Hybrid Times and Traditional Dance: The Egbenu-Oba Experiment in Nigeria

Princewill Chukwuma Abakporo, Fidelis Enang Egbe, Abdumalik Adakole Amali, Stanley Timeyin Ohenhen, Ofega Eru

Princewill Chukwuma Abakporo*, Fidelis Enang Egbe**, Abdumalik Adakole Amali***, Stanley Timeyin Ohenhen****, Ofega Eru*****

Abstract

It is no doubt that globalisation, industrialization, and digitization have mingled with, and seem to be altering indigenous African moral and cultural identities in recent times. This development has implications for indigenous performance cultures. This study is inspired by the tenets of cultural hybridity, collects and analyses data using the case study, participant observation, and content analysis methods. This study first examines the intersections of the drivers of hybridity (globalization, industrialization, and digitalization) with the generality of culture, identity and performative contents of traditional societies in Nigeria. It thereafter, focuses on the Anambra cultural Troupe’s experiment with the Egbenu-oba (Hunters Dance) of the Anambra people, to explore the implications of hybridity on the futures of traditional dances in Nigeria. The results from the study show that the Egbenu-oba dance of the Anambra people, like other traditional dances, are significantly challenged in these hybrid times, and their survival beyond this millennium is threatened. The study concludes by exploring how Anambra Cultural Troupe’s experiment with the Egbenu-oba dance sets the tone for navigating hybrid times while maintaining cultural essence and vigour of traditional dances. As read from the study dance, the researchers propose that if indigenous dance art is to survive and regain its attraction in these hybrid times, it must be rebranded in terms of aesthetics and utility to reflect contemporary realities. Finally, the critical aspects to practical modalities for repositioning traditional dances are suggested by the researchers.

Keywords: indigenous dance, Anambra Cultural Troupe, hybrid times, cultural hybridity, traditional dance, Nigeria, Anambra, Egbenu-Oba

Introduction

“The Culture of technology and science, of rapid communication and the global village are upon us, whether we want them or Not.” (Etuk 25)

Culture, in its entirety, according to Onogu, is an embodiment of the way of life of a people, given their peculiar cultural indices as a distinguishing yardstick from other cultures. Culture begins with the people as creators of themselves and re-creators of their surroundings. In Langley’s (1973) viewpoint, culture in its widest and most complete sense enables humans to give shape to their lives. This shaping is brought about by the uniqueness of traditional iconic and institutional structures that aid the people in finding their place and bearing in the world. It also involves the unique creative expressions of the people, such as language, music, musical instruments, totems, and several other traditionally constituted icons that shape the identity of a people in time. These cultural codes, institutions, and structures are, however, subject to the realities of the times in which they were created.

Iorapuu corroborates the above when he categorically states that in the evolution of society, certain ideologies become obsolete and lost in the sands of time, which then paves the way for his conclusion that “cultural changes can only be meaningful if founded upon the very existing values of the people themselves” (63). The use of the phrase “very existing” in Iorapuu’s idea above asserts that culture finds its bearing in the currency of practice and practice of currency, a cumulative expression of the current identities and approaches to societal realities of a people. Hence, in the prevailing and emergent realities of a society, new identities are picked up, ethics and norms are recalibrated, the individual becomes complex, ideologies and survival become complex, which in turn affects the place of aesthetics and functionality of things.

Technological advancements have continually reshaped sociocultural realities throughout history. From the Industrial Revolution’s impact on urbanisation and labour to the digital age’s rapid pace of change, technology accelerates cultural shifts. The internet and global connectivity have intensified these transformations, making social norms and identities more transient. Overall, technology drives the fleeting nature of cultural and social dynamics. Certain ideologies are called into question as these technologies develop and continue to engage with society, which eventually leads to changes in the attitudes and identities of its members. Africa and the African in recent times have become hybrid. Hybridity, as used in this work, denotes the identities that emerge from the social, physical, religious, political, educational, and economic mutations consequent on the overlapping of technology, which Anthony Giddens (1990, 1991 & 2000) refers to as “juggernaut of modernity or a runaway engine.”

