Journal of Development Communication And Applied Theatre

Songs in street theatre do not merely accompany action; they shape its rhythm, structure its progression, and mediate its relationship with the public. Music is a defining yet under-theorized element of Nigerian street theatre practice. While theatre researches acknowledge the presence of songs in public performance traditions, limited attention has been given to songs beyond aesthetical embellishments especially in street theatre. The aim of this paper is to document the efforts of the A.B.U. theatre practice in the employment of songs and music in fostering audience engagement in street theatre practice. This study adopts a qualitative methodology, employing analysis of song scripts and performance observation to investigate the structural and critical functions of music in contemporary Nigerian street theatre. Drawing on Bertolt Brecht’s theory of Epic Theatre, particularly his concepts of alienation (Verfremdungseffekt), musical interruption, and commentary, the paper argues that songs in Samaru Project function as deliberate dramaturgical intervention rather than decorative accompaniments. Through interlude placement, repetition, direct address, and declarative lyricism, songs interrupt narrative flow, comment on staged action, and redirect audience attention toward social evaluation. The paper argues that in street theatre, songs are as viable and central as acting to kindle critical spectatorship. The paper concludes that foregrounding song as a structural and ideological device in public performance contexts and advances understanding of how music operates as a mechanism for critical engagement in communal spaces is crucial. The paper recommends that there is the need to conduct impact studies with spectators to locate the depth in which songs encourage critical spectatorship in street theatre for a holistic understanding of the efficacy of songs in street performances.

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