AN EVALUATION ON THE SIGNIFICANCES OF FOLLOW-UP APPROACH IN

SUMAILA 2019 THEATRE FOR DEVELOPMENT EXPERIMENT

BY

AISHA SULEIMAN
CMM/16/TFS/00041

A RESEARCH SUBMITTED TO THE DEPARTMENT OF THEATRE AND

PERFORMING ARTS, FACULTY OF COMMUNICATION, BAYERO UNIVERSITY
KANO, IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD
OF BACHELOR OF ARTS (B.A) IN THEATRE AND PERFORMING ARTS

July, 2019

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 ABSTRACT

This study evaluate the significances of follow-up approach using Sumaila 2019 theatre for
development experiment as a case study. The objectives of the study are to; Identify the issues
raised in Sumaila 2019 theatre for development project, evaluate the impact of the Sumaila 2019
theatre for development experiment on community development, it also examine the relevance of
follow-up approach in 2019 theatre for development project. The project is promised on the post-
development theory which serves as an approach in evaluating development practices as
conceptualized by some scholars such as Arturo, Escobar, and Custarvo in 1990swhich brings
about new forms of development that gives indigenous community the Alternative to determine
their own solution through the use of theatrical performances. The theory is used to evaluate the
significances of follow-up approach in theatre for development intervention. The study employed
both quantitative and qualitative research methods. The instruments used for data gathering for
this research are questionnaire and key informant interview. The target population are members
of Sumaila community with a sample size of 100 respondents. The study reveal that the issues
that were raised in the Sumaila 2019 intervention are the dominant issues of the community, and
some of issues are solved through 2019 intervention. The study recommends that theatre arts
practitioners should pay more attention to follow-up approach in theatre for development
practices, in order to evaluate the extent of development in rural communities.

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 TABLE OF CONTENTS
Abstract........................................................................................................................................1

Chapter One

1.1 Background Of The Study................................................................................................5

1:2 Statement Of Problems.....................................................................................................7

1:3 Aims And Objective..........................................................................................................7

1:4 Research Questions...........................................................................................................8

1:5 Significances Of The Study..............................................................................................8

1:6 Scope And Delimitations..................................................................................................8

CHAPTER TWO:LITERATURE REVIEW

2.1 Introduction.......................................................................................................................9

2.2 Concept Of Theatre...........................................................................................................9

2.3 Historical Perspectives On Theatre For Development....................................................11

2:4 The Relevance Of Follow-Up Approach To Theatre For Development........................14

2:5 Historical Background Of Sumaila Community.............................................................16

2.6 The Sumaila 2019 Theatre For Development Experiment.............................................18

2.7 Theoretical Framework...................................................................................................20

CHAPTER THREE: RESEARCH METHODOLOGY

3.1 Introduction.....................................................................................................................22

3:2 Research Design..............................................................................................................22

3:3 Population Of The Study.................................................................................................23

3:4 Sampling Techniques......................................................................................................24

3:5 Instruments For Data Collection.....................................................................................24

3:5:1 Questionnaire...............................................................................................................25

3:5:2 Key Informant Interview.............................................................................................25

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3:6 Method Of Data Analysis...............................................................................................26

Chapter Four:Research Data Presentation And Analysis

4.1 Introduction.....................................................................................................................27

4.6 Analysis Of The Significance Of Follow-Up Approach In Sumaila 2019 Experiment..33

4.7 Discussion Of Findings...................................................................................................33

4.8 Key Findings...................................................................................................................35

Chapter Five:Summary, Conclusion, And Recommendations.

5.1 Introduction.....................................................................................................................36

5.2 Summary.........................................................................................................................36

5.3 Conclusion......................................................................................................................37

5.4 Recommendations...........................................................................................................37

References..................................................................................................................................38

Appendix I..................................................................................................................................40

Appendix II................................................................................................................................42

Appendix III...............................................................................................................................44

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 CHAPTER ONE

1.1 Background of the Study

Theatre for development (TFD) has been used as a vital tool for development both at
rural and urban community or society. It has been used over time by development agent and
facilitators in bringing change and development in a given community. It has become widely
accepted in Africa, and other part of the developing world as theatre of the ordinary people used
to address their problems in theatre own arts forms it is considered as a relevant programs that
can break through languages and cultural barriers to form a useful communication tool.

Theatre for development (TFD) is used to seek the desire of the people and also attract
development and free themselves from backwardness, which seek the participation of the people
and their involvement. It is considered as a medium and a form of entertainment which holds the
attention of the people which enables them to analyze issues and problems in a critical way.it
also encourages the complete participation of the people in the re-enactment of issues that affect
the people through the people's medium. Theatre for development has become a way of
conscientizing community members or groups of people through which community art forms are
validated.

Aba (1990,p.17)confirmed this kind of theatre speaks to the people in their own language,
and idioms which deals with issues of direct relevance to their own lives.it is in line with this that
Kidd(2002,p.204) defines theatre for development as a problem solving performance oriented
process in a specific society. This could be socio-economic, environmental and religious
problems. It is a means of expression, which is traditionally being used to educate the young,
unify the community and articulate the community felt concerns and aspirations of the people.

According to Osuya (2001,p.67) theatre for development is a therapeutic ventures

diagnosis both the objective and subjects of a given community, conscientizing them to be
sensitive to the object of the target community aims at stimulating the people conscience
critically through artistic performance to promote self-reliance and active participation of the
people in community development. Theatre for development plays a major role in sustainable
development because it dramatizes the possible method of solving problems.

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 Theatre for development in Nigeria has come to stay, as a medium of exposing and
discussing communal problems. It was first experimented at the Ahmadu Bello university, Zarias
Samaru Projects and this has reverberated several community theatre campaigns in Abuja,
Benue, Lagos, Jos, Obudu, Benin, Kwara, mention a few. These campaigns were all aimed at
solving problems of poverty and underdevelopment and, to a large extent, they have been
fruitful. To this end, Illah (2004, p.6) affirms that in Nigeria, theatre can now be used as a
participatory tool to ensure the sharing of ideas and the changing of attitudes towards sustainable
development. For optimal results, theatre for development practitioners employ certain modes
which are relevant to people’s mode of artistic expression in order to conscientize them towards
social, and political development. In this connection, Nwamuo and Ushie (2006 p. 26) opines
that:

It is believed that, an effective sensitization and conscientisation of

masses towards taking a positive action in solution of an identified

community problem will require the use of theatrical languages and style

which they understand. The use of song, dance, music, masquerades and

mime are traditional expressive and communicative idioms, which people

are used to and will respond to any time.

