University of Calabar Department of Theatre and Media ... - Unical

©Curriculum, Dept. of Theatre, Film & Carnival Studies, UNICAL, 2019

University of Calabar Department of Theatre and Media Studies

Undergraduate Programme (Bachelor of Arts (Honours) Degree in

Theatre and Media Studies). <www.unical.edu.ng>

The Department also offers @ Graduate Level:

• Graduate Diploma in Theatre, Media and Change Communication (GDTMS);&

• Masters and Doctor of Philosophy (M.A.& Ph.D.)Degrees in the following Areas:

➢ Arts & Events Management; ➢ Theatre & Media Directing; ➢ Media Arts Studies; ➢ Educational Theatre & Media; ➢ Playwriting & Scripting; ➢ Theatre & Media Technology &

Design; & ➢ Social & Behaviour Change

Communication (SBCC).


CONTENTS • Brief Historical Background of the Department - 3

• Successive Heads of Department :1976 – Date - 5

• Philosophy and Objectives - - - 7

• Department Admission Information - - 8

• Academic Requirements - - - 12

• Core Stress Areas - - - - 14

• Programme Structure & Outlay - - - 15

• Course Descriptions - - - - 36

• Comprehensive Course Listing - - - 64

• Staff Disposition (Academic, Technical &

Administrative) - - - - - 67

• Examination Misconduct, Offences & Prescribed

• Punishments - - - - - 77


BRIEF HISTORICAL BACKGROUND OF THE

DEPARTMENT

The Department of Theatre and Media Studies (formerly Department of Theatre Arts) started in 1976 as a pioneer department of the University of Calabar and graduated her first batch of students in 1980. The Department enjoyed a solid pioneering vision and effort from very widely selected staff of American, British, Indian, and African origins led by Dexter K. W. Lyndersay, a Trinidadian, himself a seasoned, gifted and committed theatre scholar and professional, versed in all the arts of the theatre.

The Department which was established by the first Vice-Chancellor of the University of Calabar, Prof. E.A. Ayandele, who had an immense passion for the Theatre, no sooner made a mark nationally and internationally in theatre studies and stage productions. That grandeur and excellent take-off fertilized the soil on which the Department is still harvesting and cropping today.

The Department of Theatre and Media Studies, University of Calabar, re-designed in 2017, has one of the most versatile curricula in Theatre Arts and allied studies in the country. This is manifest, perhaps in the excellence shown in the caliber of students graduating from the department; as well as the level of professionalism and talent projected by the famous University of Calabar Performing Company (UCPC); a teaching support unit of the Department which is made up of a Modern Musical Orchestra, Ethnomusicologists, Choreographers and Dancers.There is also the play House for Children, a project directed at exposing the children, through series of


improvisational theatre and media activities and designed to enhance self-realization, self-discovery and talent development.

The Technical Theatre Unit is renowned in the creative application of production materials and elements: wood, glass, fibre, fabrics, light, sound, electronics, electrical, electro-mechanical devices and pyrotechnics in stage scenography. The Department is made up of highly qualified and technical staff in the nine broad specialized areas Theatre and Media Studies for the Diploma, Undergraduate, Master’s and Doctoral studies. The administrative unit handles the day to day administration of the Department. These units, acting in concordance, project the academic and professional objectives of the Department of Theatre and Media Studies. Thus, they pursue the Department’s philosophy of developing the Theatre and Media as potent communication tools for the education and entertainment of her immediate community and the projection of Theatre and Media Studies as academic disciplines.

The Department has as its workspace, the James Ene Henshaw Theatre Building, a spacious administrative block allocated to her in October 2002 by the University Administration. This block accommodates Lecturers’ Offices, Administrative Offices, Lecture and Resource Rooms; the Film, Television, Radio Broadcast, Print, Design and Puppetry Studios, and the Experimental Pit Theatre. In 2017, a new dance studio was built and commissioned by the University administration to complement the Scene-shop and the Chinua Achebe Arts Theatre, which are major laboratories fortesting performing arts in the Department.

The Department of Theatre and Media Studies is credited as being the first in the country to teach Dance and Choreography


courses as specialized integral units of Theatre Arts; and now the first again to introduce Carnival Studies as a specialized discipline in performing arts scholarship in a Nigerian University. Many of the choreography graduates of the Department are today considered the best in the country. Her theatre Design and Technology unit, perhaps, is matchless in theory and practice. The graduates of the Department, found in Academics, Theatre Management, Communication, Media Broadcast houses, Print and Publishing companies; Film and Video industries; Public Relations, Information and Advertising offices, politics and private entrepreneurship, as well as Fashion Design and Modeling outfits are eloquent testimonies of tangible rewards of the collective efforts of the Department.

SUCCESSIVE HEADS OF DEPARTMENT (1976-Date)

S/N NAME OF HEAD DURATION OF HEADSHIP

1 Dexter K.W. Lyndersay 1976 - 1981

2 Frank Speed 1982 - 1983

3 Dr. Emmanuel Akpan 1983

4 Prof. Kalu Uka 1983 - 1992

5 Dr. Chris Nwamuo 1992 - 1996

6 Dr. Akomaye Oko 1996 - 1998


7 Dr. P. Enyamnzie Okpokam 1998 - 2000

8 Prof. Kalu Uka 2000 - 2002

9 Dr. Luke O .M. Enendu 2002 - 2004

10 Dr. Ogonna Agu 2004 - 2006

11 Mr. Joe King 2006 - 2008

12 Dr. Edde Iji 2008 - 2010

13 Prof. Chris Nwamuo 2010 - 2012

14 Dr. Edet Essien 2012 - 2014

15 Prof. Esekong Andrew-Essien 2014 - 2016

16 Dr. (Mrs) Brenda Akpan 2016 - 2018

17 Rev’d Prof. Emmy I.U Idegu 2018 - 2021


PHILOSOPHY AND OBJECTIVES

PHILOSOPHY

The arts of Theatre and Media Studies are organic and integral to Performance Arts scholarship. The programme therefore aims at meeting the needs of the immediate community and Nigerians at large, in line with the changing times, entertainment needs and the imperatives of the 21st century globalization and media convergence technologies. The theatre, film and carnival experience are a potent communication tool for the development of the human artistic excellence, the development of the global community and contribution to knowledge through research.

OBJECTIVES

The Objectives of the programme include:

a). To guarantee a continued advancement in African Theatre, Film and Media development and scholarship through practice, innovative field work and research.

b).To produce high-level personnel for the public & private sectors particularly in managerial cadres of Theatre and Media administration, teaching, content production and broadcasting.

c).To guarantee a supply of expert researchers and curators for Art Councils, Museums, Archives as well as in Public Relations, Advertising and Book Publishing establishments, among others.


d). To create skilled manpower in the areas of Applied Theatre, Theatre and Studio technologies, and Creative Artists for Theatre, Film and Carnival for sustainable development.

e).To ensure a cadre of self-employable Nigerian corps of writers, critics, designers, journal and book publishers, entertainers and actors.

DEPARTMENTAL ADMISSION INFORMATION

1.0 The Department of Theatre and Media Studies offers an integrated programme of courses that may lead to the following degrees at the undergraduate level.

1.1 Four-year (8-semester) B.A Degree for UME Candidates;

1.2 three-year (6-semester) B.A Degree for Direct Entry (DE) candidates.

2.0 Prospective degree candidate must satisfy both the general University Minimum Entry Requirements, and the specific Faculty and Department Requirements.

2.1 General University Minimum Entry requirements provide three methods of admission into University as follows:

2.1.1 Possession of WASC, (WA) SSCE, GCE (O/L), NECO or other equivalent certificates with credit level passes in at least five subjects taken at not more than two


sittings (and preferably not more than five years apart).

2.1.2 Possession of three subjects at the WASC, (WA), SSCE, GCE O/L, NECO, or other equivalent examination at credit level, plus the Teachers Grade Two Certificate (where applicable).

2.1.3 In both 2.1.1 and 2.1.2, the SUBJECT CREDITS MUST INCLUDE ENGLISH LANGUAGE AND ENGLISH LITERATURE (or Literature in English).

2.1.4 English Language of TCII must be at Merit level, before it can be accepted as an equivalent of the WASC, or (WA) SSCE or GCE O/L or NECO or other English Language requirement.

2.2 By transfer from other recognized universities within and outside Nigeria.

3.0 The Faculty of Arts specifically requires that:

3.1 All candidates pass the UME and reach the appropriate cut-off point for the year of admission.

3.2 All applications for admission are routed in the first instance through JAMB.

3.3 All candidates must obtain credit level passes in English Language at the WASC, NECO, (WA) SSCE or GCE O/L and offer same in UME.

4.0 The Department of Theatre, Film & Carnival Studies specifically requires that:


4.1 Candidates for the Standard Four-year BA Programme must have passed at least at credit level in English Language and English Literature (or Literature-in-English) at the WASC/NECO, (WA) SSCE or GCE O/L examination.

4.2 In addition to the English Language and Literature credits, candidates may possess credit level passes in Fine Art(s), Music, a Nigerian Language, or approved Social Sciences subjects.

4.3 Approved Social Science subjects acceptable include Economics, Government, Commerce, History, Christian Religious Knowledge (or B.K)

4.4 Fair grounding in major sciences subjects at Secondary School level may be an advantage especially when it comes to Performance and Theatre Technology studies.

5.0 Candidates for the Standard Three Year B.A Programme, that is, Direct Entry (D.E) candidates, must possess one of the following qualifications.

5.1 A University of Calabar Diploma in Theatre Arts (DTA), Diploma in Theatre& Media Studies (DTMS), and Diploma in Theatre, Film & Carnival Studies (DTMS) with at least a 2.60 (CGPA) Merit Level passes.

5.2 Any other two-year Diploma in Theatre or other related studies from an approved/recognized post-secondary or equivalent institution within or outside Nigeria, at least at Merit level.


5.3 Other related (i.e. cognate) studies equivalent to the Diploma may include Diploma In Journalism, Radio and TV studies, Graphics, Textile and Design studies, or Musical studies.

5.4 A GCE A/L Certificates with a minimum of three subjects, including English Literature with at least a “D” Grade pass.

