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The Communication Strength of Radio Drama in The Conveyance and Reinforcement of Social Information; A Study Of Abule Olokemerin"

by ADEOYE, Olusola Obafemi

Chapter One: INTRODUCTION

1.1: BACKGROUND TO THE STUDY A mass of evidence clearly abounds to support the fact that the radio medium is the most efcient in terms of reach and ability to inuence the audience. Broadcast technologists at various points in history, have particularly come to a consensus and proven that radio signals travel more kilometres ahead of its twin broadcast medium of television, even also at a higher degree of delity. This strength of the radio notably has been the most harnessed by individuals and organizations, seeking to reach their target audience effectively and inuencing them to act in a particular manner as would be determined by the information sender (http:// w.w.w.obaadeoye.blogspot.com). Apart from its unrivalled reach and inuential power, the radio broadcast medium is relatively cheaper to establish and its receiving apparatus, more affordable and accessible,

when compared to the television medium and home television set respectively. Clearly supporting this, Ayo Odetoyinbo (2001:8), while comparing various media of mass communication, states that "radio broadcasts generally is moderate in terms of management of equipment and programmes transmission when compared with the television; its broadcasts have a wider coverage area, [and] easily accessible. Its portability makes it a household gadget. Radio is usually an affordable electronic to average people even in the [most remote] rural areas vis--vis television, which is not portable but expensive." The affordability of the cost of producing radio programmes also places the medium at a vantage position when the issue of mobilizing people is concerned. Unlike the television programmes production that requires an elaborate studio set, expensive motion cameras and lavish lightings among others, the production of a radio programme requires just the microphone and a gadget for playing pre-recorded

music and sound effects. This palpably accounts for why the government and corporate organisation prefer to utilize radio programmes mostly in the mobilization of the populace both for socio-political and business purposes (especially for commercial advertisement). The entertainment value of the radio is unarguably enormous. Music, sports and drama especially keep the audience entertained all round the clock, even while the listener is engaged simultaneously in other activities. Particularly due to this unrivalled power of the medium, many radio stations and sponsor organizations have maximized the utility of especially radio drama not only to inform the audience about current topical Issues but also to educate it (i.e. the audience) about those things that help its members live their lives more meaningfully. All these in most cases, are sandwiched in commercial propositions. Abule Olokemerin is a foremost radio drama in the southwestern part of Nigeria and it shall be the central focus of this research endeavour to measure its strengths in

conveying and consolidating Social Information about some health-related issues. # 1.2 STATEMENT OF RESEARCH PROBLEM It is a statement of truth that most Nigerian radio stations have in the past [and up till the contemporary moment] featured one form of drama or the other on their frequencies (Onabajo 1999:66). It is equally evident that most of these dramas were predicated more on entertainment and advertisements than information and education. This trend is quite pathetic, when one considers the strength of radio drama at informing, educating, mobilizing and positively inuencing the listening audience. Instead of gearing this genre of radio programme towards the achievement of these commendable goals, many writers and producers get overwhelmed by the entertainment cum commercial value of dramas on radio as such that the inherent potentialities to transform the society for the better, are left unaccessed, and thus remain useless.

Conversely however, Abule Olokemerin, a Yoruba language radio drama featuring a local village, has been able to carve a niche for itself as a platform of education on the global pandemic of the Human Immuno-deciency Virus (HIV), Acquired Immune Deciency Syndrome (AIDS), Family planning and Reproductive health among other things. The long standing drama delivers its messages while at the same time, entertains its audience without any indication of commercial motive. As true as this remains of the drama series, there is still the need to enquire whether or not Abule Olokemerin actually conveys and reinforces well, the required informational education about those health issues. This thesis shall be directed towards achieving this objective which expectedly would serve as a reference point for other radio drama productions on the Nigerian airwaves. # 1.3 SIGNIFICANCE AND JUSTIFICATION OF STUDY

The need to embark on this research work is justied by the genuine concern of the researcher to bring to bare, the potency of radio drama, not just as a form of entertainment but also as a means of advancing societal causes and the promotion of healthy living among members of society. To practitioners in the radio broadcast industry, eventual results of the study shall function as a corrective tool, which will aid a clearer comprehension of the problem areas of radio drama productions, with a view to making necessary amendments and harnessing more, the inherent communication strength of this highly inuential broadcast genre. This piece shall in the same vein be an invaluable reference material to students of radio productions, especially in the area of radio drama. This way, the study shall constitute a boost to the perceptible dearth of library materials on radio drama. # 1.4 AIM AND OBJECTIVES OF STUDY

There is no gainsaying the fact that drama enjoys a very minimal attention in the programming of Nigerian radios. This is despite the fact that it has within its entertainment power, the added advantage of moulding societal behaviours in ways that aid development and growth of such a society. Therefore, it shall be the intent of this undergraduate thesis to unveil and reinstate the strength, inherent in radio drama to bring about positive attitudinal changes in audience"s perception of, and approach to health-related issues. The objectives of the study shall include: 1. Assessing the impact of a radio drama (Abule Olokemerin) on the behavioural pattern among radio listeners on issues appertaining to HIV/AIDS, Family planning and Reproductive health. 2. 3. Gauging the message delivery technique of radio dramas (through an understudy of Abule Olokemerin)

vis--vis its reception by members of the target audience. 4. 5. Measuring the reinforcement potentials of radio dramas on hitherto delivered or emanating prevalent issues in the society. 6.

# 1.5 PRESENTATION OF RESEARCH QUESTIONS At the completion of this research endeavour, the following queries shall be satisfactorily resolved: 1. What is the level of awareness created by Abule Olokemerin radio drama on the issues of Family planning, Reproductive health and HIV/AIDS, as forms of Social information? 2.

3. How much effect has the radio drama recorded in reminding its listeners of the global pandemic of HIV/ AIDS and issues bordering on Family planning and Reproductive health? 4. 5. Has there been any satisfactory behavioural-change among listeners of Abule Olokemerin, on the observance of preventive attitudes and the suppression of superstitious beliefs about Family planning, Reproductive health and HIV/AIDS? 6. 7. What degree of increment has Abule Olokemerin amassed (recorded) in the demand for Family planning and Reproductive health services cum medications and condom-use among listeners of the radio drama? 8. 9. What inuence do the characterization and plot of Abule Olokemerin radio drama have on the reality perception of the listeners?

10.

# 1.6 OPERATIONAL DEFINITION OF TERMS 1. COMMUNICATION: The passing of meaningful and easily understandable message(s) or information from an identied source (say, a person) to another, through a medium accessible to both parties involved in the process. Communication may not have taken place unless the recipient (i.e. the receiving party) understands the central message and correspondingly acts on it. 1. COMMUNICATION STRENGHT: This refers to the potentials of a communication process/medium to achieve its intended purpose(s). Such purpose(s), in most cases, may require a certain action from the recipient(s) of the message. Therefore, the strength of a

communication process or medium is gauged by the level of, and immediacy of feedback generated. 2. 3. RADIO DRAMA: These are plays specially written for, and transmitted exclusively on the radio medium. Such plays employ some principles of conventional theatre productions, except for the lack of physical/sight appeal peculiar to stage and television dramas. Thus, every action, costume, countenance, noise (sound), make-up e.t.c are creatively produced/represented in dialogue and/or sound effects. 4. 5. CONVEY [ANCE]: To convey something (say, a message) is to pass across ideas, views or information from one party or point to another. 6. 7. REINFORCE [MENT]: The process of consolidating or fortifying a hitherto existing or disseminated message or

information. It may also means the emphasizing of an already known information. 8. 9. SOCIAL INFORMATION: Social information is described herein as a processed enlightenment disseminated with minimal hindrances to members of a given society and which is intended to help the people live their lives more meaningfully in a way that will promote societal cause, growth and development. 10.

1.7: SCOPE OF STUDY The broadcast genre of radio production, particularly drama forms the immediate scope of this project work. To guide

against shallowness in the ndings of the research process, we chose to make use of Abule Olokemerin (a Yoruba Radio drama) as a case-study. While on the other hand, the eld study covered the ve major towns in Ijebu North Local Government Area of Ogun state, which include; Ago-Iwoye, Oru-Ijebu, Ilaporu, Awa and Ijebu-Igbo.