The point made is that, if development activities are conceived and initiated by the people
using idioms and symbols that are intelligible to them, they are more likely to correspond to their
needs and desires. However, the major bane to community experience, especially in Nigeria, is
the lack of follow-up approach or feedback which is very essential in theatre in order to know
whether the intervention was successful, or it failed to achieve its aim which is change or
sustainable development in the community. Is a process that encompasses the people and they
and their community threatening issues, therefore theatre for development should not just stop at
mere dramatic performance thus, it should not be neglected after the whole exercise. If there is
no follow-up approach or feedback in (TFD) intervention it may be considered as mere dramatic
entertainment. Because there is no evidence of change or development in the community, which
the main aim is to educate them about that are irrelevance to the community. According to

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Kariuki (2014) defines follow-up approach as a continuous assessment of the function of project
activities in the context of implementation schedules and the use of project inputs. Valadez and
Bamber (2004) further add that follow-up approach is more of a programmes activity, whose role
is to determine whether project activities are implemented as planned. If to the contrary, it
determines the cause of anomaly and what can be done to address the anomaly. According to
Kidd and Byram (1981) has Illustrated the need for follow-up approach where resolution reached
through the theatrical dialogue are actually implemented. This does not seem to play a role in
crow and Etherton's process of conscientization. Although they explicate with charity the process
of transforming the spectators into dramatic actors. It is not clear they will then be transformed
into social actors. Therefore without follow-up approach the project becomes an end to itself.

Mbachaga (2011,p.34), confirm that follow up and impact evaluation in theatre for
development continuum has generally been a problem, lack of follow up and continuity of
workshops has bedeviled the practice in Nigeria. Therefore it is the contention of this study to
evaluate the significance of follow-up approach in theatre for development experiment. Towards
highlighting the important of follow-up approach.

1:2 Statement of Problems

Theatre for development is used to addressed issues or problem of a given community. It

uses a range of participatory methods and majorly performance to help individuals, or groups
share their experiences and problems and also create solution to these problems.

Scholars like Daniel and Bappa (2004,p.23) confirm that follow-up approach is a very
important Aspect in theatre for development (TFD) projects yet, little effort is made to monitor
the progress of the intervention. They stress the importance of follow-up approach in theatre for
development (TFD).This however has not been observed over time by many theatre for
development interventions. Therefore this study is to determine the significances of follow-up
approach in theatre for development (TFD) projects, using the Sumaila theatre for development
intervention (TFD) as a case study.

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1:3 Aims and Objective

The aim of this study is to evaluate the significances of follow-up approach in theatre for
development using the 2019 Sumaila experience as case study. The study has the following
objectives.

1 To identify the issues raised in the Sumaila 2019 TFD intervention

2 To evaluate the impact of the Sumaila 2019 TFD intervention.

3 To examine the relevance of follow-up approach in the 2019 TFD intervention

1:4 Research Questions

1. What are the issues identified in the Sumaila 2019 TFD intervention

2. What is the impact of the Sumaila 2019 TFD intervention

3. What is the relevance of follow-up approach in the 2019 Sumaila TFD intervention

1:5 Significances of the Study

This study will not only be important to rural community alone. But to theatre art

practitioners, scholars, and student of theatre arts that after an intervention or experiment is been

carried out there is need for follow-up approach. Hence, the process should not be neglected. In

order to enhance the growth and development of the target community. It will also help

development agencies to understand the fact that theatre for development project is not for mere

entertainment but a vital tool for communication and education. Finally, it will further avail the

students of theatre arts that, to ascertain the success of an intervention there's a need for follow-

up approach.

1:6 Scope and delimitations

The scope of this study will be limited to the significances of follow-up approach as a
major tool enhancing theatre for development (TFD) project. Hence, the focus of this research is

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the 2019 theatre for development project carried in Sumaila local government Area of Kano state
by the student of theatre and performing Arts, Bayero University Kano.

CHAPTER TWO

LITERATURE REVIEW

2.1 Introduction

This chapter discusses the concept of theatre, historical perspective of theatre for

development, historical background of Sumaila community and the Sumaila 2019 theatre for

development intervention. The chapter also consists of the theoretical framework for this

research.

2.2 Concept of Theatre

Conventionally theatre is a collaborative form of performing art that uses live performers,

usually actors or actresses, to present the experience of a real or imagined event before a live

audience in a specific place, often a stage. The performers may communicate this experience to

the audience through combinations of gestures, speech, song, music, and dance. Elements of art,

such as painted scenery and stagecraft such as lighting are used to enhance the physicality,

presence and immediacy of the experience. The specific place of the performance is also named

by the word "theatre" as derived from the Ancient Greek word théatron, ("a place for viewing").

(American Heritage Dictionary of the English language, 2006 np).

Theatre is also described as any performance put up for the enjoyment of a target audience.

The concept of theatre has therefore been explained by many scholars in the field of theatre,

based on their different perceptions of it. Theater is said to be the people playing in an open

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(Boal, 1979, p.354) Affirms that “Theatre should be for the people, by the people and for the

people where it shows or serves as a mirror to the people or the oppressed for them to see clearly

the ill of the society and to stimulate or invoke in them revolution in order for them to change

and develop the society by themselves and for the betterment of them, the masses or oppressed."

Brecht (2006, p.79) posits that Epic drama (and theatre) as opposed to Aristotelian drama.

The latter aimed at the effect of catharsis in the spectator, the freeing of emotion of fear and

compassion this was not the right effect to strive in the context of his time. Instead, form of

drama and theatre should stimulate increased sense of political awareness in the mind of the

spectator of his own situation in society. Here, Bretch turns the spectator to be the judge, he

believes the theatre to be a place or venue for rehearsals of revolution, which should be

completed outside the theatre by the spectator. Also Bretch is a Marxist playwright who is

concerned with how the elite use their power of oppressing the masses. He posits that the masses

should be able to relate the situation that is happening on stage to his reality.

According to Boal (1979, p.61), theatre is a laboratory and platform for conscientization,

awareness raising and problem solving, the masses are not those who cannot express themselves

in a specific language. Boal wanted or tries to give voice to the voiceless, he propounded the

concept of the spect-actor. The spect-actor is the spectator or audience who acts and also

determines the dramatic action. He wants the masses to take over the theatre or drama and use it

as a vital tool for revolution in the community for self-development. This notion clearly posits

that for the people to instigate development, there is a need to use a medium to show the reality

of the community and which is Theatre but it should be by the people of that community, reflect

the community, and also be done by the people.

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 Theatre have remained one of the basic tool for exploring and expressing human feelings

and predicaments. This is because, theatre is a collaborative art; rich in history and it speaks to

our contemporary society since it mirrors human emotions, morality, and fantasy. As a result, all

cultures have one form of theatre or the other. Being a fundamental human activity, it involves

people working together in order to communicate ideas and also explore social issues to help

people respond to various situations affecting them.

