Audience Perception of Creativity in the Structure and Content of

University of Nigeria
Author
Research Publications
OKORONYE, Uzondu
Title
Faculty
Arts
Department
Mass Communication
October, 2007
Signature
Audience Perception of Creativity in the Structure
and Content of Radio/TV Plays
Date
PG/MA/00/35711
UNIVERSITY OF NIGERIA
MACHO BINDERS (NIG.)
NO 45 ENUGU ROAD. NEAR OLD MOT0 PARK.
Opposite Currency Photos, Nsukka
08037515040
AUDIENCE PERCEPTION OF CREATIVITY
IN THE STRUCTURE AND CONTENT OF
RADIO/TV PLAYS
OKORONYE, UZONDU
REG. NO. PG/MA/2004/35711
DEPARTMENT OF MASS COMMUNICATION
UNIVERSITY OF NIGERIA, NSUKKA
OCTOBER 2007
CERTIFICATION
THIS PROJECT REPORT IS CERTIFIED AS HAVING MET THE
REQUIREMENTS
OF
THE
DEPARTMENT
OF
MASS
COMMUNICATION AND THE SCHOOL OF POSTGRADUATE
STUDIES, UNIVERSITY OF NIGERIA, NSUKKA FOR THE AWARD
OF A MASTER OF ARTS DEGREE IN MASS COMMUNICATION.
(EXTERNAL EXAMINER)
...
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DEDICATION
This work is dedicated to my late father: Mr. Albert Nwankwo
Okoronye whose untimely demise only nature can account for; and Chief
1.0. Nnaemedo, W.O. 2. Rtd for always standing solidly behind me even
when all seemed impossible.
ACKNOWLEDGEMENTS
I want to acknowledge with thanks the direction and inspiration given
to me by my project supervisor: Ray A. Udeajah, Ph. D in the course of this
research. I am really happy for that. I will not forget to thank other lecturers
in the Mass Communication Department, University of Nigeria, Nsukka.
They include: Mr. Nnanyelugo Okoro, Dr. C.S. Akpan, Miss E.U. Ohaja,
Rev. Fr. Dr. P.O.J. Umechukwu and others.
May I also acknowledge the inspiration I got from Prof. J.O.J.
Nwachukwu-Agbada from whose inexhaustible repertoire of knowledge I
tapped a little at the undergraduate level. His book A Handbook of Creative
Writing has severally helped me. Sir, I will always accept your advice.
The members of my family are also remembered, especially my elder
sister: Mrs. Comfort Igweh, nee Okoronye for her perpetual support. For my
friends: Kelechukwu Obi, Celestine Egwu, Chidiebere (Typist) and
.
Chikwendu Udeagha: I love you
. ,, all.
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Finally, my God - Jehovah, receive my greatest thanks and praises for
not allowing me to replace religion with literature and for making me realize
that you are living and caring even when all hopes are lost.
,
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Abstract
The basic objectives of the mass media are to inform, educate and entertain.
Other objectives include: promotion of the accepted social values and
norms; promotion of the physical, mental and social well-being of the
people; elevation of diverse cultures; and enhancement of economic,
political and technological activities. Creativity, on the other hand, aims at
teaching morals and provision of entertainment. It is an avenue to draw
society's attention to its numerous ills and inadequacies. Through this
means, creative writers the world over have succeeded in voicing
unrepentantly societal misdeeds such as corruption, excessive materialism,
endangered values, tyranny, indolence, sexual promiscuity and general
profligacy. It is against the backdrop of the above relationship that exists
between the aims of the mass media and literary creativity that this research
work examined the perception of the audience with regard to the content and
structure of radio and television plays. The assessment qf audience
perception of the message and structure in the set works enabled us to
.
. ,, o i literary works can go in actualizing the
portray the extent the message
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basic aims of mass media. It is therefore hoped that this project will go a
long ways in not only stressing the importance of literary creativity in the
mass media, but also, act as a stimulating piece to media practitioners
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interested in creative works. Suggestions have also been made as regards
the right steps to take in the area of radio/& creative plays.
TABLE OF CONTENTS
CHAPTER ONE: INTRODUCTION
CHAPTER TWO: LITERATURE REVIEW
CHAPTER THREE: METHODOLOGY
Research Design ................................................
---Description of the Research Pog,ulation..........................
.....................................
Sampling Techniques
Sample Size ..................... .....................................
Instruments of Data Collection ...................................
Techniques of Data AnalysisPresentation ......................
Limitation of the Methodology ............................. ----- References:
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CHAPTER FOUR: PRESENTATION AND INTERPRETATION
OF FINDINGS.
References:
CHAPTER FIVE: CONCLUSION
CHAPTER ONE
INTRODUCTION
1.1
Background of Study
A creative work is a piece of writing whose foundation is lodged in
imaginative thinking, in the creator's ability to recall events which had either
taken place or could take place. It is equally based on the artistic
representation of the past occurrences. Unlike other writings, creative
writing is a combination of what is said and how it said. Whereas other
writings lay emphasis on content and as such are expressive, literary
creativity is minutely meticulous with the methods and /or techniques of
expressions.
Although a piece of creative writing is not a historical document, it
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however makes elaborate use of history. It is not a sociological piece even
though a writer is free to employ sociological information. In the same vein,
it is not a cultural text even though culture could serve as its anchor.
Categorically speaking, these knowledge areas do not in themselves
constitute creative writing; what is creative writing is the imaginative and
fascinating deployment of content for the purpose o casting artistic delight.
It does this through inventiveness and suggestiveness. Apart from utilizing
content, it transcends content through the techniques the creator employs and
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the artistic statement he makes in the end.
Literary creativity has survived throughout the history of man. This is
evidently so far there were some forms of artistic creations which though
were not in written form but had artistic and literary essence. These were in
form of oral literature. They existed throughout the pre-historic period of
man's existence on Earth. Having been identified as possessing the basic
features of the creative works of the literate society of man, there is not
doubt that it (oral literature) forms the precursor of our present creative
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works.
Expectedly, a lot could be achieved through the channel of literary
creativity. It serves as an outlet for an individual's pent-up feelings, for his
passion and for the expression of his hopes and disappointments. It is used to
create social awareness which ~eouId4e~ad
to social or cultural revolution.
Drama, the literary genre which easily lends itself to mass mobilization, has
been used to create awareness, to help people to have a deeper understanding
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to their lives.
In fact, creative writing can be used to draw society's attention to its
numerous ills. Through fiction, drama or short, most creators voice societal
inadequacies such as corruption, excessive materialism, immorality of sorts,
endangered values, tyranny, poverty, lethargy, indolence, sexual promiscuity
and general profligacy. The creative writer may re-inforce societal moral and
material achievements, but he does not hesitate to rebuke it for its profane
ways. Jones (2004:24) believes that more often than not the writer forces
society to re-consider its values by presenting it with a "mirror of itself '.
Furthermore, creative writing is a medium for the dissemination of a
people's culture. Achebe, for instance, uses his creative works to highlight
and project worthy aspect of the African culture by relating the past to the
present. He shows the dignity in the traditional dimensions of African living
by insisting that African life before the advent of Europeans had order,
dignity and richness. More importantly, creative works may centre on the
lives of the rural people with the intention to reveal their joys and sorrows,
their place in national culture and their role in national existence. If a piece
of creative work which centres on the lives of rural people is written in any
of the indigenous languages, -itwilt be'more meaningfully discussed in their
very tongue.