1.8: LIMITATION OF STUDY This study was to a large extent impeded by the visible dearth of reference materials in the area of radio drama, especially in the Nigerian context of it.

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Chapter Two: LITERATURE REVIEW

2.0: PREAMBLE Literature Review, as enunciated by Odejide (1999:12) provides a critical, well-researched, comprehensive survey of published and some unpublished works [i.e. Literature] in the same or related areas of study. This section of the research project therefore shall make an effort to revise available and equally apposite scholarly works in the areas of Radio, Radio drama productions, health-allied Social Information, the concept and concept execution of the case study drama (Abule Olokemerin), and an overview of the theoretic framework particularly supporting the study, among other such germane issues.

2.1: THE PLACE OF COMMUNICATION IN THE HUMAN SOCIETY Communication, to succinctly put, is to human society, what blood is to the human body. Exactly as the human body depends enormously on blood to sustain and perpetuate

human lives, the society cannot exist and even elongate its lifespan if there was no room created for communication to thrive. This is because communication is the foundation upon which the institution of the society is built. The Christian Holy Scriptures seems to support this assertion, when it notes thus: "if the foundations be destroyed, what can the righteous do?" (Psalm 11:3). When societal communication dies, no wisdom can keep the society intact. Communication does not only serve as an instrument of social interaction that helps people to understand one another but is also a catalyst for societal growth and development. In the light of this, one would never be wrong to analogies communication as being the !fuel" which keeps the !vehicle" of every sphere of societal life in !good motion". It is inevitable in business environments; a prerequisite device for successful politics; the most important instrument of governance and a strong, constant purveyor of a people"s culture from generations to generations. Communication is

indeed an all encompassing phenomenon in every development-driven human society. With its unequalled position and roles in the society, how categorically can one possibly dene communication? In the opinion of Udall and Udall (1979), cited in Akindele and Kamaru (2001:1), communication is the process by which one person (or a group) shares and imparts information to another person (or group) so that both people (or groups) clearly understand one another. Communication here is not an accident, it is simply a process. This means that it is a series of things that happen and have a particular result (Macmillan English Dictionary for Advanced Learners 2002:1123). The eventual result, in this context is for the two engaged parties to "clearly understand one another." In the case of radio broadcasting however, communication occurs when a person or group (this may be a broadcaster or an advertiser, as the case may be) employs a particular or chain of radio stations (via what is known as radio syndication) to impart information to

the heterogeneous audience of the radio medium, in such a way that the information passed, is not only clearly received but equally understood and eventually acted upon. In his own perspective, Berlo (1960) as also quoted in Akindele and Kamaru (Ibid, pp.2) dened communication as a phenomenon which is majorly dependent on persuasion. He opines that every communication behaviour [or action] has as its purpose, the eliciting of a specic response from a specic person (or group of persons). Evidently, Berlo regards communication as an occurrence which, more than any other thing, seeks to persuade its target audience. This means that communication does not apply force in the process of achieving its objectives; it is essentially persuasive in nature. In the opinion of Berlo, the end-product of every communication activity is to extract from the target audience, a particular reaction which expectedly would meet up with the anticipation of the communication initiator or in a way that the recipient(s) deem appropriate.

To Cooley (1940) as cited in Odetoyinbo (1998:7), communication is "the mechanism through which human relations exist and develop all the symbols of the mind, together with the means of convening (sic) them through space and preserving them in time." This sociological perspective of communication denition, more than any other thing, points to the inevitability of communication in the human society. It literally means that the human society cannot possibly exist in the absence of communication. All the networks or parts which abound in a society and which make it a system are all inter-linked or interrelated by the lubricating effect of communication (Odetoyinbo Op Cit). Summarily, communication occupies such an important position in the order of human society in ways that could hardly be matched by any other tool or sub-institution of the society. It is the pedestal upon which all and every activity of society rests; the lubricant for societal mutual existence and sustainability.

Hence, concerted efforts must be made by society"s leaders to ascertain and facilitate minimally-impaired communication culture if the health of the society is of paramount importance to them. Both traditional and modern media of communication must be supported and upheld strongly.

1. PROCESS OF COMMUNICATION It remains unarguably valid that communication is a process. This is not only because it is a phenomenon of creating and exchanging messages but also because it is ongoing, ever changing and continuous in nature. This is to imply that since it is a process, the phenomenon of communication will essentially involve actions, reactions and interactions in a systematic succession. Each of this element/stage of human communication is discussed in subsequent paragraphs. ACTION The action stage involves the initial initiative or stimulus that moves a person (who becomes the encoder) to decide to

share his/ her thoughts, feelings, opinions, observations etc with a person/people around him/her in codes and symbols understandable to both him/her and his/her recipient (s)

REACTION On Its part, the reaction stage entails the response given by the recipient(s) to the information, opinions, thoughts, observations e.t.c. shared by the initiator, at the action stage. The response so generated is a great determinant of the willingness or otherwise of the recipient(s) to enter into communication with the encoder. Hence, the reaction function becomes the exclusive role of the decoder (recipient), at the initial stage. INTERACTION This is a two-dimensional aspect of communication. This is where the exchange of messages between the sender and the receiver takes place. The interaction stage could be likened to the way the pendulum of a wall-clock will swing

both to the right and to the left, at intervals. The communication process at this stage "swings" to the receiver from the sender, back to the receiver, back to the sender, then to the receiver again for as long as the communication experience will last. These three stages of the communication process remains the same in all forms of communication experience/ situations, be it intrapersonal, interpersonal, group and mass communication. We shall limit our discussion however to how these stages apply to Mass communication for obvious reasons. Mass communication, for clarity sake involves the dissemination of information to a heterogeneous audience through a mass mediated platform (e.g. Radio, Television, Prints, Internet etc.). The action stage in this kind of communication is the identied need or urge to pass a message to a mass audience, sparingly distributed across either a denitive or non-denitive geographical location.

The reaction stage is contained in the feedback generated from the mass audience. This could come in the form of phone-calls (for live programmes), letter writing (especially in the print medium) and/or eld survey results (opinion polls) of the audience. Being the last, the interaction stage is more practical in the case of live programmes where telephone calls are allowed but in other cases, the interaction could come in the attempt of the mass-media to re-channel, repackage, reinforce or repeat the original message in order to elucidate or elicit more expected feedback from the target heterogeneous audience. Using the case study of Abule Olokemerin Radio drama for an analogy of the communication process in Mass communication, would denitely throw more lights on the issue under discourse. In its case, the writer and nancier (sponsor) of the Yoruba language Radio drama represents the sender (encoder) of the message in the series of drama,

this denitely constitutes the Action stage of the communication process. The Reaction stage is evident in the feedback of listeners to the issues raised on the editions of Abule Olokemerin. Are there noticeable changes in the attitude of listeners as regarding HIV/AIDS, Family planning and Reproductive health amongst other focal issues of the radio drama? What is the entertainment impact of the drama on its audience? Getting answer to these posers would denitely reveal the Reactions of the listeners to the Action of producing and presenting Abule Olokemerin on radio. These Reactions will determine whether or not the intentions of the producers of the radio drama have been achieved. If it is on the positive side, the producers may decide to do more researches on the issues of HIV/AIDS, Family planning and Reproductive health. However, if the reverse is the case, the need may arise for them to re-present past editions of the drama with likely amendments. These constitute the Reaction stage of the communication

process, on the side of the encoder, and the beginning of the Interaction stage on the side of the two parties involved. 1. AN OVERVIEW OF COMMUNICATION MODELS The exigency of explaining and understanding further, the communication process, prompted not a few communication scholars in the mid-twentieth (20th) century to embark on the quest for simple technical descriptions of how typical communication process takes place. These attempts led scholars to arrive at different kinds of what came to be termed as "Communication Models". A model, according to Folarin (2002:56) is "a symbolic representation designed to help us visualize the relationships among various elements of a structure, system or process for the purpose of discussion and analyses". Essentially, communication models serve the purpose of throwing more lights on what communication generally entails (Odetoyinbo 2000:12). One major general advantage of models is that they help scholars in visualizing, analyzing

and discussing complex processes (of which communication is one) which otherwise would be difcult to explain, ordinarily (Folarin Op Cit). As long as communication models are as varied and diverse as there are proponents of them, this literature-review attempt shall be limited only to the subsequently discussed genres of communication models:

THE DE-FLEUR MODEL Formulated in 1958 with some background-ideas !borrowed" from the work of Norbert Weiner (1948), the DeFleur model seeks to elucidate on the various form of communication in one graphic construct. The model posits that communication process takes a particular cycle which may warrant the two major parties (i.e. the encoder and the decoder) in a communication to continually swap roles and positions. At a point, the encoder might be situationally required to decode the message passed across by the initial decoder, which means that the decoder may also play the role of an

encoder intermittently in addition to his/her original role and function as a receiver. This process could be likened to the interaction stage of the communication process earlier analysed in this chapter. The cycle, DeFleur holds continues till the expiration of the communication process. In as much as the two parties keep swapping roles, the DeFleur model states categorically that the object of noise could creep in from either party engaged in the process.