5.5 The National Certificate in Education (NCE) in three major subjects, including Literature-in-English at least at Merit level pass

5.6 The JAMB Certificates in Three relevant subjects including Literature-in- English with at least “D”: grade pass.

5.7 A two year OND in Mass Communication from an approved/recognized University or Polytechnic with at least a 2.75 GPA at Merit level.

6.0 In all cases above, from 5.1 to 5.7 candidates MUST still possess Five Credit level passes including English Language and Literature-in-English

*Note: Fair groundings in Secondary School science may be an advantage, as they include, by JSS III and SS III levels elements of Integrated Science, Mathematics, Chemistry and Physics, essential in Applied Theatre Technology and play production studies.


ACADEMIC REQUIREMENTS

7.1 To obtain a B.A. Honours in Theatre and Media Studies the student admitted by University Matriculation Examination (UME) of the Joint Admissions and Matriculation Board JAMB) goes into standard Four-Year programme.

S/he must successfully complete the required credit hours of work, some of which are in mandatory GSS courses and electives. Most of the credit hours are made up from Theatre and Media Studies courses as follows: Three (3) practical Production Workshops, Production Participation credits at one per year from Year I to Year III; and Comprehensive Practicals in Year IV in CUT/Departmental productions; and others from regular programme courses according to the specialization area determined on the advice of the Departmental Board headed by the Head of Department and executed through Academic Advisers and Project Supervisors.

7.2 To obtain a B.A Honours in Theatre and Media Studies, the student admitted by Direct Entry through JAMB also, effectively joins at Year Two of the standard four-year programme, which point is regarded as his/her “Year-One”. The background and entry qualification of the D.E. candidates differ (see Qualification) in specifications; (see paragraphs 5.1 to 5.7 above).

Because of the differences in background and original entry qualifications,as well as the specialization area


the student may elect, the credit hours required for graduation differ.

Some of the credit hours are in GSS for some, whereas others may be GSS exempt.

One credit hour in each of the years, (i.e in years I, II and III) are in practical Participation in CUT/Departmental production activities. More credits come from the specialization area of Theatre, Film & Carnival Studies chosen by a student on advice.

7.3 Depending on the case, some waivers may be granted in the Elective (and GSS) courses. Some make-up courses may also be required to compensate for any discerned deficiency.

7.4 Senate approval is obtained by the normal process

where it becomes necessary for a student to carry any credit hours in excess of the maximum of 24 credit hours allowed per semester.


CORE STRESS AREAS [& CODING]

1. History, Theory and Criticism 2. Scriptwriting 3. Acting &Directing 4. Technology and Design 5. Dance & Choreography 6. Film 7. Applied Theatre 8. Arts& Events Management 9. Carnival.


PROGRAMME STRUCTURE AND OUTLAY STANDARD4-YEAR PROGRAMME

YEAR 1: FIRST SEMESTER

S/N COURSE CODE

COURSE TITLE CREDIT HOURS

1 TMS 101 Indigenous African Theatre 2

2 TMS 111 Introduction to Drama&Theatre 3

3 TMS 161 Introduction to Film Studies 2

4 TMS 141 Production Design and Technology 1 2

5 TMS 191 Carnival History 2

6 TMS103 Production Workshop I 2

General Studies (GSS) Courses

7 GSS 101 Use of English and Communication Skills I

2

8 GSS 111 Citizenship Education 2

9 GSS 121 Philosophy and Logic 2

10 GSS 141 Anti-Corruption Studies I 2

TOTAL 20

S/N COURSE CODE


1 TMS 102 History of Drama and Theatre (Beginning to 19th Century)

3

2 TMS 105 Basic Communication Skills 2

3 TMS 152 Basic Acting and Dance Skills 2

4 TMS 192 Carnival as Performance 2

5 TMS 162 Basic Video/Film Production 2

6 TMS 104 Production Participation I 2


YEAR 1: SECOND SEMESTER


S/N COURSE CODE


1 TMS 211 Introduction to Theory & Criticism I 3

2 TMS 205 Speech Arts & Communication 2

3 TMS 201 Contemporary African Drama and Theatre

2

4 TMS 231 Basic Directing 2

5 TMS 251 Introduction to Music, Dance & Choreography

2

6 TMS 261 Film and Society 2

7 TMS 291 Carnival, Festival and Society 2

8 TMS 204 Production Workshop 2 2

General Studies (GSS) Course

9 GSS 211 Introduction to Computer 2

TOTAL 19


7 GSS 102 Use of English and Communication Skills II

2

8 GSS 132 History and Philosophy of Science 2

9 GSS 142 Anti Corruption Studies II 2

Required Elective Course (One of the Following)

10 FRH102 HIS 122 ***

Introduction to French Language II Introduction to History *(Or any from Fine Arts/Music Departments)

2

TOTAL 21



S/N COURSE CODE


1 TMS 202 History of Drama and Theatre (Since Modern Period)

3

2 TMS 200 Basic Research & Seminar Presentation 2

3 TMS 222 Fundamentals of Scriptwriting 2

4 TMS 242 Space, Scenery & Props 2

5 TMS 272 Creative Dramatics 2

6 TMS 282 Introduction to Production Management 2

7 TMS 273 Social and Behavioural Change Communication

2

8 TMS 285 ProductionParticipation 2 1


9 GSS 212 Computer Application 2

TOTAL 19

PROGRAMME STRUCTURE AND OUTLAY

STANDARD THREE-YEAR PROGRAMME


S/N COURSE CODE



2 TMS 111 Introduction to Drama & Theatre 3


4 TMS 141 Design and Technology 1 2


6 TMS 103 Production Workshop 2


7 GSS 101 Use of English and Communication Skills I 2




10 GSS 141 Anti Corruption Studies I 2

TOTAL 20


S/N COURSE CODE



3







7 GSS 102 Use of English and Communication Skills II

2


9 GSS 142 Anti Corruption Studies II 2

Required Elective Course (One of the Following)

10 FRH102 HIS 122 **

Introduction to French Language II Introduction to History *(Or, from Fine Arts/Music Departments)

2

TOTAL 21



S/N COURSE CODE




3 TMS 201 Contemporary African Drama and Theatre 2



2






TOTAL 19


S/N COURSE CODE


1 TMS 202 History of Drama and Theatre (Since Modern Period)

3






7 TMS 273 Social and Behavioural Change Communication

2

8 TMS 285 Production Participation 2 1


9 GSS 212 Computer Application 2

TOTAL 19


FIRST YEAR

(A) Direct Entry with qualifications 5.1 Diploma in Theatre

Studies (DTA)Direct Entry Qualification 5.7 O.N.D in Mass

Communication

FIRST SEMESTER

S/N COURSE CODE


1 TMS211 Introduction to Theory and Criticism 3

2 TMS 205 Speech Arts &Communication 2

3 TMS231 Basic Directing 2

4 TMS251 Introduction toMusic, Dance & Choreography

2

5 TMS 261 Film & Society 2



7 GSS 101 Use of English and Communication Skills I 2




TOTAL 21

SECOND SEMESTER

S/N COURSE CODE


1 TMS 202 History of Drama and Theatre since Modern Period.

3

3 TMS 200 Basic Speech & Seminar Presentation 2



6 TMS 272 Creative Dramatics. 2



8 TMS 273 Social & Behavioural Change Communication

2

9 TMS 205 Production Participation 1

General Courses (GSS)


11 GSS 212 Computer Appreciation 2

TOTAL 20

PROGRAMME STRUCTURE OUTLAY


FIRST YEAR (B) Direct Entry with qualification 5.4 GCE A/L or IJMB FIRST SEMESTER

S/N COURSE CODE


1 TMS 111 Introduction to Drama &Theatre 3

2 TMS 211 Introduction to Theory and Criticism 3

3 TMS 205 Speech Arts &Communication 2



2


7 TMS 291 Carnival, Festival & Society 2

8 TMS 204 Production Workshop II 2


9 GSS 101 Use of English and Communication Skills I

2



TOTAL 24


SECOND SEMSTER

S/N COURSE CODE



3

2 TMS 202 History of Drama and Theatre since Modern Period)

3



5 TMS 242 Scenography:Space, Scenery & Props 2



8 TMS 273 Social & Behaviour Change Communication

2

9 TMS 285 Production Participation II 1



11 GSS 212 Computer Appreciation 2

TOTAL 23


PROGRAMME STRUCTURE OUTLAY


FIRST YEAR

(C) Direct Entry with Nigerian Certificate in Education (NCE) Qualification

No 5.5 (Exempt from GSS Courses)

FIRST SEMESTER

S/N COURSE CODE



2 TMS 111 Introduction to Drama & Theatre 3

3 TMS 211 Introduction to Theory & Criticism 3


5 TMS 141 Design & Technology I 2



2


9 TMS 291 Carnival, Festival & Society 2

10 TMS 204 Production Workshop II 2

TOTAL 22

SECOND SEMESTER

S/N COURSE CODE



3

2 TMS 202 History of Drama and Theatre since Modern Period

3




5 TMS 242 Scenography: Space, Scenery & Props. 2



8 TMS 273 Social & Behavior Change Communication

2

9 TMS 285 Production Participation II 1

TOTAL 19


S/N COURSE CODE


1 TMS 301 Research Methods 2

2 TMS 381 Production Administration and Management

2

3 TMS 321 Script Analysis and Interpretation 2

4 TMS 371 Community Theatre I 2

5 TMS 310 Critical Theory 2

6 TMS 351 Choreography and Kinesthesia 2

7 TMS 311 Indigenous Performance & Development 2

8 TMS 353 Stand-Up Comedy 2



10 GSS301 Entrepreneurship Development 1 2

TOTAL 19



S/N COURSE CODE


1 TMS 332 Performing Arts & Tourism Development 2

2 TMS 305 Performance, Ethics and the Law 2

3 TMS 302 Oriental Theatre, Film & Carnivals 2

4 TMS 342 Costume and Make-up Design 2

5 TMS 344 Scenography:Lighting, Sound & Pyrotechnics

2

6 TMS 352 Semiotics in Performance 2

7 TMS 362 Radio & Television Drama Production 2

8 TMS 364 Feature, Documentary & Animation Production

2




TOTAL 19

Specialization Areas

YEAR FOUR: FIRST SEMESTER

Specialization Area 1: History, Theory and Criticism

S/N COURSE CODE


General Final Year Courses

1 TMS 401 Topics in Theatre, Film & Carnival Studies

3

2 TMS 411 Theories of Performance 3

3 TMS 460 Media Convergence and Globalization Studies

3

Stress Area Courses

4 TMS 461 History and Critical Theory I 2


(Theatre)