Besides the creative writer is an entertainer. An entertaining writer
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needs not be a pornographic one, for it is possible for a piece of creative
work to entertain while articulating an important view of life. The quality of
this articulation, the quality of the language, and of the action in a work can
in themselves be entertaining. But there are also creative works which are
humorous, fast, romantic, adventurous or speculative. People enjoy and
consume them in order to shield their consciousness even for a moment
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from the hash realities and frustrations of life. These works do for their
consumers what wine or women do for certain men.
However, entertainment must not be taken to be same things as sexual
titillation, lionization of criminality or an endorsement of recklessness.
On the other hand, communication is one of the attributes of man
being a social animal. Onuegbu (1999: 136) sees it as "the sharing of parallel
sets of meaning of a message between the sender or source and the receiver
passed from the sender through a medium to the receiver". The mass media
occupy an important position in the society. No wonder the mass media are
seen as a social institution of significance. The mass media play important
roles in the society such as dissemination of information, enlightenment of
the citizens, education of people, mobilization, sustenance of democracy,
melting point of ideas, promotiorv~fbusiness and vehicle for change.
The electronic media have their role to play through the proper
utilization of audio-visual means. In their
development, electronic media
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(Radio and Television) have got to do with a number of things for a fuller
discharge of their duties. One of such things is creative work. This is simply
because the roles of creativity are quite similar to those of mass media. It is
therefore quite appropriate for o w broadcasting houses to incorporate
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enough creative works in their programmes for a better actualizatioi~of their
basic aims.
It is against this background that this research aims at assessing
audience perception of structure and content or message of radio and
television plays. The result of our assessment will therefore reflect or portray
the extent the content of plays can go in helping to achieve the inass media
aims. The chapter one of this project shall be the introduction. Chapter two
focuses on the review of the related literature. While chapter three grapples
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with the research methodology, chapter four is the presentation and
interpretation of findings. Chapter five is the conclusion.
1.2
Statement of the Problem
The mass media practitioners appear to show more interest in other
areas of communication than
. ,, . in cre,ative works. This near-neglect for
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creativity is responsible for the scanty materials in this area. This situation
has relatively continued in Nigeria in spite of the apparent importance and
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contributions of the creative works in the mass media.
It is for the above reason, therefore, that we want to meticulously
examine what constitutes the perception of the mass media audience as
regards radio and television drama. Besides, an examination of the structure
and content of the set creative works shall be carried out with a view to
highlighting the contributions of creativity to mass media. As appropriate,
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Afam Ebeogds "In the Light of Change" and "Sever this Cord" constitute
our primary texts for thematic and structural analyses.
1.3
Purpose of the Study
The purpose of this research is to assess audience perception of
creativity in the structure and content of radio and television plays. It equally
aims at identifying the importance and contributions of creative works to
mass media. Besides, Afam Ebeogu's "In the Light of Change" and "Sever
I*.
this Cord" will be analyzed thematically and structurally. These plays were
aired repeatedly by B.C.A Radio and Television and Radio Nigeria Enugu in
February 2005. By analyzing two radio and television plays, we shall then
see the extent creative and artistic ingenuity of actors/actresses can go in
producing a good play. The research shall be capped by a list of identified
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steps, which every creator or would-be creators must take in order to be
creatively alive.
,
1.4
,
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Significance of the Study
This attempt will go a long way in reducing the dearth of creative
works in our mass media. By portraying the components of radio and
television plays, the research shall serve as a stimulating piece for media
practitioners and others to have interest in creative works and creativity.
Through its articulation of various contributions of creative works to the
mass media, it is hoped that the media at large will progress as a result of
this research.
1.5
Research Questions
In the course of this investigation, we shall be grappling with the
following questions:
What is creativity in RadioITv plays?
What constitutes audience perception of creativity in radioltelevision
plays?
Do personalities affect the quality of radioltelevision plays?
Why do some RadioITv plays capture audience interest more than
others?
Theoretical Framework
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This research is well rooted in the theory of "Agenda setting". It is a
theory which is concerned with impact of the media on cognitive change in
the individual. This theory was formhated by Cohen. In it, he asserts that
"the press may not be particularly successful in telling people what to think
but it is stunningly successful in telling its readers what to thing about".
(White: 1950:383). This theory portrays that most often mass media
audience perceive some issues as important, depending on the manner of
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coverage and the degree of emphasis given to them by the media.
Adding to the above, Combs and Shaw as quoted in Peterson
(1965:90) came up after their own research with the view that "media
emphasis on an event influences the audience also to see the event as
important". Therefore, the mass media should use their persuasive capacity
in their attempt to discharge their duties of mobilizing, enlightening,
educating and entertaining the masses. In fact, since the media have been
mV
observed as one of the tenets of democracy, they should hold the
government accountable to the people
In any case, the incorporation of creative works which address most of
the socio-political issues artistically will complement the efforts of the mass
media in sustaining democracy in our society.
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Scope and Limitation of the Study
The scope of this study covers the audience perception of
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radioltelevision plays. Besides, it covers the functions of creative works in
the success of the mass media. It equally involves structural and thematic
analysis of two plays with a view to portraying the importance of the set
plays to the present topic.
1.8
Definition of Terms
Realistically speaking, terms have meanings within the context they
appear. In this attempt therefore, some operational terms shall be defined to
facilitate our better understanding of what they mean or connote in this
work. Below are the terms or concepts.
Creativity
This refers to activities which lead to the existence of what has not
been existing before. It is the act of bringing into being things, emanating
from human intelligence, especially one in which imagination has a part. It
is the capacity to artistically present the world in the fictionality.
Mass Media
Mass media could be defined
as
different channels through which
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information gets to individuals in the society. They include radio, television,
newspaper, magazine etc. All these have it as their responsibility to bring
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messages to a large number of people.
Mass Communication
This may be defined as a system of transmitting information through
an intermediate transmitter. It involves messages communicated through a
mass medium to a large number of people. So, for communication to be
referred to as above, it must pass through a medium, it must be highly
impersonal etc.
Play or Drama
The above denotes a creatively artistic work of art which is meant to
be acted. It is the re-enactment of action by actors/actresses impersonating
fictional or historical personages. It makes elaborate use of dialogue and is
equally action-centred. As a result of the above, it is best appreciated when
acted on the stage, theatre or platform.
REFERENCES
Anozie, S. (1972). Creative Rhetoric. London: Evans.
Cohen, B. (1963). The Press and Foreign Policy. Princeton: Princeton
University Press.
Ebeogu, A.N. (1997). Rhythms of Gender: Okigwe: Fashrnen
Communication.
Ike, C. (2005). Published Writer. Ibadan: Heinemann.
Johnson, R. (1995). Perspectives on Creative Writing. Yaba: Dominion.
Jones, V. (2004). Creative Writing. Kent: Hodder and Stoughton.
*w
Merrill, J.C. (1984). Basic Issues in Mass Communication. New York:
Macmillan Pub. Company.
Ngumoha, E (1998). Creative Mythology. Enugu: Jemezie Associates.
Onuegbu, 0. (2004). A Handbook on Theories of Mass Communication.
Owerri: Joymanz Press.