! THE BERLO (SMCR) MODEL Cited in Odetoyinbo (2001:21), the Berlo"s model, otherwise regarded as the SMCR model is a brainchild of David K. Berlo, a foremost communication scholar of good repute. The model is hinged on four (4) major elements, viz: Source (S), Message (M), Channel (C), and Receiver (R) of the communication environment, hence the tag of SMCR.

To Berlo, each of these elements is inuenced by some basic factors and it applies to every communication process/ endeavour. The factors under each of the SMCR components are discussed below: The Source (S), being the initiator of the communication process plays prominence in every communication activity taking place. This is because without him/her, communication could not have started in the rst instance. The Source, according to Berlo, is usually inuenced or affected by: one, his/her communication skills, which means his/her uency level of the language used. The sender"s degree of eloquence and literary abilities has enormous impact on how the central message would be received, interpreted and eventually acted upon. Two, is the socio-cultural background. Here, the demographic variables of the source may either constitute an albatross or a catalyst to the overall communication process. Such variables may include educational background, social status, age and experience e.t.c.

The Message (M) which is the core of the communication process must be given adequate consideration and treatment before it is disseminated. The code and/or symbols in which the message is presented should be understandable to the two parties involved, just as its nal packaging is equally important. The third element Channel (C), like the preceding duo of the Source and the Message, is equally inuenced by certain things, chief of which is the object of NOISE. Sufce to state here that the channel refers to the medium via which the Source disseminates the message. The Receiver (R) is the last element in the SMCR model and it is affected by the same set of factors that apply to the Source (Sender). This is because the two elements are humans who naturally are prone to socio-cultural inuences. The Berlo (SMCR) model has however been subjected to criticisms of various sort. Prominently pointed out is the model"s failure to incorporate the element of FEEDBACK which of course is as relevant to any given communication

process, just like the other four elements discussed by David K. Berlo.

THE SHANNON-WEAVER (LINEAR) MODEL Propounded in 1949 by a telephone transmission engineer, Claude Shannon and Warren Weaver, the Shannon-Weaver (Linear) Model explains how information !travels" from the source through to its !destination" (the Receiver). The model, afrms Odetoyinbo (2001:13) describes communication as a linear, one-way process, giving due recognition to the element of Noise. Although, at the initial, Claude Shannon failed to include and discuss the object and relevance of feedback element in the whole process, but Warren Weaver, having noted the lapse, quickly added it to the model; thereby complementing the initially identied elements. Explicitly, the model posits that the communication process takes place on a parallel, linear plane as graphically illustrated above. When the information Source generates or

receives the needed stimulus, he/she packages or codes such in a Message-format which of course is fathomable to both him/her and the receiver. This message is thus passed across through what is identied as the TRANSMITTER, which may take the form of another individual (Middleman), establishment or equipment (e.g. Radio, Writing materials e.t.c) that re-encodes and disseminates the message on behalf of the information source (Folarin 2002:57). The sent SIGNAL from the transmitter now travels via the CHANNEL which is an avenue that is accessible to both the source and the receiver. The channel is however prone to the interference of NOISE at this stage. Such may come in the forms of mechanical noise, semantic noise e.t.c. Noise here, according to Folarin (Op Cit) is "anything added to the information signals but not intended by the information source and therefore causing distortion in the message." One major defect of the Shannon-Weaver model is that "the theory decidedly excluded !meaning! which is a cardinal consideration in human communication." (Folarin, Ibid.)

THE TWO-STEP INFORMATION FLOW This model was put forward in 1955 by the duo of Elihu Katz and Paul Lazarfeld. The model dwells on the importance of the role played by opinion leaders in the shaping of the original message before it gets to the recipients. According to Odetoyinbo (200:19), the two-step information model suggests the following: 1. Mass media messages by and large, reach people indirectly. That is, they are mediated through, and inuenced by social relationships. 2. 3. Knowledge and dissemination of media contents often are transformed into personal inuence, and 4. 5. Mass communication should be treated in connection with interpersonal communication systems.

6.

11.

Later modied into multi-steps or N-step ow model, the model recognizes that opinion leaders come in different shapes and categories and therefore, the recipients of the messages in this model are prone to receive as many variants (although, this may be minuscule in some cases) of the intended message as there are opinion leaders. People get to constitute opinion leadership by virtues of the following status, inter alia: 1. Having more exposure to media contents ahead of the receiving populace. 2. 3. Having being educated more than others. 4.

5. Possessing membership of several social, professional and elitist organizations. 6.

12.

The two-step ow model could be well likened to the DIFFUSSION OF INNOVATION theory/model, where in the case of the latter, the source of the message is regarded as the !INVENTOR", change-agent and/or opinion leader; the message itself is the innovation as well as its perceived attributes or characteristics. The channel has either an interpersonal or a mass audience appeal while the receivers are members of the target society. Relating the two-step ow model with our case study of Abule Olokemerin, one will realize that opinion leaders

(mostly by virtues of educational exposure) have a great deal of inuential role to play in driving home the messages of the radio drama, which of course is a campaign against HIV/AIDS, Family planning and Reproductive health awareness, among especially rural dwellers who constitute the central target of the radio drama. Most, if not all of the methods and preventive behaviuors sermonized on the radio drama are evidently alien to rustic, uneducated or half-educated Nigerians at the grassroots. It is therefore pertinent for opinion leaders to come into the picture of helping reinforce the disseminated messages on the minds of such rural targets. Care must however be taken such that the disseminated Social Information is not distorted by so-called opinion-leaders before getting to individual members of the general target at the grassroots.

! THE H.U.B MODEL

This model, introduced in 1974 derived its name-tag from the rst letters of the names of its three proponents -Hiebert, Ungrait and Bohn. The model was rst mentioned in a book co-authored in 1974 by this trio of respected communication scholars. Like every other communication model, the HUB model attempts to illustrate and draw an analogy for a typical communication process. Unlike others however, the H.U.B. model likened the mass communication process to "a set of concentric circles representing a series of actions and reactions" (Folarin 20001:62). To explain the concept of the model, an illustration is made with the ripples which are naturally generated in a pool of still water whenever a pebble or a stone is thrown into it. The pebble dropped is used here to represent the central message in every communication situation. This, according to Folarin (Ibid) impacts upon many factors and is impacted upon by many factors as well. These factors may include environmental, mental, and mechanical and other such

factors which may also constitute noise in the initiated message. The !Ripples" generated by this !pebble or stone" is guratively likened to the communication channel through which the message gets to the receiver, who takes the position of the !water bank" of the still water pool. The !Ripple" travel to the shore, that is, the channel picks up the message (pebble) and takes it to the recipients (s) just as the normal, natural ripple would nd its way through to the natural water bank. After arriving at the shore, the ripples return to the centres (i.e. the origin or source of the message). This is the feedback sent to the encoder after the decoder had received the message. The movement of the ripple to and fro the two parties of the communication activity, represent the actions and reactions that constitute a communication process (see section 2.1.1).

