Full Project - CHRISTIAN DRAMA MINISTRY AND SECULAR INTERACTIONS

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Full Project – CHRISTIAN DRAMA MINISTRY AND SECULAR INTERACTIONS

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Abstract

This research sought to examine Christian drama ministry and secular interactions: the rehabilitation plan for secular artistes crossing over to Christian movie ministry. The acceptance of Drama as a dynamic form of communication, and a powerful tool of evangelism is on the increase in Nigeria. Nevertheless, many Christians still hold prejudice against it; considering it as profanity. This study tracks the recent development in drama ministry over the influx of secular actors/actress switching over to Christian Drama Ministry, with the view of providing a rehabilitation plans for them. The study was carried out in the premises of Mount Zion Institute of Christian Drama Ile- Ife Osun State. Primary data were derived from first-hand information through the researcher’s personal encounter as one, being a Christian Drama Minister under the above drama institute. These were supplemented with the secondary data from relevant published papers and books. The study reveals that a secular artist crossing over to the Christian drama ministry still carries the mindset and attributes of secularity within that needs to be properly checked. The study also discovered that Christian drama ministers are saddled with the responsibility of taking care of the Church of Jesus, dealing indirectly with their spiritual needs through their performance. It was concluded that to become a member of or actor in Mount Zion drama ministry, there are certain criteria actors must meet. Which entails that there are laid down rehabilitation plans for secular artistes crossing over to Christian movie ministry in Mount Zion Institute of Christian Drama. It was recommended that every intending secular actor or actress crossing over to Christian drama ministry must have an understanding of drama ministry. Also, prospective secular artists’ crossing over to Christian drama ministry must be born again.

TABLE OF CONTENT

CHAPTER ONE: INTRODUCTION

1.1 Background of Study

1.2 Statement of Problem

1.3 Purpose of Study

1.4 Research Questions

1.5 Significance of the Study

1.6 Scope of the Study

1.7 Limitations of Study

1.8 Operational Definition of Terms

CHAPTER TWO: REVIEW OF RELATED LITERATURE

2.1 Introduction

2.2 Concepts Delineation

2.2.1 Concept of Drama

2.2.2 Concept of Christian Drama

2.3 The Evolution of Christian Drama in Nigeria

2.3.1 Period of the Colonial Christian Concerts

2.3.2 Period of Native Christian Drama1860-1944

2.3.2 Period of Reformation

2.4 Development of Christian Drama Ministry in the Contemporary Times

2.5 The Nigerian Secular Movie Industry: Nollywood

2.6 Secularism in Africa

2.7 Content of Christian Videos in Nigeria

2.8 Theoretical Framework

2.9 Empirical Review

CHAPTER THREE: RESEARCH METHODOLOGY

3.1 Introduction

3.2 Research Design

3.3 Study Area

3.4 Population of the study

3.5 Sample and Sampling Technique

3.6 Instrument for Data Collection

3.7 Method of Data Collection

3.8 Method of Data Presentation, Analysis and Interpretation

CHAPTER FOUR: DATA PRESENTATION, ANALYSIS AND INTERPRETATION

4.1 Introduction

4.2 Data Analysis and Findings

CHAPTER FIVE: SUMMARY, CONCLUSION AND RECOMMENDATION

5.1 Summary

5.2 Conclusion

5.3 Recommendations

References

Appendix I

Appendix II

CHAPTER ONE

INTRODUCTION

1.1 Background of Study

Drama is an adaptation, recreation and reflection of reality on stage, it is simply an imitation of life. Drama is different from other forms of literature because of its unique characteristics. It is read, but basically, it is written or scripted to be performed, so the ultimate aim of dramatic composition is for it to be presented on stage before an audience. Therefore drama uses actors to convey it messages. It is difficult to separate drama from performance because during the stage performance of a play, drama brings life experiences realistically to the audience. Drama has a unique nature. It has developed and been improved upon by various dramatists over the ages. The unique nature of drama makes it possible for it to be read and as also to be performed (Agoro, 2004).