These interactions have plunged the world into an “advanced stage of modernity that is radical… we are still living in a modern world, but today’s world is different from the world of classical sociological theory” (Isidienu 229). To Giddens (1990 & 1991), modernity as a juggernaut is dynamic with increasing pace, scope, and profoundness of change over the systems and their workings before it. The nature, scope, and potency of the modernity juggernaut possess enormous power that could be controlled and, in turn, control the identities and workings of society in drastic ways, as well as be potent enough to crush resistances. As long as the institutions of modernity endure and advance, the human entity may well never be able to completely control the path, pace, or destinations of its movement. In this sense, therefore, we may never be able to entirely feel secure because the terrain on which it runs is fraught with risks of high consequences.

Specifically, Nigerians are mutating, and perhaps another species of the Nigerian has evolved ideologically, religiously, culturally, economically, and politically. This is in tandem with the opinion of Etuk in the epigram above and attests to the fact that the contemporary African is a product of these changes. As geographical and time boundaries continue to be broken in today’s world, the human element both in Africa and beyond continues to mingle, and cultural ideologies continue to infiltrate spaces and people, a factor which Ibironke and Yacim expressed as the era of amplified technology.

The idea of art and what constitutes art is also confronted in these dialectic or hybrid times. Africans today can tour the world and enjoy several forms of art in the comfort of their homes through advanced digital media and are governed by what they see on these media. These media influences have forced individuals into the hybrid: they are Africans geographically, but ideologically, technologically, educationally, politically, and socially, they are products of Afro-western crossbreeding. In fact, in these times, one is forced to state that the media is at the root of individual and cultural hybridity. Ideologies and societal values are drawn from their (re)presentations in these media. These media influences are so powerful that Giddens (2000) refers to them as having the ability to rewrite or even totally obliterate indigenous values and ethos that stands in its way.

Dance is one such medium of cultural expression that has been impacted by changing social, political, religious, educational, and media systems in Africa (Adeoti). The issue then is what becomes of the performative culture of African peoples given the rapidly changing ideologies about aesthetics and art? How is the Egbenu-oba dance (traditional hunters dance of the Anambra people in southeastern Nigeria) implicated in the ideals of hybrid times? How might indigenous performances (specifically, indigenous dance) navigate these evanescent cultural changes and identities? How is Anambra Cultural Troupe helped in the (re)positioning of the Egbenu-oba dance in Anambra State and its environs for survival beyond hybrid times.

The Dynamics of Dance

Since prehistoric times, dance has continued to find its way into the fabric of society so much that today, “it is a universal phenomenon, howbeit with several languages or dialects that can communicate emotions directly and sometimes, even more powerfully than words” (Ohenhen 34). This universality of the art of dance and its language, as Ohenhen states above, is subject to emergent realities consequent upon societal dynamics; as society continually evolves, it foists on humans’ new positions and identities based on discoveries and, consequently, new realities. Their art also evolves to adequately represent the new identity and adequately reflect their new realities. This thought finds bearing in Hesse’s opinion that “The music of a well-ordered age is calm and cheerful, and so is its government. The music of a restive age is exciting and fierce, and its government is perverted. The music in a decaying state is sentimental and sad, and its government is imperilled” (31–2). In the same manner, the nature of dance, its various forms, techniques, and content can change as society encounters and responds to new realities. This attests to the reasons why dance has been adjudged a malleable art form: capable of expanding or contracting to suit the needs of the environment and participants (Nwaru and Bakare 2006a).

The art of dance, since its very beginnings, has seamlessly found its way into societal fabric, and for geographical locations like Africa in all periods, dance has remained an indispensable tool in navigating cultural survival and identity. Green (2018) observes that African dances constitute one of the oldest dance traditions in existence; the structures of these dances differ uniquely because the movements are inseparable from the music that governs the movements. These movements are born from a unique worldview, from a unique cultural perspective.

In a country like Nigeria, one can read the changing roles and manifestations of dance art from precolonial to post-colonial periods. Dance art has come a long way, shedding certain aspects of its practice and picking up new icons and codes to reflect the fleeting realities of society in time. Iorapuu corroborates this idea thus: “The changing forms and attitudes of African traditional dances are inevitable responses of human nature in an ever-changing environment” (63). Adeoti sums up by stating that “when dance travels across space and time as it often does, the aesthetics transform in response to the realities of the new destination while still bearing the marks of its old time and old environment” (6).

