Share This Article:

Synergism of Dance Theory and Practice: The Requisite for Dance Development in Nigeria

Abstract Full-Text HTML XML Download Download as PDF (Size:2468KB) PP. 85-90
DOI: 10.4236/adr.2014.24011    3,332 Downloads   3,793 Views   Citations

ABSTRACT

In the history of dance development, organise systems of accepted knowledge as applied in variety of circumstances were used in explaining different set of phenomena that informed the action, operation or behaviour of dance and vis-à-vis. This paper traces the long aged dichotomy between the theorists and pragmatic dance practitioners in Nigeria. The researcher observes that this un- healthy division among the dance artists in Nigeria is delaying the progress of the already margi- nalised section of the performative art. He submits that for virile development of dance to take place in Nigeria, the balance application of the theory and practice of dance art is necessary.

Conflicts of Interest

The authors declare no conflicts of interest.

Cite this paper

Nwaru, C. (2014) Synergism of Dance Theory and Practice: The Requisite for Dance Development in Nigeria. Art and Design Review, 2, 85-90. doi: 10.4236/adr.2014.24011.

References

[1] Bakare, O. R. (1999). The Artiste-Intellectual: Sonny Oti on Stage. Ibadan: Jofel Books.
[2] Candy, L. (2006). Creativity & Cognition Studios. In Practice-Based Research: A Guide. http://www.creativityandcognition.com
[3] Clark, E. (1979). Hubert Ogunde: The Making of Nigerian Theatre. Oxford: Oxford University Press.
[4] Frayling, C. (1997). Practice-Based Doctorates in the Creative and Performing Arts and Design. Lichfield: UK Council for Graduate Education.
[5] 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, 118, 98-106. http://eprints.qut.edu.au/3999/
[6] Nadel, M., & Miller, C. (1978). The Nature of Dance. In Myron, N., & Constance, M. (Eds.), The Dance Experience: Reading in Dance Appreciation. New York: Universe Book, 1-2.
[7] Nwankwo, N. (1977). Danda. Glasgow: William Collins Sons and Co Ltd.
[8] Nwaru, C. (2008). Dance as a Signifying Practices: A Study of Uri-Agha. In Okagbuo, O. (Ed.), African Performance Review (Vol. 1-2). London: Adons & Abbey Publishers Ltd., 29-42.
[9] Nwoko, D. (1981). Search for a New African Theatre. In Yemi, O. (Ed.), Drama and Theatre in Nigeria: A Critical Source Book. Lagos: Nigerian Magazine, 462-478.
[10] Smith, H., & Dean, R. (2009). Introduction: Practice-Led Research, Research-Led Practice—Towards the Iterative Cyclic Wed. In: Hazel, S., & Roger, D. (Eds.), Practice-Led Research, Research-Led Practice in the Creative Arts. Edinburgh: Edinburgh University Press, 1-40.
[11] Udoka, A. (2006). Dance in Search of a Nation: Towards a Sociopolitical Re-Definition of Dance in Nigeria. In: Yerima, A., Rasaki, B., & Udoka, A. (Eds.), Critical Perspectives on Dance in Nigeria. Ibadan: Kraft Books Limited, 276-292.
[12] Ugolo, C. (1994). The State of Dance Research in Nigeria. Dance Research Journal, 26, 71-73. http://dx.doi.org/10.2307/1477938
[13] Vincs, K. (2010). Rhizome/Myzone: A Case Study in Studio-Based Dance Research. In: Estelle, B., & Babara, B. (Eds.), Practice as Research Approaches to Creative Arts Enquiry. London: I.B. Tauris & Co Ltd., 99-112.

  
comments powered by Disqus

Copyright © 2018 by authors and Scientific Research Publishing Inc.

Creative Commons License

This work and the related PDF file are licensed under a Creative Commons Attribution 4.0 International License.