merely one stage of a spectrum whose other sections are neither visible nor necessarily articulated in and through dance. Thus, what is on show in many Igbo dances is only a part of the whole and it takes the combination of the visible stage action and an understanding of the imagined contents of missing sections, the latter being generally inferred or derived from legends, myths, folktales and from social commentary, for audiences to appreciate the full meaning and significance of Igbo dance theatre. This research is based on the premise that the structure of Igbo dance forms discussed earlier are sequestered, creating a ‘missing link.’ This case study provides an account of some practical aspects of an on-going Ph.D. project that focuses and draws upon primary research, Brad Haseman’s performative research theory and Yvonne Hardt’s repertoire theory. Performative research theory is concerned with those researchers who carry out practice-led research and such research is intrinsically experiential and comes to the fore when the researcher creates new artistic forms. Repertoire theory demonstrates how artists discover and use materials from the past to formulate new constructs based on the needs of present dance performances. Given that the primary goal of this investigation is to re-create and re-interpret Igbo dance form as a full dance theatre, where the narrative is not assumed to be clearly understood by the audience, both paradigms are useful for explaining the cultural histories, abstract symbols and information, the missing links and working structure of Igbo dance theatre.

DOI	10.11648/j.hss.20150305.16
Published in	Humanities and Social Sciences (Volume 3, Issue 5, September 2015)
Page(s)	201-206
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2024. Published by Science Publishing Group

Keywords

Investigating, Structural Gap, Igbo Dance Theatre, Primary, Performative, Quoting Repertoire Theories

References

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[2]	Bakare, O. (2006) The Contemporary Choreography in Nigeria: A Realistic Culture Preserver or a Harmful Distortionist? In: Yerima, A., Rasaki, B. and Udoka, A. (eds.) Critical Perspectives on Dance in Nigeria. Ibadan: Kraft Books Limited. pp. 64-75.
[3]	Candy, L. (2006) Creativity & Cognition Studios. In: Practice-based Research: A Guide [online]. Available from http://www.creativityandcognition.com. Accessed 15 November, 2012.
[4]	Cohen, L., Manion, L., and Morrison K. (2000). Research Methods in Education. London: Routledge Falmer.
[5]	Driscoll, D. (2011) Introduction to Primary Research: Observations, Surveys, and Interviews. In: Writing Spaces: Readings on Writing, Volume 2. Charles Lowe and Pavel Zemliansky (eds). New York: Hafner Publishing Co.
[6]	Foddy, W. (1993) Constructing Questions for Interviews. Cambridge: Cambridge University Press.
[7]	Fox, N. (1998) How to Use Observations in a Research Project. Sheffield: Trent Focus Group
[8]	Frayling, C. (1997) Practice-based Doctorates in the Creative and Performing Arts and Design. Lichfield: UK Council for Graduate Education.
[9]	Gray, D. E. (2004) Doing Research in the Real World. London: SAGE Publications.
[10]	Hardt, Y. (2012) Engaging with the Past in Contemporary Dance. In: Manning, S and Ruprecht, L. (eds.) New German Dance Studies. Illinois: University of Illonois, pp. 217-231.
[11]	Haseman, B. (2006) A Manifesto for Performative Research: Media International Australia Incorporating Culture and Policy, theme issue "Practice-led Research". Quarterly Journal of Media Research and Resources (no. 118):pp. 98-106. Available from: http://eprints.qut.edu.au/3999/ [Accessed 15 November, 2012].
[12]	Holly, Anubhav, Patrick. (2002) Observation. 12^th November, 2002. Origins of Field Research [online]. Available from: http://www.public.asu.edu/~kroel/www500/Observation.pdf [Accessed 5th August, 2013].
[13]	Kvale, S. (1996) Interviews. London: SAGE Publications.
[14]	Magerko, B., & Riedl, M. (2008). What Happens Next? Toward an Empirical Investigation of Improvisational Theatre. Presented at the 5th International Joint Workshop on Computational Creativity.
[15]	Nadel, M. (ed) (1978) The process of Creating Dance. In: Myron, N and Constance, M. (eds) The Dance Experience: Reading in Dance Appreciation. New York: Universe Book. pp. 74-81.
[16]	Ngo, David. (2010) Observation methods. 23 March, 2010. Human Resources. [online]. Available from: http://www.humanresources.hrvinet.com/observation-methods/ [Accessed 5th August, 2013].
[17]	Portnoy, J. (1978) Is the Creative Process similar in Arts? In: Myron, N and Constance, M. (eds) The Dance Experience: Reading in Dance Appreciation. New York: Universe Book. pp. 157-175.
[18]	Stone, S. (2007) Dance Improvisation Exercises for Choreographers and Dancers. Available from: http://voices.yahoo.com/dance-improvisation-exercises-choreographers-and-563095.html [Accessed 15 November, 2012].
[19]	Taylor. D. (2003) The Achieves and the Repertoire. Performing Cultural Memory in the Americas. Dunham: Duke University Press.
[20]	Vincs, K. (2010) Rhizome/Myzone: A Case Study in Studio-Based Dance Research. In: Estelle, B and Babara, B (eds). Practice as Research Approaches to Creative Arts Enquiry. London: I.B. Tauris & Co Ltd. Pp. 99-112.
[21]	Yerima, A. (2006) Nigeria Traditional Dancers: History and Practice. In: Yerima, A., Rasaki, B. and Udoka, A. (eds.) Critical Perspectives on Dance in Nigeria. Ibadan: Kraft Books Limited. pp. 17-44.

