Admin

Reminiscence on #EndSARS Protests of 2020 in Nigeria

/
211 views

Florence O. Orabueze1, Victor O. Ukaogo2, Ifeyinwa David-Ojukwu3, Godstime Irene Eze4, Chiamaka I. Orabueze5

1PhD, Department of English & Literary Studies, University of Nigeria

2PhD, Department of History and International Studies, University of  Nigeria. ORCID: 0000-0002-3282-4288. Contact: victor.ukaogo@unn.edu.ng

3Use of English and Communication Unit, University of Nigeria

4Institute of African Studies, University of Nigeria

5Commercial and Cooperative Law, University of Nigeria

 Volume 13, Number 1, 2021 I Full Text PDF
DOI: 10.21659/rupkatha.v13n1.11
Reminiscence on #EndSARS Protests of 2020 in Nigeria

Abstract

Every misfortune of the black man, particularly in Africa, has been blamed on the Europeans because of Trans Atlantic Slave Trade and colonization of different parts of Africa. However, the present study on the #EndSARS protests that rocked Nigeria between October and November 2020 has proven that Africans, particularly Nigerians, should bear the burden of their problems and not point accusing fingers on foreigners. The study uses historical theoretical framework and qualitative and quantitative research methodologies to find out that the protest has an affinity, albeit in a milder degree, to the various agitations, including Boko Haram that have levied wars on the country. The corruption-riddled Nigeria and the re-enslavement and re-colonization of the citizens by the leaders have fired resistance in the youths of the country and it concludes that the only way the protest and agitations would stop is when the fundamental causes are addressed.

Keywords: #EndSARS, protests, enslavement, colonization

Perspectives on Corruption and Charlatanry in Politics: An Analysis of Chinua Achebe’s A Man of the People and Emeka Nwabueze’s A Parliament of Vultures

292 views

Nelson T. Obasi1, Dohoabasi Okon Uweh2, Christian Maduka3, Uche-Chinemere Nwaozuzu4 & Stella Okoye-Ugwu5

1Theatre & Film Studies, University of Nigeria, Nsukka, Nigeria

2English & Literary Studies, University of Nigeria, Nsukka, Nigeria

3Theatre & Film Studies, University of Nigeria, Nsukka, Nigeria

4 Theatre & Film Studies, University of Nigeria, Nsukka, Nigeria

5English & Literary Studies, University of Nigeria, Nsukka, Nigeria

Email: stellaokoyeugwu@gmail.com

 Volume 13, Number 1, 2021 I Full Text PDF
DOI: 10.21659/rupkatha.v13n1.10

Perspectives on Corruption and Charlatanry in Politics: An Analysis of Chinua Achebe’s A Man of the People and Emeka Nwabueze’s A Parliament of Vultures

Abstract

This paper presents a critical comparative inquiry aimed at discussing patterns of Chinua Achebe’s A Man of the People and Emeka Nwabueze’s A Parliament of Vultures, portrayal, definition, situation as well as contextualization of political corruption and charlatanry in Nigeria. In addition, we are looking at how the texts’ application of the same literary device in projecting similar massages through biting satirical undertones, scathing rebukes and grim humour. Hence, we shall examine the effectiveness of this device in specific instances. To this end, this study seeks to interpret the embedded messages in the texts’ projections of corruption and charlatanry through two characters – Chief Nanga in A Man of the People and Mrs. Omeaku in A Parliament of Vultures. Furthermore, our aim is to explain what the texts view as the immediate and future consequences of the alluded negative vices to the society, espouse on the variables they adduce as the propelling forces, understand better their suppositions on why these vices fester, and adumbrate on suggestions from the texts on how these vices can be eradicated or contained. To carry out this discussion, we are applying theories espousing on reasons behind corruption in politics, and our discussion will be hinged on interpretive approach.