2.3 SIGNIFICANCE OF SOCIAL INFORMATION TO HUMAN SOCIETY A discussion on the signicance of Social Information to the human society would remain incomplete and shallow without rstly demystifying the phrase !Social Information". That takes us to the question:

WHAT IS SOCIAL INFORMATION? Notably, the subject-matter is a marriage of two distinct words. Hence, the need to get a good understanding of the two individual words is justied at this juncture. The term "social" as used in this context refers to those things which relate to people"s lives and those activities that involve a person/people being in contact with other person/ people (Macmillan Dictionary 2005:1358). Karl Marx (http:// www.wikipedia.org/socialtheorists) sums this up when he identies man as a gregarious creature who cannot wholly independently survive and meet all his needs efciently

without his fellow men. In a more compact description, we regard all that has to do with the society as "social". "Information", on the other divide, as dened by the world"s foremost online encyclopaedia (http://www.wikipedia.org/ informationasamessage), refers to that which would be communicated by a message if it were sent from a sender to a receiver capable of understanding the message. The virtual resource goes further to regard information as concepts meaning knowledge, instruction, representation, and mental stimulus. Simply stated, information is a message received and understood. At this juncture, we dene Social Information as a processed enlightenment disseminated with minimal hindrances (noise) to members of a given society and which is intended to help the people therein live their lives more meaningfully in ways that facilitate societal growth and development. Such information is more often channelled through a mass mediated communication platform like the Radio, Television, Newspaper, Magazines etc.

In as much as the thematic messages of Abule Olokemerin radio drama centre round health-related issue like HIV/AIDS etc. and help its listeners to stay healthy and enjoy good health practice, one can justiably regard the information carried on the radio drama as Social Information. Social Information remains an inevitable feature of every society that places a high premium on its continuation and advancement. 2.4 THE ADVENT AND DEVELOPMENT OF RADIO Radio, no doubt, did not originate from Nigeria. Therefore, it is not impertinent for one to trace the history of this foremost wonder of the world, rst on a global perspective and then in the Nigerian context.

2.4.1 GLOBAL PERSPECTIVE On the global historical perspective, the development of Radio technology started as far back as mid-nineteenth century when a renowned physicist of English extraction, Michael Faraday observed that an electric current-ow in a

circuit was broken. And equally that a magnetic eld was formed around an electric circuit while the circuit lasted and disappeared, once the electric current returned to the source of energy (Folarin 1999:6). Like every other landmark of technological development, Radio had no single inventor, as scientists like James Clark Maxwell, Heinrich Hertz, Gugliemo Marconi, John Ambrose Flemming, Lee Deforest , Reginald Fessenden and so forth all took their turn to contribute to what later evolved as radio. Although, their intention was not to create a means of mass communication, but their different isolated efforts culminated into the technology of wireless communication. (Encarta elibrary, 2006). In the same light, O" Donnell et.al. (1993:3) note that Radio"s beginnings in the early part of this century (i.e. 20th century) gave no hint of the role it would play in today"s world of exciting media possibilities. Early radio experimenters never envisioned an era when their !electronic toy" would become a means of providing

entertainment and information to audiences in their cars, in their ofces and in their homes. In 1906, the rst ever radio broadcasting was nally recorded. It was the brainchild of Professor Reginald Fessenden of the Pittsburgh University, United States with the help of an electrical engineer, Ernst Alexanderson. The duo succeeded in broadcasting a Christmas carol to ships at sea between the coasts of Massachusetts and the West Indies (Folarin 1999:7). For this landbreaking stride, it seemed, the rst regular radio broadcasting station was set up in East Pittsburgh, Pennsylvania in 1920. This however was a year after the establishment of the Radio Corporation of America (RCA).

2.4.2 THE NIGERIAN EXPERIENCE Radio broadcasting !sauntered! into the Nigerian society on the platform of both political and cultural interest of the British Colonial lords. Political, because the Great Britain"s intention of bringing radio to Nigeria was to help the

!queen"s country" sustain and perpetuate its political dominance over its colonies, of which Lagos (Nigeria) was one. And cultural, because the colonialists wanted to transmit and consequently entrench their cultural idiosyncrasies on the people of Nigeria, via the inuential potentials of the radio. Although, Radio broadcasting did not start out in Nigeria, in the real sense of it but it is evident that it served the purpose of informing, educating and entertaining its audience. On exactly December 19, 1932, a monitoring station or what was known as a !listening-post" was set up in Lagos Nigeria with the overall intention of relaying signals directly received from the British Broadcasting Corporation (BBC) straight to Lagos for the !consumption" of Nigerians (Lasode 1994:6). According to Lasode (Ibid), the plans was to transit programmes from Daventry, England and then re-transmit the radio signals on a relay system to various monitoring stations intentioned to be the eyes and ears of the British Government.

In 1936, exactly fours years after this, the Radio Distribution Services (RDS) was inaugurated, a brainchild of the Post and Telegraph (P &T) department in Lagos. The purpose was to set up and maintain a "wired" broadcasting service. This entailed the distribution of broadcast signals from the BBC through wires/cables to some purpose-built boxes, which some Nigerian elites had subscribed for, known as Rediffusion-boxes. The apparatus evidently housed loudspeakers which served as extended route to the master Radio (at the monitoring station) in Lagos. The RDS service "was commissioned in Lagos on Sunday, December 1, 1935 with a broadcast to over 500 subscribers who had received their Loudspeakers" (Lasode 1994:7). However, in a bid to !Nigerianise! Radio broadcasting in the country, or possibly in an attempt to hide the British domineering facelook of radio in Nigeria under the veil of Indigenization, the RDS was moved to the Ikoyi cemetery and was christened "Radio Nigeria! in 1939. It should be noted that the then colonial Public Relations Ofce, later

known as the Federal Department Of information of !Radio Nigeria" (RDS) was invested with the power to take charge of !Radio Nigeria". The period between 1946 and 1950 witnessed the establishment of !Radio Nigeria" stations in the three primary constituting regions of the country, while on April 1, 1951, the Nigerian Broadcasting Services (NBS) was ofcially inaugurated. According to information details contained on the ofcial website of the Nigerian Broadcasting Corporation (NBC) (http://www.nbc.com.), "the NBS was inaugurated mainly to relay the British Broadcasting corporation (BBC) programmes" to the Nigerian people. However, four years after, the NBS was eased out by the legislation of the 1956 NBC act, which culminated into the establishment of the Nigerian Broadcasting Corporation (NBC) in 1957. The essence of the NBC act of 1956 was to create a broadcast avenue that will "provide a nationally representative domestic service and an external service (Folarin 1999:17). This !external service! however was not

created until 1962 when the Voice of Nigeria (VON) came on board. All this while, the broadcast industry in the country (basically the Radio) was dominated by a single radio band of the Amplitude Modulation (AM). In 1977, however, the Frequency Modulation (FM) band made its debut as a second sound channel. This probably was to reinforce the delity ratio (i.e. the resemblance of transmitted sound with the original) of radio broadcast delivery and perhaps, inadvertently paving way for the coming of private commercial broadcasting in the country. A year after (1978), the NBC went the way of its predecessor, it was changed into the Federal Radio Corporation of Nigeria (FRCN). This was to create a more encompassing umbrella body for all radio stations in the country. Therefore in 1980, FRCN zones were created in Lagos, Ibadan, Kaduna and Enugu. These zones coordinated all FRCN stations in the respective states under them.

Preceding early 1990"s, the broadcast industry (both the television and radio) was an exclusive preserve of the government but with the promulgation of NBC decree No. 38 of 1992, private investors started sharing the opportunity of setting up and operating media stations in the country. Radio again took the lead as RayPower 100.5 FM stormed the Lagos metropolis in the early 90"s.