2.3 Historical Perspectives on Theatre for Development

Theatre for development (TFD) can be seen as a progression from less interactive theatre

forms to a more dialogical process, where theatre is practiced with the people or by the people as

a way of empowering communities, listening to their concerns, and then encouraging them to

voice and solve their own problems (Kabaso, 2013 p20). It is also considered as a participatory

theatre that encourages improvisation and allows audience members to takes roles in the

performance. It can be fully scripted and staged, with the audience simply observing. Many

productions are the blend of the two, the theatre of the oppressed an influential collection of

theatrical forms developed by Augusto Boal in 1970s, which aims to create dialogue interaction

between audiences and performer as a means of promoting social and political development.

Manukonda (2013) posits that: "Theatre for Development (TFD) is more than simply

making and performing plays. It gives target group representatives who typically develop and

perform the plays- the opportunity to tell their own stories, involvement and addressing matters

that are relevant to them. This is one of the most effective ways of participatory approach where

people can participate and talk about the taboos of the society which reflects the society openly.

This Assertion is a clear indication that theatre for development (TfD) is more than simply

making and performing plays, it gives the community members the opportunity to tell their own

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stories, in their local languages, which address issues that are relatable to them, the practices

also serve as an avenue where individuals effectively participate and discuss the issues impeding

development faced by the communuty. Suffice to say that theatre for development (TfD) is

simply more than making plays, it further creates room or an opportunity for the people to tell

their stories about their cultures and tradition which is used to addressed issues that are relevant

to the community through the use of theatre.

Byam (1999.p25) asserts that: "Theatre for development (TFD) is a phrase in the

framework of theatre nomenclature, which was coined in Botswana in 1973 to describe an

approach that attempted to reconcile Frerian concepts to a development project that used theatre

as the stimulus that emerged from the quagmire of theatre terms with the distinct purpose of

using theatre as a vehicle, a code to raising consciousness and Also, it has been argued that the

practice dates back to the 1950s when government-sponsored troupes of actors travelled to rural

areas to perform propaganda plays promoting the colonial agenda on such topics as hygiene,

birth control, agriculture and effective methods for producing cash crops”.

The concept of theatre for development is highly participatory and people-centered. It is

sometimes called Popular Theatre. Theatre for development (TfD) was coined in Botswana in

1973 which serves as a frame that supports the development of theatre. The practice is used to

raise consciousness of people, in order to make them aware of their social, economic, and

political issues of a given community. In 1950 theatre for Development practice were fully

accepted when the government sponsored a troupe of theatre actors to travel to rural Areas or

communities. In order to conscientize them in promoting developmental issues. The issues that

were addressed were about personal hygiene, birth rate, agriculture, and effective ways of

8
producing cash crops. Therefore theatre for development (TfD) can be used to addressed various

developmental issues which are capable of stirring change in a given community or society.

Ojekhota (2007, p.113) further states that: "This type of education is one in which a

group of persons, through dialogue, come to realize the concrete situation in which they live, the

reasons for this situation, and the possible solution "(p. 113). The learners (participants) through

the process are more involved in the real act of knowing rather than being given a ready-made

view of social reality. Theatre for Development which is also known as participatory theatre for

development has been suggested as one of the viable means of engaging communities in setting

the development action. Theatre has been described as the representation of life, a slice of life or

imitation of life. The practice of theatre for development (TfD) is described as imitation of life,

or the representation of slice of life of people. All the activities of theatre for development is

aroused within the happenings of people in a given community.it imitate the happening of an

environment or society, which is addressed and created possible solution to tackle their

problems. Through the use of culture, language, norms and values.

World Bank (1994, n.p) described Theatre for Development (TFD) "as a community

engagement tool which many rural development workers both local and international have

described as a demographic way of building societies". Theatre for Development is a democratic

platform where all community members can meet and share ideas irrespective of one’s

educational background or status in society. In collaboration with World Bank theatre for

development (TfD) is described as a community involvement tool which both rural and urban

communities can be educated in providing the demographical ways of building a given

community. It is considered as a platform where all community members comes together to

share idea, issues irrespective of one's background or status.

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 Therefore this practice describes possible ways or method of bringing people together to

create critical consciousness and development in a given community. Md a(1999,p.12) Affirms

that "theatre for development (TFD) is described as a mode of theatre whose objective is to

disseminate message, or to conscientize communities about their objective, social and political

situations. “the practice of theatre for development is describes as a method or ways of sending

and receiving information which the main objective is to conscientized the people of a given

community .in addressing the political and social issues of a given community, in order to

identified the dominant issues of the community and also create solution to these issues.

Mlama (1991,p.67) defines theatre for development (TFD) as "A practice that aims to make

the people not only aware of issues, but also actively participate in the development process by

expressing their view points and acting to better their conditions. Therefore it is intended to

empower the common man with a critical consciousness crucial to the struggle against for this

poverty." Noghiera (2002,p 4) also affirms that "Theatre for development (TFD) is essentially a

progression from the less interactive theatre forms to a more dialogical process, where theatre is

practiced with the people or by the people as a way of empowering communities, listening to

their concern, and then encouraging them to voice and solve their own problems."

Undoubtedly, theatre for development is aimed at emancipating the common man by raising

in him critical thinking and social awareness about the issues impeding his success in the society.

It aims to ignite social awareness and bring to the fore issues that serve as obstacles to livelihood

of the members of the society.

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2:4 The Relevance of Follow-up Approach to Theatre for Development

Theatre for development (TFD) has long been considered important in order to ensure projects

sustainability. Besides being accountable to funding agencies. Hence, theatre for development

interventions are increasing by using follow-up approach strategies for the maintenance and

improvement of sustainable development as well as community involvement. The problem with

many theatre for development projects is that there is limited community participation in the

follow-up process. Conrad (2004 p.110) Affirms that "It is difficult to know the impact of the

work done by the people as the effect are rarely immediate, observable, measurable, or easily

articulated. This means that there is a need for greater focus on community participation in the

follow-up action process of theatre for development projects so that a clearer understanding of

the benefit will be identified."

Follow- up approach refers to the systematic process of collecting, analyzing and using

information to track a programmes progress toward reaching its objectives and to guide

management decisions.it provides information on what an intervention is doing, how well it is

performing and whether it is achieving its aims and objectives. It is also seen as a way of

systematically measuring and assessing projects or intervention. The purpose of follow-up

approach is to check on the progress of a particular community, which help to determine when a

programme is going to plan and when changes may be needed. It gives detailed information on

assessed activities and where improvement can be made. According to Harding,(1997 p.38)

Affirms that within development there is increasing recognition of the need to hear the opinion

of the people who are most affected by the development.