In the manner that society yields its unique arts, both the old and emergent art forms are governed by changes in thought, approaches, and experiences of the artist based on the realities he must contend with. Art, on the other hand, affects and reflects the societal perception of aesthetics and functionality. In Nigeria, for instance, one can classify indigenous art based on period, as pre-colonial arts differ from modern and postmodern art, as the realities of these times are not the same. This is why Chukwu-Okoronkwo and Uzoaru talk about the “coeternity of art, society, and culture” wherein the works of art are social products that reflect the social relationships and culture of a particular era in a society’s history.

Indigenous dances in Africa have tried to maintain their purity of form while keeping up with societal changes from the precolonial periods. When changes occur in society, new art emerges. In the area of dance art, new forms emerge, and the old are either modified or jettisoned to suit the angle of change. In the West, new dance forms like ballet dancing, jazz, capoeira, and modern dance are reflections of societal dynamics. Even within the same dance form, there are modifications of the old conventions and patterns to arrive at another form to suit the popular taste. The modifications of the Classical Ballet, for instance, resulted in both Contemporary Ballet and Modern Dance forms. These emergent forms, as part of the unique characteristics of the changing society in the West, adopt the movement patterns of the old, musical semblance, and choreographic techniques as well as contemporary aesthetic ideas and are projected to the rest of the world in both theory and praxis. This seems not to be the case with indigenous African dance in Nigeria, as the case of the survival of indigenous dance and culture in general seems to be hanging in the balance. This spurs this study through the lens of Hall Stuart’s Cultural Hybridity.

This work identifies that indigenous performative like the Egbenu-oba dance (a dance created from the hunting traditions of the Anambra people) are threatened in these times and attempts to map out revival and sustainable futures for theatre troupes in southeast Nigeria. Amidst the intersection of hybridity, or what Bauman sees as “liquid times,” the critical syncretic maxim provides African indigenous theatres the requisite tools to reclaim indigenous dance spaces and appeal. It provides the theoretical and practical backing to liberate, redefine, and reposition indigenous dance art in Africa beyond hybrid times. The liberation is to exhume African art from the strings of assessment based on Western ideas and theories. Redefining has to do with rethinking the import, scope, and aesthetic appeal of indigenous dance to ensure their continued survival. Lastly, repositioning entails forging indigenous dances to reflect the emerging aesthetic trends of Nigerian society. This will ensure that indigenous dances reflect the emerging and prevailing realities in the society, restore its patronage and appeal, and compete favourably with other dance forms in other parts of the world. These are the layers of work that have been done on the Egbenu-oba dance by the Anambra State Cultural Troupe in Southeastern Nigeria.

Theoretical Framework: Cultural Hybridity

Cultural hybridity aims to highlight the manner in which many cultures interact, converge, and grow. It demonstrates how societies are dynamic and how cultural barriers can disintegrate, leading to the emergence of new and distinct cultural forms. Cultural hybridity, as studied by experts like Homi K. Bhabha and Stuart Hall, is a complex and diverse phenomenon that influences and emphasises the intricate interplay of civilisations in a globalised world. This challenges traditional notions of cultural purity while fostering new and inventive forms. It emphasises the richness and vitality that come from cross-cultural interactions and collaboration. By extension, it reinforces the notion that our current identities are a complex mosaic of influences from all around the world, rather than a single cultural history, and allows us to appreciate the beauty in our differences. This experience also allows hybrids to evaluate and consider their own group’s customs and worldview.

This theory is apt for this study as it helps the argument that the present indigenous societies of Nigeria is a reflection of the interplay of colonial contacts and its attendant social, religious, educational, technological, political and economic changes. The intrusion and interactions of alien cultures into indigenous spaces has become the basis upon which the researcher argues that the lines of indigenous cultures are becoming blurry. In recent times, we seem to have hit the climax of these interactions given the moral, traditional, and survival standards, not forgetting the place of the media.

Advanced technology and media in recent times have served as gateways through which societies continue to mutate. These mutations consequent on a seeming coalescing of cultures projected via the media, influence perceptions and dispositions of indigenous peoples about the relevance of core cultural ideologies and tenets. Hence, on the ideologies of persistent cultural transactions and interactions, new identities are orchestrated for and about indigenous peoples wherein salient values and ethos have been confronted and upturned in line with emergent realities. Against this backdrop, the questions that come to mind given the changing sociocultural indices of contemporary Africa are; how have the tenets of hybridity interacted with the performative culture and appeal of contemporary indigenous peoples especially the Egbenu-oba dance of Anambra people? How has Anambra State Cultural Troupe managed to sustain the interest and appeal of Egbenu-oba dance in Anambra state?

