The theatre has long served as a powerful medium for social change, possessing the unique ability to engage audiences both emotionally and intellectually. Through its immersive nature and emotive storytelling, theatre can challenge societal norms, provoke critical thought, and inspire action. In recent decades, environmental advocacy has emerged as a vital area of concern, as climate crises increasingly disrupt ecosystems, economies, and communities around the world. Rising global temperatures, erratic weather patterns, flooding, desertification, and pollution are no longer distant threats but urgent realities. In response, Theatre for Development (TFD) a genre traditionally concerned with issues such as health, education, and governance has evolved to incorporate environmental themes. TFD now functions not only as a pedagogical tool but also as a form of ecological intervention, using performance to interrogate destructive human practices and promote sustainable living.

In the Nigerian context, where environmental hazards such as flooding, oil spillage, erosion, and deforestation occur with alarming frequency, creative and culturally resonant approaches to advocacy are essential. Theatre offers a platform through which these pressing issues can be communicated in compelling, relatable, and community-specific ways. Ekun Omi, a play produced and performed by students of Bowen University, exemplifies this trend of using performance as a mode of environmental consciousness-raising. By incorporating elements of music, dance, traditional storytelling, and visual spectacle, the play dramatizes the consequences of environmental negligence while advocating for collective responsibility and reform. This paper investigates how Ekun Omi serves as a case study in using theatre as a tool for environmental advocacy in contemporary Nigeria.

. Theatre: A Medium of Societal Expression and Transformation

Theatre has historically functioned as a reflective and transformative tool in society. Rooted in ritualistic and communal practices, theatre evolved into a medium for expressing collective consciousness, cultural identity, and political sentiments. From the religious festivals of ancient Greece to the politically charged productions of the twentieth and twenty-first centuries, theatre has maintained a central role in articulating the concerns and aspirations of its time (Brockett and Hildy 25). In Africa, and particularly in Nigeria, theatre developed both as a cultural form and as a socio-political instrument. The performative traditions embedded in oral storytelling, masquerade performances, and communal dances contributed to the emergence of modern Nigerian theatre, which continues to blend indigenous forms with contemporary issues.

Scholars like Soyinka and Ogunba have emphasized the ideological role of theatre in Africa, particularly in challenging colonial structures and post-independence governance. Theatre’s immediacy and capacity for audience interaction make it a potent tool for raising awareness, fostering dialogue, and mobilizing communities toward change. The advent of Theatre for Development (TFD) further institutionalized theatre’s role in community engagement. TFD practitioners use participatory performance to engage communities in problem-solving, emphasizing a bottom-up approach that empowers the audience as co-creators of the message (Kerr 63).

Moreover, theatre’s aesthetic flexibility its ability to incorporate dance, music, visual imagery, and dialogue enhances its capacity to communicate complex ideas. Through metaphors, symbolism, and dramatization, theatre can address multifaceted issues such as gender inequality, health crises, and environmental degradation in ways that are both accessible and impactful. The communal nature of theatre in African societies ensures that messages are disseminated not only through performance but also through shared cultural and social spaces. In this way, theatre becomes both a mirror and a catalyst for societal transformation.

Theatre in educational settings also serves a dual purpose: it is both pedagogical and advocatory. University-based performances often serve as incubators for social critique, combining academic research with creative expression. Productions like Ekun Omi exemplify how student-led theatre can extend beyond campus boundaries to address pressing societal concerns such as environmental sustainability. These performances contribute to what scholars describe as "applied theatre," which includes educational theatre, TFD, and community-based performance practices aimed at social improvement (Nicholson 14).

In contemporary discourse, digital technology has further expanded the reach of theatre. Recorded performances, social media promotion, and interactive digital forums have enabled theatrical advocacy to transcend physical limitations and engage global audiences. Thus, theatre remains a dynamic and evolving art form, uniquely suited for addressing the urgent challenges of modern society.

2. Environment: Definitions, Degradation, and Cultural Perceptions

The concept of the environment encompasses all external conditions and influences affecting the life, development, and survival of organisms. These include natural elements such as air, water, soil, flora, and fauna, as well as human-made structures and socio-cultural dynamics. Environmental studies, therefore, examine the interplay between natural ecosystems and human activities, emphasizing the importance of maintaining balance and sustainability (Chiras 8).

Globally, environmental degradation has become a critical concern. Deforestation, air and water pollution, climate change, and biodiversity loss are some of the most pressing issues threatening the planet's ecological integrity. In developing nations, including Nigeria, these challenges are compounded by rapid urbanization, poor waste management, oil exploitation, and lack of environmental education. According to the United Nations Environment Programme (UNEP), Africa faces significant environmental threats that affect not only ecosystems but also public health, food security, and socio-economic development (UNEP 2020).