Peterson, T. (1965). The Mass Media andModern Society. New York:
Holt, Rinehart and Winst0fl.3
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Robins, C. (2002). Play Making, A Handbook of Creative Drama for
Schools. Ibadan: Daystar Press.
Udechukwu, 0 . (2003). Aesthetics and the Mythic Imagination. Washington
D.C: Three Continents Press.
White, D.M. (1950). The Gatekeeper. London: Free Press.
CHAPTER TWO
LITERATURE REVIEW
This chapter aims at examining what authorities and individuals have
written with regard to creativity and mass media. This will really enable us
to have a firm grasp of the issues under consideration. The first point to be
considered is how to conceive ideas to embark on creativity. This is because
without ideas, creative writing would probably cease to be significant. This
is probably why some people consider inspiration to be the sole determinant
in creative attempts. But inspiration for the modern writer amounts to no
more than ideas worthy of exploration in a subtle expressive form such as
creative writing. This is why a writer is in great jeopardy if his store of ideas
is shut or if, as it is said in popular parlance, he runs short of ideas. Writers
.
have help to give up wiring because of such a development in their life. In
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others words, a creative writer's consciousness is in fact supposed to be a
post over which numerous ideas collide. . .'
It is against the background of the above that Johnson (1995: 10)
rightly observes:
Your ideas will come when you set them down. Put
down what you have in your brain. Do not think that
there will be a more opportune time when you will
have all the right ideas with which to write a
masterpiece. At the beginning, the writer should be
keen to write voluminously rather than qualitatively.
When you have learnt to rapidly re-create incidents,
experiences and observation in thousands of words,
you can then begin to think of their quality.
In the same vein, Dickson and Smythe (1987:230) itemise some of the
steps towards conceiving creative ideas thus: "Use notes and files to gather
ideas as they occur to you. A pocket notebook should be very handy. A
writer must read much. Reading much not only helps us to be creatively
alert, it enable us to emulate better writers"
In essence, a writer must utilize his own experiences. Dreams,
ambitions and motivations are the starting points of a person's creative
enterprise. This is necessarily so for a majority of the ideas used in creative
writing arise from human interest issues, particularly those that are
experienced in homes and families. A writer's home may therefore serve as
his laboratory for an in-depth understanding of human motives and
Furthermore, a number of responses have been made as it concerns
the uses of creative writing. This is quite proper for many have demanded to
. .
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know the usefulness of creative writing, for our world is one in which utility
is a central phenomenon. That apart, why would we play down on such
subjects as history, economics, religion, physics, mathematics etc, and
instead develop a mode of expression that is not history, but utilizes some
dimensions of history, which is not economics but appropriates aspects of it,
which is not religion but could make use of religion as its subject - matter?
Considering that creative writing is time and energy consuming, it is
necessary to point out its value, if it has any.
In his view, a widely - read critic Malinowski (1976: 19) confirms the
functions of creative wiring:
Creative writing fulfils in different cultures an
indispensable function: it expresses, enhances, and
codifies beliee it safeguards and enforces morality; it
vouches for the efficiency of ritual and contains
practical rules for the guidance of man. It is . . . a
pragmatic charter of faith and moral wisdom.
From the fore-going, we can infer the fact that creative writing makes
for social continuity and for the society's immediate cohesion. Again,
beyond entertainment and relaxation, it helps to project the political interests
and cultural outlooks of the society and the religious beliefs and practices.
According to Amah (2005:8), " The creative writer is like a dreamer".
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A dreamer reflects on particular desires, wishes to achieve them and soon
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dreams about them, for our dreams are often tied to our obsessions. The
creative writer aims to create an ideal' world. He wonders whether this
cannot be possible. He assumes the role of God in his work, consciously rearranges reality to enable him to explore life's hidden meanings and for the
purpose of understanding the cosmos. Creative writing is used to give a
more coherent interpretation to existence from a diversity of forms, styles
and techniques. It is the burden of every normal human being to seek out the
diverse meanings of world, concretize them and, if possible mould them in
bold relief for present and future generations.
While reacting to the usefulness of creative writing, NwachukwuAgbada notes: "Creative writing does serve as a outlet for an individual's
pent-up feelings, for his passion and for the expression of his hopes and
disappointments. ...the creative writer may be saved from the frustration of
existence when he has a medium such as writing to give vent to them".
Therefore, writing could serve a stabilizing role in its writer's
psychological make-up. But this is also applicable to the reader. Often times
the creative writer strikes a note in our life by his touching the inner recesses
of our hopes, fears or fi-ustrations. By so doing, our hopes remain hopeful,
and our fears and frustrations turn into hopefulness because some other
person, through his w r i t i n g ~ , ~ & m - e sdespair.
~ ~ ~ u r After all, the writer is a
person who has hope in existence; indeed a person who does not share such
a hope hardly can writer.
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On the other hand, Stanzel, (1986:131) hints that the creative writer is
an entertainer. For him, an entertaining writer need not be a pornographic
one, for it is possible for a piece of creative writing to entertain while
articulating an important view of life. The quality of this articulation, the
quality of the language, and of the action in a work can in themselves be
entertaining. But there are also creative writings which are humorous, fast,
romantic, adventurous or speculative. People appreciate them in order to
shield their consciousness - even for a moment - from the harsh realities and
frustrations of life. In effect, creative writing teaches morals, enlightens and
entertains.
Besides, the mass media have been noted as an important instrument
in every society. According to Mbazie (2004:84), the mass media occupy an
important position in the society. No wonder the mass media are seen as a
social institution of significance. The roles they play include: dissemination
of information, enlightenment of the citizens, education of people,
mobilization, sustenance of democracy, melting point of ideas, promotion of
business and vehicle for change.
It is in the light of the above that Oso (2002:39) describes them as
"consciousness industry". Fo~qhim;due to their role of creating awareness of
both the immediate environment they operate in and the outside world, they
are a great social force. To lend credence to the above, Onuegbu (2004:102)
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hinted that mass media are tenets of democracy, particularly if they are free.
For democracy to survive therefore, the mass media must hold the
government accountable to the people.
In a similar situation, Umechukwu (2004: 14) posits: "Notwithstanding
the idyllically or belligerent extent and nature of nations7 socio-political
milieu, society intenneshes with and is greatly dependent on the mass media
as a decisive factor for its continual existence, development and
governance".
The above stresses the fact that no matter how laudable government
may consider its policies to be, the relevance of its activities or the need for
citizens' political participation in the nation's political activities, the people
would need to be mobilized, gingered up for the achievement of national or
societal aims or goals.
In accord with the above, Mbazie (2004:25) notes that the mass media
are great mobilisers. They have inherent persuasive capacity capable of
arousing emotion, interest and action on any matter. In periods of war, the
mass media are used to mobilize the citizenry for was. It is also used to
instill discipline. To actualize all these, they criticize the government's
injustice, abuse of power, cormptismby the institutions of the governments
and their officials.
On the other hand, both the radio and the television are two mass
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media channels which both literate and illiterate Nigerians are keen to listen
to or watch. Apart from their value as sources of news and information, the
average Nigerian knows that they are equally the media of entertainment of
various kinds. Of these entertainment programmes, it is probably the ratio
and television plays that people reminisce on several years after they have
been aired or shown. People seem to remember what a character in the plays
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said ten years previously, particularly when such utterances are witty and
true to life. It is in this light that Shakey Shakey Alao of NBC of the 50s and
60s, Chief Zebrudaya of Masquerade fame, Mr. B of Ken Saro-Wiwa's
plays still easily comes to mind.
