Abstract
This study examines the role of theatre production in curbing the menace of cultism in Nigerian society, using Best Ugala’s The Banner of Peace as a case study. Cultism, a persistent problem in educational institutions, continues to hinder societal development and peaceful coexistence. Through the lens of applied theatre and social advocacy, this research explores how The Banner of Peace utilizes dramatic techniques to expose, critique, and offer solutions to the issue of cultism. The study employs qualitative analysis, including textual interpretation, performance critique, and audience reception. Findings suggest that theatre, when properly utilized, is a powerful tool for social change and youth reorientation. The research recommends the integration of socially conscious drama into educational curricula and community outreach programs as a means to address cultism and promote peace.
Table of Contents
Chapter One: Introduction
1.1 Background of the Study
1.2 Statement of the Problem
1.3 Objectives of the Study
1.4 Research Questions
1.5 Significance of the Study
1.6 Scope of the Study
1.7 Limitation of the Study
1.8 Methodology
1.9 Definition of Terms
Chapter Two: Literature Review
2.1 Concept of Cultism
2.2 Historical Background of Cultism in Nigeria
2.3 The Role of Theater in Social Reformation
2.4 Theater and Youth Engagement
2.5 Review of The Banner of Peace
2.6 Theoretical Framework
2.7 Empirical Review
2.8 Summary of Literature Review
Chapter Three: Textual Analysis of The Banner of Peace
3.1 Synopsis of the Play
3.2 Major Characters and Their Roles
3.3 Themes of the Play
3.4 Use of Dialogue and Dramatic Techniques
3.5 Portrayal of Cultism and Its Consequences
3.6 Summary of Textual Analysis of The Banner of Peace
Chapter Four: Theater as a Tool for Reducing Cultism
4.1 Impact of Theater on Audience Perception
4.2 Case Studies or Live Performances (if applicable)
4.3 Community and Educational Theater Strategies
4.4 Challenges and Opportunities
Chapter Five: Summary, Conclusion and Recommendations
5.1 Summary of Findings
5.2 Conclusion
5.3 Recommendations
References / Works Cited
Appendices
CHAPTER ONE
INTRODUCTION
1.1 Background of the Study
Cultism has emerged as one of the most troubling phenomena affecting the Nigerian educational system. It is no longer confined to higher institutions alone but has spread to secondary schools and even some primary schools. These cult groups, originally modeled after confraternities with positive aims such as intellectual engagement and social justice, have become notorious for promoting violence, drug abuse, and criminal activity (Adewale 22). The spread of cultism in schools has not only disrupted academic activities but has also endangered the lives of both students and teachers.
While law enforcement, punitive policies, and awareness campaigns have attempted to curb this menace, they have often fallen short due to their reactive and sometimes oppressive approaches. Scholars and social critics argue for a more holistic and preventive method of addressing youth involvement in cultism—especially one that engages the intellect and emotions (Oni 30). In this regard, the performing arts, particularly theater, offer a compelling alternative.
Theater has historically been a tool for enlightenment, resistance, and social transformation in Africa. From traditional oral performances to modern stage drama, the African theatrical tradition has long served as a mirror to society, confronting issues such as corruption, oppression, gender inequality, and violence (Uka 18). The power of theater lies in its ability to present real-life situations in accessible and emotive ways, prompting both individual and collective reflection.
Best Ugala’s The Banner of Peace is a dramatic work that explores the dynamics of cultism and the consequences it has on individuals, families, and society. Through vivid characters, compelling dialogue, and strong moral messaging, Ugala weaves a narrative that does more than entertain—it educates and warns. This research investigates how the performance and study of The Banner of Peace can serve as an effective tool in reducing cultism, particularly in school environments. It argues that theater, when used purposefully, can change attitudes, raise awareness, and ultimately contribute to social reformation.
Cultism has become one of the most persistent threats to peace and academic development in Nigerian institutions of learning. Originally created as associations for promoting brotherhood and academic excellence, many campus cults have evolved into violent groups that engage in crimes such as armed robbery, rape, and murder (Adewale 15). Their influence extends beyond school campuses, affecting families and communities and contributing to the moral decay of the younger generation.
