A Journal ofTheatre & Media StudiesVol. 1. No. 1, April, 2015

THE COMMUNAL MEDIA ARTS AS COMMUNICATIGNTOOLS FOR RURAL CHANGE

Jegede, Emmanuel (PhD)Theatre andPerforming Arts Department, Ahmadu Bella University Zaria, Nigeria

+234802826476 .Jefiedewisdoni(a).Gmail.Com

Abstract

Despite the recognition ofthe central place ofthe traditional African communication system inthe projection ofAfrican cultures and development, it is lamentable to remark that this aspect ofcommunication has not received adequate attention especially in their use for changeinterventions. It is very important to note that the African communication system is a complexone and the most important way by which the ruralpeople communicate among themselves andwith others. It is inextricably tied to the culture ofthepeople. Thus, itshould behighlighted thatthe unabated erosion of indigenous communication system by the western education, religion,media and other external forces may continue to endanger the survival of the indigenousknowledge and hinder the success of local communal change initiatives. In view of this, thispaper argues that there is dire need for the intensive sensitization on the deployment of theindigenous African communication systems and its mainstreaming within development process ifsustainable change must happen. The papersuccinctly classifies the traditional communicationsystems into several categories and distinguishes itfrom the modem communication systems andestablishes theirplace in the context ofdevelopment.Keywords: Trado-Communication, Communal Arts, Culture, Development, Modern Media,Rural Change,

Introduction

Every society has evolved ways oftransmitting information from one person toanother and Africa is not an exceptioaUnfortunate^, the feilure of devefopmentinterventions in Africa is not essentially dueto the absence of resources and personnelbut largefy due to the problem of ineffectiveor non-utilization of local media channelsfor indigenous devefopment programmes.Africa's rural population has remained avoiceless majority for a long time. Theyhave been marginalized in the scheme ofthings and their interests, as it were,subsumed by the urban interests. Thisnecessitates an alternative media that will

provide a voice for this neglected majorityand bring their interest to the fore.

After more than six decades offrustrating e3q)ectations and continuous

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battle between the forces of developmentand underdevefopment in Africa, there is theneed for an examination of the enpfoyableAfrican communication strategies forchange intervention especially in this digitalage. In this regard, a lot of questions cometo mind: Do we really think that the newcommunication technologies that areeverywhere today can alone resolve allconflicts and result in positive changesexpected in Afiica? Can the new mediaalone produce a new Afiica? Which placedo the Afiican communication approachesactuaify occupy in addressing the internaland external violent conflicts and crises that

have plagued the continent in the last 500years? Since the relatfonshp betweencommunication and devefopment isundeniable, addressing African problemstherefore, requires pragmatic

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conrnmication strategies which do not ontyappeal to the African people themselves, butare also culturally sensitive, socialfyresponsible and endo^nous in nature.

Hence the central focus of this paperis on the critical need to mainstream thetrado- communication system otherwise,called the communal arts within the

devefopment programmes in Africaespecial^ on the issue of conflicts andviolence. This paper, however, does notsuggest that the modem media ofcommunication should be ignored for thatcannot be a good alternative, but rather, therich potentials of Afifoan communicationmedia should be fiilfy tapped, explored andappropriate^ used in synergy with themodem media of communication for a moreefiective development intervention acrossthe various peoples of Afiica despite theirpsychographic and demographic differences.

Communal Media Arts: Meaning andNature

From a general point of view, thecommunal arts are seen as indigenous modesof comraunicatbn that are steeped intraditional culture. As a matter of feet,communal arts have been given diflferentforms of appellations. Such appellationsinclude the 'community communicationsystem, 'cultural practices, 'Afiicancommunication system', traditional or'indi^nous forms of communication','alternative media', trado-communication,focal media or folkforic arts just to mentiona few.

By the way, Howley (20052)defines communal media arts as grassrootsor focalty oriented media access initiativespredicated on a profound sense ofdissatisfection wifli mainstream media form

and content, dedicated to the princ^les offree expression and partic^atorydemocracy, and committed to enhancingcommunity relations and promoting

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community solidarity. Community mediaarts are those arts which are developed andmanaged by people sharing common valuesand aspirations in a small geographicallydefined area which promote access andparticpation for devefopment. These are arts( be it music, drama, dance storytelling,festivals, poetry) which have been adaptedfor use at fiie community level for thepurpose ofdevefopment.

Communal mode of

communication reinforces and promotes asense of nationality and nationhood inAfrica; forms the basis for difiiisionnetwork; avoids enpty waste in informatfondissemination and it is sinple and lesscostty. Thinking in the same way, Olulade(1998) states that communal arts, as used inAfiica, is an admixture of social conventionsand practices that have become sharpenedand blended into veritable communication

modes and systems which have almostbecome standard practices for society. It is asystem of communication which pervadesall aspects of rural Afiican life.

