CHOOSE YOUR CURRENCY


BLOOD ON OUR HANDS (AN AFRO-MUSICALS)

Amount: ₦5,000.00 |

Format: Ms Word |

1-5 chapters |



Abstract

Jos, the capital of Plateau  State,  has witnessed  incessant violent crises in the last two decades. The conflicts have essentially centred on issues of politics, religion and tussle over claims of land ownership  and  right  of the  indigenes  namely,  Berom,  Afizere  and  Anaguta  versus  their counterpart,  the Hausa/Fulani  settlers.  Despite the use of many different  conflict resolution and peace mediation approaches by the government and other stakeholders, the Jos crises continue to persist.   Perhaps,   it   means   that   the   various   conflict   mediations    and   peace   building efforts/initiatives   may  not  be  effective   as  expected.  This  necessitates   the  exploration   of alternative  conflict  resolution  mechanisms.  Music  is  credited  to be  an  effective  medium  of cultural identity, creative expression and economic/political  mobilization and empowerment as it is believed  to have potential  or real power to mediate  conflict  situations  and engender peace. Thus, the musicals, “Blood on our Hands” is a composition  that aims to mediate, mitigate, and possibly  heal the wounds inflicted by the protracted  and endemic communal  crisis in Jos and environs. It uses materials  that were obtained  from both historical  and current  sources which reflect the painful  realities  of the crisis situation from broad and inclusive  perspectives  of the main actors. It tells the story in a compelling  and delightful way using musicals that stimulate, engage and feed the attention of the audience aesthetically.  This work, practically achieved from script to stage and finally to screen via a digital medium such as the studio.

CHAPTER  ONE

INTRODUCTION

1.1. Background  of the Study

Peace building is a serious business requiring the collaborative efforts of all stakeholders for the common  good because  peace,  safety  and  security  are everybody’s business.  This  is why  all legitimate  and  effective  means  are usually  considered  and utilized  towards  engendering  and sustaining lasting peace in most societies. The civil justice system is one of the common ways of resolving  conflicts  in  societies  through  the process  of litigation-a legal  system  that  settles disagreements  and conflicts in law courts.  That is not all. Mediation,  arbitration and negotiation are other options that have been found to be effective in resolving and managing conflicts.  They all aim at promoting peace.

The musical, Blood on our Hands  is a work that seeks to provide common ground for settling conflicts creatively  and artistically  while advocating  peaceful  and amicable  ways of resolving human differences in Plateau State which has been ravaged by violent crisis for years. Using this creative   work  in  peace   building   project   will   serve  multiple   purposes   of  entertainment, mobilization,  enlightenment,  promotion  and  preservation  of cultural  identity  and  above  all conflict resolution. Davou (1997) has traced the historical roots of the protracted conflicts in Jos. According to him:

Long in historical antecedent, the opening up of Plateau and Berom land in particular by the   Hausa/Fulani   Jihadists   during   the   Islamic   revolution   in   the   North   for   the proselytization  on record that Tueraq slave led by Bawa Jangwarzo  in 1779 suffered  a defeat in the hands of the Berom when he attempted to carry out one of his notorious raids in Beromland.  The attempts of incursion into Berom land by the Muslims did not stop with the defeat of the said raiders as other frantic but futile attempts were also made use  of by the  desperate  Hausa/Fulani  Jihadists  to penetrate  the  land  and  convert  the Berompeople to Islam between 1843 and 1847 (pp.1-2).

A major form of hostility on Berom people came when colonial authority invaded and annexed their land to explore and exploit tin in commercial quantity. Huge mining fields were opened and

serious mining activities happened at the cost of many lives and lands between  1903  and 1907. The operation for the invasion and subsequent annexation was led by Captain Laws of the Royal Western African Frontier Force (RWAFF). Colonial presence and its mining activities attracted people  from  different  parts  of Africa  and  beyond  who  settled  in  Jos  alongside  their  host community, the Berom natives. Though there had been mutual relationship  among the diverse ethnic groups that arrived and settled in Jos, but there were also mutual  suspicion  and rising tensions that eventually erupted into violent clashes.