The relevance of follow-up approach to theatre for development is to ascertain the outcome

and success of any theatre for development (TFD) project or intervention. It is also used to

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measure the effect, process and impact of the actual activities that are carried out in a particular

community. Okwori (2008 p.2) illustrates that follow-up approach is a research process, that tries

to diminish the barriers between the researcher as a collector of information and as the

community members as the supplier of information. Thus, a collaborative experience between

the two, it becomes an occasion for gaining and creating knowledge

Therefore follow-up approach is very crucial in theatre for development (TFD) practice

without follow-up approach the performance and the community dialogue emanating from it

becomes an end to itself. Follow-up approach serves as the systematic analysis and evaluation of

intervention that has been carried out to examine whether the interventions has conscientized the

people or not. Daniel and Bappa (2002 p, 23) have illustrated the need for follow - up approach

when they maintain that:

"Follow - up approach is very important area in theatre for development

(TFD) Practices past TfD projects has not be exceedingly rigorous. For every

Project completed, there are decisions taken and yet, very little efforts are

made to return to the community to monitor the progress as a result of the

new level of information shared. All development project efforts need to be

evaluated, to find out what has been accomplished and how they can be

improve.

Therefore, follow-up approach is very essential in theatre for development (TFD)

practices, which is used to monitor and evaluate the progress of an intervention. It ensures the

outcome of the TFD projects, so as to ensure the success of the interventions. It also enables the

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facilitators and theatre arts practitioners to know the process, effect and impact of the actual

activities of the community

2:5 Historical Background of Sumaila Community

Sumaila is one of the 44 local government areas in Kano state. Sumaila is bounded by

Bauchi state and Falgore forest. Sumaila according to history emerged 300 years back when a

Fulani cattle rearer named Sumailu used to take his cattle to graze on a piece of land close to

what is known today as Sumaila. One of Sumailu's cattle used to disappear from the herd and

come back after sometime, Sumaila got suspicious and followed it one day. He discovered that

the cattle had discovered water gushing out from a space and so used to go there to drink and eat

the grass that had grown around the space as a result of the water. Sumailu then started taking his

cattle to drink from there. During the dry season, he would dig that particular place in search for

more water until the place became a well and he named it KUNDUM meaning, the well of

Sumailu. Sumailu later settled down in the area with his family and anyone who hails from that

area was called Dan Sumaila, meaning son of Sumaila or descendants of Sumaila. Sumaila today

is a local government in Kano state of Nigeria. It has 13 wards namely; Bayan gari, Sabon gari,

Kofar yamma, fillin Allah Ya Isa, Bingin botso, Anguwa Sarkin Fawa, Sarkin kasuwa, Ma'aji,

Kaza, Kofar Gabas, Bingin Piloti, Guzai, Kofar arewa.

Sumaila local government has experienced health issues like cholera and drought in 2016

as well as malaria which is rampant all over the area of Sumaila. The people solely depend on

their history rivers to survive. These include; Bingin botso, Kogi rivers etc. Amongst all the

rivers, only Kogi River is drinkable because it flows while the others are stagnant.

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 Their market days takes place twice in every week which are Tuesdays and Fridays.

There is no major reason for this but the community members narrated that, since it is a village

and not a town, markets cannot be opened every day. Also, there are no names given or attached

to the market. Their business enterprises are based on inheritance even if they are not

progressing, they stick to it and usually mandate their children to learn the trade. They usually

open their market from exactly 6:00am to 11:00pm. The market is usually filled by 2:00pm

downwards and people from other villages come to trade in their market as well such as the

Maguzawas who are members of the Fulani extraction whose major language of communication

is Hausa. Their main business in the community is farming and rearing of cattle.

2.6 The Sumaila 2019 theatre for development experiment

The Sumaila theatre for development experience was embarked upon by the students of

the Department of Theatre and Performing Arts, Bayero University Kano. It was a five day

intervention that started on the 6st to 11th of July 2019. Although, the facilitators constituted

students from different backgrounds and students from both four hundred and three hundred

level as well as a few lecturers of the department. Every Theatre for Development intervention is

embedded in integral steps and processes ranging from community research, drama planning or

making process and implementation. Also, in doing Theatre for Development, a number of tools

are usually adopted and deployed in the field, such as, Participatory Learning and Action (PLA)

to gather information about community issues.the issues that were raised in the sumaila 2019

experiences are as follows:

1. Lack of cooperation among community members

2. Lack of good drainage system

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 3. Lack of inadequate water supply

4. Lack of good Heath facilities

5. Lack of girl child education

6. Lack of unemployment opportunity amongst the youth of the community.

The 2019 Sumaila experience witnessed .the deployment of tools such as the transect

walk, Community map etc. Also, the qualitative methodology was deployed in the community

intervention which constitute research instruments such as Focus Group Discussion and

Interview with the community members.

Rehearsal

The rehearsals or scenario building was conducted on the 9 th of July, 2019. This is a day

before the performance. The troupe director undertook the whole process from story formulation,

as the casting was assisted by the lecturers because some of the drama troupe members did not

show up and the lectures know fully some of the student suitable for a certain role while some

were auditioned. The process was not time consuming as majority of the cast members did not

waste their time to assumes their various roles, while further suggestions and decisions came up

on how to go about achieving the performance. Again, to spice up the process or performance,

traditional songs and dances were also rehearsed and included.

Performance

The performance took place the next day which is on the 10th of July, 2019 between

5:00pm to 5:30pm at the front of the Hakimi or head chief's palace. Some of the community

drama troupe members took part in the performance as well. The performance was staged in

15
Hausa language which is the majority or lingua franca of the community. Although non-

elaborate costumes and makeup were used as their costumes and props were their daily wears

and items brought from their homes. In order to avoid misunderstanding the facilitators assured

them that it was a learning process from the first day of arrival, discussion, interviews etc. The

performance ended happily as the members of the community appreciated the facilitators for

awakening them on the pressing issues in the community. A post-performance discussion or

interviews was conducted by the students. After an interactive the lessons from the performance

were summarized as;

1. 1 The need to encourage small scale trade or business in order to reduce the rate of

unemployment in the community.

2. 2 The need to encourage self-reliance among the community members especially the

youths

3. 3 Contributing token amount to enable them build and repair some boreholes in the

community in order to have good and healthy drinking water.

4. The need to encourage unity among the community members.

2.7 Theoretical Framework

This work is premised on the post development theory. The theory was founded in the

1980s and 90s through the works of scholars like Arturo, Escobar, Gustarvo etc. The post

development theory was originated from the attempt to fashion out an indigenous alternative to

development. The theory sheds light on how to bring about development rather than a denial of

the possibility of development in human societies which ought to develop along the lines and

16
pace of historical realities. The post development theory posits that the traditional and cultural

means of communication can be used to create development in a communities.

According to Gegeo (1998, p34): The post development theory provides an alternative to

development which indigenous people determine their own future, confident not intimidate. But

free people to determine what they want to do and doing it for themselves, exercising agency,

actively moving forward to create better lives and improve their well-being according to their

own priorities as well as confidence in and reliance on local ways of thinking and indigenous

knowledge. The post development theory brought about new forms of development which gives

indigenous people the alternative to determine their own future, through the use of local arts

forms. Through the use of theatrical performances or intervention the people decided on what to

do, in order to create growth and development in a given community.