Egbenu-oba Dance and the Nature of Traditional Performance in Anambra, Southeastern Nigeria

The kind of music and dance performed by Igbo traditional artists is determined by the area in which they reside. Cultural experience has demonstrated that topographical characteristics, including land, rivers, forests, and animals, have an impact on the performances within a traditional environment. (Agbasiere 452) The former regime of General Murtala Mohammed established Anambra State in 1976 from what was then East Central State, with its capital at Enugu. On August 27, 1991, General Ibrahim Babangida divided Anambra into two states: Anambra and Enugu. The current state capital is Awka. The state is bordered to the west by Delta and Edo States, to the south by Imo and Rivers States, to the east by Enugu State, and to the north by Kogi State. The state’s name comes from the Anambra River that flows through it.

Soft tones and delicate movements are common in the music and dance of those who reside near the banks of the Anambra River. Indigenes of some of the communities in Anambra State that are surrounded by water have a tendency to walk with awareness and gentleness out of respect for the slick ground. They are typically connected to coastal farming, boat paddling, and fishing. Their arts are predominantly centered on the river, with themes including fishing activities, river goddesses, maidens, and river gifts. (Agbasiere 452) Some of these dances include the gentle Egwu Amala Dance, or paddle dance, and vocational dances related to fishing. However, it has been noted that people who reside in arid regions of the state typically appreciate the vivacious dancing style, which is shown by the quick-paced dance moves of groups like Mkpokiti, Atilogwu, Egedege, Adaeze, and Egbenu-oba. Their ability to be nimble is often impacted by the environment’s dryness and a culture that despises indolence.

The Egbenu Oba is a traditional Igbo dance that originated with hunters. The dance is often performed across the Anambra area by hunting groups and depicts the usage of cutlasses and Dane weapons for hunting animals. Hunting was an essential occupation for the typical Igbo man. It was a full-time job and a reliable source of income. Hunting was used to gather meat from bush animals such as grass cutters, antelopes, and deer as well as to eradicate hazardous wild creatures and beasts including warthogs, leopards, and wild bulls.

Open air performance of Egbenu-oba Dance in its traditional/residual state in Anambra. Source: Princewill Abakporo. Photo: Princewill Abakporo

Egbenu-Oba dance is a manly dance with complex dance moves that attempts to retell the hunting experience in movement. In the spirit of the Anambra culture, Egbenu-Oba sits well as a dance that celebrates bravery and resilience. The appeal of the dance dwindled following the advancement of technology, media, and religion. The proliferation of the Christian faith around Anambra, for instance, pushed certain indigenous dances into extinction and forced the modification of certain dance forms.

Media advancements also exposed indigenes to the arts of other climes, especially the West. This exposure to other art forms prompted higher aesthetic expectations and demands of people from their art form, which most dancers could not satisfy, leading to dwindling appeal and patronage. This is one of the major blows dealt on the once-booming and flourishing Egbenu-oba dance in Anambra State. Western culture, religion, and technological interactions with African landscapes are the drivers of hybridity. Wanyama and Shutubi succinctly capture this idea in their submission that “cultural dynamism in the present world is becoming extremely intricate. Globalisation is shrinking global boundaries so much that the world is gradually being reduced to a small global village” (226). The baggage of hybridity holds that on the shoulders of technological advancements (especially through the media), myths and norms will be confronted; identities will continue to be (re)negotiated, and new aesthetic demands will emerge that will prompt new forms and modifications in existing art forms.

The impact of cultural communication media, such as oral traditions, contact learning, and folk media, which keep people connected to their families, communities, and cultures—all of which are hallmarks of Africanism—has been undermined by globalisation, which Isidienu (2016 and 2017) defines as the global standardisation and transformation of such elemental social entities as the individual, the corporation, the state, and nature. Recent advancements in digital and electronic media have splintered family structures and called into question a number of cultural assumptions that were formerly regarded to be fundamental to cultural life. Because of these shifting identities orchestrated by technological and media sophistication, the once-popular and artistically attractive Egbenu-oba dance has been entangled in the web of hybridity in recent times; its aesthetics seem not to be at par with the demands enforced by a hybrid audience.