2.5 TOOLS AND TECHNIQUES OF DRAMA The concept of drama emanated from the cravings of man to mirror his society in a way that entertains, informs and enlightens his fellow men. The word !drama" as noted by the virtual library-(Encarta, 2006 edition) comes from a Greek word, meaning "to do" and as a result of this; drama is usually associated and entrenched in the idea of action. Most often drama is thought of, as a story about events in the lives of characters (played by actors). To Onabajo (1999: 60), drama is a performance, which tells a story through actions and dialogue. He maintains that

drama takes us into the lives and thoughts of people and exposes their characters and how these change as a result of the conicts, which face them and how these are resolved. More succinctly, drama is a replication of the realities of human lives in a way that entertains, informs and enlightens its target audience. Much is not known about the origin of theatre (drama) but most historical claims point to a fact that the art may not have originated without ancient and prehistoric rites and religious practices, particularly from Greece and Rome (Italy). Traditionally, dramas were produced and performed in open air spaces by live artistes to the admiration and delight of live audiences. As time went by, -particularly with advent of electronic media- dramas were produced in recorded formats which could be played back as many times as possible. Hence, there are two forms of drama productions and these include:

(i) Live drama, and (ii) Recorded drama For live drama productions, two basic stages are involved and these are rehearsals and actual performance of the play so rehearsed. The rehearsals entail a closely guided practice of the play meant for performance, by an appointed personnel called "The Director". During rehearsals, the personnel (i.e. The Director) gives orders on how artistes are expected to interpret roles assigned to them. The play (whether prewritten or improvised), at this phase, is acted bit by bit and as many times as possible in order to get the required shape and expected picture of the story. Actual performance of rehearsed plays refers to the public presentation of such plays. At this stage, the director takes a backstage seat and watch artistes interpret the play in ways he had designed. Recorded drama on the other hand, refers to plays acted on actual location of events (or at least, a makeshift) and which is mechanically recorded in retrievable electronic devices.

Such plays (dramas) have the advantage of being replayed as many times as required, for as long as the recorded material is in good conditions. This category of drama follows three basic stages, viz; Preproduction, Production and Post Production. Preproduction includes those activities that come in place before the play is actually recorded. These may include story treatment, screenplay or storyboard creation, location bookings and arrangements, rehearsals etc. The Production stage is the actual performance and recording of the written play in ways that are enjoyable by the target audience. One thing that distinguishes recorded dramas from live dramas, at this stage is the fact that the director is always around to guide actions, even during the actual recordings of an earlier rehearsed play. On its own, the Postproduction stage involves the fusion of the bits of actions recorded on location to give a meaningful whole play. Here, we are talking about editing the recorded play, either by analogue or digital processes. This stage also

includes the transmission or distribution of the recorded play, both for commercial and non-commercial purposes. Basic tools for live dramas include a purpose built or makeshift stage, auditorium or open-air space, good lightings (if inside an enclosure like auditorium) and Props (i.e. properties), such as chairs, tables, baskets etc that could be used on the stage of performance. These enhance artistes" performance and aid the achievement of holistic mental picture intended by the playwright and/or the director. Other tools include costumes, backdrops or draperies that are used to crate aesthetic sceneries etc. For recorded dramas on the other hand, such tools as costumes and props are also relevant but more uniquely, recording electronics are required. These include cameras; boom microphones etc. Lights are also required for this type of drama production but most often with special effects than obtainable in live dramas.

1. A BRIEF HISTORICAL RETROSPECTIVE OF RADIO DRAMA IN NIGERIA 2. As noted in the rst chapter, there is an obvious dearth of reference materials in the area of radio drama in Nigeria. This certainly is responsible for the absence of any known date of advent and properly documented comprehensive history of radio drama in the country. However, the genesis of radio drama could be traced to the early 1980"s when the Lagos state government-owned grassroots radio, !Radio Lagos! featured episodes of a drama series titled "Kugu-Aye". The drama treated general interest issues of life in a village setting and was aired on Fridays only. This not withstanding, drama on Nigerian radio could have started before the 1980"s in other forms rather than purposive dramas. Onabajo (1999:60) notes that on the Nigerian radio, the programmes

that were close to drama were the commercials which were sponsored by advertisers. These, when started in Nigeria could have prepared the needed ground for the evolvement of specic dramas on radio as we have today.

1. SOME DRAMA PROGRAMMES ON NIGERIAN RADIO 2.

3. Although, radio drama is not a very popular feature in Nigeria but that does not mean there is no radio drama on the Nigerian airwaves. These drama programmes, as identied by Onabajo (Ibid) are mainly comedies or soapoperas with a few tragedies, historical and mythical dramas. RayPower 100.5FM Lagos once featured a drama serial which was aired on Saturdays by nine O" clock in the morning. The stories presented are based on published

accounts of confessions, earlier published by the popular Lagos based soft sell magazine !Hints". The drama episodes were re-presented in narrative format with intermittent dialogues of situations in the told story. !Passing glance" is another drama on a Nigerian Radio. The concept of the drama is to create situations which encourage discussions cum objective treatment of national/ societal issues. It is produced by Biodun Adeloore and it currently airs on Eko 89.5FM on Sundays. The radio station equally telecasts another drama serial titled !Ofce Palava" on Wednesdays by 4:45 pm. The Broadcasting Corporation of Oyo State (BCOS) radio has !Bebe la n se" as its major radio drama. The programme most often presents family related issues which are acted live by artistes, led by the popular broadcaster, Alhaji Gboyega Lawal. Listeners are encouraged to call-in on the programme to contribute to issues raised therein. !One thing at a time" is the English language variant of Abule Olokemerin. Although, the drama series is syndicated

on different radio, but it is most popularized by Star 101.5FM, Lagos. The comic drama features the character of Chief Owonikoko (a.k.a. sif-sif) among other dwellers of Jigida-town. Issues related to HIV/AIDS, child health, family planning e.t.c take centre stage on the weekly radio drama. On Radio Nigeria II, (RNII), Lagos, there is also a drama programme based on encouraging immunization. It uses drama to teach its audience on various aspects of personal and communal health, in relations to the world around it (Onabajo 1999:67).

! 2.6.2 FEATURES OF RADIO DRAMA Onabajo (Ibid) enumerates exactly a dozen hallmarks of radio drama. These are cursorily discussed below, in seria tim. (i) Script: The script is the most important part of radio drama, it is a prewritten, detailed description of actions and dialogues, expected to guide the production of a play. It

states who says what? To who? And in what situation and setting? Unlike the television (recorded) drama, the script of radio drama is used both during rehearsals and in the studio during actual recordings. Tim Crook and Marja Giejgo, two globally acclaimed radio drama experts (http://www.irdp.co.uk) gave some hints on preparing script for radio drama: (a) Plays must not be written on brightly coloured papers. (b) Plays must not be printed by expiring cartridges. (c) Plays typed in unusual fonts are difcult to read or those typed in very large or very small fonts; therefore must be avoided. (d) Radio playwrights must always differentiate between character names, sound effects and dialogue in their scripts. This could be achieved by the use of font sizes, boldening, italicizing etc (e) Do not abbreviate characters" names. This makes artistes to stop intermittently and think about who is

speaking. Thus breaks play-ows and interrupts the attention of the artistes. (ii) Conict: Conict means the intentional creation of misunderstanding, struggle, hostilities, contrasts e.t.c among characters or situations, with a view to resolving such at, or towards the end of the play. (iii) Dialogue: This refers to the speeches of characters in the play in relation with other characters. It is different from monologue, soliloquize or aside whereby artiste speaks to himself or herself only for the audience to hear. Dialogue cannot take place until there are at least two persons involved. (iv) Action: Any drama advances through the interaction of the characters who act in various ways. Since radio is sound-only (!blind!) medium, the portrayal of actions in radio drama is exceptionally challenging. All actions therefore must be conveyed through sound. (v) Narrator: Although, not a regular feature of radio drama but narrator"s role are inevitable in some stories (plays). The

Narrator guides the audience to grasping a lucid understanding of the play. (vi) Characters: These are the people being talked about or involved in the story (play). They are creatively represented and interpreted by actors and actresses. (vii) Plot: Simply described, a plot means the series of events in a drama which consist of an outline of actions. Plot is the framework or skeletal structure of a story or drama (Mgbejume 2002:38). (viii) Theme: This is the central point/ message of a drama; the focal intention(s) of the playwright for writing the play. (ix) Sound Effects (SFX): Since the radio is a !blind medium," (i.e. no sight appeal), the role and function of sound effects (SFX) can never be underemphasized. Sound effects basically refers to the mechanical indication/creation of the sound for a particular situation, action etc in radio drama. This aids a clear understanding and enjoyment of the play. SFX may be a gun-shot, an aircraft landing or

taking off, a car-crash, a rushing tap of water etc. It may also be used to depict mood of action or situation. (x) Suspense: Suspense is the uncertainty and anticipation about what is going to happen next, and how the event will affect one or more of the characters in the story (drama). It is the major element that holds the listeners" attention and compels him or her to keep listening. (xi) Exposition: This is the presentation of details about what is happening in a drama. It is made up of the parts of the drama, that make the audience know what has happened before, thereby revealing their identity and relationship. It also gives the time and place of the actions. (xii) Music: Music in radio drama heightens the entertainment value of dramas among other things. It is also used to indicate situational mood or used as space ller or bridge of two different parts of a drama.