According to Denga (1988) cited inMede (1998), communal media arts areperhaps the most inportant ways by whichthe rural communities communicate amongthemselves and with others. The communal

arts as communication strategies, are imbuedwith the following characteristics:accessibility, channel credibility, vahie-orientedness, flexibility, and areinstrumental for collecting devefopmentinformation and has the possibility of beingused for change intervention sustainabfy. Tothis end, Ogwezzy (2009) coherent^isolates the uniqueness of the Afiicacommunal arts as follows:

• it is understood by members of acommunity

• it readify appeals and connectswith the people's language,culture, beliefr, myths, legend andcustoms which enhance

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effectiveness of commimication (itrelates to values, norms, ethos, andculture of Africans)

• it uses symbols, values andindigenous institutions whichenhance message effectiveness

• it projects African historical past• it derives from the culture, beliefe,

and the way of life of Africans• it is rooted among the local people

and respected by the peopleespecially the mralities.

• It is embedded in the culture of thepeople, which is the driving force

• It relies on indigenous technologyand enptoys values, images andsymbols that the people identifywith.

Rationale for Using Communal MediaArts for Rural Change

Communal arts strategy is a sine-qua-non for a lasting change. Thesignificance of the communal arts is not indispute even with the modem world.Fashomi (2009) recounts the rationale forthe use of communal arts in the context ofchange. Some of the issues he raised arediscussed betow.

• Since the communal arts are largefyinterpersonal and intrapersonalcommunication, they are freefydisposed to use and are effectivewhere attitude and behavior changeare desired. For example, communalarts approaches have been used byinformatbn ministries in states inNi^ria and at the Federal level inchanging the attitudes of formers toaccept use of fertilizers andinsecticides and for communities to

accept modem fomify planningmethods and breast feeding etc.Recentfy, the communal artschannels were combined with the

service of opinion leaders, (among

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them the sultan of Sokoto), inmaking Northem communities toembrace vaccination against majorchildhood killer diseases like polioand measles.

In the same vein, communal artschannels are effective for culturaland social integration especialfyduring introduction of youths intoage-grades in African societies.

• T^ese local channels are equallyrelevant for instigating politicalaction and resolving local conflicts.In this circumstance, manypolitical organizations and partiesuse traditional means ofcommunication for mass

mobilization ofthe people.» Communal media strategy is also

vital in dispelling siq)erstitious,archaic and unscientific attitudes

» In the developing countries such asNi^ria where some 70% of thepeople live in the rural areas.Communal arts channels ofcoinmunication remain instrumentof change.

• Communal arts channels ofcommunication are aligned toperforming arts, so they arepreservers of songs, stories, musicand culture ofthe people.

• The channels serve as conponentsof education activities as they canbe eflfectivefy used in schools andother media of learning.

• Apart from the reasons givenabove that constitute the rationalefor the use of the communal arts

strate^es, Jegede (2010) alsodwells on the necessity for the useof communal arts in any changeintervention especialfy in the ruralareas. According to him:

The justification for the useof communal arts as an

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eflfective tool for

coirammication research in

communities is that, anyprogramme that will inpactpositive^ on the people andinfluence them to changetheir attitudes could be

brought to them through thechannels they are alreadyused to. Apart fi-om that,most of the people beingdealt with in different

communities are non-literate,they depend on culture towhich communal arts provideantidotes.

Without doubt, it is believed that thefocal communities passionate^ lovefolksongs, focal dramatic forms, dances,drama, puppetry, proverbs, stories, folktalesand otl^r nnythofogical narratives acquiredfi'om their ancestors. The effective use of

these focal communal arts, according toJegede (2010), either as an independentform or its incorporation into Theatre-For-Devefopment (TFD) would constitute agood way of focili^ting sustainable changein rural communities.

The feet therefore remains that, thepluralistic fimctions of communal media artsembrace the cultural, social, philosophical,historical, moral, religious, developmental,ethical and aesthetic values of the society.They are quite indispensable to the overallweDbeing of the society. Communal artsencanpsulates and semiotises the society'svalue systems, beliefe and attitudes whichthe society constructs and maintains in orderto sustain and authenticate her sociopolitical and guided essence.

Based on flie above contention,Jegede (2010) strong!^ believes thatcomnBmal arts, if property packaged andutilized, can be effective in delivering a poolof data and stimulating interactivediscussion among different stakeholders and

in the process, strengthening any changeintervention for better living. For example,focal choreographies, poetry, dance-drama,folk-drama, story-telliig and proverbsproperty deployed and staged by focalcommunities can hety ^nerate incisive,thought-provoking and critical issues abouthealth, education, agriculture, sanitation andother environmental matters which could

immensety he^ in ushering the communitiesalong the path ofchange.