Navigating Hybrid Times in Egbenu-oba Dance: The Anambra State Cultural Troupe Experiment

“There is a new world order and with it a new arrangement of cultural and political contexts… values in the society at large place dancers and indeed all artistes in a situation where their traditional art forms and values are no longer solely enough to support their work” (Apata 260).

Navigating hybrid identities and aesthetic demands has also posed a lot of problems for practitioners and scholars of African performance arts. Two distinct lines of thought have emerged to identify the dominant argument upon which the future of African performative identities is negotiated—The “Relativists and the Advocators for Change” (Bakare 66). Dancers, academics, and social critics who belong to the Relativist School have a patriotic desire to preserve African identity and support Nigerian dance as it is now, free from strong Western influences. The practitioners here are represented by traditional choreographers who, according to Bakare, are largely engaged in spiritual activities, although they find time to create for reasons that are purely social, but even this is still tied to a large extent to the worldview of the society. On the other hand, people who adhere to the Advocators of Change school of thinking are referred to as “moderns” or “contemporary choreographers.” These practitioners do not explicitly practice spiritual efficacy; instead, they build linguistic property to communicate their totally creative concepts and utilise the dances that are part of their cultural past as raw materials.

As much as the two schools hold merit in their own light, the question still remains: As the drivers of hybridity keep interacting and forging new identities in traditional landscapes, how much weight do the cultural roots of these performative arts hold? What then is the way forward to keep these performance forms alive and reclaim their appeal and patronage beyond hybridity? These questions are important to the future of traditional dances in contemporary times, where many of the traditional ways of knowing and doing are no longer in accord with the world as it is. “The world-as-it-is is more than just pure objective fact; it includes consciousness. Out of touch with the present, these assumptions obscure the past” (Berger 11). The researchers then are of the opinion that navigating hybrid times will involve a creative repositioning of traditional performances. Since the ethics of a culture is the most important aspect of it, “we may reformulate our problems as one that is concerned with how to exploit all the resources of the modern world for the benefit of our society without jeopardising the strong points of our culture” (Wiredu 186). This is in line with Montuori and Gabrielle’s idea that “creativity and imagination” (358) are necessary in envisioning alternatives for navigating hybrid times. Rather than brood over the cultural erosion by the “juggernaut,” scholars and practitioners must play a pivotal role in the continuous repositioning of traditional dances in ways that the Anambra State Cultural Troupe has experimented with the Egbenu-oba Dance.

The Anambra Cultural Troupe, as they are called, is an arm/department of a broader spectrum of activities of the Anambra State Ministry of Culture, Entertainment, and Tourism in Southeastern Nigeria. They are saddled with the responsibility of protecting and preserving the cultural identity of Anambra State in all its forms: arts, crafts, artefacts, and cuisine. The troupe has represented Anambra State in several national and international culture-related activities. They enjoy patronage for their unique ways in which they attempt to situate the indigenous performances within the matrix of the changing times. The Anambra Cultural Troupe has contributed significantly to revitalising traditional dances like Egbenu-oba by adapting them to modern times while maintaining their traditional integrity. Traditional dances like Egbenu-oba hold deep cultural significance, particularly in Anambra State, where the Anambra Cultural Troupe has played a key role in preserving, rebranding, and repositioning the traditional art form. Egbenu-oba, a revered traditional dance of the Anambra people, is deeply rooted in the region’s cultural and spiritual history. It is performed to celebrate various milestones, rituals, or communal events, often showcasing the beauty and vibrancy of the Igbo heritage.

In 2014, the Troupe received an invitation to contribute traditional Anambra dance performances for an international festival in Spain. The Egbenu-oba dance, together with an array of other Igbo dances, emerged as a unique material to drive the resilience and industrious nature of the Anambra people. Since the troupe would not be travelling to Spain to perform physically, they offered to record the performance and send it across. Rather than perform these dances separately, the troupe decided to weave them into a storyline to tell a unique story. The Egbenu-oba was given a major touch in this project, and the emergent face of the dance afterwards became the choice performance repertory of the Anambra Cultural Troupe, where the lead researcher served as a guest artist for five years. The areas of work in the rebranding of the dance are discussed in two broad segments below:

