Arts practitioners have looked for ways to engage their audiences and sustain their interests and patronage of theatre shows amidst the coronavirus pandemic that kept patrons at…
Abstract
Purpose
Arts practitioners have looked for ways to engage their audiences and sustain their interests and patronage of theatre shows amidst the coronavirus pandemic that kept patrons at home. This has led to digital engagement with audience members via social media. This research paper looks at digital audience engagement in Nigeria’s theatre using Segun Adefila’s production of Tosin Jobi-Tume’s Corona Palava which was performed on 4 August, 2020, at the Crown Arts Centre in Bariga, Lagos, Nigeria and later made available on Facebook on 22 December, 2020 and 21 December 21 2021.
Design/methodology/approach
This study is based on the “Arts Audience Experience Index” theory proposed by Radbourne et al. (2009). It employs netnography as its methodology. This entails observing and analysing users’ comments, communication style, frequency of engagement and dwell time while watching Corona Palava production on the researcher’s Facebook timeline “Tekena Gasper Mark” and on the Facebook group “Bolt Drivers in Port Harcourt”. Overall, 53 comments (39 from the researcher’s Facebook friends and 14 from members of the Facebook group “Bolt Drivers in Port Harcourt”) were sampled and analysed to provide insights into how the spectators experienced the Corona Palava production.
Findings
The text that accompanied the Facebook video provided viewers with information about the performance, helped them prepare for what to expect, reduced the likelihood that they would experience any unease while watching it and increased the likelihood that they would look for similar performances in the future. They were pleased with the performance; there were no functional risks, no economic risks and no psychological and social risks. Although they may have watched it at varying times, Facebook provided a space for them to engage with the performance as a group and share their thoughts in the post-performance comments.
Research limitations/implications
One of the study’s limitations is that one cannot ascertain how many of the respondents are drivers. Also, the researcher believes that the length of the video may have discouraged participation in the study. In order to increase viewership and provide better findings, future studies and artistic endeavours could consider shorter pieces (about 3–5 min) and wider locations (transportation businesses) where a larger number of drivers with active social media presence, can participate in the research.
Practical implications
This study documents an innovative approach to reaching theatre audience via social media in Nigeria.
Social implications
This research demonstrates that Nigerian theatre and arts practitioners are reinventing their approaches to play production by using the social media to reach their audiences in the post-COVID-19 era.
Originality/value
The study reveals that as a result of the coronavirus pandemic, Nigerian theatre artists have looked for ways to engage their audiences and sustain their interest and patronage of arts projects through social media.
Details
Keywords
It is useful to provide a context for the elaboration of this argument by referring to the historical and intellectual roots of Nigerian federalism, the nature of Nigeria's ethnic…
Abstract
It is useful to provide a context for the elaboration of this argument by referring to the historical and intellectual roots of Nigerian federalism, the nature of Nigeria's ethnic mosaic, and the influence or impact of ethnicity on the architecture of Nigerian federalism. The foundational or theoretical building block of Nigerian federalism was and continues to be ethnic, as opposed to geographical, diversity. The artisanal design and construction of this ethnicized federalism was informed by the imperative of elite accommodation initially between the departing British colonial administration and the emergent leadership of the inheritance elite and thereafter, at various times between 1960 and the present time, among the political leadership of the various fractions of the politically significant and mobilized ethnic groups (Jinadu, 1985, 2002).
Monica Humphries, Liz Chapman, Barry Bowes, CC Aguolu, Anita Wright and David Radmore
LIBRARY OF CONGRESS subject headings are relatively unusual in this country and they do provide for some relatively unusual headings. ‘Ground effect machines’ and ‘one‐leg resting…
Abstract
LIBRARY OF CONGRESS subject headings are relatively unusual in this country and they do provide for some relatively unusual headings. ‘Ground effect machines’ and ‘one‐leg resting positions’ are just two examples. ‘Ground effect machines’ refers to such things as hovercraft. ‘One‐leg resting position’ however could cover books on anthropology or art. ‘Negative income‐tax’ sounds like something we would all like to receive but it's not exactly the first term which springs to mind to describe income benefit schemes. However, despite these oddities, our subject catalogue seems to be fairy well used and our new guide cards make it even easier to use.