Musicals,  is a serious dramatic play that incorporates instrumental  accompaniment, songs, and dance into a well-made story; it is filled with strains of beautiful music, body movement that add meaning  and  flavour  to  the  story  line  with  actors’  expressing  full  theatrical  experience.  In musicals,  the dramatic acts play dominant roles than the singing aspect in different  genres of popular tune is express in a single act of performance.   Musicals depict a developed story with a character development,  dramatic structure that express  spoken dialogue referred to as libretto. The music in musicals includes incidental music script and scores combining songs with spoken dialogue  guided by a creative  team of experts  such as musical  director,  choreographers, and sometimes  an orchestrator.  The technical  aspect  found in the musical  theatre  are set design, costumes, stage properties (prop) lighting and sound which generally change form to succeeding productions (Katja, 2016).

Musicals which can be referred to as musical comedy are genres of music-dramatic  art for stage, television or film production making use of popular style of songs, spoken dialogue, acting, and dance.  There  is synthesis  of other arts forms.   Britain  and the America  are credited  to have played vital roles in development  and transformation  of the musical theatre in the 19″  century prior to the long-standing  history of opera founded  in Florence, Italy during the Renaissance period by a small group of wealthy artists,  dramatists called the Florentine  Camerata (Kenrick

1996-2003).The musicals which could be staged, filmed or televised have always been confused with other genres such as the opera and the operetta though in reality they distinct as thus.

In vocals  and instrumentation, the musical  requires  the pop-rock  helter  vocal timbre  and the accompanying  instruments are far from being classical with just few instruments accompanying the music, unofficial linguistic structure of the locals while in opera, legit voices timbre with full scale   classical   instruments   are  required   for  accompaniment   even  though   opera   singers

successfully  sing roles in musicals. Musical  is more emphatic  on actions, character  act, light scores not difficult to sing. In opera, there are huge and difficult orchestral  scores with music playing primary role.  The songs in opera are composed  in original language though there are some written in other languages  such as English.  Opera has being in existence for a long time ago, the practice  has been  in existence  since  1600. It requires  usually  long period  of serious rehearsal  before  staging because of its complexity  and singers uses natural voices. Operas are usually  written in the native  language  of the composer  with tragic themes. Musical  are more related with operetta yet differ in many ways.   Operetta focuses on humour rather than emotions with  the use  of comic  style  of music  that  are  less  applicable  in opera.  Operetta  is a direct descendant of opera and is a smaller form of opera    large opera reduced into a smaller seize.  It uses a smaller scale of orchestral instruments than the opera and larger than the musical, and are less vocally demanding than opera and most importantly, they are musical plays for the amateur troops  and  are performed  without  supertitles  but  with  clearer  dictions  than  opera  (Walder• Biesanz, 2016).

Musicals got its root from America which is why it is often referred to as the American Musicals. Musicals and opera are similar in some ways. For example, they are both dramatic arts that use music,  they both express a story though  opera uses exclusively  vocal music to tell the whole story with no or little spoken dialogue while, musical uses a combination of spoken dialogue and vocal  music  to express  it story.  Certain  scholars  strongly  believed  that opera,  (operetta)  and musical are the same depending on the setting and purpose.  Musicals are and upshots of opera, with scenery and stage effects  which are elaborate  or simple with length  similar to that of a movie.  Musicals also make use of an orchestra though not large in size as that of an Opera;  the actors use songs similar to popular songs style and actors make use of vocal amplifiers such as the microphone  on stage. More so, most musicals  are written in English  language with comic stories  and themes  which  often reflect  history,  culture  and the  socio-cultural,  economic  and political realities of the people.