Based on the above, since most ofchange initiatives fecilitated in ruralcommunities are structured to stimulate a

health-seeking behavior and attenpting tostrengthen their capacity to make informeddecisions about socio-economic, spiritual,political and cultural realities, the use offocal riKdia could be very usefiil in bringingabout a sustainable change. Contributing tothis discussion, Mac Donald and David(1984) speak:

traditional or communal

channels are communication

methods, which have beenused for centuries in ruralareas such as songs, plays,stories, puppet shows etc;they are often neglected,thou^ in many societies theymay be the powerful ways ofcommunicatforL We have

become too independent on,and influenced by so-called'modem' methods. Ourdevelopment agents andorganization must go backand examine traditionalconrnmication methods of

the country in which theywork.

The communal channels ofcommunicatfon in the context of indigenousdevelopment, may be more effective indevelopment intervention because they areculturalty and democraticalty confgured.

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they contain, engage or release a wholeworld of information, cosmology, aesthetics,myths, legends, social organization, kineticarts and the recreational practices, customs,values and cherished traditions, chronology,economy and nationalism In view of this,celebrating these arts, enacting them andmainstreaming them within devefopmentinitiative is a method of preserving them,perpetuating as well as transmitting them tobring a lasting and sustainable change in thelives of the people. Infoct, Mbiti (1975)speaks on the values that the people attach totheir cultural practices and communaldevefopment:

People know that they arealive through their focalcultural or communal

practices. They want tocelebrate the joy of living.They sing life, Ihey ritualizelife, they drum life, theyshout life, 'ceremonize' life,they festivise life for theindividual and for the

community.The foregoing shows the level of

enthusiasm and regard that the focal peoplehave for their indigenous practices andmedia, and this may he^ in stimulatingcollective participation .and change in theattitude of people. It is therefore, in:5)erativethat communication intervention workers

should seek to strengthen these arts whichthe communal people love, cherish, treasure,appreciate and are much conversant with,and endeavour to deploy them forcommunity development/change initiative.

Furthermore, Ugboajah (1972) citedin Wilson and Unoh (1991) states that themost inportant thing about the Africancommunal arts is that the audience has leamt

to attach great significance to it. Traditional/communal arts have a force, stability andvalues. They put stability into Afiicanindigenous institutions.

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nnRural/community media arts canbe a potent tool for communication betweenthe community and their kins as well as theoutside world. The focal media inform

community of recent devefopment andopportunities that can be explored for theirdevefopment. It brings to the attention of theoutside world devefopment problemsconfronting the local communities with theaim of attracting external aid for thieirassistance. Imbalance of information flow

exists between the rural areas and the urban

centres. The rural areas are grossly underreported by the urban media, and where theyare reported, it is from the point of view oftown dwellers by the urban media. Thus, thepresence of focal media will make ip forthis imbalance and ensure that the rural

communities are property and adequatetycovered in the media (Oso,1990).

So from all that had been discussed

so for, one can argue that the rationale forthe Afiican communal arts is that, itrepresents the most potent mechanism forcommunication among the various people ofAfiica. Furthermore, notwithstanding theflaws that may be inherent in the traditionalchannels of communication in Africa, thefeet remains as Hatchen (1971) points out:"the sheer range and varieties of communalcommunication offer a challenge tocontenporary (Afiican) communicationscholars". This underscores the need to

stimulate scholarshp in this area ofcommunication studies. Studying theAfiican communal arts system will helpreinforce our understanding of our owncultures, idiosyncrasies, and peculiarities.Again, it relates to Afiican cultures, values,and beliefe which en^nder acceptance.

Communal Media Arts and Mass

Communication System: A ComparativeAnalysis.

A look at the reality of the existenceof indigenous communication systems in

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Nigeria shows that before the advent ofmodem means of communication, therewere traditional means in Nigeria known ascommunal arts media by which informationare made to reach its audience. There were

also means of propagating the collectiveknowled^ of the recognized custodians ofthe people's oral traditions. Some of theseare still in use today.

From the above, Hatchen (1971)comments that it is obvious that a variety oftraditional communication channels existed

in Africa, particular^ in Nigeria before theintroduction of the modem mass

communication/media systems. Thecommunal arts strategy and masscommunicatbn system have some areas toshare in common, yet there are largedifferences between the two stmctures.

On differences, Sambe (2004) takesmass communication to be:

The process of transmittinginformation, ideas, attitudes, beliefe,throu^ a communication device toa relative^ large, hetero^neous andanonymous audience simultaneously.In mass communicatbn, modemcommunicatbn gad^ts are used toput across a message throughchannels like radio, TV,Newspapers, magazines etc.Mass communicatbn is unique

because its message is often general andtargeted at a very large audience, who areanonymous m nature and heterogeneous mcompositba Sambe ftirther argues that inmass communbatbn, there is low degree offeedback and fow level of interactba Themessage is rapid and transient in nature as itis meant to be consumed immediate^. Inadditbn to the above, Haralanbos et al(1986) argue that conventionally, the masscommunicatbn uses mass media to inform,entertam and educate the masses .It is themajor source of information and ideas inmodem •' socbty. Mass communbatbn

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shapes people's attitudes and directs theirbehaviours to a greater extent. It is aninstrument of social control Apart from theuse of mass media, other tool of informaticsand conputopia like telephones, walkie-talkie, the intemet, satellite to mention onfya few, are useful channels of masscommunbatbn m modem society. Byextension, these tools of informaticsfecilitate the process of masscommunication.

