A stakeholder’s insight into the laws protecting theatre artists and other creatives formed the crux of the discourse at the National Delegates Convention in Lagos organised by the National Association of Nigerian Theatre Arts Practitioners (NANTAP). Yinka Olatunbosun reports
The lights dimmed. The audience settled, and the stage was set—not just for breathtaking performances, but for a strong conversation on the rights of Nigerian theatre practitioners.
The week-long National Delegates Convention (NDC) Eko 2024, organised by the National Association of Nigerian Theatre Arts Practitioners (NANTAP), put a spotlight on the rights of theatre practitioners. It began with a forecast two weeks ago, in the form of a press briefing, where it was revealed that policymakers and other stakeholders would exchange thoughts and ideas on the politics of theatre.
With the theme “Theatre, Politics, and National Development,” the National President of NANTAP, Israel Eboh predicted that there would be an emphasis on the vital role of theatre in shaping national consciousness at the delegates’ convention.
“The theme could not be more relevant at this time in our nation’s history,” he stated. “As we navigate the complexities of governance and democracy, it is imperative to recognise the critical role of theatre and the arts in shaping national consciousness, driving civic engagement, and influencing policy. Theatre is more than entertainment—it is a mirror of society, a voice for the voiceless, and a catalyst for transformation.”
However, theatre practitioners are more concerned about government policies that protect their rights than the political party infighting and power struggles that affected Osun and Lagos earlier in the week. Their focus is on how the government makes and enforces these policies.
At the six-day convention, which began on Tuesday, February 18, a resurgence in the appreciation of theatre art practice as well as regulations was stirred at this gathering held at multiple venues, including the National Theatre, Glover Memorial Hall, Freedom Park, and the John Randle Centre for Yoruba Culture and History.
Originally scheduled for December 2024, the convention was postponed to allow for better preparation and an enriched experience for delegates, theatre enthusiasts, and stakeholders.
While speaking at the convention, the Director General of the National Copyright Commission, Dr. John Asein, stressed the need for theatre practitioners and other creatives to fully understand their rights under the recently amended Copyright Act, 2022.
In his keynote address, titled “The Protection of Performer’s Rights Under the Copyright Act: Light, Camera, Action!, Asein alluded to historic antecedents in legislation to protect intellectual property.
He argued that for many years, Nigerian theatre practitioners have created magic on stage but received little or no protection for their work, adding that the new Copyright Act changes that.
He further revealed that the law now explicitly recognises Performers’ Rights. This ensures rewards for labour, allowing actors, dancers, musicians, and other creatives to control how their performances are recorded, reproduced, and distributed.
“The new Copyright Act recognises Performers’ Rights and includes provisions to protect them. A performer now has exclusive rights to control certain aspects of their performance, including fixation, reproduction, and distribution,” Asein said.
He added that it is crucial for performing artists to understand their rights, leverage the protection that IP offers, and be proactive in managing their works in the digital age. By doing so, they can ensure that their creativity continues to thrive while being properly compensated and respected on both local and global stages.
Legislative action has been one of the bottlenecks in strengthening performers’ rights. However, by working with NANTAP, stakeholders can finally address gaps in the value chain through legislative action and develop educational strategies for theatre practitioners. They will also have the opportunity to explore legal solutions to protect performers in the digital age and activate legal provisions for the protection of traditional expressions and folklore.
To honour key figures who fought for performers’ rights in Nigeria, Asein announced plans to publish a special report, “Copyright and Theatre Arts”, as a tribute to Dr. Sylvester Olusola Agbaje-Williams and Chief Hubert Ogunde, OON, the father of Nigerian theatre.
The influence of theatre in shaping national identity was further reinforced by Ireland’s Ambassador to Nigeria, Peter Ryan, who commended NANTAP for keeping the spirit of Nigerian theatre alive. He praised NANTAP for its role in sustaining and evolving Nigeria’s theatre sector. Represented by Aduke Gomez, Ryan highlighted the historical connection between theatre and nation-building, using Ireland as an example.
“The Abbey Theatre, Ireland’s national theatre, was founded in 1904 when Ireland was still a British colony,” he disclosed. “It played a major role in shaping national consciousness. Similarly, Nigerian theatre has the power to challenge, inspire, and drive national development.”
He encouraged Nigerian theatre practitioners to continue using their craft to reshape the national narrative and advocate for social change.
NANTAP President, Mr. Israel Eboh, FTA, whose tenure ends this year after seven years of service, stressed the importance of artists understanding the legal framework that protects them. “One of my major concerns is the intellectual laziness among performers,” he said. “How many of us truly understand the laws that govern our profession? Many artists sign contracts without reading the terms, and some even perform without contracts at all. We must do better.”
Eboh further noted that theatre has historically held a mirror to society, shaping ideologies, questioning power structures, and fueling revolutions.
“Whether in ancient Greece or contemporary Nigeria, theatre has always been at the forefront of shaping discourse,” he added.
Aside from the discussions and panel sessions on the performers’ rights, the audience were thrilled by magical performances by StarKids Academy and performers from various academies.
