Theater, Resistance, and the Fight for Acceptance in Northern Nigeria

The dominance of Islamic traditions in Northern Nigeria has shaped public perceptions on Theater studies, often portraying theatre as a morally questionable pursuit, which must be resisted.

Historically, theater across different societies has been closely linked to religious and traditional practices. Ancient Greek drama, for instance, evolved from dithyrambs – choral songs and dances performed in honor of Dionysus, the demigod of wine and revelry. Similarly, traditional African theater has often been intertwined with religious beliefs, reinforcing the idea that performance and faith are not mutually exclusive.

However, in Northern Nigeria, the influence of religion on theatre is particularly profound, shaping not just the artistic landscape but also academic perceptions of theater studies. Unlike other parts of the country where theatre is embraced as a form of entertainment, education, and activism, the art form struggles to gain full acceptance in the North.

The impact of Islam, which is the dominant religion in the region, plays a significant role in this challenge. Beyond theater, this religious influence is also evident in Northern Nigeria’s film industry, particularly Kannywood, where storytelling is carefully crafted to align with religious and cultural values.

A Region Defined by Religion and Tradition

Northern Nigeria consists of sixteen states, with Kano, Kaduna, and Sokoto serving as historical and cultural hubs. Generally, the Hausa people, also known as the Habe, controlled much of the region’s trade routes and political structures.

However, in 1804, the Fulani-led jihad, led by Uthman dan Fodio, resulted in the establishment of the Sokoto Caliphate, which introduced a new Islamic ruling class. Over time, “Hausa” became more of a linguistic identity than an ethnic designation, as Fulani leadership merged with local traditions.

Today, Islam is the dominant religion in Northern Nigeria, shaping governance, education, and social norms. Islamic laws and teachings influence everything from public conduct to media content, creating a rigid moral framework that often dictates what is acceptable in society. This strong religious presence has had a direct impact on theater studies, as performance arts are often viewed through the lens of morality and religious permissibility.

Theater and the Struggle for Legitimacy

Despite its role as a medium for storytelling, education, and activism, theatre as a field of study faces significant resistance in Northern Nigeria. The region’s Islamic influence plays a crucial role in shaping perspectives on art, morality, and social behavior. Islamic teachings emphasize the importance of living a life that aligns with religious values, promoting an environment where music, dance, and public performances are often scrutinized.

Umaru (real name concealed because of fear of retaliation) an adherent of the faith explained this resistance:

“In Islam, we are taught to uphold morality in all aspects of life. Music and dance, which are central to theater, are often viewed as distractions from religious devotion. Many believe that engaging in such activities can lead people astray, making them indulge in behaviors that are not in line with Islamic teachings.”

This perspective is reinforced by certain interpretations of Quranic verses that warn against frivolous speech and distractions from faith. One commonly cited verse states:

“And of the people is he who buys the amusement of speech to mislead (others) from the way of Allah without knowledge and who takes it in ridicule. Those will have a humiliating punishment.” (Quran 31:6)

For many religious scholars, “amusement of speech” is interpreted as music, reinforcing the notion that theatre, which incorporates music and dance, is not entirely acceptable. This belief has created barriers for students pursuing theater studies, as they often have to navigate societal expectations that view their chosen field with skepticism.

Theater, Women, and Social Perception

Beyond its association with music and dance, theatre in Northern Nigeria faces another challenge: the perception that individuals involved in performing arts lack moral discipline. This belief has led to a particularly strong resistance against women studying theater.

Asabe (real name concealed because of fear of reprisal), a female theater student shared her experience:

“When I got admitted into Theater and Performing Arts, my family was strongly against it. They believed the course would ‘open my eyes’ to things they considered inappropriate. It took a lot of persuasion from my aunt, who also studied theater at the University of Ilorin, to convince them to allow me to proceed. Even then, my parents warned me about the supposed dangers of the profession. They feared it would expose me to indecent dressing, immoral behavior, and excessive interaction with men.”

This sentiment reflects the broader societal view that theater is not a “respectable” field for women. In conservative Northern communities, women are expected to maintain modesty and avoid professions that require public visibility. Theater, by its nature, contradicts these expectations, as it often involves wearing costumes, performing in front of audiences, and engaging in physical movements that may be considered inappropriate.

Additionally, many traditional and religious families believe that theater promotes immodesty. The idea of a woman acting on stage, sometimes playing roles that require emotional or physical expressiveness, is seen as a deviation from the cultural norm. This has led to a situation where female students in theater departments often face pressure to justify their career choices, sometimes even within the university environment.

Navigating Religious and Cultural Constraints

For theater students in Northern Nigeria, pursuing their passion requires constant negotiation between artistic expression and societal expectations. Many students have had to develop strategies to balance their education with the cultural and religious realities of the region.

Jummai (real name concealed because of fear of reprisal), a student majoring in Dance and Choreography shared her frustration:

“As a Theater student and content creator, I find myself constantly self-censoring. There are so many things I would love to explore, but I have to be mindful of my audience. Unlike students in other parts of Nigeria, where theatre is more accepted, we have to tread carefully. Even choosing costumes for performances can be a challenge. I sometimes watch students from other regions perform and feel envious because they have fewer restrictions.”

This highlights the broader impact of cultural conservatism on artistic freedom. While theater students in Southern Nigeria enjoy greater flexibility in their craft, those in the North must operate within strict boundaries. This limitation extends beyond the university setting, as even professional theatre productions in the North must align with societal and religious expectations.

The Ongoing Battle for Acceptance

Despite these challenges, theatre remains an essential tool for cultural expression and education. Although the curriculum for Theater Studies in Nigerian universities is largely uniform, the practical execution of the course in Northern Nigeria is shaped by religious and cultural limitations. Every artistic decision, from script choices to costume design, must align with societal norms.

The resistance to theater in Northern Nigeria is not just about religion, it is also about a deeply ingrained cultural mindset that views performance arts as incompatible with moral discipline. While some progress has been made in increasing acceptance, the road ahead remains difficult. For now, theater students in the region must navigate a complex landscape, balancing their passion for storytelling with the expectations of faith and tradition.