Despite repeated government interventions, including security operations, anti-cult laws, and public awareness campaigns, the menace of cultism remains prevalent. The reactive nature of these interventions often fails to address the root causes of cultism, such as youth unemployment, poor mentorship, and the lack of strong moral education (Ezeonu 43). As such, there is a growing need for more proactive and creative strategies to combat the spread of cultism.
Theater, as a cultural and educational tool, holds immense power to influence behavior and shape public consciousness. Through performance, stories, and relatable characters, drama can mirror societal issues and stimulate critical reflection and dialogue among audiences (Oni 28). Theater does not only entertain—it educates, persuades, and has the potential to reform societal values.
In this context, Best Ugala’s The Banner of Peace serves as a compelling case study. The play presents a dramatized yet realistic depiction of the dangers of cultism, offering an artistic avenue for promoting peace and social change. By exploring the content, themes, and messages of this work, the present study examines how theater can be employed as a preventive and corrective measure against cultism in Nigerian institutions.
1.2 Statement of the Problem
Despite various measures taken by educational authorities, security agencies, and policymakers, cultism continues to thrive in Nigerian schools, particularly in tertiary institutions. This persistent challenge is not merely a result of weak enforcement or inadequate policy, but often stems from deeper societal issues such as poor moral upbringing, peer pressure, unemployment, the desire for power and identity, and the breakdown of traditional value systems (Ezeonu 41). Traditional methods of combating cultism, such as expulsion, police intervention, and public condemnation, have proven largely ineffective or only temporarily successful.
Many of these strategies fail to address the emotional, psychological, and social factors that draw students—especially the youth—into cult activities. More importantly, these methods often lack the ability to engage students on a personal and reflective level, which is crucial in transforming behavior and reshaping attitudes. According to Oni, meaningful change must involve creative platforms that speak directly to the youth in language and form they can relate to (Oni 35).
Theater, as a form of performative storytelling, has the potential to engage audiences cognitively and emotionally, making it a powerful educational tool. However, despite the rich tradition of socially-engaged theater in Nigeria, its use in anti-cultism campaigns has been minimal and underexplored in academic research. Best Ugala’s The Banner of Peace offers a rare and valuable opportunity to examine how a dramatic text and its performance can expose the dangers of cultism and promote alternative values of peace, community, and personal development.
This study, therefore, seeks to address the gap in current anti-cultism strategies by analyzing how theater production—specifically through Ugala’s The Banner of Peace—can be used not just as a mirror of society but as a proactive intervention for moral reorientation and youth transformation.
1.3 Objectives of the Study
The primary objective of this study is to explore the potential of theater as an effective tool for reducing cultism in Nigerian educational institutions, using Best Ugala’s The Banner of Peace as a case study. The study aims to demonstrate how theatrical production and performance can be used not only to raise awareness but also to promote peace, moral values, and social change among youth.
Specifically, the study seeks to:
1. Examine the themes, characters, and dramatic techniques employed in The Banner of Peace that highlight the dangers of cultism.
2. Assess how theater can influence the perception, attitude, and behavior of young people toward cultism and violence.
3. Investigate the educational and social value of using theater-based interventions in anti-cultism campaigns.
4. Recommend ways in which theater can be integrated into school curricula and extracurricular programs to promote peace and discourage cult-related activities.
1.4 Research Questions
To guide this study toward achieving its stated objectives, the following research questions are posed:
1) How does Best Ugala’s The Banner of Peace portray the causes, effects, and consequences of cultism in Nigerian society?
2) What dramatic techniques and narrative strategies are employed in the play to deliver anti-cultism messages?
3) In what ways can theater productions influence the attitudes and behaviors of students toward cult-related activities?
4) How can theater be integrated into educational and social programs as a tool for reducing cultism and promoting peace?
