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Eco-Drama, Multinational Corporations, and Climate Change in Nigeria

  • Rowland Chukwuemeka Amaefula

    teaches at the Department of Theatre Arts, Alex Ekwueme Federal University, Ndufu-Alike, Ebonyi State, Nigeria. He is a recipient of many travel grants and bursaries, including the Carnegie Corporation of New York fellowship and the African Humanities Program research fellowship award of the American Council of Learned Societies. His research interests straddle gender, sexuality, and performance studies. Apart from authoring published plays, poems, and books, he has written a good number of scholarly articles published in reputable local and international journals and has attended several academic conferences.

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Published/Copyright: May 14, 2022

Abstract

Oil explorations by multinational corporations in Nigeria have grave consequences on the ecosystem. Gas flaring, oil spillage, and other forms of land and water pollution seriously degrade the natural environment as well as displace Nigerians from their homes and traditional occupations. Pollution has caused increased flooding, erosion, and dearth of both food and fishes, leading to poverty and hidden hunger, among other problems. More destructive is the reactionary disposition of the Nigerian state to climate change and ecological disasters. Beside the provision of make-shift structures and relief materials to flood victims, there are hardly any proactive efforts on the ground to check the activities of multinational corporations operating in the country. Greg Mbajiorgu’s eco-drama Wake Up Everyone (2011) depicts the challenges of the climate crisis in contemporary Nigeria. A close reading and critical analysis of the play, which is a microcosm of the country, illuminates the ways these challenges affect Nigerians and the need for action. Apart from displacing individuals from their homes, flooding takes a heavy toll on the agricultural sector, as most crops and livestock production systems in Nigeria are not yet fully technology-based and are, therefore, susceptible to environmental degradation. As a result, the flooding of farms and plantations, damaging crops and seedlings, leads to a corresponding degree of food scarcity/insecurity and indeed inflation in the cost of farm produce. This paper concludes that conscious efforts suggested in the play should be made to forestall multinational corporations from further pillaging the environment, and that government functionaries saddled with the task of forging active measures to stem the effects of climate change in the country should rise to their responsibilities.

About the author

Rowland Chukwuemeka Amaefula

teaches at the Department of Theatre Arts, Alex Ekwueme Federal University, Ndufu-Alike, Ebonyi State, Nigeria. He is a recipient of many travel grants and bursaries, including the Carnegie Corporation of New York fellowship and the African Humanities Program research fellowship award of the American Council of Learned Societies. His research interests straddle gender, sexuality, and performance studies. Apart from authoring published plays, poems, and books, he has written a good number of scholarly articles published in reputable local and international journals and has attended several academic conferences.

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Published Online: 2022-05-14
Published in Print: 2022-05-12

© 2022 Walter de Gruyter GmbH, Berlin/Boston

Articles in the same Issue

  1. Frontmatter
  2. Frontmatter
  3. Preliminary Note
  4. Co-Mutability, Nodes, and the Mesh: Critical Theatre Ecologies – An Introduction
  5. Writing in the Green: Imperatives towards an Eco-n-temporary Theatre Canon
  6. Bec(h)oming with Simon Whitehead: Practising a Logic of Sensation
  7. An Art Like Nature: Theatre Environment as Territory in Tim Spooner Performances
  8. Performing Resilience: Anchorage and Leverage in Live Action Role-Play Drama
  9. Encounters in the Chthulucene: Simon McBurney’s Theatre of Compost
  10. To Be Like Water: Material Dramaturgies in Posthumanist Performance
  11. “A Missile to the Future”: The Theatre Ecologies of Caryl Churchill’s Far Away on Spike Island
  12. Symptomatic Spaces: Adam Rapp and American Eco-Drama in the Anthropocene
  13. Kinship and Community in Climate-Change Theatre: Ecodramaturgy in Practice
  14. Eco-Drama, Multinational Corporations, and Climate Change in Nigeria
  15. Playing the Petrocene: Toxicity and Intoxication in Leigh Fondakowski’s Spill and Ella Hickson’s Oil
  16. An Ecology of Plants: The Post-Manufacturing Age in Philip Ridley’s Shivered and David Eldridge’s In Basildon
  17. Alienation, Abjection, and Disgust: Encountering the Capitalocene in Contemporary Eco-Drama
  18. Elaine Aston. Restaging Feminisms. Cham: Palgrave Macmillan, 2020, viii + 132 pp., £44.99 (hardback), £44.99 (paperback), £35.99 (PDF/EPUB ebook).
  19. Maria Chatzichristodoulou, ed. Live Art in the UK: Contemporary Performances of Precarity. London: Methuen Drama, 2020, x + 212 pp., £65 (hardback), £19.79 (paperback), £15.83 (PDF ebook).
  20. Yana Meerzon, David Dean, and Daniel McNeil, ed. Migration and Stereotypes in Performance and Culture. Cham: Palgrave Macmillan, 2020, xvi + 298 pp., €124.99 (hardback), €85.59 (PDF ebook).
  21. Mark Brown. Modernism and Scottish Theatre since 1969: A Revolution on Stage. Cham: Palgrave Macmillan, 2019, xvii + 254 pp., € 80.24 (hardback), € 24.99 (softcover).
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