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Christian Ikechukwu Nwaru. (2015). Investigating the Structural Gap in Igbo Dance Theatre through the Primary, Performative and Quoting Repertoire Theories. Humanities and Social Sciences, 3(5), 201-206. https://doi.org/10.11648/j.hss.20150305.16

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Christian Ikechukwu Nwaru. Investigating the Structural Gap in Igbo Dance Theatre through the Primary, Performative and Quoting Repertoire Theories. Humanit. Soc. Sci. 2015, 3(5), 201-206. doi: 10.11648/j.hss.20150305.16

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Christian Ikechukwu Nwaru. Investigating the Structural Gap in Igbo Dance Theatre through the Primary, Performative and Quoting Repertoire Theories. Humanit Soc Sci. 2015;3(5):201-206. doi: 10.11648/j.hss.20150305.16

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@article{10.11648/j.hss.20150305.16,
  author = {Christian Ikechukwu Nwaru},
  title = {Investigating the Structural Gap in Igbo Dance Theatre through the Primary, Performative and Quoting Repertoire Theories},
  journal = {Humanities and Social Sciences},
  volume = {3},
  number = {5},
  pages = {201-206},
  doi = {10.11648/j.hss.20150305.16},
  url = {https://doi.org/10.11648/j.hss.20150305.16},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.hss.20150305.16},
  abstract = {This work represents an on-going Ph.D. investigation of Igbo dance theatre in eastern Nigeria. Existing research on Igbo dance theatre reveals that different authors wrote about the forms of Igbo dance theatre and called them ‘Igbo dance theatre’. Furthermore, some scholars have also shown and commented on dance forms such as Okunmkpo, Odo and Ekpe as Igbo dance theatre. The concept of Igbo dance theatre as used in this study differs from those presentations and forms characterised by incomplete structures and plots that do not best describe Igbo dance theatre. In some forms of Igbo contemporary dance theatre, what audiences and participants witness is merely one stage of a spectrum whose other sections are neither visible nor necessarily articulated in and through dance. Thus, what is on show in many Igbo dances is only a part of the whole and it takes the combination of the visible stage action and an understanding of the imagined contents of missing sections, the latter being generally inferred or derived from legends, myths, folktales and from social commentary, for audiences to appreciate the full meaning and significance of Igbo dance theatre. This research is based on the premise that the structure of Igbo dance forms discussed earlier are sequestered, creating a ‘missing link.’ This case study provides an account of some practical aspects of an on-going Ph.D. project that focuses and draws upon primary research, Brad Haseman’s performative research theory and Yvonne Hardt’s repertoire theory. Performative research theory is concerned with those researchers who carry out practice-led research and such research is intrinsically experiential and comes to the fore when the researcher creates new artistic forms. Repertoire theory demonstrates how artists discover and use materials from the past to formulate new constructs based on the needs of present dance performances. Given that the primary goal of this investigation is to re-create and re-interpret Igbo dance form as a full dance theatre, where the narrative is not assumed to be clearly understood by the audience, both paradigms are useful for explaining the cultural histories, abstract symbols and information, the missing links and working structure of Igbo dance theatre.},
 year = {2015}
}

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Author Information

Christian Ikechukwu Nwaru

Department of Theatre and Performance, School of the Arts, University of Northampton, Northamptonshire, United Kingdom

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Christian Ikechukwu Nwaru. (2015). Investigating the Structural Gap in Igbo Dance Theatre through the Primary, Performative and Quoting Repertoire Theories. Humanities and Social Sciences, 3(5), 201-206. https://doi.org/10.11648/j.hss.20150305.16

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ACS Style

Christian Ikechukwu Nwaru. Investigating the Structural Gap in Igbo Dance Theatre through the Primary, Performative and Quoting Repertoire Theories. Humanit. Soc. Sci. 2015, 3(5), 201-206. doi: 10.11648/j.hss.20150305.16

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AMA Style

Christian Ikechukwu Nwaru. Investigating the Structural Gap in Igbo Dance Theatre through the Primary, Performative and Quoting Repertoire Theories. Humanit Soc Sci. 2015;3(5):201-206. doi: 10.11648/j.hss.20150305.16