Christian drama is a play in which there is the manifestation of Christian ethos, and which represents an authentic presentation of the Christian world-view as depicted in the Bible (Agoro, 2002). Christian dramas are produced by religious institutions or groups with the aim of evangelizing. Christian drama today is wielding much positive impacts on the Nigerian society. It has proved a quintessential tool in defining values for its audience, as well as serves as panacea for diverse ills, correcting vices and misdemeanors in the society. Nigerian Christian drama has also been influenced by the developments and western culture in the world.

Christian drama is supposed to inform it audience about the character of Christ and represent Christianity at every point of it presentation or performance. Although the secular drama and Christian drama are both for viewer’s consumption, they should diﬀer in motive, casting, content and exhibition patterns. Afe Adogame (2014) notes the distinctions between secular drama and the Christian drama and argues that although the secular interactions may sometimes exhibit doses of Metaphysical and religious motifs, the directors do not intend for them to be religious ﬁlms. It is important to make this distinction because some scholars today speak of the secular drama and Christian drama as existing without distinction from one another (Onookome, 2004).

Christian Drama has developed along with the Nigerian secular theatre in many aspects. One of such aspect is in the effective use of Television platform in addition to live performances. Today, Christian drama has been recognised as a distinct genre of arts, and relevant tool for Christian education, entertainment and evangelism. Most denominations have established official drama groups and engage them in the life and missions of the church. Hence, many youths across denominations are now involved in drama. Aside church based drama groups; there are many independent drama ministries across the country. Another demonstration of the growth of Christian drama alongside the popular Nigerian Theatre, noticeable in the contemporary times is the progressive move from live performances to the film platform (Agoro, 1996). Which has pummeled the interest of most secular artists to switch to Christian drama ministry. Thus creating the need for a rehabilitation plan for secular artistes’ crossing over to Christian movie ministry.

1.2 Statement of Problem

Achieving an effective rehabilitation plan for secular artistes’ crossing over to Christian movie ministry is another noticeable challenge of Christian drama in Nigeria. There is proliferation of drama ministry in almost every denomination in the country, just as the number of churches are increasing same is the number of Christian drama ministries. The problem is that a largest number of these drama ministries claimed to provide adequate adaptation training for secular artist joining their drama ministry. Whereas, most of their drama directors have no formal training on Christian script writing, theatre arts, drama/film making, and Christian drama ministry ethics. The question of “how do they offer what they do not have” then span up? And most of these drama ministry have poor, inadequate or no facilities to adequately train Christian artists. Moreover, their members are in most cases people, who though are Christians, are not also trained in any of the performing arts. This contemporary development therefore become worrisome. As most films made by many Nigerian Christian drama ministries are not presentable in terms of the Christ kind of character it was meant to portray. This study therefore intends to fill in these gaps by examining Christian drama ministry and secular interactions; the rehabilitation plan for secular artistes’ crossing over to Christian movie ministry.

1.3 Purpose of Study

The broad objective of this study is to examine Christian dram ministry and secular interactions in Mount Zion Institute of Christian Drama Ile- Ife Osun State. Specific objectives of the study are:

To investigate the rehabilitation plan for secular artistes’ crossing over to Christian movie ministry.
To ascertain the existing relationship between Christian drama ministry and secular movie industry.
To find out the impact of Christian drama ministry in the lives of its audience and newly inducted secular artists.
To explore the understanding of drama ministers on the application of Christian traditions and ethics in Christian drama ministry.

1.4 Research Questions

To achieve the objective of this study, the following questions are formulated.

What are the rehabilitation plans for secular artistes’ crossing over to Christian movie ministry in Mount Zion Institute of Christian Drama Ile- Ife Osun State?
What are the existing relationship between Christian drama ministry and secular movie industry?
What are the impact of Christian drama ministry in the lives of its audience and newly inducted secular artists?
What is the understanding of drama ministers on the application of Christian traditions and ethics in Christian drama ministry?