Truly, all cultures love their writers who have made their lives worth
living by the amount of emotion their plays have generated in them.
Emotions which radio or television plays stir up in the listeners and viewer
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are even more immediate than those which result from the dead texts of
short stories and plays. The truth is that performed stories carry inore weight
in the life of the people than read or mumbled creative works. This is even
more critical among Nigerians whose traditional matrix favours the
performance of folk tales, moonlight plays, songs, music, mimes and work
drama.
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Creating for Radio and Television
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A number of Nigerian radio stations and television houses devote
some true to plays. The British Broadcasting Corporation (B .B.C), London
also stages' play competitions from which the stations airs the very
artistically pleasing ones on a regular basis. Every writer is therefore
encouraged to venture into this area for it pays.
A lot is achieved by artists who specialize in this area of creativity. To
really achieve prominence, every writer must have the basic aims of radio
and television plays. Nwachukwu - Agbada (1997:116) itemizes some of the
objectives to include:
1.
To simultaneously get to so many people, and in so short a time;
2.
To make people laugh or cry or get excited;
3.
To cause reflection, meditation and hope;
4.
To change the world as it were;
5.
To enhance the cultural heritage and outlet of the people; and
6.
To be known by radio listeners.
In order to achieve the above objectives, there are components which
must be present for an effective work to be realized. These components vary
depending on the medium to be used. Let us first take look at the major
components of the radio play. The.components are:
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a.
The story idea
b.
The narratorlcharacters
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c.
Sound-oriented props
d.
Good voice
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The Story Idea
It is easy to claim that the same idea in the ordinary play is possible
on radio but this could be wrong. The radio play is usually topical and
appeals to a mass audience; the themes are usually of interest to, and of
relevance to the needs of a broad spectrum of adults. Their themes are
uncluttered and free since the play on the radio is not to be played back or
re-read as in printed works. Plays whose themes centre on unrequited love,
fate of the poor, the travails of the courageous, the tribulations of the nice,
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the disappointments of the dishonest, the return of a patriotic hero etc are
often heard on radio.
The NarratorICharacters
Radio drama characters are often few. Because they are heard on
conversations, they need to. ,,.be ..pretty
few. It is the duty of the radio
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playwright to allow the listeners to know the background, age, characters
shape etc in an artistic manner.
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Sound-Oriented Props
Since the radio depends on aural reception, sound - oriented props are
the only relevant materials for the play productions. Noisy kolanut
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chewing, thunderclaps, tape voice of a barking dog, snapping handshakes etc
are purposely done to ensure credibility. No non-sound object may be
necessary in radio creative productions.
Good Voice
The narrator must have a good voice. He must be one who can project
his voice so that he will be heard clearly and effortlessly. The voice must
also reflect the mood and the tempo of the play. A good radio narrator raises
and lowers his voice at specific moments in the narration. Characters in a
dialogue must possess contrasting voices so that listeners can differentiate
between them.
On the other hand, the television play requires a number of things for
a desired objective to be achieved. Since it utilizes both the audio and visual
means, it is easier and simpler than the radio. It has four major components.
They are: the story idea, the. characters,
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plot structure and the individual
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scenes. The issue covered here must revolve around human interest
predicaments for it to be captivating enough.
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The structure of Ebeogu's Rhythms of Gender
This sub-section shall attempt a structural analysis of Ebeogu's
Rhythms of Gender. We ought to bear in mind that Ebeogu is a dramatist of
renowned technical innovation and experimentation arising from his
utilization of conventions in traditional drama. He hails from Ideani in
Idemili Local Government of Anambra State. Since his nativity is Igbo,
there is no surprise or doubt regarding the setting of the radio play, which is
Igbo. Expectedly the play explores Igbo lore and language as there is the
preponderance of forms from Igbo lore and language.
Structurally, the radio play: Rhythms of Gender: is divided into two
segments. The first segment of the play, which is an operetta, is entitled "In
the Light Of Change". This segment depicts some neglecting, dehumanizing
and hurtful widowhood practices in Igbo land.
The second segment is entitled "sever this cord'. In it, Ebeogu crafty
portrays a fully emancipated woman to the listeners and viewers. Generally
therefore, the radio playwright attempts painting a picture of some gruesome
experiences of women in a patriarchal society. Besides, the playwright also
debunks the idea that all problems of the women-fold stem fi-om their
opposite. Rather, he pontificateswtliat'%omen themselves are often the cause
of the predicaments of their fellow women. However, this point is yet to be
fully articulated.as we grapple with the thematic preoccupation of the radio
(1
play in the following sub-section.
The content of Rhytlzms of Gender
Every creative work has its message which the creator wants the
viewers or listeners to share. It is against this background therefore, that this
segment aims at presenting some of the salient themes of the play under
assessment.
Theme of self-dehumanization
In this play, we observe that rather than seeing men as the
perpetuators of evils on women, the author presents the fact that most
problems of women are caused by women themselves. Put differently,
women in some societies subject their fellow women in certain
dehumanizing processes.
For instance, in the first segment of the play, we see Ugomma who
because of her husband's death has to undergo some disheartening and
undue experiences in the name of tradition. Ugomma has to uiiavoidably
;condone a down to the scalp scrapping of her hair as a way of mourning her
departed lovely husband. Besiqes,
. ,,
,!$he receives series of dehumanizing
.w..v
insults from Umuada, who can be described as the title owners of the land
and who neither the living nor the dead can afford to antagonize.
Again, this group which Nwokochah (2000: 108) calls "Association of
patrilineal daughters" worsens the problem of Ugomma. This association
decrees that Ugomma is responsible for the death of Okorie, her husband,
who fell down from a palm tree. This Umuada, instead of sympathizing with
their fellow woman or even consoling, the championed the accusation that
Ugomma bewitched Okorie by making him to loose grip around the palm.
Furthermore, following the above accusation, the Umuada begin to
castigate Ugomma's womanhood or fecundity. The Umuada say that
Ugomma's fecundity is rotten and not as "verile7 as an "Udala7. They
equally go ahead to say that Ugomma7swomanhood is empty not as "an egg
which contains its chick inside". They lastly describe Ugomma'a beauty as
hollow and has "emasculated" Okorie.
On the other hand, the second segment of the play which is entitled
"Sever this Cord" hits us with a new idea. In furtherance of the first segment
where he makes it point-blank that women often carry out oppressive
treatments against themselves, Ebeogu in this second segment presents a
magnificent portrait of a full emancipated women to us. This point will be
fully articulated in the next theme.
"
Theme of Diligence and Self-Reliance..
,
The second segment of the play "Sever this Cord7 presents madam
Hannah who is quite hard-working, liberated, inventive, pushful and
optimistic. In place of the normal women who dance to the tones of religion
and tradition, Ebeogu here presents a woman who is an epitome of
handwork and perseverance. Hannah is a woman who does what quite a
good number of men are not ale to do: she builds her own house, establishes
a flourishing business and even indulges in real physical combat with men in
order to assert her rights.