Okwori (1967) illustrates that: "The medium and content makes participation of people

possible in development efforts because indigenous knowledge systems are easily handled by the

people, they engender discussion and communication among them and make them retain control.

Over the ideas, decision and solution arrived at in the process of their own development. When

indigenous knowledge is ignored the result of a development effort may be woeful."

Therefore the theory encourages the organizers and theatre arts practitioners to include

monitory and evaluation process (follow-up approach) in a given project or workshop which

refers to an instrument to gauge the impact of theatre for development (TFD) projects. Most

times, when evaluating theatre for development (TFD) projects, it is only the host community

that is targeted. TFD, being an interactive learning process, means that there is a conscious or

unconscious symbiotic exchange of ideas between the community and the facilitators during and

17
after an intervention. This process is used to evaluate the relevance of the projects in order to

ascertain the level of change and development in theatre for development (TFD) projects after

the workshops. The post development theory is used to evaluate the medium which involves the

participation of the people, and improves the possible ways in a development effort. This is

because it is believed that if the follow-up process is not carried out the process may become an

end to itself.

CHAPTER THREE:

RESEARCH METHODOLOGY

3.1 Introduction

Research methodology is very essential in a research. Because some factors influence the

conduct of methodology,' therefore this study engages a qualitative and quantitative research

methodology.

3:2 Research design

A research design is a set of advance decisions that make up the master plan specifying

the methods and procedures for analyzing, and collection of the needed information for the

study. Research design is also refers to a detailed outline of how an investigation is going to take

place.it include how data is to be collected, what instruments will be employed, how the

instrument will be used and the intended means for analyzing data or information collected. This

goal cannot be achieved unless the research work is orderly, appropriately, logical, and accurate.

According to Leedy (1993, p.39) also affirms that research design can be defined as the

common sense and clear thinking necessary for the management of the entire research endeavour

and a complete strategy upon the central research problem. However for the purpose of this

18
study, the researcher adopted the survey method in seeking the relevant information needed from

the study population who form the scope of this study. Baran (2002, p.47) assert that surveys

allow communication researchers to measure characteristics, opinions or behaviours of a

population by studying a small sample from that group and then generalize findings. The survey

research design is a valuable tool for assessing opinions and trends because it is used to handle a

large population especially on issues of the moment that involve systematic collection of data

from population of study through the use of questionnaires, interview, observation etc. the

researcher employed the used of survey method. Because the survey method gets an overview of

the opinion of the respondents. Therefore this research work combined the used of qualitative

and quantitative research methodology, which is also refers to as a mix research

Leedy (1995.p.49) posit that: Qualitative research methodology refers to an enquiry

process of understanding a social or human problem, based on building a complete, holistic

pictures formed with words reporting detailed views of information, and conducted in a natural

setting. While Quantitative research is an inquiry into a social or human problem, based on

testing a theory composed of variables measured with numbers or figures and analyzed with

statistical procedures in order to determine whether the predictive generalization of the theory

hold true.

Therefore, the suitability of both methods for this study is due to the fact that they are

needed to address the research topic in accordance with the research objectives. Also the study

adopts the used of both qualitative and quantitative research methodology. Which will assist in

the collection of data or information on a gives phenomenon under the study.

19
3:3 Population of the Study

Population of the study is generally a large collection of individual objects that is the

main focus of scientific query. It is well defined collection of individuals or object known to

have similar characteristic. A study population is a collection or a set of individuals facts,

objects, findings, whose properties information or data are to be analyzed (Bello & Ajayi, 2001,

p.43).

The population of this study comprises of all adult residents, both male and female who

witnessed the 2019 theatre for development in Sumaila local government Area of Kano state.

Data from the 2006 national population census puts the entire population of Sumaila local

Government at 253,661.

3:4 Sampling Techniques

Refers to the method that allows researchers to infer information about a population

based on results from a subset of population, without having to investigate every individual in

probability (random),it is the selection of individual members or a subset of the population to

make statistical inferences from them and estimate characteristic of the whole population.

Sobowale (2008, p. 20) is of the view that the researcher may take some elements, subjects or

respondents to represent the population. Wimmer and Dominick (2011, p. 102) established that

determining an adequate sampling size is one of the most controversial aspect of sampling.

They further opine that there is no single sample size formula or method available for every

research method or statistical procedure. The study uses a sample size of 100 which means, One

hundred (100) respondents will make up the sample size of this study for the communities. This

is because according to Wimmer and Dominick (1986, p. 34) state that: sample is a subject of the

population that is taken to represent the entire population. This is to say, A sample is precisely a

20
part of the population, which is said to be it involves the selection of a number of study units

from a define study population to represent or speak for the entire or majority of a population.

3:5 Instruments for Data Collection

The study used two instrument or tools in the collection of data or information. Because a

good researcher usually benefits from the use of the combination of methods. Therefore the

research intends to collect data or information from the following source: questionnaire, key

informal interview.

3:5:1 Questionnaire

A questionnaire is a research instrument consisting of a series of questions for the

purpose of gathering information from respondents.it is a mix of closed and open ended

questions. The questionnaire design was guided by the research questions and study objectives.

We use questionnaires because people are more truthful while responding to the questionnaires

regarding controversial issues in particular due to the fact that their responses are anonymous so

they will feel free to answer without bias, and the questionnaires were distributed to both the

literate and the non-literate in the communities so as to capture different views about the

significances of follow-up approach in theatre for development (TfD), practice.

The types of questionnaire that will be used in carrying out this research is structure and

semi-structure types of questionnaire, the structure questionnaire is a closed ended type of

questionnaire where the respondents could only choose the answer from the given alternatives

provided by the interviewer. Also structure questionnaire is a document that consists of a set of

standardized questions with a fixed scheme, which specifies the exact wording, and order of the

question for gathering information from the respondents. While semi- structure questionnaire

21
allows the interviewee to add his/her opinion on some interesting questions. The question are

open ended question in semi- structure questionnaire there are list of open- ended questions

pertaining to the research objective.

3:5:2 Key informant interview

The interview is a method of collecting data which involves the presentation of oral-

verbal stimuli and reply in terms of oral-verbal responses. This method can be used through

personal interviews and, if possible, through telephone interviews. Interview method also

requires the interviewer asking questions generally in a face-to-face contact to the other person

or persons.

An interview is a face to face oral interaction between the investigator and the

respondents. The interview gives you a degree of flexibility which is not available in the

questionnaire. The key informant interview is done with Magayakin Sumaila who serves as the

district head of Sumaila local government area of Kano state, and Salisu Isah who is in charge of

monitoring and evaluation in Sumaila local government.