5 TMS 413 Advanced Studies in Dramatic Theories

2

6 TMS 415 Comparative Studies in Theatre & Film.

2

TOTAL 15

SECOND SEMESTER

S/N COURSE CODE



1 TMS 405 Comprehensives 3

2 TMS 410 Project/Thesis 6

3 TMS 402 Nigerian Theatre, Film & Carnival

3

Stress Area Courses

4 TMS 412 History & Critical Theory II (Film & Carnival)

2

5 TMS 432 Studies in Dramatic Literature 2

6 TMS 422 Comparative World Carnivals. 2

7 TMS 400 Comprehensives Practicum 1

TOTAL 19



Specialized Area 2: Scriptwriting

S/N COURSE CODE



1 TMS 401 Topics in Theatre, Film & Carnival Studies

3



3

Stress Area Courses

4 TMS 421 Advanced Playwriting 2

5 TMS 425 Adaptation & Dimensional Dramaturgy

2

6 TMS 423 Writing for Screen & Carnival 2

TOTAL 15

SECOND SEMESTER

S/N COURSE CODE





3 TMS 402 Nigerian Theatre, Film & Carnival 3

Stress Area Courses


5 TMS 422 Comparative World Theatre, Film & Carnival

2

6 TMS 428 Advanced Script Analysis and Interpretation

2

TMS 400 Comprehensives Practicum 1

TOTAL 19



Specialization Area 3: Acting &Directing

S/N COURSE CODE



1 TMS 401 Topics in Theatre, Film & Carnival Studies 3



3

Stress Area Courses

4 TMS 425 TMS 431

Adaptation &Dimensional Dramaturgy; OR Advanced Acting for Stage & Media

2 2

5 TMS 431 TMS 435

Directing Workshop (Film); OR Advanced Speech for Actors

2 2

6 TMS445 TMS 433

Technical Directing; for Theatre, Carnival & Film; OR Pantomime & Puppetry

2 2

TOTAL 15


SECOND SEMESTER

S/N COURSE CODE






Stress Area Courses

4 TMS 428 TMS 430

Advanced Script Analysis and Interpretation; OR Guerilla Theatre

2 2

5 TMS 425 TMS 434

Directing Workshop (Carnival); OR Role Interpretation/Acting Laboratory

2 2

6

TMS 435 TMS 432

Play Production & Directing; OR Advanced Acting for Media

2 2


TOTAL 19

YEAR 4: FIRST SEMESTER Specialization Area 4: Technology& Design

S/N COURSE CODE






3

Stress Area Courses

4 TMS 441 Advanced Film Scenography 2

5 TMS 443 Advanced Theatre/Float Design 2

6 TMS 446 Advanced Computer Design and Technology

2

TOTAL 15


SECOND SEMESTER

S/N COURSE CODE






Stress Area Courses

4 TMS 447 Control Systems and Installations 2

5 TMS 445 Technical Directing for Theatre , Carnival & Film

2

6 TMS 444 Architectural Design for Theatres and Studios

2


TOTAL 19


Specialization Area 5: Dance & Choreography

S/N COURSE CODE






3

Stress Area Courses

4 TMS 451 Advanced Choreography and the Human Body

2

5 TMS 455 Operatic Forms for the Stage and Carnival

2

6 TMS 453 Musicology and Oral Performances 2

TOTAL 15


SECOND SEMESTER

S/N COURSE CODE






Stress Area Courses

4 TMS 452 Dance Theories 2

5 TMS 454 Genres in Dance Performance 2

6 TMS 456 Music in Performance 2


TOTAL 19

YEAR 4: FIRST SEMESTER Specialization 6: Film

S/N COURSE CODE






3

Stress Area Courses

4 TMS 463 Advanced Radio and Television Production

2

5 TMS 461 Advanced Film Studies 2

6 TMS 465 Film Sound &Editing 2

TOTAL 15


SECOND SEMESTER

S/N COURSE CODE






Stress Area Courses

4 TMS 466 Advanced Plastics and Computer Design 2

5 TMS 462 Media Production Management 2

6 TMS 464 Videography 2


TOTAL 19


Specialized Area 7: Applied Theatre

S/N COURSE CODE






3

Stress Area Courses

4 TMS 471 Orality to Scriptwriting 2

5 TMS 473 Community Theatre II 2

6 TMS 475 Development Theatre Theories 2

TOTAL 15


SECOND SEMESTER

S/N COURSE CODE






Stress Area Courses

4 TMS 474 Drama in Education 2

5 TMS 476 Theatre for Development 2

6 TMS 472 Theatre in Education 2


TOTAL 19

Specialization Area 8: Arts & Events Management

FIRST SEMESTER

S/N COURSE CODE






3

Stress Area Courses

4 TMS 481 Arts Marketing 2

5 TMS 485 Human Resource Management in the Arts

2

6 TMS 483 Events Management 2

TOTAL 15


SECOND SEMESTER

S/N COURSE CODE






Stress Area Courses

4 TMS 482 Arts Management & the Law 2

5 TMS 484 Advanced Production Planning 2

6 TMS 486 Architectural Design for Theatres and Studios

2


TOTAL 19

Specialization Area 9: Carnival

S/N COURSE CODE






3

Stress Area Courses

4 TMS 491 Carnival Theory 2

5 TMS 493 Economics of Carnival 2

6 TMS 496 Survey of Global Carnival Policy & Administration

2

TOTAL 15


SECOND SEMESTER

S/N COURSE CODE






Stress Area Courses

4 TMS 492 Costume Building & Make Up for Carnival

2

5 TMS 494 Carnival Sound, Choreography& Directing

2

6 TMS 496 Carnival Band & Route Management 2

7 TMS 400 Comprehensives Practicum (Festival) 1

TOTAL 19


COURSE DESCRIPTIONS [B.A (HONS) DEGREE

PROGRAMME]

FIRST YEAR COURSES

TMS 101: Indigenous African Theatre

A study of traditional theatre in Africa as non-written drama discipline in

various African communities and as a form of theatre evolving from the

festival in its contexts and setting. (2 Cr. Hr.).

TMS 102: History of Drama and Theatre: Beginnings to 19th Century

A brief outline of the theories of the origins and development of theatre

and its practice from earliest ritual, oral and written traditions the world

over up into the 19th century (1860). Various contexts and texts will help

focus attention on conditions of theoretical performance, concepts of

stage house, play and the social conventions that realized them (3 Cr. Hr.).

TMS 111: Introduction to Drama &Theatre

An introductory course which explains the fundamental distinctions

between the concepts of “drama” and “theatre” and ‘carnival’

understanding the idea of drama as literature in action and the inter-

relations of literature and performance as prelude to semiotic studies (3

Cr. Hr.).

TMS 141: Introduction to Design & Technology I

An elementary study of fundamentals of the major arms of theatre design,

viz: scene, lighting and sound; and costume and make up and basic

traditional and modern technology that supports the functioning of these

designs. (2 Cr. Hr.).


TMS 152: Basic Acting and Dance Skills

A theoretical and practical introduction to the artistic and imaginative

properties of the beginning dancer/actor’s equipment of body, poise and

balance. A study of the specific techniques which propel the pantomimic

actor’s emotions and physique in movement coordination. The practical

aspect shall be based on graded exercises in acting and dance skills. (2 Cr.

Hr.).

TMS 161: Introduction to Film Studies.

An introduction to the film art, history, form, style and the language of

visual narratives. Area of focus would include preliminary exposition to

cinematography. Class discussions will be complemented with Film

exhibitions and discussions. (2 CR. Hr).

TMS 191: Carnival History.

A chronological survey of the development of carnival from its early

beginnings, through its dispersal in time and space: Africa,Greece, Rome,

Europe, Americas, the Orient, etc; from its ancient through medieval to

contemporary time. (2 Cr. Hr).

TMS 103: Production Workshop.

A deliberate hands-on workshop session headed by a lecturer-facilitator

where production and performance ideas in the area of theatre, film and

carnival are generated through group interaction and discussions. These

ideas are creatively developed, structured, presented and /or realized in a

formal or improvisational setting to an audience with scripts, costumes,

set, props and other production values in minimal or simplest form. (2 Cr.

Hr).


TMS 105: Basic Communication Skills.

A study of the basic models and theories of communication and skills, as

the process which evolves from individual perceptions, language habits,

and behavior, in interpersonal, intra-personal and social transactions. (3

Cr. Hr.).

TMS 192: Carnival as Performance.

A workshop approach to carnival designed to explore the unique

experiences, events and themes of carnival in the context of content and

meaning in relation to the immediate community. (2Cr. Hr).

TMS 162: Basic Film&Video Production.

This shall be an introduction to film making. It will treat the art of basic

video and film production techniques from pre-production, production to

post-production. Basic shooting and camera movement terminologies

shall be highlighted. Film lighting, types of editing, sound and visual effects

and other film technologies shall be considered. (2 Cr. Hr).

TMS 104: Production Participation.

The participation of students in Calabar University Theatre (C.U.T)

production, as directors, actors, designers, technical directors, stage and

house managers and crew members, is evaluated by the supervising

teacher. Effective student contribution at critique meetings, before and

after the production is encouraged (2 Cr. Hr.).


SECOND YEAR COURSES

TMS 211: Introduction to Theory & Criticism I

An introductory study of critical methodologies since Aristotle, using

selected plays. The student is expected to understand and appreciate how

criticism of drama has shaped and been shaped by the writer’s principles

of selection and arrangement (3 Cr. Hr.).

TMS 205: Speech Arts and Communication

Through basic exercises which aid articulation and voice projection, the

student studies the phonemic and stress patterns of English and their

interaction with various Nigerian Language tones. So grounded, the

student learns to speak poetry and prose with differing dramatic effects as

demanded by the acting context or the text. (2 Cr. Hr.).

