NANTAP President Advocates for Enhanced Government Support on World Theatre Day
On the occasion of World Theatre Day 2026, Adeniran Makinde, the President of the National Association of Nigerian Theatre Arts Practitioners (NANTAP), has issued a compelling call to the administration of President Bola Ahmed Tinubu. He emphasized the need for deliberate and urgent attention to the Federal Ministry overseeing culture and the creative economy, highlighting the critical role of theatre in national development.
Global Significance of World Theatre Day
World Theatre Day, also known as International Theatre Day, is celebrated annually on March 27 to honor the art of theatre and its cultural, educational, and social significance worldwide. Established in 1961 by the International Theatre Institute (ITI), this day recognizes theatre as a universal art form that fosters creativity, dialogue, and understanding across diverse cultures. The first celebration occurred on March 27, 1962, coinciding with the opening of the "Theatre of Nations" season in Paris, and it has since been observed globally by theatre professionals, organizations, and enthusiasts.
The day underscores the cultural, social, and economic impact of theatre, emphasizing its ability to unite communities, preserve intangible cultural heritage, and provide platforms for education and social dialogue. It serves as a call to governments and institutions to acknowledge theatre's value and support its growth. Theatre is celebrated not only for entertainment but also as a medium for empathy, reflection, and social change. A key feature of International Theatre Day is the International Message, delivered yearly by a distinguished figure in theatre, reflecting on theatre's role in society and promoting a culture of peace. Past authors include Jean Cocteau, Jon Fosse, and Helen Mirren, with the theme for 2026 being "Theatre and a Culture of Peace."
Makinde's Message on Theatre and Peace
In his address, Makinde articulated a vision for a functional and accountable cultural ministry. He stated, "The Ministry must not merely exist — it must function. Policies must not merely be announced — they must be implemented. Boards must not merely be inaugurated — they must be accountable. Government support for theatre is not charity. It is nation-building. It is peace-building." He elaborated that a structurally supported theatre sector generates employment for youth, enhances cultural diplomacy, fosters social cohesion across ethnic divides, provides platforms for civic education, and creates safe spaces for dialogue during times of tension.
Makinde emphasized that if theatre embodies a culture of peace, then the government must actively partner in cultivating that peace. He positioned NANTAP not as an adversary but as a stakeholder, extending a hand in collaboration. He called for structured dialogue between practitioners, the National Theatre management, and the supervising ministry, along with policy clarity and transparent frameworks to protect the interests of artists and investors alike.
Vision for a Vibrant National Theatre
Makinde envisioned a National Theatre that operates daily rather than occasionally, where practitioners have fair access without begging, and where artists can create without fear, financial strain, or administrative opacity. He defined peace in theatre practice as practical elements such as budgeting, infrastructure, consultation, and respect. Reflecting on the domestic theme "Theatre: A Culture of Peace," he noted, "Peace is not merely the absence of conflict. Peace is the presence of justice. Peace is not silence. Peace is the assurance that voices are heard. Peace is not decoration. Peace is structure."
He described theatre as a sacred space of dialogue that has historically mediated tension, interrogated power, healed communities, and preserved memory in Nigeria, from village squares to modern stages. Makinde stressed that the National Theatre is more than a building; it is a national cultural monument and spiritual home for practitioners, representing collective artistic memory and should be an epicenter of creative peace, innovation, and professional dignity.
Concerns and Recommendations for Improvement
However, Makinde expressed concerns about the administration of the National Theatre under its new board, calling for strengthened transparency, institutionalized engagement with practitioners, inclusive programming, fair access, and participatory cultural governance. He outlined that peace in theatre practice requires functional rehearsal spaces, affordable performance venues, clear administrative policies, access to funding, inclusion in decision-making processes, and respect for professional bodies. Without these, he warned, anxiety, uncertainty, and silence can stifle creativity and collaboration.
He highlighted the creative industry as one of Nigeria's most powerful soft-power assets, noting that theatre feeds into film, television, music, festivals, education, and diplomacy, while building youth engagement, shaping narratives, and sustaining identity. On World Theatre Day 2026, Makinde recommitted practitioners to ethical practice, artistic excellence, and national unity, but insisted that peace must begin within the governing structures.