Generally, there is consensus that those with musical knowledge are in better position to interpret and  direct  the  musicals  script  than  their  counterparts  in  other  fields  of studies;  as  such, musicologists  can  be  master  architect  in  production  without  the  aid  of people  from  other professions.  Most  fields of studies use the conventional  linguistic  vocabularies  devoid of un-

interpretational  signs of parallel tones of indefinite pitches that can easily be interpreted unlike music  that  uses  an unfamiliar  sign  of different  pitches,  melodic  fluctuation,  accurate  vocal interpretation, unfamiliar signs of dance notation. Music is un-arguably an art of motion thus, the most likely factors to determine  if a dramatic play with music is a musicals,  the listed points below must be considered.

a.    Musicals  could be acted on stage,  it possesses  simple  or elaborate  scenery  and stage effects

b.   The length could be compared to that of a full movie as most musicals are shot on screens c.    The orchestral  seize may not be as large as that of the opera orchestra,  musicals  often employ   contemporary    instrument    such   as   the   Jazz   drums   and   guitar   in   its

instrumentations.

d.   Actors in musicals, use microphones  to amplify their voices unlike the traditional  opera that strictly uses the actor’s vocals.

e.    In musicals,  because of its contemporary nature,  popular tunes are employed instead  of the classical system.

f.    Dialogue may be dominant

g.    Some  call  it  American  opera  because  it  uses  English  language  or  language  of the immediate community in order word simple language structure.

h.   Tunes sang by the soloists are often in a popular song style that is shorter in length.

1.      With story line, often funny or dramatic that reflects the societal dealings,  contemporary issues that tackle the present menaces (Walter,  1968)

The plot of the musicals Blood on our Hands  is based on present predicament  of unrest being witnessed  in some communities  in different  parts of Nigeria.  Indeed,  the national  landscape is littered with different  forms of violent crisis such as those concerning  land disputes;  tribal and religious crisis; herdsmen versus farmers’ clashes; terrorism among others. At a time when there are  tragic  experiences  of violent  crisis,   all  seem  to  agree  on  the  imperative  of peaceful coexistence  in heterogeneous  nation  such as Nigeria.  The citizens  are constantly  enjoined  to embrace and propagate the message of peace as against beating the drums of war through hate speeches,  extremism  and bigotry  which  destroy  not  only the people  but  even the  corporate existence  of the country.  As a saying goes, “the tree that provides  shade which people  enjoy

today  was planted  yesterday  and the tree whose  shade we wish to enjoy  tomorrow  must  be planted today”.

The most tasking form of reconciliation  is when two faiths are involved,  be it in the aspect of cultural  or religious  belief.  Therefore, this musical  comedy  aims to advance  the  frontiers  of resolving conflict and peace building process.  The play largely contains the elements of musicals than operetta.  The play  could be acted on stage or shot on screen.  It  is written  in plain  and ordinary  language  for easy understanding.  The compositional  style is contemporary,  attached with serious elements of comic or tragic scenarios being part of musicals  comedy plays.   The musical  ‘Blood  on  our  Hands’  is  multi-media  based  show  using  three  production  formats namely: script; the score; the stage and the screen.

Over  the  years,  it is  observed  that  a good  number  of practitioners  in  other  creative  fields, particularly the performing arts such as theatre, drama and dance often restrict their production to improvisation, script, stage and screen. Provision for the music score of such productions is often omitted  or  ignored  out  of  ignorance   or  absence   of professional   expertise.   This  greatly undermines the value, essence and function of music in such works. Leaming music is as good as learning a language that is not yours.   It entails accurate pulse assimilation, rising and falling (pitches), creative design of musical notes and the intense memorization  and application of rules and principles. Other fields of studies can smoothly be absorbed into music discipline with ease.

The  central  theme  of the  play  aims  to  provide  a  common  ground  for  building  bridges  of harmony, unity and tolerance among diverse religious groups in Nigeria with particular reference to  Christianity  and  Islam.  In the play  ‘Blood  on our Hands’,  the  traditional  institutions,  is portrayed as a binding force to the modem religious diversities. Religious extremism and fundamentalism  have  been  identified  as key  cause  of social  tension,  sectarian  violence  and terrorism which also undermines  national unity and security.   In this regard, the play seeks to promote  inter-religious  and  inter-cultural  marriages  among  the  various  religious  and  tribal groups  in Nigeria.  Yoruba  people  of western  Nigeria  are  credited  to be  at the  frontline  of promoting their rich cultural heritages through various art forms and that the freedom of religious and cultural expression is highly respected.