1.5 Significance of the Study

It is often imperative to question what would be the significance of any endeavor, be it academic or otherwise. This is also applicable in this study. The researcher anticipates that at the completion of this study, will give a clear insight on the knowledge about Christian drama ministry and secular interactions. This research work will be of great benefit to drama Directors and Ministers in Mount Zion Institute of Christian Drama, Ile- Ife Osun State in the following ways:

Firstly, it would serve as a gap-closer to existing literature on this subject as it affects Christian movie industry that are not specifically tailored to the African, Nigerian, and Mount Zion Church contexts.

Secondly, it would go a long way to notifying and reminding all drama directors and coordinators on the need to ensure the effective rehabilitation of newly inducted artists to the ministry.

Thirdly, it will help drama ministers to carefully evaluate the need to rehabilitate plan for secular artistes’ crossing over to Christian movie ministry.

Again, the findings of this study will help backsliders receive encouragement that will results in restoration and rededication of many who are backsliding in secret from the drama ministry.

Furthermore, the study will also add to existing store of knowledge. Thus, the findings will add to studies that have been done, so that people in other part of the country can also appreciate the problem. Again, it will be a source for further research and of relevance to stakeholders in the field of research and education.

1.6 Scope of the Study

The scope of this study revolves around the entire federation; since it examines Christian drama ministry and secular interactions; the rehabilitation plan for secular artistes’ crossing over to Christian movie ministry, the dynamic scope has a national outlook and it will thus be universal to embark on the study. However, it becomes very necessary for the researcher to narrow it down to the premises of Mount Zion Institute of Christian Drama Ile- Ife Osun State with a view of finding a lasting solution to the challenges.

1.7 Limitations of Study

This research work was confronted with some of the following limitations:

Firstly, there was limitation due to fund and transportation difficulty to get to all respondents for questionnaires.

Secondly, some respondents were unwilling to respond to the questionnaire and interview questions.

Thirdly, there was limited time for the researcher to interview most of the drama minister, coordinators, and other members to distribute questionnaire.

Notwithstanding these foregoing limitations, the researcher still had the opportunity to distribute and collect the questionnaires from the respondents as well as gain access to relevant information from people that were interviewed. The researcher believes that the study is credible, valid, meaningful and practical.

1.8 Operational Definition of Terms

For the purpose of clarity, these terms that may be confusing to the reader are defined in the context of their usage in the work the following order:

Drama: Drama is the specific mode of fiction represented in performance: a play, opera, mime, ballet, etc., performed in a theatre, or on radio or television.

Christian: A Christian is someone whose behavior and heart reflects Jesus Christ. Followers of Jesus were first called “Christians” in Antioch

Christianity: Christianity is an Abrahamic monotheistic religion based on the life and teachings of Jesus of Nazareth. It is the world’s largest religion, with about 2.5 billion followers

Drama minister: A drama minister is a born-again child of God, called with the Holy Spirit and visions to serve the Lord in the in the area of drama evangelism ministry. A drama minister is someone who uses unthreatening way of evangelism as a tool to administer the message of the gospel of Christ.

Drama Ministry: The Drama Ministry is for the Glory of God. It supports the worship services and gatherings through dramatic interpretations, exalts the name of Jesus Christ. Serve by presenting the Gospel of Jesus Christ using Christian drama with local bodies of believers.

Secular Interactions: This is simply getting involved with things, stuffs and a way of behavior that are not religious. Anything interaction not affiliated with a church or faith can be called secular interaction. Or pertaining to worldly things or to things that are not regarded as religious, spiritual, or sacred.

Rehabilitation: This is the action of restoring someone to health or normal life through training and therapy after imprisonment, addiction, or illness

Christian film industry: The Christian film industry is an aspect of Christian media for films containing a Christian-themed message or moral. They are often interdenominational films, but can also be films targeting a specific denomination of Christianity.

Nigerian Movie Industry: Nollywood is a sobriquet that originally referred to the Nigerian film industry.

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