2.7 THE CONCEPT AND CONCEPT EXECUTION OF ABULE OLOKEMERIN RADIO DRAMA The concept behind Abule Olokemerin radio drama hinges on the identied need to keep Nigerians abreast of information about the prevention and control of HIV/AIDS, encouraging them to embrace family planning culture and inuencing them to give special attention to their individual reproductive health life. These goals are channelled through an efcient utilization of radio entertainment (drama). Abule Olokemerin is written, produced and directed weekly by Kola Ogunjobi, a renowned and seasoned radio professional. The Radio drama is currently syndicated on major radio stations in the Southwestern part of Nigeria and has been sponsored right from the outset by the Society for Family Health (SFH) with a good support from the United States Agency for International Development (USAID). The Social Information towards which the radio drama is directed gets delivered to the audience in a highly entertaining poetic Yoruba language. The village setting of

the drama series makes it easier for rural audience to identify with it and thus unconsciously imbibing the thematic messages therein. The village, from which the play derives its title, presents villager-characters like the pompous and talkative chief Owonikoko, his wife, Iya Banji, their bankerson, Banji and their Daughter-in-law, Doctor Ayi !Dokita Ayi". Other characters include the village Belle, Aina, Kabiyesi (the village head), Professor and Chief Balogun among others. 1. CLARIFICATION OF ABULE OLOKEMERIN"S SOCIAL INFORMATION CONTENTS (1) HIV/AIDS: AIDS is the Acronym for !Acquired Immunodeciency Syndrome", whereas HIV is !Human Immunodeciency Virus". The HIV virus can enter the human body to weaken its immune system in which the helper T-cells" potentials to ght disease is thus destroyed. The human body is henceforth faced with various opportunistic infections nally resulting into death of the

infected person. HIV takes 10-12 years to develop into full blown AIDS disease (WHO, 2000:17). In 1981, the world rst recorded a case of AIDS which was among a group of homosexuals in the cities of SanFrancisco, Los Angels and New York, USA. By 1986, AIDS was reportedly discovered on the streets of Lagos (APIN 2000:4) (2) Family Planning: Family planning is a way by which individuals, couples and families exercise their basic rights in family formation process to improve their living standards, health and life expectancy. Family planning does not only means spacing births and regulating population size, it also means helping those who are infertile to have children (Community Satellite Magazine, Issue 8, 2007:9). (3) Reproductive health: More like family planning, reproductive health entails the observance and embrace of hygienic practices concerning the process of procreation (i.e. child bearing).

2.8 THEORETICAL FRAMEWORK The relationship existing between the media and the society constitutes a paramount importance to us in this section of the study. This is consequent upon the study"s interest to measure the effects (impact) of a media variable (Radio drama) on members of the society. Hence, the study shall be positioned within the theoretical framework of the rst theory of media-effect tagged THE MAGIC BULLET OR HYPODERMIC NEEDLE MEDIA THEORY. This theory shall be utilized in explaining the communication strength of radio drama to inuence listeners through the dissemination of Social Information. According to Folarin (2002:66), the magic bullet or hypodermic needle theory presumes the mass media to be supremely effective, mind-controlling agents. The theory equally assumes that all human beings respond inescapably and uniformly to the powerful stimuli from the media. In essence, the mass media is an almighty, all powerful mould which, in a continued process, shapes the thoughts

and perspectives of every individual exposed to it, to its own peculiar dictates. Equally known as the transmission-belt theory, this theory, by a way of further analogy turns media consumers (audience) to what could be termed as ZOMBIES and thus determines the way they think and act. This theory becomes a perfect platform for this study since our aim is to look into how Abule Olokemerin has helped its listeners to improve their lives as it concerns HIV/AIDS, Family Planning and Reproductive Health.

Chapter Three: RESEARCH METHODOLOGY

3.0 PREAMBLE A research endeavour, argues Oyesiku (1998:13) would be academic or scholarly only if the researcher had adopted an acceptable procedure and method in the course of investigation. This section therefore shall be dedicated to a

discussion of the approaches employed in gathering data from the population of study (while on the eld of course). This expectedly would adequately aid the reliability and representativeness of the population from which the sample was drawn (Odugbemi et al 2000:175).

3.1 RESEARCH DESIGN Shoken (1993) cited in Abosede et. al. (2001:34) regards the object of research design as a plan, structure and strategy of investigation for solving research problems. This plan, as observed by Odugbemi et al. (Ibid, pp.200) entails a determination of who or what to be studied, when, how and for what purpose the research endeavour is deigned (expect) to serve. For this study, the SURVEY research design was utilized since the researcher"s intention was to study radio listeners (sample) in their natural place of habitation. Unlike both the experimental and ex-post facto design, survey design provides an accurate method of accessing the characteristic

features of the larger population through a carefully selected sample drawn from the dened population (Osuala 19870 in Odugbemi et al 2000:209).

1. POPUALTION OF STUDY A population, in the opinion of Asika (1991) in Odugbemi et al (Op Cit; pp.179) is made up of all conceivable elements, subjects or observations relating to a particular phenomenon of interest to the researcher. Population is the encompassing description of all persons with which the study is concerned and from which a study sample is drawn. The population for this study therefore, was constituted by sexually conscious people of eighteen years of age and above, who equally doubled as listeners of Abule Olokemerin Radio Drama. The members of this population resided in the ve major constituent towns of Ijebu North Local Government namely Ago-Iwoye, Oru-Ijebu, Ilaporu, Awa and Ijebu-Igbo.

3.3 SAMPLE PROCEDURE AND SIZE In as much as it is humanly impossible to study all sexually conscious people between eighteen years and above who listen to Abule Olokemerin and who reside in Ijebu North Local Government Area of Ogun state, it became imperative to select a sample who shall stand to fully represent all of the indicated members of the above named population. To arrive at such a sample, the researcher utilized a variant of the probability sampling technique known as CLUSTER SAMPLING. The rationale for this choice was predicated on the fact that the study population members were sparingly distributed, live and socialize in clusters or pockets across those major towns identied (Abosede et al 2001;58, Odugbemi et al 2000;185). Hence, a total sample size of one hundred and fty (150) persons were selected, thirty from each of the towns.

3.4 SOURCES OF DATA

Data for this study was sourced from the two major avenues, viz: Primary source and Secondary source. Wherein personal observations and administered questionnaire copies served as the primary sources, published texts, virtual libraries and the internet served as secondary data sources for the study.

1. DATA COLLECTION INSTRUMENT AND VALIDITY OF INSTRUMENT 2.

Apart from libraries and the internet that served as the sources of secondary data, the questionnaire (duplicated copies of it) and personal observations were exclusively utilized for collecting data from the eld. For the instrument of questionnaire to live up to its purpose effectively, it must be tested and its validity proven. Therefore, to ensure the validity of the questionnaire for this study, a pre-testing exercise was embarked upon before

actual eld survey. This enabled the researcher to effect noted corrections to the instrument where appropriate.# !

Chapter Four: DATA REPRESENTATION, ANALYSES AND DISCUSSIONS

1. PREAMBLE 2.

The need to transform the data collected on the eld of study into phantomable language, justies the inevitability of this chapter. Therefore, our focus here shall include the verication, preparation, presentation and eventual transformation of data for easy comprehension. (Abosede et. al. 2001:83). For this reason, the simple descriptive statistical tables shall be employed exclusively with lucid interpretations and descriptions presented in analyses.