Besides, it is notable that she is only able to achieve all these when
she has quit staying with her husband -Simon. Another point to be noted is
that she later becomes an asset to the entire community. Therefore, it is clear
that with courage, women who are forward-looking can achieve greatness.
This can go a long way to correcting some impressions held in our societies
regarding women and their status. Beyond this theme of diligence and selfreliance, Rhythms of Gender has the theme of change the existing status quo.
Change the Existing Status Quo
There can be no doubt about the fact that all things in this material
universe are in perpetual fluli;.4n ~al*continuousprocess of change. To this
effect, change has become absolutely inevitable in ow existence. The above
fact is greatly emphasized by Ebeogu in this play. In the first segment of the
(1
.
.
play, we are given a snappish presentation of Adamma, who walks out from
her husband and who holds different views as regards women and their
positions. Ever before Adamma appears in the play, we saw her mother led a
women delegation that inflicted disgrace on Ugomma, simply because her
husband died accidentally.
In contrast to the views of the mother, Adamma fires her husband,
')r
describing him as a beast; and as such incapable of performing his duties.
She describes her husband as a mere "whore" and a "flirtatious beast in the
town". Adamma also sees her husband as "an inflated ball". Going by these
descriptions, we gather Adamma as a modern and an educated woman holds
a different view or stance with regard to the place of women in our societies.
This conflict erupts simply because there is bound to be changes. The view
of the old women-body, Umuada, conflicts with that of the modern cum
ww
educated women, as typified by Adamma. But surprisingly, Adamma's
mother, not minding the impact of the complaint by her daughter, sees the
man (Adamma's husband) as faultless as she avers: "What did the man do to
you? He couldn't have done anything to you. Did the man throw you out?
'Oh no, not you, not you". (Ebeogu, 1997:19).
Based
OIJ
the above response$+it becomes clear that the two hold
different notions regarding men. This is so for we can see that while the
mother, who represents the uneducated and traditionally enriched women,
Y1
,'
,
.
sees the men as ideal creature, Adamma typifying the educated and modern
day women sees the men as worthless things who must be thoroughly battled
if the women-folk must free themselves from enslavement of the society and
men.
On the other hand, apart from the conflict between mother and
daughter (Adamma and her mother), there is another arising from different
views or notions held by older generation of women and the newer ones who
represent the change which contrasts the existing status quo - the old order
or system of things.
Pointedly, at the tail end of Ugomma's suffering in the hands of
Umuada who hold old traditional beliefs about women, emerges a new
women-body: New Awareness Movement (NAM). This body compels
Umuada to render apology to Ugomma who they have maltreated greatly in
the same of tradition. N.A.M, as a body in the Umuada, drives Umuada
generally to retrace their dehumanizing steps on Ugomma; and by so doing
brings back the personality of Ugomma from negative to positive. Beyond
'
the above theme, which has been briefly grappled with, there is the theme of
crack on the wall of feminim~:This will be explored in the following
segment.
Crack on the Wall of Feminism
The above assertion anchors on the fact that quite a good number of
the problems of women are perpetuated by their fellow women. It suggests
that women in different cultures have perfected in being architects of their
own doom. Put differently, we may decode the message of the above
statement by trying to answer the questions; who maltreats and poures
abuses on Ugomma? Who argues with Adamma when she returns to her
father's house as a result of maltreatment from her husband? Pondering over
these questions and their answers will bring to the fore that women have
problems within themselves. Reacting to the above point, Nwokochah
(2000: 120) avers: ". . . women rather than liberating themselves are
aggravating their problems ... they need reorientation, they need to
rehabilitate natural emotional relationship.. . .
99
Again, further down the page, Nwokochah (2000:121) itemizes the things
that constitute the cracks as construed from the play. He writes:
Umuada humiliate Ugomma; N.A.M. Lambasts Umuada;
the attitude of the educated women about their husband
differs immensely from that of the uneducated, and the
rural and urban women hold differing ideologies
concerning the role of the women in marriage and society
generally.
. *,
Therefore, it would not be an exaggeration to say that these clashing
r
-1.
.I.
" @
views and ideologies point to the fact that women should embrace dialogue
and reconciliation for them to be able to chimpion opinions that would be
theirs. Beyond this, they have to recognize areas where they (women)
constitute perpetuator of dehumanization on their fellow women and take
some fence-mending steps.
In fact, this theme really provides an enabling environment for us to
tap what Ebeogu wants the viewers and listeners to share in this beautiful
play. First, he holds that the problems of feminism emanate from women
themselves. This is so for in the play it is made clear that the sufferings of
the women are from their fellow women. This is a serious crack as a house
divided against itself can by no means stand. The media playwright, as one
who is conversant with feminist sensibility, suggests that women should first
mend their fences to be able to move ahead. They should have a
reorientation.
Comparative Analysis of the Content of the Play with Mass Media Aims
Truly speaking, the mass media occupy an important position in the
society. As a social institution of significance, their roles include:
dissemination of information, enlightenment of the citizens, education of the
.,.,.' , " l . N
5
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people, mobilization and sustenance of democracy, melting point of ideas,
promotion of business and vehicle for change.
On the other hand, the play ~ h ~ t h m
of sGender brings enlightenment.
It does not only educate but also serves as an instrument for projecting the
culture of the Igbo people. It therefore aims at correcting societal imbalances
just like the mass media. Put, differently, while the mass media seek to
educate and enlighten with a view to changing the society to the better
through their numerous programmes, creativity, as exemplified by the above
play perfects in drawing society's attention to its numerous ills with the aim
of correcting such.
Lastly and interestingly, both the mass media and creative works are
sources of entertainment in the society. Citizens of all classes enjoy them
alike.
References
Acholonu, C. (200 1). "Gender and Development in Nigeria" in Njoku, D.
(Ed). Reading in Citizenship Education, Enugu: John Jacob's
Books.
Acholonu, C. (1999). "Women in the African Novels and Quest for Human
Rights" in Opera, C. (Ed). Beyond the Marriage Land, PortHarcourt: Belpot Nig. Ltd.
Ebeogu, A. (1997). Rhythms of Gender, Okigwe: Fasmen Communication.
Jones, V. (2004). Creative Writing, Kent: Hudder and Strughton.
Johnson, R. (1995). Perspectives on Creative Writing, Yaba: Dominion.
I
Mbazie, L. (2004). Introduction to Mass Communication, Enugu: Jemezie
Associates.
Merrill, J.C. (1984). Basic issues in Mass Communication, New York:
Macmillan Pub. Company.
Murph, J.M. (2005). Understanding the Unseens, London: George Allen and
Unwin.
Ngumoha, E. (1998). Creative Mythology, Enugu: Jemezie Associates.
.
,
'
,,...I..?.
Nwokochah, U.M (2000). Trends in African Drama, Owerri: Crystal
Publishers.
*.
Nnolim C.E..(2000). The American Play and Gothic Tradition, Owerri:
Crystal Publishers.
'I
Nwachukwu-Agbada, J.O.J. (1997). A Hand Book of Creative Writing,
Okigwe: Fasmen Communications.
Nwachukwu-Agbada, J.O.J. (1998). Love Strokes and Other Plays, Owerri:
Chin Chis Ventures.
Onuegbu, 0. (2004). A Handbook on Theories of Mass Communication
Owerri: Joymanz Press.
w
Oso, L. (2002). "The Structure of Media Ownership and Labour Reporting"
in Nwosu, I (ed). Nigerian Journal of Communication, Enugu:
ACCCE and prime Targets Ltd.