On the other hand, communal artsmedia strategy, accordmg to Mc Quail(2005) emphasizes a range of mediareactions to the mainstreanVmass medb. Itstresses the social and communal function ofmedia, rather than technologbal functbns.At its base, the communal media artsexpresses dissatisfectbn with establishedmedia which tends to promote vertical andone- way flow of communicatioa As aresult of the pluralistic nature of the culturewhbh it proposes, communal media have awide variety of expressions especial^ m thecontext of particpation, mteraction, culturalautonortty, small-scale basis, emancpationand self-help.

Furthermore, Chambers (1997)contends that mass communbatbn transfersknowled^ while communal arts strategypromotes indi^nous-based knowledge,devebped bcalfy and controlled by the bcalpeople. It uses bcal technology and notbureaucratbalfy organized. Converse^,mass communbation system isbureaucraticalty organized andinstitutbnaDy operatbnalized. More-over,Ibagere (1994) observes that the communalarts system of communicatbn is essential^owned by the society whose badershp onfyacts as the chief gate keeper. The media areopen to use by anybody to reach anybody. Ithas always operated under a cbar-cutdynamic policy whbh serves the mterest andneed of the rural peopb. Masscommunication, on the other hand, is

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determined by the ownersh^ (governmentor private individuals) which eventual^determines the method of operation and mayinfluence the content . Again, it is pertinentto state that, while the communal mediaapproach can reach onfy few people but witha great deal of influence within the network,the mass communication system can ontyreach more people with little influence.

However, despite the sharpdifferences identified fi"om the above two

communication systems, it is interesting topoint out that the two systems ofcommunication overlap in some respects.The communal arts or traditional systems ofcommunicatbn are the precursors of themodem mass communication. The

foundation of modem communication

technology is in the traditionalcommunicatbn devbes however cmde and

limited the latter might be. Communicationdevefops in such a way that the traditionalchannels are not conplete^ discarded. Inthis regard, Bitner (2003) states that theancient cave drawings and paintings aremodeled as artifects and pictographbwriting which gave birth to modem systemof writing on paper, books, newspaper andtelegraphic writing. The ancient Greeks'series of fire tower which stretched across

the country side, and relayed messagesthrough smoke and fire, served as aprecursors of today's satellitecommunicatba Similarly, the carriage ofmessage through horseback between regularstatbns on a regular basis alsoforeshadowed the modem courier service

and postal systems. The relationshp has,however not removed the idea of traditional

means of communication whbh include

cave drawing, smoke, music and dance,theatre drums, signal fires, pbtograms,ideograms, fire towers, artifects and allforms of oracular/folkforic tradition existingin Afiica.

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In view of the above, it is noteworthyto state that the modem mass media,however, cannot serve, fiilfy thecommunication needs of Nigeria, unlessthey are combined with the communalmedia arts. Therefore, rather thansupplanting these traditional or communalmodes, efforts should be geared towardshamessing them to serve our devefopmentneeds in general The discussions abovehave reinforced the relatbnsh^ between thecommunal arts and the modem

communication, especialfy in Nigeria wheremajority of the people live in the rural areas.Even those who live in the cities today areonly first or second generations of urbansettlers who are still fond of the sweet

memories of their traditions and culture inmusic, dance, drama, songs, and traditionalstories.

The essence is for the policy- makersto feshion polby that will mix the traditionalchannels of communicatbn with modem

contents and means of communication m

Ni^ria, Many traditbnal dances, songs anddrama are recorded m video discs and vbeo

cassettes, as documentaries for publicpreview. The ran^ of these movies shownon TV and sold for personal previewdemonstrates the mix of traditional channels

of communbation and modem media.

Similarly, the themes of the Nigerian artistsare based on our traditional forms ofcommunicatbn essentialfy. All these expandthe fi-ontiers of our culture and

communication.

Classification of Communal Arts and

their Place in Sustainable changeMany scholars have attenpted to

classify the Afiban communalcommunication arts. Such scholars include

Doola, Oreh, Ibagere, Wilson, AkpabioAnsu-kyeremeh just to mention a few. Eachof the writers categorized the Afiban

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indi^nous communication channelsaccording to their ejqjeriences andideologies. Iwuchukwu (2009) classifies theAfiican communal communication arts

under three broad genres specified betow:1. The spoken form (prose)2. The sung form (poetry (traditional)3. The performance form (drama)From the above classifications, it isevident that the Afiican communal

media arts can come in form of singing,speaking and performance. We shalladopt this classification and discusssome of the items in the above groupingsin this paper.