4.1 RESTATEMENT OF RESEARCH QUESTIONS From the outset (cf. section 1.5), this study was directed at nding satisfactory resolutions to the underlisted queries: (i) What is the level of awareness created by Abule Olokemerin radio drama on the issues of Family planning, Reproductive health and HIV/AIDS as forms of Social Information? (ii) How much effect has the radio drama recorded in reminding its listeners of the global pandemic of HIV/AIDS and issues bordering on Family planning and Reproductive health? (iii) Has there been any satisfactory behavioural-change among listeners of Abule Olokemerin on the observance of preventive attitudes and the suppression of superstitious beliefs about Family planning, Reproductive health and HIV/ AIDS? (iv) What degree of increment has Abule Olokemerin recorded in the demand for Family planning and

Reproductive health services /medications and condom-use among listeners of the radio drama? (v) What inuence do the characterization and plot of Abule Olokemerin Radio drama have on the reality-perception of listeners?

4.2 ANALYSES OF RESPONDENTS" DEMOGRAPHIC VARIABLES. No matter how denitive a population of people might be, there are always features that distinguish one person from another. (http://w.w.w.obaadeoye.blogspot.com). Finding out these variables was the focus of the Section A of this study"s questionnaire (cf. Appendix). The nal results are presented and analyzed below: ITEM 1: AGE: This rst item enquired to know the age range of each member of the selected population sample. This was to ascertain that respondents were well above, or at least 18 years old, since the study covered sexually related issues of HIV/AIDS, Family planning and

Reproductive health. Studying persons under 18years therefore becomes irrelevant.

# FREQUENCY TABLE 1: RESPONDENTS" AGE RANGE OPTIONS FREQUENC Y 18 25 75 32 PERCENTAGE

a. b. c. d.

18-23 Years 24-29 Years 30-34 Years 35 Years and Above TOTAL

12% 17% 50% 21%

150

100%

Source: Researcher!s eld survey, 2006. ANALYSIS: We can conveniently conclude that a majority of the study population were grown-up, independent adults. This is so because a person who has attained any age between 30

and 34 years in a contemporary African society like Ijebu North Local Government was expected to be self-reliant, hence independent. A whole lot of 75 respondents (50%) fell within this age bracket while 32 others (21%) were 35 years and above in age. People who were between 24years and 29 years were exactly 25 in number (17%) while the remaining 18 people were between 18 years and 23 years. This number accounted for only 12% of the total population of study. ITEM 2: SEX: The intention for including this item was to determine the gender distribution of respondents. FREQUENCY TABLE 2: RESPONDENTS" GENDER DISTRIBUTION SEX FREQUENC Y 65 85 150 PERCENTAGE

a. b.

Female Male TOTAL

43.33% 56.67% 100%

Source: Researcher!s eld survey, 2006 ANALYSIS Frequency table 2 displays the gender distribution of study population. A whooping number of 85 respondents (56.67%) were Male while the remaining 65 people (43.33%) belonged to the Female gender. From personal observations on the eld of study, it was discovered that the women folk were not well disposed to engaging in exercises that are not nancially promising. This undoubtedly accounted for their low participation, as depicted in the table above.

ITEM 3: LEVEL OF WESTERN EDUCATION ATTAINED This became expedient consequent upon the design and presentation of the research instrument in the English language.

FREQUENCY TABLE 3: RESPONDENTS" LEVEL OF EDUCATIONAL QUALIFICATION

QUALIFICA TION a. F.S.L.C (Primary six) W.A.S.S.C. E (Secondary Schl.) First Degree Second Degree TOTAL

FREQUENC Y 32

PERCENTAG E 21.33%

b.

65

43.33%

c.

41

27.33%

d.

12

8%

150

100%

Source: Researcher!s eld survey, 2006. ANALYSIS: Results of data generated on the eld by item 3 (on the research instrument) indicate that a total of 65 people (43.33%) had the West African Senior Secondary Certicate of Education (WASCCE). 41 others (27.33%) claimed they

had a University First Degree Qualication while exactly 32 individuals (21.33%) were qualied with the First School Leaving Certicate (FSLC) which of course is the most elementary academic qualication in Nigeria. Only 12 people (8%) indicated that they had a Masters Degree (i.e. second degree) Academic Qualication. Although, the study area was predominantly rural, which expectedly should be dominated by rustic people with a minimal exposure to sophistication, but the sitting of the state-owned University (Olabisi Onabajo University) in the local government was obviously responsible for the high number of educated respondents recorded. ITEM 4: MARITAL STATUS The researcher intended to nd out the rate at which the study population members were martially dedicated, since the study"s points of discourse centre around sexuality and familyhood. Hence, the inclusion of marital status in the research instrument is justied.

FREQUENCY TABLE 5: RESPONDENTS MARITAL STATUS STATUS FREQUEN CY 68 82 150 PERCENTAGE

a. b.

Single Married TOTAL

45.33% 54.67% 100%

Source: Researcher!s eld survey, 2006. ANALYSIS More married people (i.e. listeners to Abule Olokemerin) were represented than their single counterparts. Frequency table 4 shows that 82 respondents (54.67%) were married as at the time of the eld survey, while the remaining 68 individuals (45.33%) claimed they were still single and yet to be married. Based on this, we can conclude that more married people listen to Abule Olokemerin Radio Drama in Ijebu North Local Government area than singles do.

ITEM 5: NUMBER OF CHILDREN Singly for the purpose of assurance that respondents have children as the issue of Family planning comes under focus here, the researcher probed members of his study population for the number of children they had, as at the time of the eld survey. Frequency table 5 presents data generated. FREQUENCY TABLE 5: RESPONDENTS" NUMBER OF CHILDREN NUMBER OF CHILDREN a. 1-3 Children 4-6 Children 7-9 Children FREQUEN CY PERCENTAGE

38

25.33%

b.

41

27.33%

c.

6%

d.

10 Children and above No Children TOTAL

--

--

e.

62

41.33%

150

100%

Source: Researcher"s eld survey, 2006. ANALYSIS 62 people (41.33%) signied that they had no child yet. This could be because they were either still single or still looking for a fruit of the womb to bless their marriages. 41 others (27.33%) had between 4 and 6 children, while 38 respondents (25.33%) said they were parents with at least, 1 child and at most, 3 children. Only 9 individuals (6%) had between 7 and 9 children while no respondents had 10 children and above. ITEM 6: LEVEL OF ENGAGEMENT IN SEXUAL ACTIVITY As earlier mentioned in the immediate past chapter (section 3.2), the population for this study was constituted by expectedly sexually conscious people who had attained at

least, the age of 18 years and above. Therefore, the design and inclusion of this question becomes understandable, the only thing being that it seeks to further determine how sexually active the population members were. FREQUENCY TABLE 6: HOW SEXUALITY ACTIVE RESPONDENTS WERE OPTIONS FREQUEN CY 45 66 PERCENTAGE

a. b.

Very Active Averagely Active Minimally Active Not Active TOTAL

30% 44%

c.

32

21.33%

d.

7 150

4.67% 100%

Source: Researcher!s eld survey, 2006. ANALYSIS

Based on the above table, we infer that most of the study population were !averagely active!, this is indicative with a total of 66 of them (44%) afrming such. 45 others (30%) claimed they were "very active!; while 32 people (21.33%) indicated they were !minimally active!. Only 7 respondents (4.67%) however, said they were not sexually active at all. With these, we can be rest assured that information provided by the population concerning the issues that are sex-related (HIV/AIDS, Family planning and Reproductive health) would, to a great extent be accurate and appropriate for. ITEM 7: RESPONDENTS" SPAN OF LISTENERSHIP TO ABULE OLOKEMERIN This item probed respondents in order to nd out how long they have been listening to Abule Olokemerin radio drama. Details of data collected with this item are presented in Frequency table 7. FREQUENCY TABLE 7: RESPONDENTS YEARS OF LISTENING TO ABULE OLOKEMERIN

OPTIONS

FREQUEN CY 36

PERCENTAGE

a.

1 Year and less 2-4 Years 5-7 Years 7 Years and above TOTAL

24%

b. c. d.

