This paper examines the response of youths or the rising generation, to the socio-economic and political factors that ceaselessly widen the gap between the elite and the ordinary people, especially the youth and which tend to force the youth to resort to violence as a means of making their point or calling attention to the neglected leaders of tomorrow. While Look Back in Anger represents the anger period, a notable era in English Drama, Irobi’s play in English; Nwokedi, appears to suggest that the Nigerian youth seem to grope in a more devastating condition in a post-colonial Nigeria, where poor leadership has created all manner of socio-economic and political tension. The youthful generation in both plays embodied in the characters, Jimmy and Nwokedi, respectively violently demonstrate their resentment against the ruling class ideology and the social order it promotes. Their resolve points strongly to a revolution that a positive change may only quell. The paper submits that youths should, along with their agitations for a better society, give no holiday to developing new ideas and visions on which their ambitions will thrive. Leaders on all fronts are also cautioned to realize the destructive effects of bad leadership and avert uprisings from an angry citizenry by living up to their mandates.
Beyond the more popular indigenous movie industries from the three major ethnic groups in Nigeria; Hausa, Igbo, and Yoruba, the Nigerian Movie Industry has witnessed the upsurge and establishment of more indigenous regional and ethnic movie industries. This development is born partly, out of the desire of indigenous Nigerian ethnic groups to tell their own respective stories; an effort towards sustaining the diverse culture which together, make one Nigeria, and also promote respective cultures globally. Adopting a qualitative design, this article examines the prospects and challenges of the Indigenous movie industry of the Igala ethnic group in Nigeria: Igawood in the quest for global relevance. The article projects that Igawood is an efficient tool for cultural integration, propagation, and sustenance, firstly, among people of the Igala ethnicity spread across the globe and also among other tribes of the world with an interest in the Igala culture. Among other challenges, the paper points at finance, the quest to make a profit, the star actor syndrome, relatively poor presence on satellite TV Networks, and lack of requisite technical know-how as factors militating against Igawood. The paper identifies the need for re-orientation and adequate technical training for players in the industry to meet up with the standard and global best practices.
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