Peterson, T. (1965). The Mass Media and Modern Society, New York: Holt,
Rinehart and Winston.
Stanzel, F.K. (1986). A Theory of Narrative, Cambridge: Cambridge
University Press.
Udechukwu, 0 . L (2003). Aesthetics and the Mythic Imagination,
Washington D.C.: Three Continents Press.
Umechukwu, P.O.J. (2004). The Press and 2003 General Elections in
Nigeria, Enugu: Afi-i-LinksBooks.
4 n
White, D.M. (1950). The Gatekeeper, London: Free Press.
CHAPTER THREE
METHODOLOGY
3.1
Research Design
In order to carry out an effective investigation, the researcher wishes
to use the survey research design. Survey research known as a formulation
method of obtaining the same or similar information from various sample
groups or persons through questionnaire, interviews and observations.
Besides, this design (survey) is one of the empirical exploratory
methods adopted in social researches where the objective is to describe a
given phenomenon. It features the collection of standardized data from a
representative sample of a particular population. The findings are then
generalized to the group. The preference of structured questioniiaire by the
survey design is to ensure standardization. The use of appropriate statistical
.
, q . , . l . , * ~ ! 'la
.
analysis thus, makes it possible to describe the phenomenon and bring out
the relationships which have been hypothesized about.
,
3.2
.
.
Description of the Research Population
The target population consisted of 50 users of both the radio and
television. Experts in mass media were also used. Radio and television
audience were used as respondents to the questionnaire while the mass
media experts were included for the interviews.
The audience used were the residents of Enugu Town in Enugu State.
For the interviews, the researcher selected mass media experts of the
following organizations: Radio Nigeria, Enugu, Enugu State Broadcasting
Service (ESBS), Broadcasting Corporation of Abia (B.C.A), Heartland F.M
Owerri, Ebonyi Broadcasting Service (EBBS) and National Council for Arts
and Culture, Umuahia. The above organizations were chosen because they
were all located in the same region-South East.
Besides, the audience for the questionnaire were individuals who
listened to and watch radio and television plays respectively. The media
experts chosen for the interviews were knowledgeable practitioners with at
least a first degree in mass communication, theatre arts or other related
disciplines.
3.3
Sample Size
.
,,..rl.,p.
,
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'
The sample size for the respondents to the questionnaire was fifty (50)
users of both radio and television. For the interviews, six experts were used.
(1
.
.
The users were of different ages, both male and female.
3.4
Sample Technique
To really obtain the sample for the audience, a total of 200 users were
selected. The town was divided into five (5) zones so that each 40 produced
10 users. Then from each of the five zones, we had 10 respondents. Then 10
from each of the five areas gave us a total of fifty (50) people. Here
therefore, the proportional representation of 1 is to 4 is preferred in
randomly sampling of classes of users or audience selected to arrive at a
sample of 50. Why I have preferred this number (50) is to make sure the
number is enough to minimize sampling error. That is a situation where the
sample characteristics are not able to typify the characteristics of the
population due to unrepresentativeness.
For the interviews, the total of 30 experts were selected from the six
organizations. Each organization had the chance of producing one expert
from every five experts from each organization. Here therefore, the
proportional representation of 1 is to 5 was used or preferred.
3.5
Instrument of Data Collection
This research made usex&tht! stl2lctured questionnaire. In this way, it
is possible to obtain information which the respondents would have withheld
w
by not giving audience for interviews or to. avoid
diversions. Oral interviews,
.
(1
which were open-ended were conducted to elicit information from divergent
views.
3.6
Techniques of Data AnalysisIPresentation
The technique or tool to be employed in the analysis of the data in this
research is the mean
(X).It will feature the five point measurement scale,
that is the Likart measurement questionnaire.
The Likart scale features the following:
Strongly Agree
(SA)
=
5 points
Agree
(AG)=
4points
Undecided
(UN)=
3points
Disagree
(D)
=
2 points
=
1 point
Strongly Disagree (SD)
In this analysis, any score that was up to 3 and above was accepted
while any score below 3 was.,rejectecliaThe real scores of the respondents
were obtained by calculating their different scores and dividing by four (4).
There were sixteen items in all. They were structured to cover or to
,(
.
.
respond to the research questions contained in chapter one. The sixteen (16)
test items were divided into four. Items 1-4 were for research question 1 and
I
the data relevant for it. Items 5-8 were for research question 2. Items 9-12
were used for research question three data while items 13-16 covered
research question four. Each research question therefore had 4 test items.
This brought the total number of the test items to 16. That is 4 x 4 = 16. The
data collected were presented in a tabular format.
3.7
Limitation of the methodology
A major factor limiting this research methodology is finance. Due to
financial inadequacy, the number of organizations or respondents consulted
was small. More authorities could had been consulted or reached in the
process of this research if not for financial constraints.
Secondly, time limit is another factor limiting this methodology. It is
recognized that this work is for an academic purpose and therefore has to be
completed within a stated space of time.
Besides, the attitudes of most respondents could be discouraging.
Most respondents are usually very reluctant to respond to questionnaire and
interviews. This very fact has made research most challenging in ow society.
.
,
,,.."1.,?.
'
REFERENCES
Akuezuilo, E.O. (1993). Research Methodology and Statistics. ~ w k a
Christon Printing and Publishing Company.
American Psychological Association (2005). Publication Manual of the
American Psychological Association.
Harper, W .M. (1989). Statistics. London: Mardonald and Evans Limited.
Nwana, O.C. (1981). Introduction to Research. Ibadan: Heinmann
Educations Books.
Nworgu, B .G. (200 1), Research, Basic Issues and Methodology. Onitsha:
Summer Educational Publishers.
"
,
Obiekezie, D.S. (2004). Method of Data Analysis in the Social and
Behavioural Sciences. Enugu: Auto-Century Publishing Company
Limited.
Olaitan, S.O. and Nwoke, G.I. (1998). Practical Research Methods. Onitsha:
Summer Educational Publishers.
Tuchman, B. (1992). Conducting Research. New York: Harcourt Brace
Jovanovich Inc.
.
,
.
,,...I..?.
'la
CHAPTER FOUR
Presentation and Interpretation of Findings
4.1
Description of Data to Research Questions
4.1.1 Research Question 1: What is Creativity in RadioITV Plays?
Table 1: Creativity in RadioITV Plays.
SIN0 Questionnaire Item
1.
The imaginative invention
of an actorlactress
determines a product's
creativitv.
The imaginative invention
of an actorlactress does not
determine a product's
I creativity.
1 A creative play must be
informative.
The message of a play does
not necessarily constitute
Accept
Reject
-
3.
4.
Accept
Accept
CMSA
4.1.2 Research Question 2: What constitutes Audience Perception of
Creativity in RadioJTV Plays?
Table 2: Audience Perception of Creativity.in RadiolTV Plays.
SIN0
5.
6.
7.
Questionnaire Item
SA
15
The audience usually
appreciate plays that are
original in content.
4
Originality in content
does not necessarily
affect audience
appreciation of the
product.
People's appreciation of 3
A
UN
D
SD
n
24
3
2
6
50
4.2
Accept
3
1
20
22
50
0.8
Reject
4
2
25
16
50
0.9
Reject
DEC
plays is mostly
influenced by their ages.