3:6 Method of Data Analysis

Method of data Analysis involves the procedures for analyzing data and techniques for

interpreting the result of such procedures to makes the analysis easier and faster. Therefore, due

to the nature of the research, the study will employed the descriptive statistical methods which

was illustrated using the simple percentage, frequency tables. In answering the questionnaire

which is a form of 4-point scale ranging from ( 1) agree (2) strongly agree (3) Disagree ( 4)

strongly disagree was used to collect respondents opinion and views on the significances of

22
follow-up approach in 2019 theatre for development experiment in sumaila local government

respectively.

23
 CHAPTER FOUR

RESEARCH DATA PRESENTATION AND ANALYSIS

4.1 Introduction

This chapter deals with the presentation of result and data gathered for the study through

the Administration of copies of questionnaires and key informant interview on the significance

of follow-up approach in Sumaila 2019 theatre for development experiment, in driving the rate

of follow-up approach in the community. The study made use of questionnaire and the key

informant interview as instrument for data collection. The quantitative data gathered through

questionnaire were analyzed while the qualitative data is through the key informant interview

which was used to support the findings of the quantitative data in order to achieve the objectives

of this research, a sample of one hundred copies questionnaire was given to the residents of

Sumaila community. The copies of questionnaires distributed were filled and returned by the

respondents. The demographic data take the first section while data presented and response to the

key informant interview which is in line the research questions and objectives from other section.

24
Table 4.1 Demographic Data

Variable Frequency Percentage %

Sex
Male 80 (80%)
Female 20 (20%)
Age
18-25 35 (35%)
26-36 30 (30%)
37-47 20 (20%)
48- and above 15 (15%)
Marital status
Married 38 (38%)
Divorced 2 (2%)
Widowed 2 (2%)
Educational Qualification
Primary 25 (25%)
Secondary 60 (60%)
Tertiary Institutions 15 (15%)
None of the above 5 (5%)
Religion
Islam 96 (96%)
Christianity 4 (4%)
Others
Occupation
Civil servant 25 (25%)
Self Employed 50 (50%)
Student 25 (25%)
Sources: field data from Sumaila community Kano, July 2021.

Distribution of respondents by sex

The response rate on gender type reveals that majority of the respondents 80% are male while

20% of the respondents are female. This could be related to the fact that the study was conducted

in a rural area of Kano state where the cultural practice and belief system of the people

emphasizes women as home keeper while the men go outside to work.

25
Age Distribution of the Respondents

The above table indicate that majority of the respondents representing 35% of the chosen

population between the age of 18-25 years, and 30%of the respondents are between the age of

27-36, 20% of the respondents between the age of 37-47,while 15% of the respondents between

the age of 48 and above. This implies that majority of the respondents are youth who are more

likely to witness the theatre for development performance than the others members of the

community,

Marital Status of the Respondents

The response rate on marital status reveal that majority of the respondents 58% are single,

38% of the respondents are married, 2% of the respondents are divorced, while 2% are also

widowed. This implies that majority of the respondents are single and also youth of Sumaila

community, who witness the 2019 theatre for development performances.

Educational Qualification of the respondents

The result indicate that majority of the respondents acquire secondary school which is 60% that

has secondary certificate, while 25% of the respondents possess primary school certificate, and

10% of the respondents possess tertiary institution certificate and 5% of the respondents possess

none of the certificates. This is to say that majority of the respondents possess second school

certificate in Sumaila community.

Religion Status of Respondents

The table above indicate that 96% of the respondents are Muslim while 4% are Christian other

religion were 0% this shows that majority of the respondents in Sumaila community are Muslim,

26
and their response was guided by their ways of belief or from the perception of theatre in regard

to their belief system.

Occupational Distribution of the Respondents

The above table shows that majority of the respondents 50% of the respondents are self-

employed, while 25% of the respondents are civil servant, and 20% of the respondents are

student, and lastly 5% of the respondents are neither of the above three mention. This implies

that majority of the respondents are self-employed in Sumaila community.

Table 2 Awareness of Sumaila 2019 Theatre for Development experiment

Variable Frequency Percentage

Yes 80 80 (80%)

No 20 20 (20%)

Total 100 100

Source: Field data from Sumaila Community Kano, July 2021.

From the above table 80% of the respondents are aware of the 2019 Sumaila theatre for

development Field experiences. Furthermore, data from key informant interview (KII) with

Alhaji Isah Muhammad (Magayakin Sumaila) district head in Sumaila community and Isah

Salish who serves as the CBO in charge of monitoring and evaluation in Sumaila local

Government area of Kano state.

Both say that: yes we are aware of the 2019 Sumaila theatre for development field experience

which lasted for five days in our community (Researcher's interview with Alhaji Isah

Muhammad (magayakin Sumaila) Sumaila Local Government, July, 2021).and Isah salisu ( CBO

in charge of monitoring and evaluation in Sumaila Local government Area of Kano State).This

27
implies that majority of the Sumaila Community members are aware of the 2019 Sumaila theatre

for development field experiences.

Table 3 Community Members Participation in Sumaila 2019 Field Experiment.

Variables Frequency Percentage

Yes 75 75( 75%)

No 25 25 ( 25%)

Total 100 100

Source: field data from Sumaila community, Kano State July, 2021.

From the above table it indicate that 75% of the respondents participate in the 2019 theatre for

development experiment in Sumaila community. This is also same as response From key

informant interview (KII).with Alhaji Isah Muhammad (Magayakin Sumaila) a district head in

Sumaila community and Isah salisu CBO in charge of monitoring and evaluation in Sumaila

local government. That, "yes I participated in the intervention, this is because I was engaged in a

discussion with some of the practitioners during the process where I also proffered my own idea

and opinion on how the community members can be addressed. And also how they can address

some pressing issues in the community in order to create sustainable development.

(Researchers interview with Alhaji Isah Muhammad (Magayakin Sumaila) Sumaila Local

Government, and Isah Salisu CBO in charge of monitoring and evaluation in Sumaila local

Government, July 2021).This Implies that the theatre arts practitioners engages with the

community members to some extent and the community members cooperated.

28
Table 4 Witness of Follow-up action in Sumaila 2019 Theatre for Development experiment

Variable Frequency Percentage

Yes 0 0 ( 0%)

No 100 100 (100% )

Source: Field data from Sumaila community, Kano July 2021

The above table shows that 100% of the community members has not encounter any

follow-up action in their community. There is no any follow-up action been carried out after an

intervention is been done in our community. This is also same as response from key informant

interview (KII) with Alhaji Isah Muhammad (Magayakin Sumaila) a district head in Sumaila

community and Isah Salisu CBO in charge of monitoring and evaluation in Sumaila local

government area of Kano state. support that: we have not encounter any follow-up action in

Sumaila community, because lack of follow-up action hinder the development of theatre for

development practice hence the practice serves as a way of conscientizing people of rural

community through the use of their traditions such as norms, culture and belief in order to bring

out issues and problems that are effecting that community and also create solution to that

problem through the use of theatrical performances. Isah Salisu also said that he can support the

practice of follow-up action practice financially economically and psychological because with

follow-up action practice sustainable development will be achieved

Research's interview with Alhaji Isah Muhammad (magayakin Sumaila) Sumaila local

government, and Isah Salisu CBO in charge of monitoring and evaluation in Sumaila local

Government area of Kano state, July, 2021).this implies that the theatre arts practitioners should

embarked on the process of follow-up action for sustainable development of a given community.