TMS 201: Contemporary African Drama and Theatre

A study of the origins and developments of written works of drama in

Africa since 1800. The course shows how major African authors have used

theatre to respond to their cultural, social and political situations in

various regions of the continent (2 Cr. Hr.).

TMS 231: Basic Directing

A study of the basic mechanics of directing for the stage and the media.

The director’s application of the principles of composition, picturization,

movement and rhythm and pantomimic dramatization is emphasized (2

Cr. Hr.).


TMS 251: Introduction to Music, Dance and Choreography

A theoretical and practical course that exposes the student to the

rudiments of music; principles of movement; ethnic, modern, ballet and

contemporary dances, and the basics in the art of creating dances. In

other words; the course looks at basic composition techniques,

movement, co-ordination, rudiments of music, elementary choreography

designs in dance and etymological conception of music. (2 Cr. Hr.).

TMS 261: Film & Society.

This course shall take a holistic look at critical cultural issues in film

studies. Emphasis shall be placed on the influence of folklore on world film

traditions, technologies and economics. Other issues such as gender, class,

audience classification and media effects discourses shall be treated. (2 Cr.

Hr).

TMS 291: Carnival, Festival and Society.

This course examines the ethos and logos of carnival and festival as

products of the environments in which they are created and performed

and their contributions to development of society; as well as how the

artistic product and society are mutually dependent. (2 Cr. Hr).

TMS 204. Production Workshop II.

A hands-on workshop session facilitated by a lecturer where production

and performance ideas in the area of theatre, film and carnival are

generated through group interaction and discussions. These ideas are

creatively developed, structured, presented and/or realized in a formal or

improvisational setting to an audience with scripts, costumes, set, props

and other production values in minimal or simplest form. (2 Cr. Hr).


TMS 202: History of Drama and Theatre since Modern Period

A historical survey of the evolution of drama and theatre withtheir socio-

economic factors since 1860. The concept of modernism and theatre is

explored through the various forms of contexts of Romanticism, Realism,

Naturalism, Symbolism, Impressionism, Expressionism, Dadaism and

Absurdism into the postmodern period. (3 Cr. Hr.).

TMS 200: Basic Research & Seminar Presentation.

This course is designed to introduce the student to basic research, forms

and dimensions of academic writing as contrasted to other commonly

used forms of informal written communication. It will also include

methods of live presentation of such writings before audiences. The

student will be expected to produce/present a full seminar paper. (2 Cr.

Hr).

TMS 222: Fundamentals of Scriptwriting

With emphasis on plot and plot device, characterization, theme and

dialogue, the student is introduced to the art of scriptwriting. Exercises

will be used to develop the student’s grasp and execution of these

elements in practice (2 Cr. Hr.).

TMS 242: Space, Scenery and Props.

A theoretical and practical course that focuses on the co-ordination of the

elements of the scene: scenery, properties and effects for the creation of

appropriate scene in a given space, for the creation of appropriate scene

for a given dramatic situation and in filmology. It starts from the script and

ends in a given space (stage or location) involving the creative talents and

the crafts of scene-construction, painting, décor, etc. (2 Cr. Hr.).


TMS 272: Creative Dramatics.

This is an exploration through historical and performance perspectives, of

the objectives, purposes and values of developmental drama. Prominence

is given to creative techniques such as games theories, role-playing, story-

telling, teaching strategies, music, puppetry and animation, with regards

to children and adolescents’ activities. (2 Cr. Hr.)

TMS 282: Introduction to Production Management.

The student is exposed to the rudiments of keeping the book in theatre

environments and the intricacies involved in the management of radio,

television, photographic and film studios. Emphasis is laid on the handling

of equipment and administration of personnel. (2 Cr. Hr.).

TMS 273: Social and Behavior Change Communication

This course is designed to equip students with skills in communicating for

social and behavior change in wide-ranging socio-cultural issues in

developing societies. It has a wide application base and discusses various

development issues.(2 Cr. Hr.).

TMS 285: Production Participation.

A supervised participation of students in a Departmental or Calabar

University Theatre (CUT) production, such that the student learns to

practice criticism, writing, management, acting, directing or general-

backstage work as part of a team. (2 Cr. Hr.).


THIRD YEAR COURSES

TMS 301: Research Methods.

A course in the approaches to scientific processes of research, identifying

a viable topic, formulating the research problem, review of literature,

gathering and analysis of data, documentation of findings, etc. Emphasis is

laid on the application of these processes to Theatre, Film and Carnival

research. The course also exposes students to the various style manuals,

proper citation and documentation procedures. (3 Cr. Hr.).

TMS 381: Production Administration & Management.

The student studies and applies the principles that inform performance

management, venue administration and general duties of a manager from

play selection through rehearsals to presentation. Moreover, the student

is taught the theory and practice of the processes that underline a

theatrical production for the stage and cinematic and T.V. filming, and

Carnival; from script (selection) to the presentation. The artistic and

commercial aspects of planning and scheduling are highlighted. (3 Cr. Hr.).

TMS 321: Script Analysis and Interpretation

This course emphasizes using dramatic texts of various ages and cultures,

that the play script is blue-print for the theoretical event. Students learn

to understand and appreciate the thematic and aesthetic values of scripts,

and develop the artistic sense that will enable them to articulate ideas for

performance. (Pre-requisite: TMS 211) ((2 Cr. Hr.).

TMS 371:Community Theatre I.

This course is designed to familiarize the student with the theory and

practice of Community Theatre and its global applicability and in a number

of domestic environments where this form of theatre can be realized. In


this form of theatre owned and performed by the indigenous people in

any given community, the theatre practitioners are only facilitators in

using the instrumentality of drama to interrogate issues that directly affect

the people towards self-propelled solutions. Students are expected to

participate in a community theatre project which will bring them into

close contact with local drama groups and the entire communities. More

so, the course will create a meeting point in theory and practice with

carnival performances in Calabar (the immediate community) and evolve a

formidable synergy between Community Theatre practice and Carnival

Calabar performance in a dynamic creative and practical collaboration

towards meaningful development. (2 Cr. Hr.)

TMS 310: Critical Theory.

This course continues an in-depth examination of critical theories beyond

the basic methods, and how these theories have been used to make

meaning and enrich discourse of drama, film and carnival over time and

space. The course will be text/writing-based for easier comprehension. (2

Cr. Hr).

TMS 351:Choreography & Kinesthesia.

This is a theoretical and practical course in which the student is

introduced to the functions of space, time energy, shape, flow,

abstraction, themes and variations and composition. It will also expose the

student to the function of kinesthesia in the development of imageries of

emotion, intellect and physical faculties into dance. (2 Cr. Hr.).

TMS 311: Indigenous Performance & Development.

The course considers the composition of indigenous entertainment in

myths, folklore, songs, riddles and parables of various cultures in Africa.

The efficacy of the indigenous performances will be considered with their


contribution to the development of the people where the performances

are domiciled and beyond. A comparative study of diverse performances

will be explored with their meeting points and areas of divergence

towards the integration of cultures for cross national relevance and

development. The course will examine the place of all forms of indigenous

performances and how they are used and can be used as potent sources

of literary dramatic presentation. A few play texts that emerged from such

performances will be studied.

(2 Cr. Hr).

TMS 353: Stand Up Comedy.

This course shall treat the structure, styles and form of the standup genre.

Its impact on the society viz-a-viz therapeutic, correctional and

expositional tendencies or functionality shall be highlighted. Issues of

censorship, choice of words and audience impact shall also be treated.

(2 Cr. Hr)

TMS 303: Production Workshop III. (As above).

TMS 332:Performing Arts & Tourism Development.

The course explores the symbiotic relationship between Performing arts

and Tourism for sustainable development. It examines designs,

performances and management systems with emphasis on developing

artistic products for local and international markets. (2 Cr.Hr).

TMS 305:Performance, Ethics and the Law.

A study of the customs guiding and defining the practice of performance:

stage, film, carnival from Nigerian and global perspectives with regards to

copyright, performing and mechanical rights issues, Cultural policy for


Nigeria, as well as the inherent ethics in the exposure of indigenous

cultural performances from folklore. It will also examine communication

codes, laws of libel, slander and obscenity,advertising and constitutional

guarantees. (3 Cr. Hr.).

TMS 302:Oriental Theatre, Film & Carnivals.

A general survey of Japanese, Balinese, Indian and Chinese Theatres, Film

and Carnivals, by following their major movements, traditions, and

developments in aesthetics and other departments of theatre arts in

various contexts. (2 Cr. Hr.).

TMS 342: Costume & Make-Up Design.

The student follows the history and evolution of various styles of

costuming through the ages. In the process, the student notes how

nations and regional traditions of dressing, textiles, and garment textures

have influenced the conceptions of costuming for the stage, carnival, film

and other performance media as well as make-up techniques. (Pre-

requisite: TMS 242) (2 Cr. Hr.).

TMS 344: Lighting, Sound & Pyrotechnics.

The student concentrates, after the basics on wider principles of scene

design and functions, styles, aesthetics and procedures for lighting, sound

and effects and pyrotechnics for the stage and studio. By the end of the

course, the students should be able to conceive, to record, and supervise

the execution of these elements in production. (Pre-requisite: TMS 242) (2

Cr. Hr.).

TMS 352: Semiotics in Performance.

This course examines the semiotic theories and communication models as

tools for analyzing text and performance. The synchronic and diachronic


analysis and application of the signifying systems available for the theatre

and media (within a cultural framework), leading to audience- oriented

production is emphasized. (2 Cr. Hr.).

TMS 362: Radio & Television Drama Production.

A critical study of the styles, skills and techniques of drama production for

radio and television with a close examination of current techniques and

their applicability/suitability for various occasions. (2 Cr. Hr.).

TMS 364: Feature, Documentary & Animation Production.

This course will treat the principles, styles, content, context,

characteristics and sociology of the three major genres of film studies.

Issues of analogue and digital convergences shall also be considered as

they impact feature, documentary and animated filmmaking. (2 Cr. Hr).

TMS 304: Production Participation III.

This is designed to enable students acquire practical hands-on experience

in Theatre, Film and Carnival productions using Departmental/CUT

productions. (1 Cr. Hr.).


