THE PLACE OF SEMIOTICS IN CONTEMPORARY NIGERIAN DANCE: A STUDY OF NNAMDI AZKIWE UNIVERSITY THEATRE’S “HARVEST OF GOOD WILL” AND JIGAWA STATE’S “FARMERS’ DANCE”.

THE PLACE OF SEMIOTICS IN CONTEMPORARY NIGERIAN DANCE: A STUDY OF NNAMDI AZKIWE UNIVERSITY THEATRE’S “HARVEST OF GOOD WILL” AND JIGAWA STATE’S “FARMERS’ DANCE”.

  • The Complete Research Material is averagely 52 pages long and it is in Ms Word Format, it has 1-5 Chapters.
  • Major Attributes are Abstract, All Chapters, Figures, Appendix, References.
  • Study Level: BTech, BSc, BEng, BA, HND, ND or NCE.
  • Full Access Fee: ₦4,000

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ABSTRACT

Contemporary Nigerian dances are as diversified as the culture from which they emerge. This project is an exploration of the use of semiotics in contemporary Nigerian dance. Contemporary Nigerian dance is deeply rooted in the semiology of images because it is not merely an agglutination of symbols, but symbols contained in the language content of any given society. The place of semiotics in this instance dance, becomes an expression of linguistic pattern of a choreographed contemporary Nigerian dance. Semiotics interpretation is a concept that would help in the understanding of meaning-making inherent in activity. Semiotics involves the interpretation of signs, a study of how meaning is derived from both simple and complex knowledge of images, sounds, words gestures and objects. “The place of semiotics in contemporary Nigerian Dance” is thus, aimed at educating choreographers and dance scholars on how semiotics can aid the understanding of a dance through the appropriate channel of interpretation. It is a conscious call to the realization of the role of semiotics in understanding life, where culture codes form a basis of communication. This project has been able to establish an understanding of the way semiotics operates as an interpretive connecting rod between thought, ideas and impressions.


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DEDICATION

This work is dedicated to God Almighty for giving me ideal wisdom

and strength to start and finish this programme.


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ACKNOWLEDGEMENTS

To my wonderful lecturers Dr. Obadiegwu, Dr. Alex Asigbo, Dr. Charles Nwadigwe, Mr. Dan Uwandu, Dr. Tracie Ezeajugh, Mr. C. C. Nwosu, and Mr. Emma Ebo for igniting the endless burning desire in me to follow Theatre Arts as a profession even up to PhD level. My profound gratitude goes to God Almighty. May your name be highly praised.



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