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@article{10.11648/j.hss.20150305.16,
  author = {Christian Ikechukwu Nwaru},
  title = {Investigating the Structural Gap in Igbo Dance Theatre through the Primary, Performative and Quoting Repertoire Theories},
  journal = {Humanities and Social Sciences},
  volume = {3},
  number = {5},
  pages = {201-206},
  doi = {10.11648/j.hss.20150305.16},
  url = {https://doi.org/10.11648/j.hss.20150305.16},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.hss.20150305.16},
  abstract = {This work represents an on-going Ph.D. investigation of Igbo dance theatre in eastern Nigeria. Existing research on Igbo dance theatre reveals that different authors wrote about the forms of Igbo dance theatre and called them ‘Igbo dance theatre’. Furthermore, some scholars have also shown and commented on dance forms such as Okunmkpo, Odo and Ekpe as Igbo dance theatre. The concept of Igbo dance theatre as used in this study differs from those presentations and forms characterised by incomplete structures and plots that do not best describe Igbo dance theatre. In some forms of Igbo contemporary dance theatre, what audiences and participants witness is merely one stage of a spectrum whose other sections are neither visible nor necessarily articulated in and through dance. Thus, what is on show in many Igbo dances is only a part of the whole and it takes the combination of the visible stage action and an understanding of the imagined contents of missing sections, the latter being generally inferred or derived from legends, myths, folktales and from social commentary, for audiences to appreciate the full meaning and significance of Igbo dance theatre. This research is based on the premise that the structure of Igbo dance forms discussed earlier are sequestered, creating a ‘missing link.’ This case study provides an account of some practical aspects of an on-going Ph.D. project that focuses and draws upon primary research, Brad Haseman’s performative research theory and Yvonne Hardt’s repertoire theory. Performative research theory is concerned with those researchers who carry out practice-led research and such research is intrinsically experiential and comes to the fore when the researcher creates new artistic forms. Repertoire theory demonstrates how artists discover and use materials from the past to formulate new constructs based on the needs of present dance performances. Given that the primary goal of this investigation is to re-create and re-interpret Igbo dance form as a full dance theatre, where the narrative is not assumed to be clearly understood by the audience, both paradigms are useful for explaining the cultural histories, abstract symbols and information, the missing links and working structure of Igbo dance theatre.},
 year = {2015}
}

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TY  - JOUR
T1  - Investigating the Structural Gap in Igbo Dance Theatre through the Primary, Performative and Quoting Repertoire Theories
AU  - Christian Ikechukwu Nwaru
Y1  - 2015/10/10
PY  - 2015
N1  - https://doi.org/10.11648/j.hss.20150305.16
DO  - 10.11648/j.hss.20150305.16
T2  - Humanities and Social Sciences
JF  - Humanities and Social Sciences
JO  - Humanities and Social Sciences
SP  - 201
EP  - 206
PB  - Science Publishing Group
SN  - 2330-8184
UR  - https://doi.org/10.11648/j.hss.20150305.16
AB  - This work represents an on-going Ph.D. investigation of Igbo dance theatre in eastern Nigeria. Existing research on Igbo dance theatre reveals that different authors wrote about the forms of Igbo dance theatre and called them ‘Igbo dance theatre’. Furthermore, some scholars have also shown and commented on dance forms such as Okunmkpo, Odo and Ekpe as Igbo dance theatre. The concept of Igbo dance theatre as used in this study differs from those presentations and forms characterised by incomplete structures and plots that do not best describe Igbo dance theatre. In some forms of Igbo contemporary dance theatre, what audiences and participants witness is merely one stage of a spectrum whose other sections are neither visible nor necessarily articulated in and through dance. Thus, what is on show in many Igbo dances is only a part of the whole and it takes the combination of the visible stage action and an understanding of the imagined contents of missing sections, the latter being generally inferred or derived from legends, myths, folktales and from social commentary, for audiences to appreciate the full meaning and significance of Igbo dance theatre. This research is based on the premise that the structure of Igbo dance forms discussed earlier are sequestered, creating a ‘missing link.’ This case study provides an account of some practical aspects of an on-going Ph.D. project that focuses and draws upon primary research, Brad Haseman’s performative research theory and Yvonne Hardt’s repertoire theory. Performative research theory is concerned with those researchers who carry out practice-led research and such research is intrinsically experiential and comes to the fore when the researcher creates new artistic forms. Repertoire theory demonstrates how artists discover and use materials from the past to formulate new constructs based on the needs of present dance performances. Given that the primary goal of this investigation is to re-create and re-interpret Igbo dance form as a full dance theatre, where the narrative is not assumed to be clearly understood by the audience, both paradigms are useful for explaining the cultural histories, abstract symbols and information, the missing links and working structure of Igbo dance theatre.
VL  - 3
IS  - 5
ER  -

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