1. The spoken form (prose): Thespoken form of the Afiicancommunal arts is further divided

into such arts as: niyths, febles,legends, folktales, anecdotes,riddles, proverbs, tonguetwisters, story-telling etc.

2. The sung form (traditionalpoetry): the sung form of thecommunal communication arts is

realized in different ways such assongs presented on differentoccasions like births, wars,marriages, coronations,circumcisions and other

ceremonies. These come in

poetic forms such as musicalpoetry, lyrics, ballads, dirges,invocative poetry, didacticpoetry, narrative poetry, praisepoetry, heroic poetry, satiricalpoetry, war poetry, ritual poetry,casual poetry, and specialoccasion poetry.

3. The performance form (drama):The performance arts come inform of masquerades, dance,music, festivals, drama, ritual etc.However, this paper cannotcapture all the communalcommunication platforms

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isolated above. As earlier pointedout, we shall limit our discussionto selected artforms under each

category. We shall consider:a. The traditional poetry on a

general note under the sungform

b. Story-telling and riddlesunder prose or the spokenform

c Festivals, dance and musicunder performance form

Traditional Oral PoetiyTraditional oral poetiy is one of the

most inportant communal arts that can beused to fecilitate change interventionespecially in focal communities. It has thestrength to give vital information andstimulate discussion about religion, health,social and spiritual realities of thecommunity.

In feet, Yina (2007) takes thetraditional oral poetry to be:

an organized, formulaic andcultural conplexity. It ispurefy an exercise in culturalmetaphor, similes and idiomswith esoteric and traditional

connotations. The languageof rendition is focal,ornamental, ntythoi-poetic,mystifying and colorfiiLPoetic renditions are

prominent features of socio-cukural life of the communalpeople. It covers religious,social, spiritual, medicinaland oracular aspects of life.Continuing the argument, Yina

(2007) believes that traditional oral poetry israther a fluid perception referring to thesocial and cultural modes through which thephilosophical, religious and materialrealities are aestheticalfy structured andexpressed. It is particularfy a very livefy and

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dynamic art-fomi among the people. Modesof manifestation include folk song, religiouschants, incantations, folklores and ntythsphrased in cultural idioms, proverbs andother forms expressing traditional logicusualfy of ritual significance. Other mediafor die rendition of traditional oral poetryinclude music, a developed code oftraditional communicatbn system loadedwith metaphors, symbolism and imagingthrough which spiritual, social and culturaldiscourses can take place princ^alfy withinthe ambience of the community speechbehavior. The communal oral poet generaifypossesses high power of imagination andfigurative eiqiressions. His practicalknowled^ of cultural metaphorsymbolical^ places him in a positbn todetermine and influence the meanings whichrule and direct the socio-spiritual andmundane lives of the people in thecommunity.

To Iwuckukwu (2009), some of thetraditional oral poetry portray coherentstories while some of them are just sung forentertainment. In Yoruba land, 'EWT is acommon term for traditional poetry and it issung at diflerent occasions. So, there is'EWr that is sung at weddings like thebridal poetry called 'Ekun iyawo' and 'Raraiyawo'. The one for hunters is the 'ijaala';oriki is for the praise of an individual,femi^ and lineage; while the 'iwi Egungun'is for the 'egungun' masquerade and Orile'for towns/race. Each poetic form has its ownpeculiar rhythm and occasion for renditba

As a local vehble of communicatbn

for sustainable change, Jegede (2010)pontificates that the traditbnal oral poetrycould be used to eflfectivefy express andprovide critbal social and devebpmentissues on health, general well-bemg andcontinuous survival of humanity. In additionto this, considerbg the eloquence andeffectiveness of this art, the communalpsychofogy, attitudes and cultural

dispositions, their peculiarities of religion,judicial princ^les and justice, theiregalitarian social structure and independenceof mind can be siqjerbfy captured andexpressed by the traditional oral poetry.

This communal communicatbntool can be used effectively to providevaluable informatbn on the community'sperceptbn on health practbes, agriculturalmethods, traditional mode of cure, anti-malaria treatment, communal plagues,communal health care delivery, sanitatbn,religbus growth, environmental hazards andrisk and other developmental debates withinthe purvey and ambience of socio-moral andphysical wellbemg. Summarily, This toolcan be used for knowled^ creation,generation of deeper insights andunderstandmg of societal phenomena andproblems. It has the capacity to generatecritical well-bemg information that can badto effective shared learning and stimulatepartb^atory actbn among the communalpeople for sustainable change. For instance,after the oral poetic rendition on any well-bemg issue had been accon^jlished,community stakeholders and developmentworkers can be made to identify the critbalissues/themes raised m the performance anddiscuss them, anatyze them interactivefy andat the end, arrive at a consensus