FOURTH YEAR COURSES

TMS 401: Topics in Theatre, Film & Carnival Studies

This course is a study of chief thematic categories of drama, film and

carnival as determined from selected works of principal and seminal

playwrights and performances. Dramatic form and context are then used

as an index of the social conditions in which plays are written, and the

pedagogic values enhanced by an exploration of how the ideas, practices,

and methods of critics, actors, directors, designers, choreographers and

semioticians world-wide, complement such major themes as politics,

society, religion, love, identity and alienation. (3 Cr. Hr.).

TMS 411: Theories of Performance.

An intensive study of the major theories of theatrical practice from the

pre-modern through the modern into the postmodern periods. Theories,

movements and concepts will be considered both in their textual and

historical implication. (3 Cr. Hr.).

TMS 460: Media Convergence & Globalization Studies.

A course that examines the implications and opportunities of Print,

Telecommunications and Broadcast convergence for the theatre and

communication artist. It will focus on its evolution, drivers, implications,

applications and opportunities for the third world (African) media

practitioner/artist. In totality, this course focuses on the dimensions of

message dissemination through the trans-national information highway.

(3 Cr. Hr.).


TMS 461: History & Critical Theory I (Theatre).

An indepth study of Theatre history and critical theories and trends in

dramatic criticism; its methodologies and approaches especially in the

modern periodusing appropriately illustrative play texts. (2 Cr. Hr.).

TMS 413: Advanced Studies in Dramatic Theories.

The course is an intensive study of the dramatic theories of Aristotle and

Horace, through JW. Von Goethe, Friedrich Hegel, Emile Zola, Friedrich

Nietzsche, Bertolt Brecht, Martin Esslin, Augusto Boal’s ‘Theatre of the

Oppressed’ and other post-modernist theories. (2 Cr. Hr.).

TMS 415: Comparative Studies in Theatre & Film.

The course is an intensive study of world Theatre and Film, with emphasis

on ownership, structure and control; and how these systems have been

deployed by different countries for social/ideological engineering. (2 Cr.

Hr.).

TMS 405: Comprehensives.

An integrated revision course in which the nine basic core/scholarship

areas of Theatre and Media Studies: history, theory and criticism,

scriptwriting, acting & directing, technology & design, dance &

choreography, film, applied theatre, arts management; and Carnival are

systematized and schematized for easy comprehension as a succession of

theories, ideas and practical endeavours, for the well-versed student of

Theatre/Media. (3 Cr. Hr.).

TMS 410: Project & Thesis.

This is a research project in which a student submits a reasoned essay in a

selected practical or theoretical area of theatre arts, Film and Carnival


studies, in not more than fifty pages, quarto-sizes, typed double-spaced,

and bound, together with reference notes, cited works and appendices in

the MLA documentation format. (6 Cr. Hr.).

TMS 402: Nigerian Theatre, Film & Carnival.

A close focus on developments and trends in Nigerian drama, film and

Carnival since 1900 to see how playwrights, directors, proprietors of

performance groups, designers, choreographers, technologists have

handled the revolution of contemporary times and with what prospects

for the allied media serviced by the drama and theatre such as video, and

cinema (3 Cr. Hr.).

TMS 412: History & Critical Theory II (Film & Carnival)

This course looks at the interrelationship between developments in the

history of film and carnival and how these influenced the evolution of

critical theories that have been used to make meaning of these two

genres, especially in postmodern/contemporary times. (2 Cr. Hr).

TMS 432: Studies in Dramatic Literature.

An intensive study of the works of major playwrights, from Aeschylus to

contemporary time. Emphasis is laid on how dramatic literature has

reflected/or moulded socio-historical, economic, cultural and intellectual

traditions and values across time and space. (2 Cr. Hr.).

TMS 400: Comprehensives Practicum.

This course enables the final year student to carry out a special practical

project in his/her chosen stress area depending on their area of interest:

Theatre, Film or Carnival. (1 Cr. Hr).


TMS 421: Advanced Playwriting.

A study and execution of exercises in the relationship between action in all

of its dimensions and shapes and the scripted word for different types of

stages and various genres of drama: tragedy, comedy, farce, melodrama,

etc. Students will produce a publishable script in any genre of their liking

at the end. (2 Cr. Hr.).

TMS 425: Adaptation & Dimensional Dramaturgy.

A study of how to create drama out of historical, mythical and legendry

tales, fiction, narrative poems, etc, with emphasis on meaningful, in-depth

actions, characterization and situation. The course will also study how to

suit styles of writing for radio, television and film to the demands of each

of those arms of the media, particularly in character and plot development

and achievements of contrast and variety. Students will complete a script

in one of the areas. (2 Cr. Hr.).

TMS 423: Writing for Screen & Carnival.

A study and execution of exercises in the relationship between action in all

its dimensions and shapes; and the scripted word for different types of

Films in generic terms like tragedy, comedy, farce, melodrama; and how to

design the master-script as the blueprint for a carnival performance. The

student will produce a full script in the two areas at the end of the course.

(2 Cr. Hr.).

TMS 422: Comparative World Theatre, Film & Carnival.

This is a comparative study of select Theatre, Film and Carnival practices

and development from Africa, Occidental, Oriental and the Caribbean; as a

way of providing industry models, practice and scholarship. (2 Cr. Hr).


TMS 428: Advanced Script Analysis & Interpretation.

In-depth study of script analysis theories/methods like those of Francis

Hodge and David Sievers, etc. It will analyze any chosen script in detail for

theatricalization. The course will in addition review script analysis as a

major tool for the modern director. The student will be expected to

complete a project on script analysis. (2 Cr. Hr.).

TMS 431: Advanced Acting for Stage & Media.

The course teaches the student actor “how to do homework” when he is

developing a character and scoring a role with the animation of the human

instrument. He learns to find the “life” of the past within the frame of a

given scene so as to realize uniquely the essence of the role. (2 Cr. Hr.).

TMS 431: Directing Workshop (Film).

This is a deliberate hands-on workshop session headed by a lecturer-

facilitator where production and performance ideas in the area of Film are

generated through group interaction and discussions. These ideas are

creatively developed, structured, presented and /or realized in a formal or

improvisational setting to an audience with scripts, costumes, set, props

and other production values in minimal or simplest form. (2 Cr. Hr).

TMS 435: Advanced Speech for Actors.

An advanced course in which the various relationships of communication

are studied as composite of the transmission of information, ideas,

emotions and skills by the use of not only pictures, but also essentially the

use of the actor’s words articulated from a trained voice in a number of

language situations. (3 Cr. Hr.).


TMS 445: Technical Directing for Theatre, Carnival& Film.

The student learns the pre-production duties of a ‘Technical Director’

through the planning of the work schedules, the deployment of crew, and

the sharing of responsibilities. (2 Cr. Hr.).

TMS 433: Pantomime & Puppetry.

A study of the practical application of the principles and application of

mime and puppetry in various social uses for Theatre, Film and Carnival. (2

Cr. Hr.).

TMS 430: Guerilla Theatre.

A study of the actor as the chameleon of changing social configurations in

militaristic, pious, intellectual, rural and urban settings and environments.

The student is expected to mount a practical performance about a topical

issue of great relevance to a given community in a hit-and-run style. (2 Cr.

Hr.).

TMS 425: Directing Workshop (Carnival).

A hands-on workshop session facilitated by a lecturer where production

and performance ideas in the area of carnival are generated through

group interaction and discussions. These ideas are creatively developed,

structured, presented and /or realized in a formal or improvisational

setting to an audience with scripts, costumes, set, props and other

production values in minimal or simplest form. (2 Cr. Hr).

TMS 434: Acting Laboratory/Role Interpretation.

A study of the varied uses of intra-personal, dyadic interaction, and other

awareness devices to alter and change communicative patterns for the

individual actor as s/he prepares for roles in a variety of scripts. It will also


involve a practical study of dramatic text, selected stereotypical

characters, anomalous situations, and historical models, as a means to full

grasp of the problems of the actor on any of the media. (2 Cr. Hr.).

TMS 435: Play Production & Directing.

The student applies critical, aesthetic and interpretive skills to produce a

full-length play on any kind of stage, arena, improvised, or proscenium

such that they gain expertise in one specific area of production: designing,

acting, directing, technical directing as participant in the production

process. (2 Cr. Hr.).

TMS 432: Advanced Acting for Media.

This course enables the student to develop acting skills for the

development of characters for radio, television, and film and other non-

conventional media/settings; and how to make these characters come

true to life. (2 Cr.Hr).

TMS 441: Advanced Film Scenography.

Production design for the film is studied from script analysis to the

creation of desired scene/location, using basic audio and visual elements

of scenography: lighting, sound, CGE, setting and actor-personal

aesthetics. (2 Cr.Hr).

TMS 443: Advanced Theatre/Float Design.

A study of the relation, in practice, between theatre spaces and the scenic

designs they hold, between elements of text and script production

approaches in any kind of venue, between artistic use of intensities,

colours and movements and the scenario. (2 Cr. Hr.).


TMS 446: Advanced Computer Design & Technology.

This is a specialist course for advanced students in Design and Technology

for the theatre and the media. The course exposes the students to

applied design aided by computer technology. The course also focuses on

the trends and contemporary developments in communication

technology. (2 Cr. Hr.).

TMS 447: Control Systems & Installations.

Advanced work in basic installation procedures and use of “standard”

lighting and sound control systems in achieving various production

contexts such as drama, panoramic festival, music, studio, dance-halls,

film and carnivals, etc. (2 Cr. Hr.).

TMS 445: Technical Directing for Theatre, Carnival & Film.

The study is on technical directing for the co-ordination of technical

elements of production as initiated by the designer. Lighting, scenery,

sound, property, pyrotechnics, costume and makeup are studied with

reference to budget, organization, management of space, materials, tools

and equipment for the stage, film and carnival. (2 Cr. Hr).

TMS 444: Architectural Designs for Theatre & Studios.

A study of spaces, their functions, characteristics, interrelationship,

dimensions, basic equipment and functions in a theatre, studio or media

house. These are explicated with significance, relevance and functions to

production preparations (Design and Technical Directors) and to

production management and administration (audience) in both

contemporary and historical setting in different continents and cultures of

the world. (2 Cr. Hr.).