Keywords: charlatanry, buffoonery, satire, politics, corruption, criminality

COVID-19 and the Entertainment Industries in Nigeria

270 views

V.O Eze1, Uche Uwaezuoke Okonkwo2, Cindy Anene Ezeugwu3 Chinyere Christiana Ukwueze4 and Felicia O. Ezeugwu5

1 Department of General Studies, University of Nigeria, Nsukka, virginia.eze@unn.edu.ng.

2Department of History, University of Nigeria, Nsukka, ucheokonkwo2007@yahoo.com (Corresponding author)

3Department of Theatre and Film Studies, University of Nigeria, Nsukka cindyj246@gmail.com

4Department of Music, University of Nigeria, Nsukka, chinyere.ukwueze@unn.edu.ng

5Department of Music, University of Nigeria, Nsukka, felicia.ezeugwu@unn.edu.ng

 Volume 13, Number 1, 2021 I Full Text PDF
DOI: 10.21659/rupkatha.v13n1.09
COVID-19 and the Entertainment Industries in Nigeria

Abstract

This paper examines not only on the socio-economic implication of the lockdown on practitioners in the entertainment industry namely the cinema halls, live performances, and the film industries among others, but also it explores the ways E-entertainment was being introduced especially in music and drama industry. With the lockdown orchestrated by the Covid-19 pandemic outbreak in Nigeria, show lovers were being entertained through E-concerts, drive in theatre performances, and television live shows like Owambe and Pepsi Dance Party that was being showed every weekend with the audience responding on face book, Instagram and WhatsApp platforms among others. The research method is qualitative and analytical. The study employed a survey method of data collection to gather relevant material from published and unpublished materials in hard and soft copies which included online materials. The material was analyzed through mixed-method, which involved description, explanation, translation, and interpretation. The result showed that the COVID-19 pandemic impacted negatively the entertainment industry, bringing to a halt the performer/audience physical participation and interaction and a lot of reduction in the socio-economic progress of entertainers and the entertainment industry depends on their audience for finance. It also opened up the need for the entertainment industry to focus more on the acquisition of E-entertainment facilities to bridge the gap between the entertainers and the audiences on a larger scale to take care of pandemic incidents like COVID-19.

Keywords: Entertainment, Music, Lockdown, Covid-19, Pandemic, Fans, Artistes

Reflections of Society in Art: Contributions of Michael Soi’s Politics Paintings to Socio-Political Debates in Africa

204 views

Chijioke Onuora1, Krydz Ikwuemesi2, Chukwuemeka Okpara3 & Emeka Aniago4

1Senior Lecturer, Dept. of Fine & Applied Arts, University of Nigeria, Nsukka, Nigeria

2Associate Professor, Dept. of Fine & Applied Arts, University of Nigeria, Nsukka, Nigeria

3Senior Lecturer, Dept. of Fine & Applied Arts, University of Nigeria, Nsukka, Nigeria

4Senior Lecturer, Dept. of Theatre & Film Studies, University of Nigeria, Nsukka, Nigeria

ORCID id 0000-0003-3194-1463. Email: emekaaniago@gmail.com

 Volume 13, Number 1, 2021 I Full Text PDF
DOI: 10.21659/rupkatha.v13n1.08
Reflections of Society in Art: Contributions of Michael Soi’s Politics Paintings to Socio-Political Debates in Africa

Abstract

The purpose of this study is to extend scholarly reading of the contributions of Michael Soi’s politics paintings to social debates as a means of deepening our understanding of the complex relationship between art and politics. Thus, this study assesses relevant variables indicating how Soi’s selected paintings are effectively his means of projecting his views about his experiences, expectations, dreams, fears and reservations concerning his society’s socio-political realities. In an attempt at analyzing the functionality and aesthetic significances of Soi’s paintings, this study discusses relevant perspectives from individuals on politics paintings particularly how they can propel meaningful debates. Therefore, to gather relevant information on people’s responses to this kind of painting, we utilized viewer response approach and follow-up interviews. More so, we applied interpretive analysis in assessing the paintings (as metaphors depicting social realities), the collated responses (as means of espousing more on the concepts of cognitive process mechanisms), and relevant literature (as a means of assessing the trajectories of scholarly views on this subject). In the end, we observe that Soi’s politics paintings are efficacious medium of communication and that each individual viewer of these paintings produces responses that are similar or dissimilar but not exact because their subsisting ideological, political and philosophical inclinations are not exactly the same.