The Spoken Form (Prose)1. Stoiy-tellingBefore the advent of the modem prose

and other ^nres, there existed in manyNi^rian cultures story telling art thatrecorded the peopfe's cultural e>q)eriences.These stories served as the repository of thepeople's beliefe, social philosophies andobservatbns about life. As a matter of feet,storytelling is another veritable communalart form that can be used to provoke andtease out developmental issues. Thoughsome social and commercial researcherstend to relegate this mode to the background

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for one reason or the other. In reaKty,ignoring stoiy telling in local communitydevefopment initiatives is like ignoring thegoose that lays the golden eggs. Je^de(2010) observes that various communitiesacross the states in Nigeria fove fobles, tales,and storytelling arts. It is part of theircultural make iqj. Using this platform tobuild around devefopment issues wiH becritical to focilitating change initiativesustainably.

Bascom (1965) points out that storytelling is a communal art and a veritablemeans of communication that has been

practiced in many cultures for ^nerations.Story teDing, according to him, providesinsigjitfol information about the communalenvironment. The stories generated aregeneral^ educative while they entertain theaudience. They are also part of theirsocialization process, because throu^ them,the community perpetuates its knowledge,values and ejqierience. They attenpt toejq)lain the origin of existence and alsopresent the lives and contributions of greatpersonages. In addition, stories create anexus between the past and the present. Allthese can be achieved by telling the story inthe third person aboirt a fictional characterand allowing the audience to draw its ownconclusions.

Story telling can be displayedpartic^atorify. When used in a devefopmentprocess, Jegede (2010) believes that storiescan serve difierent purposes. They can alsobe used to demonstrate draw- backs of

specific devefopment initiative in thecommunity; they can be used to revealcommunity perception of poverty,unempfoyment and health care deliverysysten^ they can be used to reveal a pool ofdata on ^ recent or annual plague orpestilence often e^qperienced in theconmmity; they can be used to reveal thecommunal attitudes and approach to healthissues; they can be utilized to deliver a deep

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pool of information on the nature ofcommunity system of cure; the role of theleaders in the community; communalhygiene, system of health education andother environmental and ecological foctorsgenerally.

In focal communities in Nigeria, thepersistence and indeed intensification ofpoverty and deprivation caDs for renewedinterest in the use of focal media to siqjportdevefopment. Its use for creating generalawareness, imparting skills and newtechnology utilisation is an objective thatstorytelling ou^ to pursue tosiqjport focal initiatives and eflforts.Potential^ viable small enterprises andother initiatives flounder because of poormanagement. Effective use of storytellingcan address these challenges

The way a stoiy is told can vary with thestory's purpose. Tlie devefopment workerscan encourage peer sharing strategy intostory telling among the communitystakeholders by askmg several of them totell different parts of devefopment- basedstory. This allows for wider partic^ationand general^ creates a higher interest levelon the part of the general audience. Thedevefopment team can also tell half a storyand leave blanks for the communal

stakeholders to conplete. In general it ispertinent to point out that the creative use ofthis medium can bridge communicationbarrier that would otherwise pose seriousproblems to outsiders acting as devefopmentworkers.

In another situatfon, stories on changeinitiative can be spontaneous^ dramatizedwith partic^ants playing different roles.Spontaneous dramatization of stories canprovide an opportunity for participants topractise skills in problem solving,community organization and partic^atioaIwuchukwoi (2009) adds that the drarnatizedstorfos are often enacted in the sense that, toa greater or smaller degree, the speech and

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^sture of their characters are imitated bydie narrator, and the action is largefyexhibited through dialogue. Theatrical andsometimes dramatic performance isheightened by the frequent occurrence ofmusic and sometimes conplementary dancemovements.

Usuaify at the end of the story telling,there is a form of witty exchange betweenthe narrator and the audience. The popularone in English is 'story-story', the audienceresponds "story'. This is to get the attentionof the audience and sometimes to create

humour or to draw attention to the moral

aspect or the significance of the story. Alsoin the course of the story, the narratorintroduces a song and this is taken upant^honalfy by the audience which acts asthe chorus. In this way, the audiencepartakes in the dramatic enactment of thestory.

Another way of getting the audienceinvolved in the story is that, after theenactment, the issues in the story can beidentified collectively by community peopleand devefopment workers, debated andcritical^ anafyzed together; the consensus isreached and decision is collectivety takenconcerning what to do, how to do it, when todo it, and where to get resources to do it.This is a typical example of interventionprocess that will yield a sustainable chan^.Other forms of storytelling include legends,rttyths, and folktales just to mention a few.ii Riddles

This is another form of communal

media arts which serves as a veritable tool

for social and sustainable change. Infect,Iwuchukwu (2009) believes that riddles arealso part of the historical form of communalmedia arts. Riddles are quizzes or enigmaticquestions or descr^tions wrapped iq) in afigurative expression used in the languageof a particular people in traditionalsocieties, Iwuchukwu (2009)argues that,riddles involve two contestants either as

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individuals or groups. The first groiq) posesthe question and the other gives the answer.