Some of the sub-themes covered in the play include the following:

1.    Theme of love and hatred

2.   Theme of unity

3.   Theme of diversity; and

4.   Theme of inter-religious dialogue

The thematic role of the play is to foster peace-building  by projecting love and unity among the diverse ethno-religious groups in Nigeria. The play is set in a local community with the Gbong• Gwom  Jos  traditional  institution  serving  as  a  symbol  of conflict  mediation  and  resolution (Northern Nigeria: Background to Conflict, 2010).

In many ways,  music is multi-disciplinary  as it shares close alliance with other fields of human endeavour outside the arts. For example, in medicine there is music therapy; in physics there is acoustics;  in mathematics  there is matrix table;  and in engineering there is music technology. That  is  not  all.  Music  is  also  associated  with  the  fields  of religion,  philosophy,  politics, economics and social life. Regarding music in relation to other arts and creative forms, Forchu (2012) maintains that:

While music is an art in itself, it is often integrated into other arts such as dance, drama, visual  art,  the  film  industry,  and  others.  Through  a proper  manipulation  of musical sounds,  it  provides  the  correct  mood,  emotional  background  and  creates  the  desired effects in the presentation and production of these arts (p. 216).

Thus, in view of the above synthesis of music with other disciplines, it becomes imperative and a challenge for musicologists to creatively diversify their knowledge, skills, techniques and experiences  in ways that they become  conversant  with and relevant to other fields of human endeavours   in  the  arts,   social  science  and  sciences  for  optimal   creative  expression  and productivity.

In  order  to  meaningfully  affect  the  current  state  of Nigeria’s  socio-political  and  economic realities,  there  is  greater  need  for creative  versatility  and  flexibility  in the  approach  to  and understanding of musical practice. A major challenge in dealing with the Nigerian situation is the issue of a dense population that is in desperate need of good governance and the provision  of basic  infrastructures.  Over the years, bad  leadership  and corruption  have combined  to cause severe hardship and suffering  to a good number of Nigerians  who often remain susceptible to

corru pt  pra ctices,  violent  crisis  and  low  pro ductivity.   A ccordingly,   Fab  Leonard,  (as  cited  in C hukwu ka    &    Izueke,    2014),    has    decried    the    prevalence    and    im plications    of   sur ging unemploym ent thus:

The   high   unem ploym ent   ra te   m   the   country    regrettably    poses   great   challenge   to actu alizing   the   country ‘s    target   on   M illennium    D evel opm ent   G oals   (M D G s).    For instance,   part   of  N igeria’s   M D G s   requires   governm ent   to   devel op   and   im plem ent stra tegies  that give young  people  everyw here  a real  chance  to  find decent  and pro ductive w ork.   W ithout  real  jobs,   youths   easily  fa ll  prey  to  people   w ho  w ant  to  use  them   to fe rm ent tro uble  …  fo r as long  as the unem ploym ent ra te rem ains high  and  the people  live in abject poverty  and deprivation,  N igeria cannot  obtain real devel opm ent (pp.  59-60).

G enera lly, the  entertainm ent  and  creative  industries  have  been  adjudged  to be  a m ajor  player  in the  developm ent  of m odem   econom ies  and  societies.  A part  from  being  a  cultu ra l fo rce,  m usic business  has  becom e  a  viable  econom ic  and  com m ercial  enterp rise  attra cting  patro nage  from corp ora te organizations  and investors  largely because  of the benefits  of fa m e and fo rtu nes.

The   m usic   industry   is  a  m ajor   em ployer   of  labour   and  revenue   earn ers.   A   lot   of  people, particularly   the  youth  w ork  w ith  chur ch  bands  or  secular  private  bands  that  perfo rm   at  social occasions.  It  is  obvious  that  m usic  is m ore  of a pra ctical  vocation  requiring  a lot  of hard  w ork and  dedication.  U nfo rtu natel y,  the  academ ic  curr iculum  and m usic  tra ining  pro gra m m e over the years   have   tended   to   em phasise   the   pro duction   of  theory   based   m usicologist   than   skilled pro fe ssional m usic pra ctitioners  w ho are m ost likely to im pact society and the econom y.