TMS 451: Advanced Choreography & the Human Body.

A course designed to synthesize the principles of space, time, line and

design in compositions; and ground the student in the maximum

utilization of the human form through an understanding of the faculty and

limits of the human anatomy and physiology. It will embrace skills in

dance, general movements, aesthetic awarenessand music. (2 Cr. Hr.).

TMS 455: Operatic Forms.

A study of various musical forms mounted on stage and in carnival to

explain the conventions, principles, elements, form, and structure by

drawing examples from domestic and international sources and contexts.

(2 Cr. Hr.).

TMS 453: Musicology & Oral Performances.

A study of the functions , values and norms of indigenous Nigerian

musicology and performance in folktales, story-telling, incantations,

chants, rhapsodies, ballads, songs, traditional events, etc, in the

propagation of homegrown and grassroots medium of presentation. The

course is designed to propagate the essence of folklore, norms and values

of various ethnic societies using music as the pivotal media of

presentation. (2 Cr. Hr.).

TMS 452: Dance Theories.

A study of the major theories of dance practices through the ages from

Greek to postmodern periods. Theories, influences and concepts based on

cultural and historical contexts; as well as dance elements, principles and

movements will be interrogated to balance semiotics and dance aesthetics

in various cultural contexts.(2 Cr. Hr.).


TMS 454: Genres in Dance Performance.

An intensive study of genres in dance: narrative, abstract, dramatic, lyrical,

comic, and dance drama. This is to enable the student develop a fuller

grasp of the various genres of dance for effective composition and

criticism. (2Cr. Hr).

TMS 456: Music in Performance.

The student learns from the practical perspective, the objectives,

principles, practices and values of music as an integral part of performance

both on stage and the media. Emphasis is laid on special skill and

innovations in arranging folk music, classical, contemporary music

patterns and so on, to enhance performance for the audience. (2 Cr. Hr.)

TMS 463: Advanced Radio & Television Production.

An intensive study of the processes and techniques of Radio/TV-Film

production from scripting to the final product. It will consider such

production of broadcast formats like dramatics, advertisement, jingles,

and slogans. (2 Cr. Hr.).

TMS 461: Advanced Film Studies.

This is a close study of the multiple ways of articulating film; ie, film and its

intersection with industries, technologies and audiences, as well as

methods of reading film as cultural narrative/text. (2 Cr. Hr).

TMS 465: Film Sound & Editing.

Sound is studied as integral element of film aesthetics. Historical overview

of sound in film production is studied as well as contemporary sound

equipment and deployment for the film. Sound recording and post-


production studio editing; editing techniques and hi-fidelity sound

treatment for the film are studied. (2 Cr. Hr).

TMS 466: Advanced Plastic & Computer Design.

A specialized course that explores the contributions and applications of

three dimensional (Plastic) arts to live theatre and the media. Of specific

relevance are the processes of modeling, casting and carving of figures,

figurines and other objects for stage and studio setting using plasticine,

clay, paper mache, P.O.P, polyester, fiber-glass and other materials. This

course shall also study the latest computer packages that tutor modeling

on screen, such as Auto CAD, COREL Draw and other applications. (2 Cr.

Hr.).

TMS 462: Media Production Management.

The course focuses on the integral functions of the Radio and TV Producer

in his/her dealing with the legal, artistic and commercial aspects of the

production as planned from text selection to the conclusion of the run.

Students will be required to submit a model production plan/product with

a full write-up. (2 Cr. Hr.).

TMS 464: Videography.

A study of the principles that underline photography and motion pictures,

structures and aesthetics. This course x-rays still photography as an art

that demands sensitivity and creativity, and analyses the techniques of

narration in documentaries and features, of styles of writing, shooting

scripts, such that students master fully and apply in theory and practice of

photography and film production. (2 Cr. Hr.).


TMS 471: Orality to Scriptwriting.

The course will examine oral traditions and performances in indigenous

societies and how these narratives can become adaptable source

materials for scriptwriting for community performances. (2 Cr. Hr).

TMS 473: Community Theatre II.

This course is designed as follow up to TMS 371 in advancing both theory

and practice. In addition, the student will carry out a practical project with

little or no supervision on the field by the course co-ordinators. Such

practicals will be a follow up on the same community earlier visited in TMS

371; and this will serve as a long-term post-performance monitoring

&evaluation. (2 Cr. Hr.)

TMS 475: Development Theatre Theories.

This course concerns itself with understanding and critiquing development

theories as they apply to theatre practice. Global issues and policies on

and about development in their diversified implications will be x-rayed. (2

Cr. Hr).

TMS 474: Drama in Education.

Essentially, a course which elaborates the implications and methods of

teaching as a performing art, emphasizing the methods of confidence

building, planning and using ordered work programmes, charismatic

projection, use of audio-visual aids. (2 Cr. Hr.).

TMS 476: Theatre for Development.

This course is designed to acquaint the student with the techniques and

methodology of existing community and rural based theatre practice. The

course goes beyond taking theatre to the people to include solving


problems in real life situations and environments. The course has both

theoretical and practical components. (2 Cr. Hr.).

TMS 472: Theatre-in-Education.

The course will take students through the philosophy and history of using

theatrical method for pedagogy; and expose students to its basic

processes, structuresand patterned activities that bring out its distinction;

and emphasizing the role of students, teachers, actors-teachers and

theatre practitioners in the process.Distinguishing between drama-in-

education and theatre-in-education, the course will include other issues of

funding, monitoring and evaluation, research in TIE, acting, playwriting

and designing. The student will be expected to devise a TIE programme of

choice. (2 Cr. Hr).

TMS 481: Arts Marketing.

This course examines the principles and strategies of marketing; and how

these can be applied to marketing the arts. Emphasis is on market

research and how to develop marketing plans as a blueprint

forprofitability in the arts. (2 Cr. Hr).

TMS 485: Human Resource Management in the Arts.

This is a course in the acquisition of skills required to harmonize, control

and manage subordinates in human organizations: from the

managerial/leadership perspectives. The purpose of such skills to be

acquired is to generate harmony, respect and co-operation between the

two axes of human organization; viz; the leader or manager and the

subordinates; all for sustainable industrial peace and productivity towards

maximizing the organizational goals and achievements. (2 Cr. Hr.).


TMS 483: Events Management.

The student is exposed to insights into the management of various artistic

and social events; from concept, planning to execution of the events;

including a post-mortem to ensure better improved standards in

subsequent outings. (2 Cr. Hr).

TMS 482: Arts Management and the Law.

The course examines the basics of laws and regulations governing the arts

of Film, Television, Radio and Live Productions. These include basic

principles of contract law and entertainment contracts, copyright, literary

submission and sale, artist employment, collaborations, music; as well as

financing, production and distribution/merchandizing. (2 Cr. Hr).

TMS 484: Advanced Production Planning.

A study of integral functions of the legal, artistic and commercial aspects

of the production as it is planned from text selection to the conclusion of

the run. Students will be required to submit a model plan with a full write-

up. (2 Cr. Hr.).

TMS 491: Carnival Theory.

The course equips the student with the theoretical backbone to

understanding carnival as human search for freedom of self-expression

from pre-Egyptian times, through Greco-Roman concepts of Dionysian

man’s revolt against Apollonian controlled behavior. It will also examine

traditional carnival’s ‘inculturation’ into medieval Catholic Church

traditions. The student will examine the canonical theories of Mikhail

Bakhtin on carnival and the carnivalesque, which have become dominant

in folk culture and contemporary literature. (2 Cr. Hr).


TMS 496: Carnival Band & Route Management.

This course shall have two main foci: first, the student shall be introduced

to the administrative and managerial structure of a Carnival Band. This will

consider the conceptualization, planning, areas of human resources and

the sourcing of material to execute the process of putting out a show.

Secondly, the course will give the student a detailed outlay and challenges

of managing the Carnival route on Carnival Day. The logistics, human

resources and security issues will be discussed. Institutional internship

required. (2 Cr. Hr).

TMS 495: Survey of Global Carnival Policy & Administration.

A study of systems, ideologies and policies that drive the development of

carnival as cultural, political and economic strategies, and the different

administrative frameworks that sustain these polices around the world. (2

Cr. Hr).

TMS 492: Costume Building and Make-Up for Carnival.

The study is on principles, conception, and recording the design for

costume and make-up for the carnival. Focus is on fabric and non-fabric,

formal and informal materials for carnival costume relating to colours,

form, shape, texture as well as materials application and effects. Building

techniques and equipment are also considered. (2 Cr. Hr).

TMS 494: Carnival Sound, Choreography & Directing.

A practical and theoretical study of the technical practices in the

deployment of sound and music, choreographic models for mass

processional choreographies, and the synchronization of artistic elements

and mise-en-scene in a carnival performance. (2 Cr. Hr).


TMS 493: Economics of Carnival.

This course will look at the elements, characteristics, and the peculiarities

of the carnival as an industry. This will include all the services providing

agencies and carnival allied cottage industries – souvenir, arts and crafts,

and local entrepreneurs. Emphasis will also be placed on Carnival

financing, sources of financing, products packaging and marketing, youth

empowerment and the contribution of the Carnival to the state and

national Internally Generated Revenue. (2 Cr. Hr).