In Nigerian communities, the perception of the environment is deeply rooted in traditional cosmologies and spiritual beliefs. Many ethnic groups regard nature as sacred and maintain taboos and rituals to protect specific trees, rivers, or animals. However, the advent of modernization, colonialism, and globalization has eroded many of these traditional environmental safeguards. As a result, the disconnect between cultural values and contemporary environmental practices contributes to ecological decline.

Environmental education and advocacy must therefore navigate this cultural terrain. Sustainable development requires both scientific knowledge and cultural relevance. Scholars argue that any meaningful environmental intervention in Africa must be culturally contextualized and community-driven (Leach and Mearns 104). In this respect, the arts especially theatre offer an effective medium for bridging the gap between scientific discourse and community values.

Environmental narratives often suffer from abstraction and technical jargon, making them inaccessible to the general populace. Theatre can demystify environmental issues by translating them into stories, characters, and experiences that resonate with everyday life. In plays like Ekun Omi, environmental degradation is not presented as a distant or abstract issue but as an immediate and tangible threat affecting people’s lives and livelihoods. This local framing of global problems enhances audience engagement and stimulates action.

Furthermore, the use of local languages, proverbs, songs, and folklore in environmental theatre reinforces indigenous knowledge systems and fosters cultural pride. Such performances validate traditional environmental ethics while advocating for contemporary sustainable practices. Thus, theatre becomes a site of cultural negotiation, where past and present environmental values can coexist and inform future actions.

3. Environmental Advocacy through Artistic Practice

Environmental advocacy refers to activities aimed at influencing public attitudes and policies toward environmental protection and sustainability. This can include lobbying, public education, community mobilization, and media campaigns. In recent years, artistic practices particularly theatre, film, and visual arts have emerged as powerful tools in the advocacy arsenal. These art forms can communicate environmental messages in emotionally compelling and culturally resonant ways, enhancing awareness and motivating behavioural change (Ingram 39).

The intersection of art and environmentalism has given rise to what scholars’ term "eco-art" or "eco-criticism." These frameworks examine how artistic expressions reflect, critique, and shape human interactions with the natural world. In theatre, this has resulted in the emergence of "eco-theatre" a genre dedicated to exploring ecological themes and advocating for environmental justice. Eco-theatre can take various forms, from didactic plays and allegories to participatory community performances that engage audiences directly in environmental discourse (Arons and May 3).

In Nigeria, environmental advocacy through theatre has gained traction as artists respond to ecological disasters such as oil spills in the Niger Delta, erosion in the Southeast, and flooding in urban centres. Productions like Ekun Omi illustrate how theatre can localize environmental concerns, making them relevant to specific communities. These performances not only raise awareness but also offer platforms for dialogue and collective problem-solving. They foster a sense of agency and responsibility among audiences, encouraging them to take action in their immediate environments.

Moreover, environmental advocacy through theatre often involves collaborations between artists, environmentalists, educators, and policymakers. Such interdisciplinary partnerships enhance the credibility and impact of theatrical interventions. For instance, performances can be used to complement environmental education programs in schools, serve as tools for community outreach by NGOs, or inform policy dialogues by visualizing the human impact of ecological policies.

Audience reception studies further demonstrate the effectiveness of theatre in changing attitudes and behaviours. Viewers often report increased awareness, emotional engagement, and a willingness to adopt environmentally friendly practices after attending such performances. Theatre’s ability to foster empathy and present multiple perspectives makes it particularly suited for addressing the complex and often contentious issues surrounding environmental advocacy.

In conclusion, theatre’s integration into environmental advocacy represents a convergence of art, education, and activism. Through narrative, performance, and participation, theatre not only communicates environmental concerns but also mobilizes individuals and communities toward sustainable change. As the world confronts escalating ecological crises, the role of theatre as a tool for environmental advocacy becomes increasingly vital.

Theatre for Development, originally designed to promote rural development, has evolved to include themes of ecological sustainability (Prentki and Preston 6). Eco-theatre, a branch of performance dedicated to environmental themes, draws attention to nature, human responsibility, and ecological balance (Bottoms and Goulish 23). The combination of TFD and eco-theatre provides a robust framework for analyzing Ekun Omi, which seeks to inform, engage, and provoke action among its audience through participatory performance techniques.

TFD posits that theatre can inspire communities to reflect critically on their realities and take ownership of social transformation (Bessette 45). When applied to environmental concerns, TFD becomes a vehicle for raising ecological consciousness, altering behaviour, and fostering policy dialogue. In this context, Ekun Omi serves as a cultural response to the environmental crises affecting Nigeria and represents a new wave of artistic activism led by youth in academic institutions.