Keywords: Africa, art, cognition, efficacy, Michael Soi, politics painting

Regional Branding: Transfers Medium Dance into Visual Identity in Ponorogo Image Construction

306 views

Agus Budi Setyawan¹, Nanik Sri Prihatini², Sri Rochana W.³, Didit Widiatmoko Soewardikoen4

1Faculty of Design and Creative Arts, Mercu Buana University, Jakarta, Indonesia. Email: budi.setyawan@mercubuana.ac.id. ORCID id: 0000-0001-7829-5433

2Postgraduate Program, Institut Seni Indonesia (ISI), Surakarta, Indonesia. Email: nanik@isi-ska.ac.id. ORCID id: 0000-0002-1272-002x

3Postgraduate Program, Institut Seni Indonesia (ISI), Surakarta, Indonesia. Email: rochana@isi-ska.ac.id. ORCID id: 0000-0003-0256-2958

4Faculty of the Creative Industry, Telkom University, Bandung, Indonesia. Email: diditwidiatmoko@telkomuniversity.ac.id. ORCID id: 0000-0002-1272-7026

 Volume 13, Number 1, 2021 I Full Text PDF
DOI: 10.21659/rupkatha.v13n1.07
Regional Branding: Transfers Medium Dance into Visual Identity in Ponorogo Image Construction

Abstract

This article discusses how the people of Ponorogo, East Java, Indonesia, designed a visual identity as a representation of Reyog dance to build up a regional image through a series of branding communication activities. This study uses a qualitative paradigm with a case study approach. The data was collected through in-depth interviews, participatory observation, and document investigation. All data collected were analyzed using an interactive model. The results showed that the five characters of the Reyog dancer were represented as a visual identity for Ponorogo branding through the process of media transferring using photography, illustration, and sculpture techniques. Reyog’s visual identity with motion characteristics is implemented in each channel of branding communication media through primary, secondary, and tertiary communication approaches. Other local governments can use these research results as a model to build up a regional image through dance media.

Keywords: Regional Branding, Visual Identity, Reyog, Ponorogo, Indonesia.

Quantum Leap beyond the Frontiers: ‘Currentism’ in Visual Arts Production in the Nsukka School

208 views

Okoro, Martins N.

Lecturer in the Department of Fine and Applied Arts, University of Nigeria, Nsukka.   

ORCID id 0000-0003-2789-6874. Email id: martins.okoro@unn.edu.ng

 Volume 13, Number 1, 2021 I Full Text PDF
DOI: 10.21659/rupkatha.v13n1.06
Quantum Leap beyond the Frontiers: ‘Currentism’ in Visual Arts Production in the Nsukka School

Abstract                          

There exists no scholarly publication espousing on the driving force behind the restless aspirations of the Nsukka artists towards searching for and using commonplace materials that the potent environment provides for supports and media for studio art production. Following this, my intent is to discuss the Nsukka artists’ creative inclinations, bordering on styles, ideas, forms, materials and technique. Through hermeneutical analysis, I examine some useful insights in the formal and conceptual principles for which their recent and current artworks are foregrounded. Relying on historical, interpretative and analytical methods of data illumination, I engage some selected unusual artworks executed between 1999 and 2017 by some selected Nsukka artists to authenticate the fact that Nsukka artists have taken a quantum leap beyond the frontiers of the human consciousness and in so doing, have mastered their oeuvres, bringing about great ingenuity and some unprecedented innovations in the execution of breath-taking postmodernist artworks whose formal contents and thematic probing interrogate germane issues.