1.5 Significance of the Study
The menace of cultism in Nigerian institutions has persisted despite numerous punitive and administrative efforts to curb it. As the crisis continues to affect the academic, psychological, and social well-being of students and educators alike, it becomes increasingly necessary to seek alternative and creative solutions. This study is significant because it explores the untapped potential of theater as a transformative medium for addressing youth violence, particularly cultism, in educational settings.
By examining Best Ugala’s The Banner of Peace, the study highlights how theatrical narratives can be harnessed not only to mirror societal ills but also to offer corrective and moral messages. Theater has historically served as a tool for social mobilization and reorientation in Africa. According to Oni, drama provides a communal space where audiences can critically engage with issues that affect them and, in the process, become agents of change (Oni 38). This potential makes theater an invaluable resource in preventive education and youth development.
Furthermore, this research contributes to the growing field of applied theater and performance studies, particularly in relation to education and behavioral change. It is intended to benefit educators, curriculum developers, policy-makers, drama practitioners, and anti-cultism advocates by providing a model for using performance as a proactive educational tool. Uka emphasizes that socially conscious drama, when purposefully crafted and executed, can reform attitudes and reduce deviant behaviors among young people (Uka 27).
Ultimately, the study demonstrates that addressing cultism does not always require punitive action; it can also be tackled through intellectual and emotional engagement, dialogue, and performance. In doing so, the research positions theater as a viable complement to existing anti-cultism strategies in Nigeria.
1.6 Scope of the Study
This study is primarily focused on examining how theater, as a tool for social reformation, can contribute to reducing cultism in Nigerian institutions of learning. The research specifically analyzes Best Ugala’s The Banner of Peace as a representative theatrical work that addresses the theme of cultism. The scope of this study includes: A literary and dramatic analysis of The Banner of Peace, an exploration of how the play reflects the causes, consequences, and solutions to cultism and an assessment of the potential role of theater in influencing youth behavior and values through performance and education
1.7 Limitation of the Study
However, certain limitations are acknowledged:
Limited Textual Base: The study focuses solely on The Banner of Peace, which, although powerful, may not represent the full spectrum of anti-cultism drama in Nigeria.
Absence of Live Performance Data: Due to resource and logistical constraints, the research does not incorporate field-based performance assessments, audience reception studies, or actor-audience interaction, which could provide empirical support for theater’s impact.
Geographical Limitation: The study is based on the Nigerian context and may not fully account for how theater against cultism is received or practiced in other African or global regions.
Time Constraint: Given the academic calendar, the duration available for this research restricted broader surveys, interviews, or school-based pilot interventions.
1.8 Methodology
This study adopts a qualitative research approach, primarily focusing on literary and theatrical analysis to explore how Best Ugala’s The Banner of Peace can be used to reduce cultism through theater production. The qualitative method is appropriate because it allows for an in-depth examination of themes, characters, and dramatic techniques within the text, as well as the social implications of its performance (Creswell 45).
This research depends on primary and secondary source materials. The primary source material is oral interview. For the secondary material source: Textbooks, Journals, Internet, Articles and other published materials. The method shall be narrative, descriptive and analytical.
1.9 Operational Definition of Terms
Cultism: Cultism refers to the formation and activities of secret or semi-secret groups that often engage in violent, criminal, or antisocial behavior, especially within educational institutions. In Nigeria, cultism is largely associated with confraternities that began as social or academic clubs but have evolved into groups involved in violence and intimidation (Ezeonu 7).
Theater Production: Theater production encompasses the process of creating and staging a play or dramatic performance, including scripting, directing, acting, set design, and audience engagement. It serves as a medium of artistic expression and social commentary (Oni 12).
Social Reformation: Social reformation is the process of changing social attitudes, behaviors, and institutions to improve societal conditions, often through education, advocacy, or cultural expression (Uka 5).
Youth Engagement: Youth engagement involves actively involving young people in programs, activities, and decision-making processes that affect their lives and communities, aiming to empower and positively influence their development (Adewale 32).
Anti-Cultism Campaign: Anti-cultism campaigns are organized efforts by individuals, institutions, or governments to prevent, reduce, or eradicate cult-related activities and violence through education, law enforcement, and community involvement (Ezeonu 11).
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