Synopsis and Thematic Concerns of Ekun Omi
Ekun Omi translates as “Tears of Water,” and the title itself signals the centrality of water as both life-giving and destructive. The play dramatizes the aftermath of unchecked urban development, poor waste management, and governmental negligence, culminating in devastating floods that claim lives and destroy communities. It reflects real-world tragedies such as the recurring flood disasters in Lagos, Ibadan, and parts of the Niger Delta (Ayoade 78).

Thematically, the play addresses pollution, climate change, deforestation, and the intersection of poverty and environmental vulnerability. Through a combination of satire, tragedy, and participatory scenes, it indicts not only the government but also individuals whose daily actions contribute to environmental degradation. The title suggests a paradox the very element meant to sustain life becomes the source of suffering, due to human recklessness.

Performance Analysis

The Bowen University production of Ekun Omi employs a multi-sensory approach typical of African theatre: song, drumming, chants, oral narration, and stylized movement. These elements draw the audience into the narrative emotionally and culturally. The characters are archetypal yet relatable: the greedy politician, the indifferent elite, the helpless slum dweller, and the activist youth. This archetypal structure simplifies complex issues, making them accessible to a broad audience.

The set design and costuming feature recycled materials, a conscious directorial choice meant to reinforce the message of reuse and environmental responsibility. Scenes of flooding were dramatized using multimedia projections and live sound effects, enhancing the immediacy of the threat.

Audience participation was also key. After the performance, an interactive forum allowed spectators to share personal experiences with environmental hazards, suggest community solutions, and pledge behavioural changes. This aligns with the TFD method of fostering dialogue and action post-performance (Boal 122).

Impact and Reception

The reception of Ekun Omi at Bowen University underscored the powerful role theatre can play in shaping perceptions and promoting behavioural change regarding environmental issues. Audience feedback, gathered through post-performance surveys and informal interviews, revealed a compelling mixture of emotional resonance and intellectual stimulation. Many students described the performance as “eye-opening” and “provocative,” noting that it challenged their previously held assumptions about the environment and their personal role in environmental degradation and protection. The use of symbolic imagery, dramatic spectacle, and cultural motifs not only held their attention but also deepened their understanding of ecological issues in a relatable context.

Faculty members across various disciplines lauded the production for its innovative blend of artistry and civic engagement. Several commended the students and production team for crafting a narrative that was both educative and aesthetically engaging. In particular, members of the departments of Environmental Science and Communication Studies expressed appreciation for the interdisciplinary approach that Ekun Omi exemplified. They acknowledged the performance as a pedagogical model that could be replicated to teach complex environmental concepts in more accessible, community-friendly formats.

Notably, environmental activists and NGO representatives who attended the performance echoed the sentiments of the university audience but went further to suggest that Ekun Omi had potential as a mobile advocacy tool. They recommended that the play be adapted for performances in secondary schools, community halls, and local government awareness programs, particularly in areas vulnerable to environmental challenges such as flooding and erosion. According to these practitioners, the emotional and cultural currency of live theatre could fill a critical gap left by more technical or policy-driven approaches to environmental communication.

Perhaps the most tangible and lasting impact of the production was the creation of the Green Theatre Club at Bowen University. Founded shortly after the final performance of Ekun Omi, the club was spearheaded by cast members, crew, and environmentally-conscious students inspired by the message of the play. The club’s mandate centres on using performance as a medium to advocate for environmental sustainability both within and beyond the university community. Its activities include environmental-themed skits, tree planting ceremonies with theatrical elements, waste recycling campaigns integrated with performance art, and collaboration with local NGOs for community outreach.

This development exemplifies how a single theatrical performance can catalyze institutional and behavioural change, extending its influence beyond the temporal and spatial boundaries of the stage. It transforms passive audience engagement into active participation, where theatre becomes not just a reflective mirror of society but also a dynamic force for advocacy and transformation. Through Ekun Omi, Bowen University has illustrated how the convergence of performance and environmental activism can foster a culture of sustainability and social responsibility among young people. This outcome affirms the enduring relevance and potency of theatre in addressing one of the most urgent challenges of our time: environmental degradation.

Challenges and Limitations

Despite the success and creativity embedded in Ekun Omi, the production faced several challenges that highlight the broader limitations of using theatre as a tool for environmental advocacy. One of the most pressing issues was funding. Like many student-led or university-based theatrical productions, Ekun Omi operated within a limited budget, which constrained its technical capabilities, production design, and the potential for multiple staging. These financial constraints also limited opportunities for touring the play to other communities outside the university, thereby restricting its impact to primarily academic audiences.