For exanple, in I^oland, riddlesusualty start with 'gwam gwam gwam',which means 'tell me, tell me, tell me'. Thisis foDowed by tell me what...; in this way,particpation in riddles enables the child andor adult to increase his/ her personalrepertoire of traditional rhetorical devices.The materials of riddles are drawn from

every area of reality in the world like thenatural environment, aspects of the. cultureand practically from every realm of humanlife/ experience. In this way, they hel^ toejq)ose the child to his environment bypresenting various fects of experience andmemorable images. They he^ in the processof initiating the people into the culture oftheir own society.

Riddles are communication

strategies that have entertainment values anddevelopment potentials. Riddles he^ inpeople's intellectual stimulation andknowledge advancement/ejqpansioa In anychange initiative, riddles can be used tokick- start a development discussion; it canbe used to tease out issues in devefopmentcontext; it can also be used to unravel someknotty issues and generate positive argumentfor collective partic^ation; it can be used todrive point home; it can be used to shedl^it on cultural matters; it can be used toeducate the community and embellish pointsbeing stressed; it can be used to breakboredom and monotony in the course ofinterventions; it can be used to stimulate oren^nder partic^ation; it can be used toprovide illustrations around obscure matters.

Change intervention processinvolves a lot of discussion, debate,reasoning, brain- storming and cross-fertilization of ideas. The effective use of

riddles in this process could ignitecommunal particpatfon, provide usefulentertainment and over and above all,fecilitate a social and sustainable change.

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Change agents in local communities inNigeria need to explore the potential ofriddles and deptoy them appropriate^ as acommunication tool for realizingdevetopment goals effectively.

Using riddles for communitydevelopment initiative has the potential forreaching audiences as groups or asindividuals. Their use for group listening,feedback and interaction is the preferredapproach. This can create an atmosphere fordialogue, discussion, and the promotion ofunderstanding and a culture of healthydebate. Riddles can be an effective medium

for education and mobilisation in a wide

ran^ of issues from health, agriculture,voter or elections awareness to communitymanagement.

C The Performance Form

i Festivals

Communal arts can also come in

performative form by way of drama, dance,festivals, rituals, and music. Most villagesin the region have informal or formal groupsof performing artists. Religious groups suchas churches have choirs and some schools

have drama chibs. Drama groups performingprofessional^ from village to \^ge exist inmany districts as weD. These forms of mediacan be popular and fecilitate educatbnalprogrammes of awareness raising, influencebehaviour formation and contribute to

perception change. But they are mostbenefcial as conplementary orsiqjplementary elements.

Though live performances are limited toone audience at a time, they are effectiveand encourage interpersonal encounters andpartic^atioiL These forms also unearthcreative talents. But they can become morewidefy accessible if performances areproduced and broadcast throu^ other mediasuch as radio, video and audio tapes.

This paper shall onfy consider festivalsand dance as communication tools for

change. Iwuchuckwu (2009) notes thatfestival is a periodic feast, a celebration ofevents. It includes forms of entertainment

and performances which are often held at aparticular time of the year. Festival is averitable communal art which bringstogether productive actions, creative ideas,community development, aesthetics, whichare parity sacred (religious) and paritysecular (sometimes profene). For instance,there could be a new yam festival to thank aparticular god or pay homage to him for agood harvest and pray for a better yield inthe following year.

Ogunbtyi (1981) succinctty notes thatfestival theatre is different from theatre

festival The former is a theatre produced asfestival The latter is a conscious atterrpt todeclare theatrical productions in a givenenvironment. Festivals have the potential foren^ndering change in local communities inAfiica. It does not onty have entertainmentvalue, but has the capacity to address issuesof developmental value based on thefollowing fects;

• Festivals iqjhold and promotesolidarity and collectiveconsciousness among thecommunal people. Thiscollective consciousness is a vital

prerequisite for sustainablechange and festivals conpel it.

• Festivals are characterized bycollectwe eiqjhoria where thesacred and the profene areinterwovem Usualty at festivals,there is a suspension of the rulesand norms of ordinary life.Communal people strongtybelieve in their cultural heritageespecialty their deities. Festivalstherefore provide an occasionalavenue for the community toseek a change in their lives anddestinies.

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o Some festivals are characterizBd

by non-work posture. Leisure isthe central element in festivals so

people look forward to festivalsas a period of enjoyment,relaxation and a time to catch

some fim. Relaxation on its own

is part of human developn^ntand festivals provide thisdevefopment. Many festivals takeplace during the period ofdrougjit when there is less to bedone in the ferms. Festivals

provide a forum forentertainment and recreation forthe people.