The Performance Styles Were Modernised

The troupe has updated the performance elements of the Egbenu-oba, integrating more contemporary choreographic ideals and music while still keeping the essence of Egbenu-oba intact. The project incorporated more definitive floor patterns and movements to clearly simulate the acts of hunting in the Igbo community. Manipulating its dynamics and levels of movement to suit the tortuous act of hunting, which makes it an act for brave individuals, makes the dance more tuned to the hunting realities that the dance traditionally seeks to relay to its audience. It makes the dance more visually appealing to younger audiences, both locally and internationally. These touches ensure that the dance appeals to the young members of the Anambra community, which again is helpful for the survival of the dance form beyond hybrid times, unlike the original traditional form, where seemingly old people do the dance and where an audience of the same age bracket as the performers (Images 1, 2, and 3 buttress this) enjoys it.

The dance in its original context begins from a seeming return from a successful hunt and the hunters’ excitement, which spurs them into movements that imitate their acts of hunting down the game. The dance, however, as rebranded by the Anambra Cultural Troupe, infuses a beginning to show how the dancers go into the forest to take their points in hunting the game and concludes with the celebration of the safe arrival of the hunters from a successful hunt. The infusion of a logical storyline into the dance provides logic to the dance for the audience who may not be from the region. Rather than the traditional straight-line locomotion and placement of performers in its original context as seen in the image above, more busy and engaging directions of movement (such as arc, circular, straight-line, and angular movements) and qualities of movement (such as staccato and percussive) as well as dynamic dancer placement (including points and diagonal placements) were adopted into the choreographic patterns to give the dance a vibrant and unique theatrical quality typical of a contemporary performance. The Anambra troupe in choreography developed a part for each hunter to perform alone in front of the audience during the dance’s celebration phase. This allowed him to demonstrate his hunting prowess, his involvement in the hunt, and his joy at a successful hunt. This allows the dancer to use a variety of movement styles to connect with the audience, adding versatility to the performance as a whole. In order to bridge the gaps between traditional and modern dance forms and provide their audience a distinctive experience, a number of dancers in this sector integrate contemporary dance techniques into their solo performances.

Touch to the Aesthetic and choreographic style of the Egbenu-obadance to suit contemporary theatricality. Source: Princewill Abakporo. Photo: Princewill Abakporo

Costume and Aesthetic Innovations

While staying true to the dance’s historical roots, the Anambra Cultural Troupe has infused Egbenu-oba with contemporary twists, such as blending it with other cultural art forms like the Ogene (gong), Osha (rattles), and Oja (traditional flutes) to create a rich traditional ensemble. The rich and virtuoso instrumentation infused into the dance creates a compelling atmosphere for the audience to stay glued to the performance. In its residual state, only about four instruments (slit drum, pot drum, one/two membrane drum, and a horn) are used. This fusion has made the dance more adaptable to diverse audiences, attracting people who might not be familiar with the traditional form.

Another way the troupe has rebranded the dance is through innovative costume design. Traditional Igbo attire used in Egbenu-oba performances has been reimagined with more contemporary and sophisticated materials, creating a visual appeal for the audience. Becoming a favourite performance choice of the Anambra Cultural Troupe, several sets of costumes and props were created for its performance execution. The flexible and metaphoric touch given to the costume improves the visual aesthetics of the dance in performance as well as sends home the narrative of the dance. The costume also was created around the metaphor of hunting and in accordance with contemporary ecological concerns. Animal skin prints were used as costume metaphors to provide context about the nature of the dance. The intricate designs of the costumes are still rooted in traditional symbolism but have evolved to match the tastes and sensibilities of contemporary audiences (refer to images 1, 2, and 3).

Costume and prop transformations injected into the Egbenu-oba Dance by the Anambra Cultural Troupe. Source: Princewill Abakporo. Photo: Princewill Abakporo

In the same manner, the props for the dance were reconstructed to suit the theatrical infusions made into it. The dancers in its residual state wield Dane guns and machetes (as seen in Image 1), but in the emergent format as (re)created by the Troupe, woods were used to make the guns and machetes for the dancers, thereby removing every form of fright in the audience.

Navigating Hybrid Times in Traditional Dance Art in Nigeria: Complimenting Anambra Cultural Troupe’s Strategies

“The alternative is to allow cross-fertilization; this process reflects differently cultural backgrounds. However, the distinction between traditional and modern cultures is a tricky one. Though some dance genre may cling to their pure traditions, it is also a known fact that traditions always undergo metamorphosis” (Apata 260).