For m usicologists  to be m ore relevant  in the N igerian  creative-econom y and society,  they need to be involved  in the area of m ovie pro duction/  cinem atography,  digital m usic pro duction  into  their field of stu dies to reduce  the high ra te of Jo b seekers am ong m usicologists.

N igeria   has   a  rich   history   of  m usic-dra m a.   H ubert   O gunde   is  credited   to  be  the   fa ther   of N igeria’s   contem pora ry  pro fe ssional  theatre   and  he  w as  also  the  pioneer   of m odem   opera tic fo rm s  in  the  country .    Interestingly,   O gunde   w as  neither  a  tra ined  theatre  artist  nor  a  tra ined m usicologist.  H e w as a staff  of the N igerian  police  fo rce  and  a chur ch  organist  but he developed interest  in researching  into  Y oru ba arts and cultu ra l fo rm s w hich gave birth to w hat has variously

described as “native opera” and “folk opera”.  His works contained  some elements of musicals such as simple language, singing, dancing which are essential component of most musical plays.

1.2. Purpose  of the study

The main aim of this work is to create and produced a music-drama  using three media namely, script,  score,  stage and screen as a tool for conflict resolution.  Specifically, the objectives of the work include to:

1.   create and design  a musical  play  script with elements  as characters  plot,  settings  and symbolisms e.g.  script, dialogue, scenes, props, theatre or location, acts, and actors

2.   compose musical pieces  and their score using different  genres of music that interprets action and give fillings to the musicals

3.   stage and produce the work using digital recording of the musicals subsequent to all the professional production/ video and voice recording rules followed.

Irrespective of any genre of music practiced in Africa, music in Africa is streamlined as a podium  for social and cultural education  as well as for moral arbitration,  construction, and training  for all members  of a society. It  subtle and piercing  quality makes  it well adapted to all forms of humanizing education (Onyeji, 2016, p. 22).

This work seeks to create a common ground for lasting reconciliation  among diverse religions found on the Plateau as well create bound between the minority tribes of central Nigeria that fills intimidated  by  the  Sultanate  rule.  By  so  doing,  the  musicals  will  equally  open  up  another medium  of understanding,  promoting  and documenting  the historical  significance  of a mutual coexistence  which bonded  a peaceful  mutuality  between the headmen  and the farmers on the Plateau. Broadly, this attempt  will aid in awakening  the African motion picture  makers most especially,  the Nollywood,  to other variant  art forms – (African musicals  being one)     which they can popularize by using them in the transfer of Music/dramatic or filmic ideas, as to achieve class variety in the African Movie industry.

1.3. Significance  of the Study

Nigerian  movies  have  been  criticized  for  arbitrary  use  of music.  Thus,  this  work  is step in towards correcting and addressing this problem.  It is hoped that the work will add value to the

evolving music-drama  tradition in Nigerian films as in the days of Hubert Ogunde’s  group that performed the ancient Yoruba art forms in music and drama.

The idea of conceiving, creating and producing an African work using mix-media such as script, score, stage and screen aims to advance the frontiers  of artistic production  in response to the emerging  development  and  challenges  in  the  entertainment  industry  and  technology  driven economy.  Globally and locally too,  complex advances in technology  are continually redefining and shaping how performing  arts works are to be conceived, produced, packaged, marketed and consumed.  Information-communication technology, particularly the internet is playing a greater role on how entertainment  practitioners  operate. Thus, music is has assumed  a greater role in human  development  as people  who have the requisite  skill,   knowledge  experience  are better position to play leadership roles in Nigeria’s flourishing entertainment industry.