In some localities especial^ inYoruba lands, some developmentalissues or rural community projects arenever discussed until a particular festivalis observed. The festival in this regard,provides the sons and daughters of thesoil' well as those in diaspora a forumfor partfe^atory/interactive meetingsand discussions that will stimulate a

change in that particular locality. In thisregard, festival becomes a forum ofchange. To exenplify this position, it ispertinent to say that, at some festivals,issues like establishing a communalclinic, town hall, a health centre, aschool, a stadium, water project, ruralelectrification, recreational centre,museums, zootogical garden etc. arebrou^t to the fi"ont burner for efiectivediscussioa This therefore proves a pointthat festivals are communal media artsthat could be used as a platform tofecilitate a sustainable change especial^in rural communities,

ii Music and Dance

Folksongs, music, dances, dancedrama or choreographies are essentialconrnmal communication platforms that areeasify overlooked, but non-the=fess serve asextremely efiective mass promotional

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devices that can be used to stimulate a

sustainable change especiaUy at ruralcommunities. Music is a powerful tool forchange. Over the years, scientists andmystics alike have researched deeply intothe place of music in human development.The conclusion is that music is an

indispensable means of promoting physical,emotional, personal, spiritual and socialchange.

In view of the above, Adodo (2001)argues that it has been scientificalfy provedthat music influences the circulation ofblood in humans. Music causes bfood

pressure to rise and fell Since variations inblood circulation depends on the pitch,intensity, and timbre around us. Musicincreases metabolism, directs muscularenergy, increases or decreases respiration,controls blood pressure. Music is mt onfyentertaining, but it is a tool for sustainabtehuman development. Every focalcommunity has a system of folk music

According to Jegede (2015), music isa veritable medium of devefopmentcommunication providing information,education, entertainment, relaxation, morallessons and inculcation of positive charactertraits in the people as well as serving as aninstrument of social change. Generally,people play music during ceremonies,during personal and social activities. Musicis used for different occasions anddevelopmental purposes - it is used duringreligious worshp/festivals,celebrations/ceremonies (marriage,christening, house warmmg, chieftaincy,burial, etc.and used to promote traditionalbeliefe, values, histories, rriDrals and ethics.

Music can be created by comnHmalpeople to address their social, economic andpolitical challeiiges; it can be used duringinterventions to provide information onissues; illustrate a point; instigateparticpatfon on matters of common interest;ridicule absurd situations; enliven chan^

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initiative process and rescuing it fromboredom and monotony. It is also relevant tostress that most music carry or hold cmcialmoral lessons and issues of social

significance for every segment of thesociety. It can be used to correct social illsand address behavior change issues.

Dance on the other hand, is usuallyacconpanied by music. Iwuchukwu (2009)comments that in traditional Nigeriansociety, dance is a form of entertainmentdeptoyed durmg occasions of socio-culturalsignificance. Some of the dances are formere entertainment while many of them arere-enactment of feats/incidents usualfy usedto communicate or promote devefopmentagenda. Most villages have quite a numberof people w^o can sing, dance and putwords to music. Such people, at changeintervention can be requested to prepare asong on a special development problemprevalent in the community.

Local dance troiq^es can stage adance to tell a development- based story justas obtainable in 'Masta Blasta' dance troupein Calabar. After the performance, issuesmay arise to provoke a debate and criticaldiscussfon among the partic^ants and theaudience. In the process, a pool of datawould be sourced on development problemsand a positive action would be takencollective^ by the people. This approach isa typical effective communication art in thecontext of community development andsustainable change. Dance mayalso be used to tell a story or present issueswhich could ignite a debate afterwards. Inthe same vein, dance drama could bepresented and woven around an issue ofsocial, moral, historical and economics^pificance. Dance, if property structured,could be a tool for social transformation

having the potential to mobilizeconscfentize, educate, inform, entertain,criticizB, enpower and engender an attitudechange within focal communities.

Conclusion

The role of communication and

media in devefopment process has beenstressed. However, attention has been drawnto the significant role of focal communitymedia in enhancing devefopment at focallevel, rural communities especialty. This isagainst the feihire of the urban media inmeeting devefopment information needs ofthe rural/communities. The urban media

have been criticized to be too elitist,western-oriented and too commercial and as

a result 'excommunicating' the rural people.In this paper, we discussed the nature ofcommunity media and their potentials fordevefopment.

It is hoped that this paper wouldadd to the general eflfert of African and afro-centre devefopment communication workersin salvaging our cultural ethos and leadingto a greater understanding of Afiicansystems of communication as reflected inthe diverse cultures of the various people ofAfrica and would be of immense benefit to

communication policy-makers in that itwould rather enhance their knowledge aboutcommunication needs of those living in ruralareas and how to eflfectivety reach themThere is no need repeating that thesetraditional means of communication should

be combined eflfectivety with relevantmodem communication approaches toachieve identified devefopment objectives infocal communities.

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