Keywords: quantum leap, frontiers, currentism, visual arts, production, Nsukka School

Popularity of India’s Regional Comic Strips: A Study of the Stylistics of Narayan Debnath’s works

/
294 views

Rima Namhata, PhD

Jaipuria Institute of Management, Jaipur, Rajasthan, India

ORCID id: orcid.org/0000-0002-9108-9519. Contact: rimanamhata@gmail.com

 Volume 13, Number 1, 2021 I Full Text PDF
DOI: 10.21659/rupkatha.v13n1.05
Popularity of India’s Regional Comic Strips: A Study of the Stylistics of Narayan Debnath’s works

Abstract

Though celebrated amongst the western literati and the intelligentsia thereof, Comic strips, especially the Indian produce with regional flavours in them, are seemingly juxtaposed, in the acceptance of their stylistic essence, if placed next to their western counterparts. This is also the reason why they have been infamously disregarded in the Indian academia. This paper proposes to study the stylistics aspect of the comic strips from Bengal especially the ones written by Shri Narayan Debnath, and the coming into vogue of this printed visual medium. This article aims to identify the uniqueness and the formal aspects of the stylistics of Indian Comic tradition from Bengal. Additionally, it aims to leaf through the popularity markers through Debnath’s stylistics aspect of the three comic strips that have kept the imagination of his audience alive for more than five decades. He successfully addressed the first objective through a systematic literary review with inclusion and exclusion set as a benchmark. The identification of the stylistics through close reading of the texts along with their systematic review of secondary literature, formed the basics of the second objective. Particularly those stylistics were considered which were typical of their prominence and were integral across the literature and the texts. Furthermore, a matrix was also successfully designed to map the identified stylistics. A couple of implications portray that the said interpretation may help the Post-Millennials or the Generation Z to examine and consider the sublimity and allegiance of reading, and shape the imagination prowess of young minds, apply their intellectual faculty and develop a comic disposition in life. Development of creativity in any narrative style and development of conversational mechanisms are often found to be an added bonus. However, making today’s generation read this form of narrative and chisel their fertile imagination remains a challenge for the digital-natives. There is no doubt however, that this age-old art form can be tremendously advantageous as an academic endeavour and become an integral part of children’s systematic reading habit.

Keywords: Bengal comics, stylistics, conversation mechanics, children’s literature, Narayan Debnath

Connotations of Identities in William Kurelek’s Paintings: Typology and Critical Art Analysis

251 views

Khrystyna O. Beregovska1, Myroslava I. Zhavoronkova2, Tetiana F. Krotova3, Andrii L. Demianchuk4 & Andrii A. T?rasenko5

1Department of Theory and History of Art, Lviv National Academy of Arts, Lviv, Ukraine

2Department of Fine and Applied Arts, Yuriy Fedkovych Chernivtsi National University, Chernivtsi, Ukraine

3Department of Artistic Costume Modeling, Kyiv National University of Technologies and Design, Kyiv, Ukraine

4Department of Directing and Choreography, Ivan Franko National University of Lviv, Lviv, Ukraine

5Department of Theory and Methods of Decorative and Applied Arts and Graphics, South Ukrainian National Pedagogical University named after K.D. Ushynsky, Odesa, Ukraine

Contact: kh.beregovska@nuos.pro

 Volume 13, Number 1, 2021 I Full Text PDF

DOI: 10.21659/rupkatha.v13n1.04

Connotations of Identities in William Kurelek’s Paintings: Typology and Critical Art Analysis

Abstract

Despite the high popularity of William Kurelek in Canadian society, relatively few interpretations of his works can be found at the scientific, art criticism level. Based on the analysis of William Kurelek’s artistic legacy a typological study was conducted identifying the Canadian artist’s thinking and personal position declared openly in his art. A study of the thematic content of his paintings led to the identification of the following categories: personal, religious and awareness of community membership. The article outlines the difference between the notion of national and ethnic identity, which the artist saw in the difference between national and ethnic identity an instrument to self-awareness through membership in a particular community as a result of common spiritual, religious and social convictions with shared modes of behavior, mores and traditions. As a result of the study, we derived a certain formula of identity in the works of William Kurelek, which the author understood as a set of ethnic, national, gender-based, and religious characteristics inherent in a person, demonstrating its identity as the appropriate group affiliation. We also conducted a typology of identities in his art: personal, religious, awareness of community membership, national and ethnic. We analyzed the issues of commonality and differences between national and ethnic identity, designating them as “ethnic calmness” and “ethnic stress”.