Ideologically, the play grappled with the challenge of balancing entertainment with activism. Environmental theatre often risks becoming overly didactic, potentially alienating audiences who seek artistic engagement rather than overt moral instruction. The creators of Ekun Omi had to make deliberate dramaturgical decisions to maintain this balance infusing the narrative with music, dance, and cultural aesthetics to sustain audience interest while embedding strong environmental messages. This creative tension demanded a high level of skill and sensitivity to both the subject matter and audience reception.

Furthermore, the reach of Ekun Omi remained largely confined to the Bowen University community. While the production succeeded in raising awareness among students and staff, its influence on broader public discourse was minimal. For theatre to serve as an effective mass advocacy tool, strategic collaborations with environmental NGOs, media houses, and community leaders are essential. Such partnerships can amplify the message, provide logistical support, and extend the reach of performances to more diverse and vulnerable communities affected by environmental degradation.

Ekun Omi stands as a compelling case study of how theatre can be innovatively employed as a dynamic tool for environmental advocacy. The production, as mounted by Bowen University students, demonstrates the transformative potential of performance in raising awareness, challenging destructive attitudes, and inspiring actionable responses to ecological concerns. By merging traditional African performance aesthetics such as music, dance, ritual symbolism, and communal storytelling with pressing environmental issues, the production not only educated its audience but also catalyzed a cultural dialogue on sustainability. It exemplifies the unique capacity of theatre to serve as a participatory medium that transcends the limitations of conventional advocacy approaches, often confined to academic discourse, policy papers, or isolated community meetings.

A key strength of Ekun Omi lies in its ability to localize the global discourse on environmental degradation. Through its narrative, the play explores themes of water pollution, deforestation, urban flooding, and human exploitation of natural resources issues that are deeply relevant to Nigerian communities. By representing these issues through characters, visual metaphors, and emotive storytelling, the production made complex environmental phenomena more relatable and comprehensible to its audience. This ability to "translate" ecological data into lived human experiences is one of the most significant contributions theatre can make to environmental discourse. It personalizes the abstract and often overwhelming language of climate change and situates it within the familiar contours of cultural expression and social life.

The success of Ekun Omi should encourage broader institutional and governmental support for integrating theatre into environmental communication strategies. Universities, in particular, should recognize the dual value of performance as both an educational tool and a means of civic engagement. To this end, departments of Theatre Arts, Environmental Sciences, and Communication Studies could initiate interdisciplinary collaborations to produce more performances addressing ecological issues. These collaborations can be formalized through curriculum revisions that include environmental theatre modules, project-based learning models, and community service requirements that utilize drama as a communication tool.

Furthermore, recommendations for expanding the impact of environmental theatre like Ekun Omi include:

1. Institutional Funding and Support: Universities and tertiary institutions should establish dedicated grants or funds to support student-led theatrical initiatives with environmental themes. This would help overcome the financial limitations faced by productions like Ekun Omi, enabling multiple staging, mobile theatre tours, and higher production values.
2. Community Outreach Programs: Stakeholders, including NGOs and governmental environmental agencies, should partner with university theatre troupes to take such plays into the larger community. Performing in local government areas, rural communities, and public schools would allow theatre to reach those most affected by environmental hazards and who may have limited access to environmental education.
3. Media Collaboration: Strategic partnerships with television stations, radio houses, and digital media platforms can help extend the visibility and influence of environmental theatre. Recorded performances or adapted versions could be aired to wider audiences, including those beyond the immediate academic environment.
4. Capacity Building Workshops: Theatre practitioners should be offered regular training on environmental issues, while environmental advocates should be trained in the use of performative techniques. This cross-training would help bridge the gap between content and form, ensuring that future productions remain both artistically compelling and environmentally accurate.
5. Policy Inclusion: Government ministries such as the Ministry of Environment and the Ministry of Culture and Tourism should include performative arts in their advocacy campaigns. Funding environmental theatre projects as part of national environmental awareness strategies would legitimize theatre’s role in public discourse and civic education.
6. Documentation and Archiving: Performances like Ekun Omi should be thoroughly documented and archived, not only for posterity but also for academic reference, replication, and adaptation. Creating an online repository of environmental theatre scripts, videos, and commentaries would serve as a resource for other institutions and communities interested in using theatre as a tool for advocacy.

In conclusion, Ekun Omi is more than a university production it is a prototype for how theatre can be used to inspire meaningful environmental consciousness and action. It validates the notion that the arts are not merely reflective but also generative they can produce new ways of thinking, being, and acting in the world. As environmental hazards intensify in Nigeria and globally, it is imperative to explore, support, and institutionalize theatre’s role in ecological advocacy. Performance should not be relegated to entertainment alone; it must be embraced as a vital element in the fight for environmental justice. With proper support, replication, and strategic collaboration, productions like Ekun Omi can serve as powerful catalysts for ecological transformation, helping societies move from awareness to action, and from indifference to responsibility

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