29
4.6 Analysis on the significance of follow-up approach in Sumaila 2019 Experiment

Indices SA A NS D SD

(%) (%) (%) (%) (%)

The TFD experience servesd as a platform for addressing

35 65 0 0 0
issues faced in the community.

The TFD experience encourages community members to

65 25 10 0 0
embrace development to improve the community.

The TFD experience facilitated the desired change added

50 40 6 2 2
to develop the community.

The TFD facilitators conducted monitory and evaluation to

0 2 0 28 70
ensure that the development ideas were put in place.

There was feedback between the facilitators and

0 2 2 60 36
community members to ensure sustainability of
development implementations.

The follow-up approach helps to build trust between the

0 2 5 20 73
facilitators and community members on TFD
interventions.

The follow-up approach is suitable to ensure the speedy

0 0 2 28 70
transformation of development ideas in the community.

The above distribution shows that majority of the respondents 95% has not encounter any

follow-up action in their community.

30
4.7 Discussion of Findings

The study findings are discussed below in relation to the research questions and research

objective. According to the respondents from key informant interview and the response gathered

from the Administered questionnaire, it is clearly indicated that 80% of the community members

are aware of the theatre for development practices.75% of the community members took part in

the discussion process and shared their ideas in order to tackles some issues affecting the

communities during the performances process. Also when about the issues raised in the theatre

for development experiment, Alhaji Isah Muhammad, who is the district head in Sumaila

community, the issues that was identified are some of the issues affecting this community. So the

theatre for development experiment serves as a reminder to the community members on the

effect of practicing it.

This implies that the issues that were identified in theatre for development experiment are

the dominant issues or problems affecting the development of the community and also served as

a reminder to the community members.

It is clearly Established that majority of the respondents has not witness any follow-up

action in Sumaila community, 100% of the people living in the community has not encounter any

follow-up action in the community, Isah Salisu who is one of the CBO in charge of monitoring

and evaluation in Sumaila local government, said, that: the need for monitoring and evaluation

(follow-up action) need to be observed for any development activities in order to know the extent

of development in a given community. Without follow-up action. The practice of theatre for

development will not be completed, therefore they should be a need for follow-up action in any

intervention that is been carried out.

31
 Therefore, 65% of the respondents agreed that the experience served as a platform for

addressing issues faced in the community, in order to bring cooperation amongst community

members. It also bring solution to the addressed issues identified in order to create growth and

development in the community. The practice is also used to encourage community members to

embrace and improve the development of the community which brings about growth and

development in a given community.

According to some respondents response they have not encounter any witness of

monitoring and evaluation been carried out in their community. And this process was used to

monitor the ideas and issues raised during the performances are put in place. This indicate that

follow-up action has not been carried out in the community in order to know the extent of

development in the community. Therefore 98% of the respondents strongly disagreed that the

intervention has conducted monitory and evaluation to ensure that the development were put in

place. The monitory and evaluation was used to ensure development that was put in place, but

this intervention has not conducted any follow-up action in the community. The follow-up action

process serves as an avenue for building trust between the community members and the

facilitators, but the 2019 theatre for development experiment lack all these process which served

as a challenge to theatre for development experiment.so for any intervention that is been carried

out they should be follow-up action practices in order to validates the practice of theatre for

development.

4.8 Key findings

The key findings of this research reveal that;

32
The 2019 theatre for development experiment serves as a reminder about issues raised in the

community during the theatre for development experiment process.

The follow-up action process has not been conducted in the Sumaila 2019 theatre for

development experiment which hindered the extent of development in thecommunity.

The 2019 theatre for development experiment serves as a platform for identifying issues of a

given community, and also create solution to these issues.

33
 CHAPTER FIVE

SUMMARY, CONCLUSION, AND RECOMMENDATIONS.

5.1 Introduction

In this chapter, the summary, conclusion, and recommendations of the study are

presented. The study evaluate the significances of follow-up approach in Sumaila 2019 theatre

for development experiment.

5.2 Summary

The study examined the evaluation of follow-up approach in Sumaila 2019 theatre for

development experiment carried out in Sumaila local Government Area of Kano state, Nigeria.

In chapter one, the topic of the study was introduced with a general Introduction of the study, the

statement of the research problem, the aim and objective of the study, research questions, the

significances of the study, and the scope and limitation of the study.

Chapter two contains the literature review of the concept of theatre, historical perspective on

theatre for development, the relevance of follow-up approach to theatre for development, history

of Sumaila community, the Sumaila 2019 theatre for development experiment, Issues raised in

the Sumaila 2019 experience, the rehearsal process, performances process, and the theoretical

framework of the study.

Chapter three of study contains the research design, Research methodology deployed for the

research, population of the study, sampling size /techniques, Instrument for data collection,

questionnaire, key informant interview ( KII ),and method of data analysis.

Chapter four present the research presentation and data analysis. While chapter Five contains the

summary, conclusion, and recommendation of the study.

34
5.3 Conclusion

The study concludes and agrees that follow-up approach is considered as a very important

Aspect in evaluating the extent of development in theatre for development practices. It also

create awareness to the community member’s on the importance of follow- up approach process

to the community development. However, many project intervention neglect the process of

follow-up approach when theatre for development intervention is carried out in a given

community. Hence the theatre Arts practitioners, students of theatre and performing arts should

not neglect the project after it has been done, follow - up approach should always be observed to

known the effectiveness of development in a given community.

5.4 Recommendations

Based on the study findings, the following recommendations are formulated;

1. Theatre for development practices should always encourage follow-up approach by the

facilitators to evaluate the impact of the project in visited communities.

2. Theatre for development projects that will not undergoes the process of follow-up

approach should not be carried out.

3. Theatre for development practitioners or teacher's should emphasized the need for

follow-up approach and should not grade students that carried out an intervention,until

follow-up approach process is carried out.

35
References

Abah .O.(1990)."Popular theatre as a strategy for development. The Zimbabwe Example "in
Fako, Vol.5,PP. 17

Baran, S.& Davis, D.(2011), Mass communication theory .foundations perments & features 6th
edition. USA, Boston: Wadsworth.