This project can also be referred to a dramatic  musical  work created  for motion picture  or a dramatic works.  Its value will add to the economic and creative chart of this nation positively. The play will also add value to the phenomenon of globalisation in the 21century that is rapidly transforming   the  world  through   complex   technological   advances.  Most  fields  of human endeavour have been digitized.  Thus, musicologist as agents of social transformation must move with the changing  times  and trends  in order to remain  relevant  to the modem  economy  and society. Music, media, and technology  are inseparable  entities that work together.  Technology projects  plays outside the wall of the theatre which makes  such works and productions  more available, accessible and affordable to wide range of consumers across the global digital market. When Musicals are put in CD, Internet or social media it covers a wider reach than the orthodox staging system which confines it to limited physical  audience of the theatre.  A lot of brilliant non-dramatic  musical plays are not known because they are not on screen hence the composers are not accorded due recognition  and celebration. Thus, moving the scripts to scores to screen justifies the enormous effort of the composers. It educates faster and brings the world into reality given  people  of all  classes  equal  opportunity  to  compete  in  the  world.  The  unprecedented economic benefits that lie in dramatic musical plays are enormous and there is need to explore the richness and the utilitarian values of such works to the Nigerian theatre and society.   There are needs  to revive  the  dramatic  musical  plays,  stimulate  interest  in the  area  to  encourage research and practical base productions as the area has remain undeveloped and unexploded.

1.4. Scope and limitation of the study

The Elizabethan  and Jacobean  plays  from the time  of Shakespeare  to the 20″ century  were structured in five acts. Acts which form the major division of drama also form the basic structure of a play. A scene refers to the actual actions that take play as well as the smaller component of the acts in a play.  The use of acts and scenes in a play is to aid in the separation of performance for easy analysis  of the plays;  as such,  it becomes  an optional  root  to analysing  plays.  The researcher  adopts the queue system (CUE)  for the smooth analysis  and easy identification  of roles by the characters.  The musicals “Blood on our Hands” comprises of 300 cues with music scores  inclusive.  The musicals  ‘Blood  on our Hands’  is purely  performer  bound, unlike  the Opera which is strictly the composers’ idea.  Words of the musicals  are transmitted  in English language with minor interjections  of the Berom,  Fulani,  Yoruba,  Igbo and Hausa Languages  to portray glaring characteristics of the genre as well as portray the cultural identity of the location. Visual, Sounds and the sound effects (XFS) shall be digitally achieved with chorale taken to the studio for voice over that will enable the composer achieve a desired sound. The visual recording shall be done off stage with  suited location  that  will aid in the portrayal  of the imaginative imagery of the composer.  At-last  the musicals  will be filmed with the aim of addressing  the ethno-religious challenges engulfing Plateau State and Nigeria at-large.

1.5. Statement of the problem

Aside the scandalous material found in African musical comedy, African art composers are yet to establish a language which is comparable to that of the African literature.  They strongly rely on systematic  composition  ethics and language  of their colonist  (Uzoigwe  as cited in Onyeji,

2011).  It  has  also been  observed  that  there  is tremendous  proliferation  of artistic  works  in Nigeria’s  music-drama  sector.  However,  there  are problems  associated  with  the  practice  of musicals  in Nigeria  which undermine  the essence  of the synthesis  of music  and drama.  The indiscriminate  use  of music  in  theatrical  performances   as  observed  by  Dung  (2004)  that, “Directors  have resorted to very personal use of music in their productions … Close analysis of such usage of music results in interesting discovery.  There has been no team work between the script writer, the director, and the composer” (p.  10).

It  means  that,  there  is need  for  synergy  between  the  script  writer,  the  director,  and  the  song composer.  Again, Omojola,  (as cited in Dung,  2004,  p.  10) further decried the abuses associated with the use of music in the performing  arts, including movie productions.  According  to him,  “a good number  of modem  Nigerian  playwrights  and directors …  make use  of music  in their plays (but) the role of music in such plays often lack proper definition”.  This is due to limited or a total absence of musicologist  in the Nigerian  movie industry that grossly affect the quality music need in Nigerian  movies. Though the theatre production  requires the collaboration  of experts  such as composers,  dramatists,  designers,  choreographers,  directors  and critics but where the production is music-based  it becomes pertinent  for the musicologist  to assume greater responsibility.   Most dramatists in Nigeria can only script, direct, choreograph  or criticise a play but can’t score a song due to technicalities  involved so it needs a literate composer to do justice  in that aspect.