Comprehensive Course Listing

1

TMS 101 Indigenous African Theatre 2

2 TMS 111 Introduction to Drama,& Theatre 3


4 TMS 141 Design and Technology 1 2




3








15 TMS 201 Contemporary African Drama and Theatre 2


17 TMS 251 Introduction to Music, Dance & Choreography 2




21 TMS 202 History of Drama and Theatre (Since Modern Period) 3






27 TMS 273 Social and Behavioural Change Communication 2


29 TMS 301 Research Methods 2

30 TMS 381 Production Administration and Management 2

31 TMS 321 Script Analysis and Interpretation 2

32 TMS 371 Community Theatre I 2

33 TMS 310 Critical Theory 2

34 TMS 351 Choreography and Kinesthesia 2

35 TMS 311 Indigenous Performance & Development 2


36 TMS 353 Stand-Up Comedy 2


38 TMS 332 Performing Arts & Tourism Development 2

39 TMS 305 Performance, Ethics and the Law 2

40 TMS 302 Oriental Theatre, Film & Carnivals 2

41 TMS 342 Costume and Make-up Design 2

42 TMS 344 Lighting, Sound & Pyrotechnics 2

43 TMS 352 Semiotics in Performance 2

44 TMS 362 Radio & Television Drama Production 2

45 TMS 364 Feature, Documentary & Animation Production 2




48 TMS 460 Media Convergence and Globalization Studies 3




Stress Area 1: History, Theory & Criticism

52 TMS 461 History and Critical Theory I (Theatre) 2

53 TMS 413 Advanced Studies in Dramatic Theories 2

54 TMS 415 Comparative Studies in Theatre & Film. 2

55 TMS 412 History & Critical Theory II (Film & Carnival) 2


57 TMS 422 Comparative World Carnivals. 2


Stress Area 2: Scriptwriting

59 TMS 421 Advanced Playwriting 2

60 TMS 425 Adaptation & Dimensional Dramaturgy 2

61 TMS 423 Writing for Screen & Carnival 2


63 TMS 422 Comparative World Theatre, Film & Carnival 2

64 TMS 428 Advanced Script Analysis and Interpretation 2


Stress Area 3: Acting & Directing

66 TMS 425 TMS 431

Adaptation & Dimensional Dramaturgy; OR Advanced Acting for Stage & Media

2 2

67 TMS 431 TMS 435

Directing Workshop (Film); OR Advanced Speech for Actors

2 2

68 TMS 445 TMS 433

Technical Directing; for Theatre, Carnival & Film; OR Pantomime & Puppetry

2 2

69 TMS 428 TMS 430

Advanced Script Analysis and Interpretation; OR Guerilla Theatre

2 2


70 TMS 425 TMS 434

Directing Workshop (Carnival); OR Role Interpretation/Acting Laboratory

2 2

71 TMS 435 TMS 432

Play Production & Directing; OR Advanced Acting for Media

2 2


Stress Area 4: Technology & Design.

73 TMS 441 Advanced Film Scenography 2

74 TMS 443 Advanced Theatre/ Float Design 2

75 TMS 446 Advanced Computer Design and Technology 2

76 TMS 447 Control Systems and Installations 2

77 TMS 445 Technical Directing for Theatre , Carnival & Film 2

78 TMS 444 Architectural Design for Theatres and Studios 2


Stress Area 5: Dance & Choreography

80 TMS 451 Advanced Choreography and the Human Body 2

81 TMS 455 Operatic Forms. 2

82 TMS 453 Musicology and Oral Performances 2

83 TMS 452 Dance Theories 2

84 TMS 454 Genres in Dance Performance 2

85 TMS 456 Music in Performance 2


Stress Area 6: Film

87 TMS 463 Advanced Radio and Television Production 2

88 TMS 461 Advanced Film Studies 2

89 TMS 465 Film Sound & Editing 2

90 TMS 466 Advanced Plastics and Computer Design 2

91 TMS 462 Media Production Management 2

92 TMS 464 Videography 2


Stress Area 7: Applied Theatre

94 TMS 471 Orality to Scripting. 2

95 TMS 473 Community Theatre II 2

96 TMS 475 Development Theatre Theories 2

97 TMS 474 Drama in Education 2

98 TMS 476 Theatre for Development 2

99 TMS 472 Theatre in Education 2


Stress Area 8: Arts Management

101 TMS 481 Arts Marketing 2

102 TMS 485 Human Resource Management in the Arts 2

103 TMS 483 Events Managements 2

104 TMS 482 Arts Management & the Law 2


105 TMS 484 Advanced Production Planning 2

106 TMS 486 Architectural Design for Theatres and Studios 2


Stress Area 9: Carnival.

108 TMS 491 Carnival Theory 2

109 TMS 496 Carnival Band & Route Management 2

110 TMS 495 Survey of Global Carnival Policy & Administration 2

111 TMS 492 Costume Building & Make Up for Carnival 2

112 TMS 494 Carnival Sound, Choreography & Directing 2

113 TMS 493 Economics of Carnival 2

114. TMS 400 Comprehensives Practicum (Festival). 1

STAFF DISPOSITION (Academic)

S/N Name of Staff

Sex Rank/ Designation

Nature of Appointment/ Status

Qualification, Dates Obtained, Specialization

1 Prof. Emmy Ikanaba Unuja Idegu

Male Professor Permanent B.A, M.A., Ph.D (ABU); Playwriting & Indigenous African Theatre.

2 Prof. Chris Nwamuo

Male Professor

Contract B.A.(Nig)1973 P.G.D.E.(Ife)1977 M.A.(Carolina) Ed.D.(Carolina) 1981. Directing, Playwriting, Arts Administration, Research.

3 Prof. Edde Iji

Male Professor Contract B.A. (Ibadan) 1976, M.A. (Madison) 1981, Ph.D (Madison) 1992. Comparative Theatre, Communication Arts, African Theatre, Theory and Criticism

4

Prof. Luke O.Molinta Enendu

Male Professor

Permanent D.A.(Ibadan)1976; B.A. (Ibadan) 1979; MFA. (Calabar) 1983; PhD (Calabar) 2000. Scenography, Theatre


Design & Technology, Technical Directing

5 Prof. Effiong Johnson

Male Professor

Adjunct B.A. (Cal.) M.A., Ph.D. (Ibadan); Cert. Washington D.C. Directing, Critical Theory.

6 Prof. Esekong Andrew-Essien

Male Professor

Permanent B.A.(Uyo) 1990; M.A.,2000; Ph.D (Calabar) 2006; Cert. (BIARI, Brown), 2010. Scenography, Research Methods, Media Graphics, Arts Administration

7 Dr. Edet Essien

Male Associate Professor

Permanent B.A. (Hons.) (Calabar) 1991; M.A. (Calabar)1996; Ph.D (Calabar) 2009. Arts Administration, Media Arts, Photography, Playwriting

8 Dr. Liwhu Betiang

Male Associate Professor

Permanent B.A. (Ife) 1985, Dramatic Arts; Cert. in Broadcast Journalism, 1996,TF/BC; M.A. (Calabar) 2000, Arts Administration; Ph.D (Ibadan) 2009. Media Administration & Critical Theory.

9 Dr. (Mrs) Brenda Akpan

Female Senior Lecturer

Permanent Dip. 1977; Dip. 1978; (London); TV Directing, Public Relations. M.A. (Wales, UK.) 1994; Journalism Studies Ph.D (Basel, Switzerland) 2015. Philosophy, Social


Anthropology, Gender Studies.

10 Dr. Charles Adora

Male Senior Lecturer

Permanent B.A. (Jos), M.A., Ph.D (Calabar) Arts Administration.

11 Ms. Edisua Merab Yta

Female Senior Lecturer

Permanent B.A. (Hons.)(1985), M.A.(Calabar)1992 Creative Dramatics, Theatre in Education.

12 Mr. Ika E. K. Oqua


Permanent OND Mass Comm. (PolyCal) 1988 B.A. (Hons.) (Calabar) 1994; M.A. (Calabar)2002. Directing, Media Graphics & Design, Arts Adminstraton.

13 Dr. Columba Apeh


Permanent B.A. (Hons.), M.A., PhD. (Calabar). Sound.

14 Dr. Arnold B. Udoka


Permanent B.A. (Hons.) (Calabar) 1982; M.A. (London) 1987; Ph.D (Calabar) 2017; Cert. (BDDT, England) 1987. Cert. (ICRP, Duke, USA) 1995. Dance, Choreography, Dance History, Sociology of Dance, & Directing.

15 Mr. Ikike Ufford


Permanent Dip. (Uyo) 1986; B.A (Uyo) 1999; M.A. (Cal.) 2003. Ethnomusicology, Choreography and Dance

16

Dr. Charles Effiong

Male

Lecturer I

Permanent

B.A. (Hons.) M.A. Ph.D (Calabar) Media Studies;Critical


17 Dr. Nancy Irek

Female Lecturer I Permanent B.A. (Hons.), M.A., Ph.D. (Calabar). Arts Administration

18 Dr. Chinyere Okam

Female Lecturer I Permanent B.A. (Hons.) (Calabar), M.A.; Ph.D (ABU, Zaria). Research Theatre for Development; Participatory Communication.

19 Mr. Patrick Nkang

Male Lecturer II Permanent B.A., M.A., (Ibadan).

20 Mrs. Affiong Effiom

Female Lecturer II

Permanent DTA 1992, B.A (Hons.) (Calabar) 1996, M.A (Calabar) 2005 Directing, Semiotics, Acting.

21 Dr. Edward Adie

Male Lecturer II

Permanent B.A., M.A., Ph.D (Zaria); Theatre for Development; Development Communication.

22 Dr. (Mrs.) Lilian Okoro

Female Lecturer II

Permanent B.A. (Port Harcourt), M.A., Ph.D(Calabar), Educational Theatre.

23 Mrs. Esther Okezie

Female Assistant Lecturer

Permanent B.A. (Hons.) (Calabar), M.A. (Ibadan), History, Theory and Criticism.

24 Mr. Patrick Bassey

Male Assistant Lecturer

Permanent B.A. (Hons.), M.A. (Calabar). Theatre Technology.

25 Mr. Kingsley Akam


Permanent B.A (Hons.) (Calabar), 2010, Theatre Arts; M.A (Nsukka), 2014, Acting & Directing; Cert. (NFI, Jos), 2015. Cinematography.

26 Charles Archibong


Permanent B.A. Video & Film Production, M.A. Digital Production for TV and Film (U.K.)


Staff Disposition (Technical)

S/N NAME OF STAFF DESIGNATION QUALIFICATIONS

1 Joseph Eko

Dance Instruct./UCPC Director

Dip. Theatre

2 Nkoyo V. Ekpenyong

Costume Shop Manager

B.A. (Hons.)

3 Malachy E. Okon

Theatre Lighting Technician

B.A. (Hons.)