The entire gamut of the recommendations in this study is couched around change management strategies as supported by Apata in the epigram above. This is because it has become apparent that audiences are making stronger demands for a personalised experience. This is a trend driven by the changes/advancements in new technology, which is allowing individuals to tailor every aspect of their life to their own needs and interests. Organisations that are audience-focused and that deliver a personalised experience are likely to be the same organisations that thrive in the future.

In the wake of cultural hybridity, cultural constructs have been forced to mutate, geographical boundaries have broken down, and big data have become the reality of humanity. The cultural performances in these times have become more threatened than ever before. The accelerated impacts of the interaction of what Giddens (2000) calls the “juggernauts of modernity” collide with salient aspects of the cultural practices that gave form and shape to these indigenous performances, especially dances. The religious, vocational, political, social, and aesthetic grounds upon which indigenous dances have thrived have broken down in ways that societal perceptions and realities of the day no longer align with these constructs as they were, and most indigenous dance practitioners on their part have not been able to fully embrace and adjust to the emerging realities and situate the art within the matrix of current realities.

The indigenous dance industry players especially must begin to see their art as products that deserve to be projected and marketed. Advertising and marketing have become necessary to put the indigenous theatres on a competitive pedestal in today’s society. Managing the indigenous dance theatres must become intentionally professional in all aspects towards projecting the indigenous culture of the people and engendering development for the community. The indigenous dance industry must run like a proper professional theatre, which is constantly involved in searching out ways to manoeuvre or break through whatever barriers (psychological, financial, social, and emotional) to get active audiences, woo intending audiences and patrons to a point of active participation and involvement in their productions. This requires an ongoing investment in research, systematic segmented and targeted communications, and most of all, the ability to be flexible and innovative with the product. The product here refers to the artistic work created for the market. This mindset will enable the indigenous theatre to not only wait for contracted performances but also to put their resources together to create events and utilise the various advertising and marketing strategies to get the audience to patronise these events and to do so regularly. In the present economic situation, it may be very difficult to get fully contracted performance from individuals except for corporate firms. The surest way to improve business is to engage in well-choreographed indigenous dance performances and market them to the public using all the media.

Adopting and utilising the various media, including the social media outlets, in the branding and marketing of indigenous dances and troupes is a step in the right direction. Any meaningful advancement that will be made towards reviving the patronage of indigenous dance and the creative industry in general will be achievable to the degree to which the media is adopted. Not only can indigenous dance troupes in Nigeria leverage the media to project indigenous dances, but it can also serve as a platform for the documentation of these dances. The media presents a unique appeal to ideas, issues, and things in today’s world and therefore can be a useful tool in reclaiming indigenous dance spaces.

Touching the choreographic and design contents of indigenous dances is not out of place. In fact, this inability to inject contemporary aesthetics into indigenous dance remains one of the greatest setbacks in the practice and patronage of indigenous dance in several African communities, including the study troupe. It is important to note that these dances are creations of precolonial realities that are totally different from today. Our society is puzzled with new challenges, and indigenous performative contents must reflect these realities. For instance, the Egbenu-oba dance of the Anambra people is a hunting dance, a ritual dance for successful hunts that hunters perform to the excitement of the community, especially as rebranded by the Anambra Cultural Troupe. Today, the bushes/forests in Anambra State have been taken over by high industrialisation and urbanisation; the natural habitats of non-human communities (plants and animals) are fast diminishing into extinction, and hunting has become difficult for talented hunters. Then what becomes of the Egbenu-oba dance in the future?

To keep this highly entertaining dance alive, it is important to channel its thrust towards new realities while keeping faith with its cultural roots and contemporary tastes. As a result of the Troupe’s experiment with the Egbenu-oba dance, it is proven that the art of dance in cultural settings is malleable and can be modified to meet the needs of a people in time. To engage in environmental debates, the Egbenu-oba can be reworked again to speak to animal and forest conservation in the region. In this instance, choreographic patterns and designs, oral and instrumental music can be channeled towards advocacy for animal conservation. In the same vein, other traditional dance forms can be created or modified to speak to environmental pollution, migration, and other sustainable development goals in Anambra State.

