A growing number of independent theatre practitioners in Lagos are adopting immersive and audience-centred productions as part of efforts to revive traditional African storytelling practices.
The development comes amid growing concerns over the gradual decline of oral cultural traditions in an era increasingly shaped by digital entertainment and technology-driven interactions.
The shift, which departs from conventional stage performances, is seeing young creatives experiment with formats that emphasise participation, communal interaction and cultural engagement rather than passive viewing.
Among the projects gaining attention within the emerging movement is An Evening of Kwagh-hir, an interactive storytelling production developed by Nigerian creative producer Tobenna Amechi through Wise Productions.
The production seeks to recreate elements of traditional African storytelling through live narration, audience participation, traditional games and shared cultural activities, drawing inspiration from indigenous oral traditions and communal gatherings.
The initiative comes amid growing discussions among creatives on preserving African cultural identity and adapting indigenous storytelling practices for modern audiences.
Traditionally, storytelling in many African communities served not only as a form of entertainment but also as a means of transmitting cultural values, history, language and social lessons across generations.
However, increasing urbanisation and the rise of digital entertainment platforms have contributed to the gradual decline of such communal experiences.
Unlike conventional theatre settings where audiences remain observers, An Evening of Kwagh-hir places participants at the centre of the storytelling process through an interactive studio experience designed to encourage collective engagement.
Speaking on the concept behind the production, Amechi said the project was developed to reconnect people with communal experiences that have become less common in contemporary society.
“There is something powerful about people physically gathering to share stories again. Not through a screen, not individually, but together. A lot of African storytelling traditions were built around community participation, and I think many people are searching for that feeling again, even if they don’t realise it,” he said.
Industry observers say the development reflects a wider trend within Nigeria’s independent arts sector where younger creatives are increasingly exploring new performance approaches while drawing from indigenous cultural practices.
The production also highlights efforts by emerging creatives to preserve traditional practices through adaptation rather than direct replication, creating contemporary interpretations of African cultural forms.
Wise Productions said it is also exploring future hybrid and digitally accessible editions of the project aimed at reaching audiences within the African diaspora, particularly in the United Kingdom, Canada and the United States.
The move reflects growing efforts by Nigerian creatives to position African cultural experiences within wider global conversations while expanding access to indigenous storytelling traditions.
Observers say the emergence of such projects could contribute to broadening audience participation in theatre and redefining performance as a platform for cultural engagement and preservation.
The development comes amid growing concerns over the gradual decline of oral cultural traditions in an era increasingly shaped by digital entertainment and technology-driven interactions.
The shift, which departs from conventional stage performances, is seeing young creatives experiment with formats that emphasise participation, communal interaction and cultural engagement rather than passive viewing.
Among the projects gaining attention within the emerging movement is An Evening of Kwagh-hir, an interactive storytelling production developed by Nigerian creative producer Tobenna Amechi through Wise Productions.
The production seeks to recreate elements of traditional African storytelling through live narration, audience participation, traditional games and shared cultural activities, drawing inspiration from indigenous oral traditions and communal gatherings.
The initiative comes amid growing discussions among creatives on preserving African cultural identity and adapting indigenous storytelling practices for modern audiences.
Traditionally, storytelling in many African communities served not only as a form of entertainment but also as a means of transmitting cultural values, history, language and social lessons across generations.
However, increasing urbanisation and the rise of digital entertainment platforms have contributed to the gradual decline of such communal experiences.
Unlike conventional theatre settings where audiences remain observers, An Evening of Kwagh-hir places participants at the centre of the storytelling process through an interactive studio experience designed to encourage collective engagement.
Speaking on the concept behind the production, Amechi said the project was developed to reconnect people with communal experiences that have become less common in contemporary society.
“There is something powerful about people physically gathering to share stories again. Not through a screen, not individually, but together. A lot of African storytelling traditions were built around community participation, and I think many people are searching for that feeling again, even if they don’t realise it,” he said.
Industry observers say the development reflects a wider trend within Nigeria’s independent arts sector where younger creatives are increasingly exploring new performance approaches while drawing from indigenous cultural practices.
The production also highlights efforts by emerging creatives to preserve traditional practices through adaptation rather than direct replication, creating contemporary interpretations of African cultural forms.
Wise Productions said it is also exploring future hybrid and digitally accessible editions of the project aimed at reaching audiences within the African diaspora, particularly in the United Kingdom, Canada and the United States.
The move reflects growing efforts by Nigerian creatives to position African cultural experiences within wider global conversations while expanding access to indigenous storytelling traditions.
Observers say the emergence of such projects could contribute to broadening audience participation in theatre and redefining performance as a platform for cultural engagement and preservation.