Keywords: immigrant life, cultural world, Ukrainian original, ideological burden, painter.

Problems of Intertextuality in Audio-Visual Arts

291 views

Halyna M. Kot1, Olena G. Levchenko1, Tetiana O. Kravchenko2, Oksana S. Musiienko3 & Kostiantyn V. Hrubych1

1Department of Tele-Journalism and Actor’s Skill, Kyiv National University of Culture and Arts, Kyiv, Ukraine

2Department of Scenic Speech, Kyiv National I.K. Karpenko-Kary Theatre, Cinema and Television University, Kyiv, Ukraine

3Department of Cinematography, Kyiv National I.K. Karpenko-Kary Theatre, Cinema and Television University, Kyiv, Ukraine

Contact: kot5382-6@nuos.pro

 Volume 13, Number 1, 2021 I Full Text PDF

DOI: 10.21659/rupkatha.v13n1.03
Problems of Intertextuality in Audio-Visual Arts

Abstract

At the present stage, the visualisation process covers all areas of life that come into contact with information and its presentation. Specialists and researchers in the relevant fields of activity are increasingly using the concepts that have been formed on the basis of printed text in the audio-visual arts. Such an example is the use of intertextuality, which is currently one of the promising areas for research on the example of audio and visual material (film, video, music, photography). The aim of the study was to identify the main current problems of the use of intertextuality in the audio-visual arts on the example of the two most common forms – film and music. The main methods used in this work are intertextual analysis, as well as discourse analysis, because for this method the area of interest is the study of discourse changes associated with intertextuality. As a result of the analysis, it was found that one of the problems of intertextuality is the uncertainty and lack of unity in its understanding between the followers of different approaches to the doctrine of intertext; several problems were identified. The authors propose solutions to the identified problems of the theory of intertextuality in the audio-visual arts, which confirms the practical significance of the study.

Keywords: text borrowing, film, music, culture studies, intertextual interactions.

The Artistic Status of Bio-art

/
277 views

Eleni Gemtou

National and Kapodistrian University of Athens, Greece.  

ORCID: 0000-0002-8543-3555. Email: egemtos@phs.uoa.gr.

 Volume 13, Number 1, 2021 I Full Text PDF

DOI: 10.21659/rupkatha.v13n1.02
The Artistic Status of Bio-art

Abstract

This paper aims to define Bio-art by strengthening its artistic status through two distinct approaches. The first is based on the acceptance that the concept of Bio-art includes both the term “art” and the term “bio” that could stand for Biology, Biotechnology, and Bioethics. It is argued that despite its direct connection to scientific research, Bio-art is only partly linked to the methods of the pure science of Biology, while it stands closer to the technoscience of Biotechnology. However, while bio-artists often use scientific methods and techniques, they eventually focus on bioethical questions. To amplify the artistic status of bio-artworks, we claim that they are kinds of visual “enthymemes”, a term used by Aristotle to define incomplete rhetoric syllogisms linking all recipients to common questions. Our second approach is developed around Levinson’s intentional-historical theory, showing that Bio-art belongs to the evolutionary narrative of art and artistic intentions. We allege interconnections of distinct features of bio-artworks with artworks of different eras that in the context of a retrospective view are to be understood as having paved the way for the emergence of Bio-art.

Key words: Bio-art, Biotechnology, Bioethics, Metaphor-Enthymeme, Levinson’s intentional-historical theory

1 … 52 53 54 55 56 … 156