Conclusion

As much as one would understand that art institutions are at liberty to operate the way they want to, there is a need to have very good knowledge of audience development and management. The soul of every endeavor is in management, including the arts, institutions, and creative industries. The indigenous dance theatres must go professional in every ramification, including the packaging and marketing of their products. To this end, the various event management and audience development strategies must be adopted into traditional dances in contemporary times to keep their appeal and patronage afloat and to compete favourably with other dance forms that have invaded the traditional dance space. Through the efforts of the Anambra Cultural Troupe in this regard, traditional dances like Egbenu-oba are not just preserved but are being redefined for the future. This blend of tradition with modernity ensures that the dance form remains relevant and exciting, securing its place in both the hearts of the local community and the broader global cultural landscape. By presenting Egbenu-oba in a modernised format, the Anambra Cultural Troupe has helped to turn it into a tourist attraction. Cultural tourism has become a significant part of the region’s economy, and the troupe’s performances play a vital role in attracting visitors interested in experiencing the rich cultural heritage of Anambra and southeastern Nigeria.

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*Princewill Chukwuma Abakporo teaches in the Theatre Arts Program at Bowen University in Iwo, Osun State, Nigeria. He is a member of the Guild of Nigerian Dance Practitioners (GONDP), the Society of Nigerian Theatre Artists (SONTA), and a research associate with Theatre Emissary International (TEMI). In addition, he is the artistic director of African Pot Theatre in Owerri, Imo State, Nigeria, and the director of research and strategic collaborations for Bowen University’s Theatre Arts Program. His study uses autochthonous epistemologies, mainly through indigenous performative arts, to examine decoloniality, environmental sustainability in the Global South, and Africa’s indigenous performative cultures and aesthetics. A variety of funded and self-financed performances, including the Oyi Dance (social reflections), This is Nigeria (a comment on Nigerian politics), and Ara Wa Ninu Jigi (a cultural piece), are examples of the works Princewill has produced and performed that demonstrate this passion. He has a BA in Theatre Arts, MA in African Drama and Theatre and a PhD in African Dance and Choreography.

**Fidelis Enang EGBE is an Assistant Professor of History and International Studies, Bowen University, Iwo. He is the current Vice President (Southwest) of the Historical Society of Nigeria), a member of the Council of the Historical Society of Nigeria, Ag. Head of Programme, History and International Studies, Bowen University. He is a consultant on curriculum and historical studies.

***Abdulmalik Adakole Amali is a renowned Technical Theatre lecturer in the Department of Performing and Film Arts at University of Ilorin. With over 14 years of experience in academia, he has established himself as a leading expert in scenography. His research focuses on Technical Theatre, Theatre Design and Technology, Film Arts, Performance Aesthetics and Cultural Studies. He has published numerous papers in top-tier journals and books. As an educator, Amali is passionate about creating and engaging in inclusive learning environments to support students, research, community services, and university committees. He has supervised numerous undergraduate and graduate students. He holds a BA in Creative Arts from the University of Maiduguri, an M.A. and PhD from the Department of the Performing Arts, University of Ilorin (specializing in Technical Theatre).

****Stanley Timeyin Ohenhen is an Associate Professor of Theatre Management, Arts Administration, Advocacy, and Entrepreneurship at Bowen University in Iwo, Nigeria. He holds a PhD in Theatre Management and Arts Administration from the University of Ibadan, Nigeria. His research focus, starting in the main, with his doctoral dissertation on the management and marketing communication strategies of the Musical Society of Nigeria, is on management and the economics of performing arts and culture; African indigenous epistemologies, language revitalisation and, cultural renaissance, eco-criticism, and the role of theatre in societal development. At Bowen University, Stanley is a faculty of the Theatre Arts Programme, teaching courses in Theatre Management, Arts Administration, Entrepreneurship, Aesthetics, Gender Studies, and Performance Studies. He has served in various administrative capacities, including but not limited to, being the Head of the Theatre Arts Programme, the Provost of the College of Liberal Studies, and a member of the University’s Senate.

*****Eru Ofega Emmanuel is a Nigerian-based musicologist and performer. He teaches music at the Music Programme of Bowen University Iwo. In addition to possessing a master’s degree in performance (conducting) and a BA in instrumental performance, he is pursuing a PhD in Ecomusicology. He is an active researcher, performer, conductor and music producer.