Theatre practitioners seek stronger policy support, position arts as tool for peace
Theatre practitioners, policymakers, and cultural stakeholders have called for stronger institutional support and policy reforms to enable the creative industry to function effectively as a tool for peacebuilding and national
- By Zainab Olufemi and Halimah Balogun
Theatre practitioners, policymakers, and cultural stakeholders have called for stronger institutional support and policy reforms to enable the creative industry to function effectively as a tool for peacebuilding and national development.
The call was made at the 2026 World Theatre Day celebration held at the Glover Memorial Hall, themed: “Reinventing Theatre for National and International Conflict Resolution and Peace Building.”
Delivering the keynote address, theatre scholar Duro Oni described theatre as a “technology for peace,” noting its capacity to foster dialogue, empathy, and reconciliation in conflict-prone societies.
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According to him, theatre has evolved beyond entertainment to become “a vital instrument for healing fractured societies.”
“Through live performance, theatre brings to light the root causes of conflict, gives voice to multiple perspectives and fosters a sense of shared responsibility,” he said.
Oni urged practitioners to adopt inclusive and collaborative approaches, particularly by amplifying the voices of women and youths in peacebuilding processes.
Permanent Secretary, Lagos State Ministry of Tourism, Arts and Culture, Bopo Oyekan-Ismaila, said the government has continued to support the creative sector through funding, training, and institutional backing.
She disclosed that the state government expended over N8.4 billion in 2025 to support theatre practitioners, musicians, and other creatives, noting that Lagos remains the hub of Nigeria’s entertainment industry.
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“Government can only do what it can. We also call on the private sector to support the industry. Beyond grants, we provide platforms, training, exposure, and connections for young creatives,” she said.
President of the National Association of Nigerian Theatre Arts Practitioners, Adeniran Makinde, identified poor policy framework, inadequate funding, and lack of infrastructure as major challenges facing the industry.
“There is a lack of infrastructure and access to funding and grants. Without proper policy and structure, the sector cannot function effectively,” he said.
Makinde also decried limited access to performance spaces, including the National Theatre, as well as the marginalisation of arts-focused agencies.
Similarly, President of the Society of Nigerian Theatre Artists, Tunji Azeez, said economic hardship has reduced audience participation in theatre.
“The problem is not that theatre artists are not speaking. The question is: are the people listening?” he queried.
He attributed declining audience turnout to poverty and prevailing economic challenges, noting that survival pressures have distanced many citizens from theatre spaces.
A stage play titled Erelu Kuti, written by Ahmed Yerim