Age is not a determining 16
factor in audience
appreciation of plays.
23
2
3
50
6
4.1
CMSA
4.15
CMSR
0.85
Accept
4.1.3 Research Question 3: Do Personalities Affect the Quality of
RadioITV Plays.
Table 3: Effect of Personalities on the quality of RadiolTV Plays.
SIN0
9.
10.
11.
Questionnaire Item
The acting prowess of an
actorlactress influences
audience appreciation of the
product.
The acting ingenuitylability
of an actorlactress does not
1 influence appreciation of the
product.
The antecedentlpopularity of
an actorlactress in previous,
successful products can
influence audience
acceptability of a new
product.
People do not consider an
actor' slactress' popularity in
their judgment and
appreciation of product.
A
UN
D
SD
18
17
4
6
5
Accept
1
5
5
20
19
Reject
5
Accept
SA
I
I
19
I
16
3
I
7
w,
12.
CMSA
Reject
Research Question 4: Why do some RadioITV Plays capture Audience
Interest more than Others?
Table 4: Why some Plays capture Audience Interest More.
DEC
Questionnaire Item
Products that promote the
societal values tend to
capture people's interest
easily.
Plays that feature
contemporary societal
issues tend to capture
audience interest easily.
Projection of societal values
does not play any
significant role in the
sustenance of audience
interest.
Projection of societal
contemporary issues does
not affect audience
appreciation of a
product/play.
CMSA
. ,,
Accept
Reject
Reject
,
wl. ?,
CMSR
4.2
Discussion and Interpretation of Results
(1
Research question 1 aimed at obtaining and determining what is
creativity in radioltv plays. Mean scores of 4.2, 3.4 and 3.3 were got from
questionnaire items of 1, 3 and 4. From the scores, we can find out that the
imaginative invention of an actorlactress to a very great extent determines a
product's creativity. This is so for this questionnaire has a mean score of 4.2,
-w
which means that the respondents bought the idea.
The above situation is similar to the results from questionnaire items 3
and 4, which have mean scores of 3.4 and 3.3 respectively. From these, we
can deduce that a creative play must be informative even though the
message or the information is not the thing required for a play's creativity.
The three mean scores: 4.2, 3.4 and 3.3 have the cumulative mean
score of3.63; that is 4.2 + 3.4 + 3.3 i3.
The item no. 2 was rejected for it has the mean score of 0.5. This
means that the imaginative invention of an actor is very necessary for the
realization of a good creative play.
Research question 2 was used to obtain what constitutes audience
perception of creativity in radioltv plays. From the table, we can obtain the
facts that the audience appre-ciate plays that are original in content; and that
-
age is not a determining factor in audience appreciation of plays. This is true
for the two questionnaire items (5 and 8) which tested these have mean
!I
.
.
scores of 4.2 and 4.1; which when added together have the cumulative mean
score of 4.15, i.e. 4.2 + 4.1 s 2 . The above two items were accepted.
On the other hand, items 6 and 7 were rejected. This is due to the fact
that they have mean scores of 0.8 and 0.9 respectively; when added together
gives the cumulative mean score of 0.85, that is 0.8 + 0.9 + 2.
Research question 3 sought to find out whether personalities affect the
quality of radio/tv plays. From table three, the data showed that the acting
prowess of an actodactress influences audience appreciation of plays. Also,
the antecedent/popularity of ai actoriactress in previous successful products
can influence audience acceptability of a new play. The contents of
questionnaire items of 9 and 11 were accepted. The two have the mean
scores of 3.9 and 3.8; which when summed up has a cumulative mean score
Questionnaire items' contents for 10 and 12 were rejected. These two
have mean scores of 1.1 and 1.3 respectively. This results in a cumulative
mean score of 1.2, i.e. 1.1 + 1.3 + 2.
Research question 4 attempted capturing why some plays arrest the
audience interest more than others. From the data available, we can see that
plays that promote and featufsl-omtemporary societal to capture audience
interest more than others. In other words, plays which explore societal
values and contemporary societal issues we more likely to be appreciated by
1,
the audience more than those that lack the above feature. From table four,
the two items (13 and 14) have mean scores of 4.2 and 4.1; which when
added together have cumulative mean score of 4.15, that is 4.2 + 4.1 + 2.
Items 15 and 16, which were opposed to items 13 and 14, were
rejected. Their rejection was necessitated by the fact that they have mean
scores of 1.4 and 1.I respectively; which when added up give a cumulative
mean score of 1.25, that is, 1.4 + 1.1 + 2. Questionnaire items 13 and 14
were instead accepted.
Therefore, the following research findings were made:
The imaginative invention of an actorlactress and a message constitute
the creativity of radioltv plays.
Originality in content makes the audience appreciate plays and age is
not a determining factor in audience appreciation of plays.
The acting prowess and popularity of an actorlactress influence
audience acceptability of radioltv plays.
Promotion of societal values and featuring of contemporary societal
issues capture audience interest by radioltv plays.
From the interviews conducted in the course of this research, it is
established that actor's artisti.ctq&mtials.and interesting messages constitute
creativity in radioltv plays. Again, it is equally learnt from the interviews
that provision of entertainment and featuring of popular artists are some of
,(
.
.
the basic ingredients of interesting radioltv plays.
One important finding from the research is that although a radioltv
play is expected to have a message for its audience, actor's creative
contribution, which provides entertainment in the play, is an inevitable
substance. This is an accord with the view expressed by Nwachukwu-
Agbada (1998:3). In it, he suggests that the basis of a creative drama is the
imaginative ability of the creator and the actors.
Another important discovering in this research is that projection of
societal values and exploration of contemporary societal issues are important
in radioltv plays. This fact synchronizes with the view highlighted by Jones
(2004:24) to the effect that "more often than not the artist or dramatist forces
society to reconsider its values by presenting it with a mirror of itself '.
Also, provision of entertainment has been identified as one of the
features or attributes of radioltv plays. In fact, this is very necessary for it is
possible for a person to abandon or loose his interest in a play simply
because it lacks aesthetic qualities.
For the reasons itemized above, the mass media are expected to
feature plays always in their attempts at disseminating information,
enlightenment of the citizens, .prajection of people's culture and sustenance
of democracy.
References
Jones, V. (2004). Creative Writing. Kent: Hodder and Stoughton.
Nwachukwu-Agbada, J.0.J (1998). A Handbook of Creative Writing. Enugu:
John Jacob's Books.
Udechukwu, 0 . (2003). Aesthetics and the Mythic Imagination. Washington
D.C: Three continents press.
White, D.M. (1995). The Gatekeeper. London: Free press.
CHAPTER FIVE
CONCLUSION
5.1
Summary
Creativity has been identified to involve a person's (the creator)
imaginative thinking based on the artistic representation of experiences with
a view to achieving aesthetic effects through deployment of structure and
content. A lot can be achieved by this. Apart from serving as an outlet for an
individual's pent-up feelings and passions, it can be used to draw society's
attention to its numerous ills and inadequacies.
Besides, creativity serves as a medium for dissemination of a people's
culture as well as a means for provision of entertainment. The above
functions are very necessary in the actualization of the aims of the mass
media.
For a radioltv play to be well acceptable to the audience, it has to, not
.<,,.."l.,?.
