Choreographic metaphors of political terrorism and counter-terrorism in <i>Arodan</i> Dance Theatre

Abstract

In Nigeria, the deliberate intimidation and exploitation of the common man by the ruling class, for political aims, has reached endemic proportions. These strategic intimidations come in diverse forms, and clearly qualify as acts of terrorism. In the Yoruba worldview, ‘Arodan’ is a cautionary concept which is employed by the elders to curb the excesses of troublesome children. However, it has evolved to be a two-edged sword which could either be used for both corrective and
curative aims, or manipulated for punitive and evil purposes. Arodan, a dance workshop performance by the students of the Department of Theatre and Media Arts, FUOYE, is built on the Yoruba conceptual frame of ‘Arodan’. The dance theatre is a metaphor which explores the ‘Arodan’ concept to identify Nigerian politicians as the ‘elders’, and the common man as the ‘troublesome child.’ Deploying the social identity theory (SIT), this article, examines the use of choreographic metaphors to enact the forms, features, and effects of political terrorism within the Nigerian space in the Arodan performance. It finds that the
desperate yearnings which stem from selfish political interests are cloaked under terrorist acts in Nigeria. In conclusion, the paper affirms that the resolutions simulated in Arodan – national reorientation, political awareness, vigilance, and collective will should be deployed as proactive measures to counter political terrorism in the country at developmental crossroads.

Keywords: Political terrorism, SIT, Arodan dance theatre, Choreographic images, Nigeria