4 Theodora Etim SNR.Media Studio Officer I

B. Sc. MA

5 Victor Olalekan Olaiya Higher Tech. Officer B.A.

6 Ada James Etti Asst. Editor B.A.

7 Solomon U. Assam Carpenter SSCE

8 Samuel Effiong Akpan Studio Assistant SSCE

Staff Disposition (Administrative)

S/N NAME OF STAFF DESIGNATION QUALIFICATIONS

Senior Staff

27 Helen Ogah

Female Assistant Lecturer

Permanent B.A., M.A. (Calabar) Theater Arts

28 Joe Aniah Male Assistant Lecturer

Permanent B.A., M.A. (Calabar) Theater Arts

29 Mrs. Eugenia Komolafe

Female Graduate Assistant

Permanent B.A. (Hons.), (Calabar), Arts Administration

30 Mr. Donaldson Afo

Male Graduate Assistant

Permanent B.A. (Hons.), (Calabar), M.A (SBCC) Calabar

31 Joseph Ogabor


Permanent B.A. (Calabar) Theatre Arts

32 Marvelous Eneji


Permanent B.A. (Calabar) Theatre Arts


1 Elizabeth A. Akpong Chief Confidential Sec.

HND, PGDE,LLB

2 Arit Asuquo Essien Chief Typist WASC

3 Ashiru, Emmanuel Orok-Ita Admin. Officer B.Sc.

4 Theodora Bassey Etim Snr Media Studio Officer

B.Sc. MA

5 Emilia Morison Iso Admin. Assistant B.A.

6 John Jidere Media Studio Officer II

B.A.

7 Essien Willie Ekong Theatre Artist II B.A.

8 Ena Offiong Ita Theatre Artist II B.A.

9 Arit Edim Ntoe Theatre Artist II B.A.

10 Ikemti Elizabeth Francis Admin. Assistant B.A.

11 Ubong Jacob Admin. Assistant B.A.

12 Mrs. Arit Edim Ntoe Theatre Artist II B.A.

13 Edet Anthonia Efefiom Cultural Officer B.A.

14 Umoh Ekaette Udeme Cultural Officer B.A.

15 Angelina Okaba Etu Senior Computer Operator

B.Sc.

16 Daniel Ohiero Okache Higher Executive Officer

B.Sc.

17 Vincent Ogbeche. E Higher Executive Officer

N.D.

18 Charity Edet Umoh Executive Officer WASC

Junior Staff

1 John Christopher Iteh Computer Operator I SSCE, Dip. (ICT)

2 Anietie Essien Udoh Caretaker FSLC

3 Magdalene E. Udoh Caretaker SSCE

4 Esther Asuquo Okon Caretaker SSCE

5 Eteng,Dodeye Oden Caretaker SSCE

6 Alice Udo Daniel Caretaker FSLC


Teaching Support Unit (University of Calabar Performing Company, UCPC) Staff

S/N Name Of Staff Designation Specialization

1. Joseph Eko (Director) Chief Theatre Artist Dance And Choreography

2. Malachy F. Okon Asst. Chief Cultural Officer

Theatre Lighting Technician

3. Nkoyo V. Ekpenyong Asst. Chief Cultural Officer

Dance and Choreography

4. Magaret E. Edet Assistant Chief Theatre Artist


5. Celestine E. Udofia Principal Theatre Artist I

Modern Orchestra

6. Josephine H. Akpan Principal Cultural Officer I


7. Nse-Abasi Ubom Principal Theatre Artist I


8. Asikpo Otu Asikpo Principal Theatre Artist I


9. Rebecca John James Princ. Tech. Instructor Dance and Choreography

10. Linus O. Ekwok Senior Theatre Artist Dance and Choreography

11. Livinus O. Ekwok Senior Theatre Artist Dance And Choreography

12. Emangha Onen Bassey Tech. Instructor I Dance And Choreography

13. Offiong Hogan Etim Engineer II Modern Orchestra

14. Michael Eyo-Ita Edet Higher Executive Officer

Business Manager

15. Edidiong V. Akpan Higher Executive Computer Analyst


Officer

16. Tony Sylvers Okon Admin Assistant Public Relations Officer

17. Kingsley Ekong Eta Admin Assistant Modern Orchestra

18. Bassey E. Orok Cultural Officer Modern Orchestra

19. Mary Yahtu Asu Cultural Officer Dance And Choreography

20. Kubiatabasi Obot Cultural Officer Dance And Choreography

21. Anthony I. Ufuten Senior Performer Traditional Orchestra

22. Emmanuel A. Essien Senior Performer Traditional Orchestra

23. Eton, Eno Ekpenyong Senior Performer Modern Orchestra

24. Nsing, Victor Awor Senior Performer Dance And Choreography

25. Achare Matthew Ochang

Senior Performer Modern Orchestra

26. Denis Eyo Okon Senior Performer Dance And Choreography

27. Ikwo A. Enema Senior Performer Dance And Choreography

28. Fiona Cole Senior Performer Dance And Choreography

29. Ekpoanwan Ita Senior Performer Dance And Choreography

30. Effeffiong E. Etim Senior Performer Dance And Choreography

31. Victor O. Effiong Senior Performer Dance And Choreography

32. Evelina B. Jonah Senior Performer Dance And Choreography

33. Alexander E. Henshaw Senior Performer Dance And Choreography

34. Pamela N. Bassey Senior Performer Dance And Choreography

35. Eunice B. Atuaka Performer I Dance And


Choreography

36. Liwhu A. Agba Performer I Dance And Choreography

37. Monday Tommy Willie Performer I Dance And Choreography

38.

Bassey Edem Ituen

Performer I

Dance And Choreography

39. Inok Mboffon Omin Performer I Dance And Choreography

40. Ekpenyong E. Archibong

Performer I Dance And Choreography

41. Umo Umo Bassey Performer I Modern Orchestra

42. Edet Okon Etim Performer I Electrician

43. Glory Nsa Ekpo Senior Performer Dance And Choreography

44. Etim E. Ekpenyong Performer Assistant I Traditional Orchestra

45. Ekpenyong E. Ekpenyong

Performer Assistant I Traditional Orchestra

46. Ita Edet Bassey Performer Assistant I Traditional Orchestra

47. Eyo Itam Eyo Performer Assistant I Traditional Orchestra

48. Imo Lawrence Udom Performer Assistant I Traditional Orchestra

49. Ekpoto, Aloke A Performer II Traditional Orchestra

50. Okpo E. Ekpenyong Performer II Dance And Choreography

51. Polycarp Ugbe Performer II Traditional Orchestra

52. Michael Okwe Enyia Performer II Dance And Choreography

53. Esther A. Adaumbe Performer II Dance And Choreography

54. Orok Emmanuel Mbora

Performer II Dance And Choreography


55. Owan Janet Nchong Performer II Dance And Choreography

56. Iniobong Effiong Jimmy

Performer II Modern Orchestra

57. Abuo Kyrien Ebu Performer II Dance And Choreography

58. David Mkpe Enu Performer II Traditional Orchestra

59. Mkpang Edet Effiong Performer Assistant I Traditional Orchestra

60. Gabriel Ndoma Ayuk Performer Assistant II Dance And Choreography

61. Asibong Asibong Edogi Performer Assistant II Traditional Orchestra

62. Uket Thankgod Mbang Performer Assistant I Dance And Choreography


EXAMINATION MISCONDUCTS, OFFENCES & PRESCRIBED PUNISHMENT

S/N OFFENCES PUNISHMENT

1 Communication with another student in the examination room.

Cancellation of the papers of both students.

2 Possession of extraneous materials in the examination room.

Suspension for one academic session.

3 (a) Copying from extraneous materials

(b) Copying from materials received from another student in the examination room.

Suspension for two academic sessions for the student or students involved.

4 Writing examination, term paper or project for another student.

Expulsion of the students involved. Where the other party is a non-student,S/he should be reported to the police.

5 Breaking in or unauthorized entry into any office of the University of Calabar and/ or removing, changing or tampering with examination materials or results and illegal removal of same.

Expulsion from the University.

6 Plagiarizing of the entire: (a) Undergraduate/Diploma/Certi

ficate Term paper of project;

(b) Graduate Term Paper or Project;

(c) Graduate Thesis/Dissertation;

(d) Plagiarizing only part/or

Cancellation of the term paper or project plus suspension for one academic session; Cancellation of the term paper or project and suspension for two academic sessions;


sections of any of the above;

Cancellation of the Thesis/Dissertation and expulsion; Suspension for one academic session. Cancellation of the particular chapter/chapters.

7 (a) Presentation of fake result(s) by a student or for a student to the university.

(b) Graduate Term paper or Project

(c) Graduate Thesis/Dissertation

(a) Cancellation of the result, if there is no evidence that the student is involved in organizing the fake result.

(b) If it is discovered that the student had a hand in the presentation of the fake result or result, suspension for two academic sessions.

8 Snatching of examination material(s) before/or after an exam by student.

Expulsion of all involved.

9 (a) Possession of cell phone in an examination hall.

(b) Usage of cell phone in the exam hall.

(a) Seizure of phone and cancellation of the paper.

(b) Suspension for one academic session.

10 Possession of another student’s fee clearance card or receipt in the examination hall with intention of writing for herself/himself.

Suspension for one academic session.

11. University Staff involved in Examination Misconduct


(a) Where University staff undergoing a course study in the

university is found guilty of examination misconduct as

prescribed 1-10 above, he/she shall be punished

accordingly.In addition, he/she shall be referred to the

appropriate misconduct University Disciplinary action in

respect of the misconduct.

(b) Where a University staff aids and abets examination

misconduct, he/she shall be referred to the Disciplinary

Committee for disciplinary action in respect of the

misconduct.

12. In all cases, students suspended on grounds of examination

misconduct shall forfeit all the grades for that session.

13. Procedure for handling Examination Misconduct cases:

(a) Each Department shall, where there exist separate and

distinct departments have a Departmental Examination

Misconduct Committee which shall act as a court of first

instance.

(b) There shall be a Faculty Examination Misconduct Committee

which shall receive and consider the report of the

Departmental Committee.

(c) The report of the Faculty Committee shall be forwarded to

the Faculty Board for approval.

(d) The Dean of each Faculty shall forward the report from the

Faculty Board to the Chairman for onward transmission to

the Senate Examination Misconduct Committee for

consideration by the Committee and final submission to

Senate.

University of Calabar Department of Theatre and Media ... - Unical

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