Bickman,L.& Rog, D.J (1998),Hand book of applied social research methods : thousand asks
CA: Sage publication

Boal, A.(1979), Theatre of the oppressed London: Pluto press

Byam, D.(1999),Community in motion: theatre for development in Nigeria.

Frances .H. (1997), Theatre and video for development: A publication of the international
institutes for environment and development.

Hall, S (1973), Encoding and seconding in television: Discourse.( cs stenciled paper.

Illah, E., J., S. (2004). ‘Theatre for development for children’s rights’, in E. J. S. Illah (ed.) Child
Rights Theatre for Development Training Manual, Abuja: UNICEF, pp. 1-11.

Jenkeri. O.(2008),theatre as action research: the example of the research on citizenship

participation and accountability in Nigeria

Kabaso, S. ,(2013). Theater for Development in Zambia. Zambia: Kabsy Digital Media. p. 20.

Kidd.R.(2002). Theatre arts development: diary of a Zimbabwe workshops.

Leedy P.P.(1997),practical research: planning and design. New Jersey: Morill.

Manukonda, R.(2013),theatre communication that captivates and enchants: global media.

Mapudzi,H.(2009),the popularity of tabloids: A reception analysis of the daily sun amongst

Graham's town readers.

Mbachaga,D (2011),Theatre for Development: participatory monitory and feedback, the

performer.

Mbachaga.D. (2011).theatre for development: participatory monitory and feedback: The

performer.

Mda, Z. (2003), When people play people: development communication through theatre.

36
Mda,Z.(1991) when people play with people development communication through theatre.
London: zed books

Mlama, P.M.(1991),Culture and development: the popular theatre approach in Nigeria.

Nogueira,P.M.(2002), Towards a poetical correct theatre for development: A Dialogical

Approach

Osuya.O. (2001).theatre of immediate: A case of the Relevance of community theatre in

contemporary theatrical development in Nigeria,'D.Adebugba and M.okhakhu (eds.)
theatre Art studies: A Book of Reading, Benin city :Amfitop Book,pp.67-78.

Sobowale, I. (2008).Scientific journalism: what tool for the precision journalist? Lagos Idosa
konsult.

Steve.D.& Salihu. B.(2004).Methodology and process foundation for incorporating child Rights
issues in TfD practice in Demi Osofisan : communicating children and women in Nigeria.

Ushie,U,J,C.(2006).the use of drama for re-orientation in conservation education reach: A

journal of the institution of mass communication and information management of
Nigeria.

Wimmer,D.R & Dominick,J.R.(2003),mass media research :An introduction, (7thEd)London:

Wadsworth publishing company.

World Bank.(2010),World Population Report Washington D.C.

37
 APPENDIX I

DEPARTMENT OF THEATRE AND PERFORMING ARTS

FACULTY OF COMMUNICATION
BAYERO UNIVERSITY, KANO
Dear respondent

I am a final year student in the department of theatre and performing arts, faculty of
communication Bayero University, Kano. Conducting a research on the topic: “An evaluation
on the significances of follow-up approach in Sumaila 2019 theatre for development
experiment”. I request for your cooperation and assistance in filling the attached questionnaire.
And I assure you that every information collected will be strictly for academic purpose.

Thanks for your cooperation.

Aisha Suleiman.

QUESTIONS FOR KEY INFORMANT INTERVIEW

1. Please, kindly introduce yourself?

2. Are you aware of the Sumaila 2019 TFD intervention carried out in Sumaila Local
Government?
3. If yes, what were the issues raised in the Sumaila 2019 theatre for development TFD
intervention?
4. Did you witness any follow-up action in sumaila 2019 Theatre for development
experience?
5. Did the TFD intervention project bring about development in the community?
6. If yes, how did the intervention create development in your community?
7. Are you aware of any follow-up action carried out in the community after the TFD
intervention?

38
8. If yes, how and when did it happen and was the development sustainable in the
community?
9. If no, was the development sustainable?
10. Were the issues identified during the Theatre for Development experiment solved by the
community members?
11. If yes how?
12. What are your suggestions onfollow-up actions in TFD projects?

39
 APPENDIX II

DEPARTMENT OF THEATRE AND PERFORMING ARTS

FACULTY OF COMMUNICATION
BAYERO UNIVERSITY, KANO

Dear respondent
I am a final year student in the department of theatre and performing arts, faculty of
communication Bayero University, Kano. Conducting a research on the topic: “An evaluation
on the significances of follow-up approach in Sumaila 2019 theatre for development
experiment”. I request for your cooperation and assistance in filling the attached questionnaire.
And I assure you that every information collected will be strictly for academic purpose.

Thanks for your cooperation.

Aisha Suleiman.

QUESTIONNAIRE
Instruction: please tick ( ) in the appropriate [ ] boxes below.

Section A: Demographic Data

1. Gender: (a) Male [ ] (b) Female [ ]
2. Age: (a) 18-25 years [ ] (b) 26-36 years [ ] (c) 37-47 years [ ]
(d) 48 years and above [ ]
3. Marital Status: (a) Single [ ] (b) Married [ ] (c) Divorced [ ] (d) Widowed [ ]
4. Educational Qualification: (a) Primary [ ] (b) Secondary [ ] (c) Tertiary institution [ ]
(d) None of the above [ ]
5. Religion: (a) Islam [ ] (b) Christian [ ] (c) Other specify _________________
6. Occupation: (a) Civil servant [ ] (b) Self-employed [ ] (c) Student [ ] (d) Others
specify_______________________
7. Are you aware of the Sumaila 2019 theatre for development project?(a) Yes [ ] (b) No[ ]

40
 8. If yes, did you participate in the Sumaila 2019 TFD project? (a) Yes [ ] (b) No [ ]
9. What were the issues raised during the project intervention?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Did you witness any follow-up action in your community after the TfD intervention?
Section B: Please indicate the extent of your agreement to question below

S/N Statement SD D N.S A SA

9. The TFD experience served as a platform for addressing

issues faced in the community.

10. The TFD experience encourages community members to

embrace development to improve the community.

11. The TFD experience facilitated the desired change added

to develop the community.

12. The TFD facilitators conducted monitory and evaluation to

ensure that the development ideas were put in place.

13. There was feedback between the facilitators and

community members to ensure sustainability of
development implementations.

14. The follow-up approach helps to build trust between the

facilitators and community members on TFD
interventions.

15. The follow-up approach is suitable to ensure the speedy

transformation of development ideas in the community.

41
 APPENDIX III

Key informant interview with Alhaji Isah

Muhammad (District Head, Sumaila LGA) , July The researcher at Sumaila LGA, July
2021. 2021

Key informant interview with Malam Isah

Salisu (CBOs incharge of monitoring and
Questionnaire respondent at Sumaila LGA, evaluation in Sumaila LGA, Kano, July, 2021
July 2021

42