A peculiar challenge  faced in some aspects of music is the scarcity of music literature materials. Okafor (2005) aptly puts it thus:

Another  area of vital need is the availability  of necessary  books, preferably  written  with the African environment  and orientation  in mind.  They should be scholarly books written from  wide  range  perspective, production  of fieldwork  and  research.  The production  of these books  should  be  seen  as essential  service.  It is recommended  that  in areas  where there is shortage  of information, researchers,  and people  with deep, practical  knowledge should be commissioned  or encouraged  to write (p. 218).

The Nigerian  flicks despite being the most loved African  movies  globally,  its music has widely been  criticised  for its  inability  in building  up  the  various  kinds  of dramatic  effects  need  in  a movie.  Most  music  in  Nigerian  movies  often  plays  a  transitional   role  than  realistic  role  of emphasis  and action interpretations  (Amell  & Day,  1975,  p.  88).  Nigerian  movies have recoded some   tremendous   success   over   the   years.   In   2015   alone,   the  Nigeria’s   movie   industry, Nollywood  was rated above Hollywood  and right behind  India’s Bollywood  in terms of the total volume of film production  with the data of $3billion industry.  With the rapid growth in demand, many believed  the movie  industry could become  the country’s economic  backbone  in years  to come.  However,  critics have decried that the industry  lacks production  value,  and actors have yet to breakout  globally  (Emaeyak, 2012). Unfortunately, of all the Nigerian  best movies  that have received  African  Movie  Academic   Award   from   1992   to  2015  only  two  have  received  the

nomination for best movie soundtracks, they are Inele by Jeta Amata which was released in 2010 and Journey to Self by Tope Oshin Ogun in 2012.  Though this result is quit poor but it can be improved  if trained  and  professional  composers  venture  into  movies  soundtrack  for proper interpretation of sound in movies. Thus this work becomes timely as it advocates and encourages music  composers  on  the  need  to  salvage  the  industry.  Most  dramatic  music  composed  by Nigerian music composer merely exist in scrolls alone with history of none have hit the movie industry they script non-dramatic musical works which are works that was not created for use in motion  picture  or dramatic  work.  This suggests  that, music  composers  should not bury their heads on scores alone but should also explore other aspects of theatre, the arts especially in the area of film and media arts.

1.6. Methodology

This work is the visual representation  of non-dramatic  work of literature into musicals.   With massive  growth in the African  film industry, professionalism  is highly required to handle the different  specialized aspects of artistic productions  in order to promote  excellence, quality and standard  best  practices.  Materials  are primarily  sourced  from  the  ancestral  epics  coin  fully scripted, scored, staged and filmed. Other reliable information  is also sourced secondarily from some published/unpublished  materials  and non-dramatic  works  of some  composers.  In other words,  library research that will involve analysis of historical records/analysis  of documents on the origin/the cause of the ethno-religious  crisis that eloped plateau state since the pre-colonial, colonial and the post-colonial  era to be used in the formation of the researcher’s storyline.

Another research type that as deployed in this research is the field type-participant observation or a direct method in a direct contact with victims of the sectarian crisis in order to write a script largely  based  on  reality.  Some  basic  research  techniques  deployed  are  content  analysis  of recorded events by journalist  and articles on Jos conflict resolutions and the direct use of survey techniques   for  gathering  of information.  The  procedures   followed  a  creative,  descriptive, analytical  and practical  demonstrative  procedures  and the  exclusive  use  of the  audio-visual recording systems plus electronic systems for visual and audio recordings.



This material content is developed to serve as a GUIDE for students to conduct academic research


BLOOD ON OUR HANDS (AN AFRO-MUSICALS)

NOT THE TOPIC YOU ARE LOOKING FOR?



Project 4Topics Support Team Are Always (24/7) Online To Help You With Your Project

Chat Us on WhatsApp »  09132600555

DO YOU NEED CLARIFICATION? CALL OUR HELP DESK:

   09132600555 (Country Code: +234)
 
YOU CAN REACH OUR SUPPORT TEAM VIA MAIL: [email protected]


Related Project Topics :

Choose Project Department