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.
only be an imaginative invention of the creator, but also involves a proper
utilization and articulation of the artistic ingenuity or prowess of the
characters or participants. To do thisperfe&ly, the content of the play should
be original and catchy. Another point is that for every radioltv play, to be
able to receive a wider acceptability, it should take cognitive of the issues at
stake in the environment of the target audience. To cap this also, societal
values and the cultural norms of the people who are the target viewers or
listeners should be highlighted.
Besides projecting societal values and exploring contemporary
societal issues, it has been observed that provision of entertainment is a very
important feature or attribute of radioltv play. Many have been seen
abandoning plays which have important messages simply because they do
not have enough aesthetic values or qualities.
In all, for the audience to perceive a play as a good one, there should
be a fascinating deployment of content for the purpose of casting artistic
delight. This, it was discovered, can be done through employment of
techniques and the artistic statement the creator makes at the end to cap his
work. The creativity of a play as perceived by the audience involves the
message of a play; the creator's imaginative deployment of structure; and the
realize a successful play, all these
actors' artistic ingenuity or .prowess~:~To
should be present.
Put differently, both the creator's and the actors artistic, potential and
,I
.
.
interesting messages constitute creativity in radioltv plays.
5.2
Recommendations
Following our identification of the various uses and functions of
creativity, the Nigerian Mass Media should always feature plays in their
struggle to disseminate information, to enlighten the citizens and to project
our people's culture. Again, to really achieve prominence, media practitioner
should have needs and aspirations of their target audience at heart while
trying to produce programmes for their consumption.
To make their programmes catchy and interesting, they sliould ensure
that contemporary societal and political issues are well featured. Besides,
efforts should always be made to project the people's cultural norms and
+.
value system. This is to ensure order or coherence in our society. To achieve
this, all radioltv plays must aim at making the audience to mediate, hope,
reflect, get excited, laugh or cry as the case may be.
More time should be given to radioltv plays by our radio and
television stations. This is to enable the audience to have access to many
messages contained in many plays yet to be aired. This is exactly what the
B.B.C, London has been be doing
.
To reduce the dearth of radioltv plays, more media practitioners
should involve themselves in the area of creating radioltv plays. Our radio
,t
.
.
and television houses should, from time to time, organize drama
competitions to stimulate the interest of many who, ordinarily, may not see
the worthwhileness of creating radioltv plays.
Furthermore, enough publicity should be given to every drama
competition so that many talents will be, by so doing, captured, developed
and appreciated. Such publicity should highlight some of the benefits
wmmr w me
B mD&P
derivable in the creation of the plays.
Government, on its own, should establish centres for the development
of arts of which drama is an aspect. These centres should always encourage
new media men and women to try their hands in the art of creating radio and
television plays. There should equally be incentives so that many will
develop their interest in this vital area of creativity.
In all, all radio and television plays should ensure that they feature
issues that are of national or societal importance. They should also ensure
that their plays are inventive and suggestive enough so as to create the
needed artistic delight as expected from every play. Since aesthetics is an
important aspect of arts, every radio or television play should be capable of
entertaining its audience in order for their interest and attention to be
sustained.
. ,, . .
,
.l.
.,. ., .!*
'
Moreover, creators should ensure that the contents of their plays are
v
original and in accord with the taste of time so that the plays will not be
It
boring. Creativity therefore should be achieved by craftily combining
structure and content with a view to casting an artistic effect or delight.
APPENDIX I
QUESTIONNAIRE
Department of Mass Comm.,
University of Nigeria,
Nsukka.
November 2006.
Dear Respondent,
My name is Okoronye, Uzondu: a master's degree student in the
above department and school. Currently I am conducting a research to
determine the audience perception of creativity in the structure and content
of radioltv plays.
As a user of both radio and television, you must have been listening to
and watching radio and television plays. Kindly fill in the attached
questionnaire following the instructions. Your response shall be kept secret
and used specifically for the study.
Thanks abundantly for your anticipated co-operation.
Yours faithfully,
,I
.
.
Okoronye, Uzondu.
QUESTIONNAIRE FOR AUDIENCE PERCEPTION OF
CREATIVITY IN THE STRUCTURE AND CONTENT OF
RADIO/TELEVISION PLAYS
SECTION A:
Please tick
GENERAL INFORMATION
1
7
1to indicate your response
1.
Sex:
Male
2.
Age bracket
(15-24
1
(35-441
I
Female
(25-34
45 and above.
I
SECTION B:
QUESTION I: What is Creativity in Radio1T.V Plays?
Please respond to the statements below as regards what constitutes
creativity in radioltv plays. Use the key: Strongly Agree (SA), Agree (AG),
Undecided (UN), Disagree (D) and Strongly Disagree (SD).
smo.
Creativity in RadiolTv Plays
1
The imaginative invention of an
actorlactresses determines a
product's creativity.
The imaginative invention of an
actorlactress does not determine a
product's creativity.
A creative play must be
informative
The message of a play does not
necessarily constitute creativity
SECTION C
QUESTION 2: What constitutes Audience Perception of Creativity in
RadioITv. Plays.
.,*,..
.
"l.,?.,,,.la
Smo.
5.
6.
7.
8.
Audience perception of
Creativity in RadioITv Plays
5
SA
The audience usually appreciate ,,
plays that are original in content
Originality in content does not
necessarily affect audience
appreciation of the product.
People's appreciation of plays is
mostly influenced by their ages.
Age is not a determining factor in
audience appreciation of plays.
. .'
4
A
3
UN
2
D
1
SD
SECTION D
w-
QUESTION 3: Do personalities affect the Quality of Radio/Tv plays?
Smo.
9.
10.
11.
12.
Affect of Personalities
On the quality of radio1Tv plays
The acting prowess of an
actorlactress influences audience
appreciation of the product.
The acting ingenuitylability of an
actorlactress does not influence
appreciation of the product.
The antecedentlpopularity of an
actorlactress does not influence
acceptability of a new product.
People do not consider an
actor's/actress' popularity in their
judgment and appreciation of
I products.
5
SA
4
A
3
UN
2
D
~~~~~
SECTION E
Question 4: Why do some Radio/TV Plays capture Audience Interest
More than Others?
smo.
13.
.<
,, . ,
Why some plays capture
Audience interest more
WY.
,r.
3'
.T*
Products that promote the societal
values tend to capture people's
I interest easily.
Plays that feature contemporary '
societal issues tend to capture
audience interest easily.
Projection of societal values does
notplay any significant role in the
sustenance of audience interest.
Projection of societal
cokemporary issues does not
affect audience appreciation of a
productlplay .
1
SD
APPENDIX 11: INTERVIEW QUESTIONS
INTERVIEW QUESTIONS TO DETERMINE AUDIENCE
PERCEPTION OF CREATIVITY IN THE STRUCTURE AND
CONTENT OF RADIOITV PLAYS
What major qualities do you think constitute creativity in
Radio/TV plays?
What major ingredient do young think make up the structure of a
radio/Tv plays?
How do you think the content of a radio/Tv plays can be realized?
To what extent do you think an actor7s/actress7artistic ingenuity
can contribute to the success or other wise of a radio/Tv play?
Do you think the audience are attracted to plays because of the
creative prowess of the characters?
To what extent do you think the message of a play can go in
popularizing it?
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