57 33 24

38% 22% 16%

150

100%

Source: Researcher!s eld survey, 2006. ANALYSIS Most of the respondents have been listening to Abule Olokemerin radio drama between 2 and 4 years, they were 57 (38%) in number. This group is followed by those that have been listening for 1year (and less), they were 36 (24%) in number, while exactly 33 people (22%) had between 5 and 7 years of listenership with Abule Olokemerin. The

remaining 24 respondents (16%) claimed they have been following the programme for 7 and more years. Deductively, therefore we conclude that a radio programme which has enjoyed at least a year of audience listenership is capable of having inuence on the lives cum subconscious of its audience. Having analyzed the demographics of the study"s members of population, the need now arises for specic resolution of research questions with the aid of the remaining questionnaire questions. Section 4.3 shall be dedicated exclusively to this purpose.

4.3 SPECIFIC RESOLUTIONS OF RESERCH QUESTIONS RESEARCH QUESTION 1: What is the level of awareness created by Abule Olokemerin Radio drama on the issues of Family Planning, Reproductive health and HIV/AIDS as forms of social information?

This rst research question shall be resolved with the analyses of items 8 and 9 on the research instrument (questionnaire) sine they were both directed at unearthening the level of awareness created by the radio drama. ITEM 8: Before you started listening to the radio drama, what level of information did you have concerning HIV/AIDS, family planning and reproductive health? This item aimed to ascertain the awareness level of respondents (listeners) before they started listening to Abule Olokemerin. Frequency table 8 presents the data (responses to item 8). FREQUECY TABLE 8: RESPONDENTS" AWARENESS LEVEL ABOUT HIV/AIDS e.t.c BEFORE THEY STARTED LISTENING TO ABULE OLOKEMERIN DEGREE OF AWARENE SS a. Very High FREQUEN CY PERCENTAGE

--

--

b. c. d.

High Low Very Low TOTAL

10 111 29 150

6.67% 74% 19.33% 100%

Source: Researcher!s eld survey, 2006. ANALYSIS An alarming gure of 111 people (74%) claimed that they had a low awareness about HIV/AIDS, Family planning and Reproductive health before they started listening to Abule Olokemerin, while a total of 29 respondents (19.33%) confessed that they used to have a very low awareness level about HIV/AIDS, Family planning and Reproductive health before they commenced listening to Abule Olokemerin. Only a paltry total of 10 individuals (6.67%) boasted of having a high awareness level about the issues of HIV/AIDS, Family planning and Reproductive health before they started listening to the Radio drama while no

response was recorded for those that had a very high awareness level. This table leads us to conclude that the one hundred and fty (150) respondents studied and by a way of representation, respondents in Ijebu North Local Government Area of Ogun state had a low awareness level about the issues of HIV/AIDS, Family planning and Reproductive health before they started listening to Abule Olokemerin. This is not to say they were not aware of the issues at all; it is just only that they had a low degree of awareness. ITEM 9: Since you have been listening to the radio drama, what level of information have you attained concerning HIV/ AIDS, Family planning and Reproductive health? The intention of this question was to serve as a sequel to question 8 (above). It aimed to probe further, the awareness level attained by people after listening to Abule Olokemerin.

FREQUENCY TABLE 9: RESPONDENTS" AWARENESS LEVEL ABOUT HIV/AIDS e.t.c SINCE THEY HAVE BEEN LISTENING TO ABULE OLOKEMERIN. DEGREE OF AWARENE SS a. b. c. d. Very High High Low Very Low TOTAL FREQUEN CY PERCENTAGE

68 68 14 -150 100%

Source: Researcher!s eld survey, 2006. ANALYSIS The results of ndings presented in the table above indicate that people who had acquired a !very high! awareness level about the issues of HIV/AIDS etc were 68 in number (45.33%). This gure was shared by respondents with a

simply !high! awareness level about same set of issues; they were equally 68 in number (45.33%). People who attained a !low! awareness level were however 14 in population (9.33%), while no-one claimed he or she attained a very low awareness level about the issues. From the foregoing, we can see that majority of people were not well aware and properly educated about HIV/AIDS, Family planning and Reproductive health until they started listening to Abule Olokemerin. Presented and analyzed data showed that a sum of 140 respondents (i.e. the 111 people who had low awareness level in addition to the 29 others who had a very low awareness level about the issues of HIV/AIDS etc.) were not really conscious of the dangers and preventions of health complications before they started listening to Abule Olokemerin. This group account for almost 94% of the total population. However, with the constant broadcasting of episodes of the drama series, respondents" consciousness level of the Social Information about these health-related issues were

signicantly raised. A total of 136 people (i.e. the 68 people whose attainment of a very high awareness about the Social Information was aided by Abule Olokemerin plus another 68 people who attained just a high degree of consciousness) aided this particular revelation. They attested that they have been helped to acquire a considerably high awareness level about HIV/AIDS e.t.c. These accounted for almost 91% of the total population studied. Hence, we conclude that Abule Olokemerin has succeeded in creating 91% awareness about HIV/AIDS, Family planning and Reproductive health among the people of Ijebu North Local Government Area, through the repeated conveyance and reinforcement of the Social Information about these issues. By extension, we say the utilization of radio drama in disseminating Social Information is effective. This therefore must be encouraged more than it is presently done in the country.

RESEARCH QUESTION 2: How much effect has the radio drama recorded in reminding its listeners of the global pandemic of HIV/AIDS and issues bordering on Family planning and Reproductive health? Our focus, at this stage shall be directed towards reviewing the data generated by items 10 and 11 (on the questionnaire) in order to resolve this second research question. ITEM 10: How often are you reminded of the dangers and prevention of HIV/AIDS, wrong Family planning methods and the observance of hygienic Reproductive health practices through listening to Abule Olokemerin?

FREQUENCY TABLE 10: RATE AT WHICH RESPONDENTS WERE REMINDED ABOUT THE SOCIAL INFORMATION OF HIV/AIDS e.t.c VIA ABULE OLOKEMERIN OPTIONS FREQUEN CY PERCENTAGE

a. b. c.

Very Often Often Fairly Often Not Often TOTAL

93 36 21

62% 24% 14%

d.

-150

-100%

Source: Researcher!s led survey, 2006. ANALYSIS Out of the 150 people who served as study sample, a whole lot of 93 of them (62%) claimed Abule Olokemerin reminds them "very often" about the information of HIV/AIDS, Family planning and Reproductive health. 36 individuals (24%) said the radio drama only reminds them of the social information "often" while the remaining 21 people (14%) indicated that the radio drama only reinforces the Social Information on them "fairly often". No response was recorded for the "Not often" option.

This shows that Abule Olokemerin radio drama possesses enormous potentials of reminding its listeners "very often" about the Social Information of HIV/AIDS, Family planning and Reproductive health. ITEM 11: Thinking of Abule Olokemerin, what comes to your mind rst? As a complement to item 10, item 11 intended to nd out the most specic Social Information transmitted by the radio drama. The option with the highest frequency denitely will be the most reinforced Social Information of the radio programme. Frequency table 11 has details.

FREQUENCY TABLE 11: VARIABLES WHICH RESPONDENTS REMEMBER FIRST ABOUT ABULE OLOKEMERIN OPTIONS FREQUEN CY PERCENTAGE

a.

Drama Entertainm ent HIV/AIDS Family Planning Reproducti ve Health TOTAL

16

10.66%

b. c.

57 45

38% 30%

d.

32

21.33%

150

100%

Source: Researcher!s led survey, 2006. ANALYSIS Denitely the Social Information of HIV/AIDS is the most reinforced on the radio drama. This is evident on the table above which clearly shows that 57 respondents (38%) were most of the time reminded repeatedly of the Social Information of HIV/AIDS. Following this group were respondents who easily remembers the issue of Family Planning when Abule Olokemerin is mentioned. They were 45 in number and accounted for exactly 30%. 32 people

(21.33%) claimed the rst thing that comes to their mind as far as Abule Olokemerin is concerned is the issue of Reproductive Health. Only 16 respondents (10.66) remember the Entertainment Value of the radio drama rst ahead of any other thing. With the analyses of items 10 and 11 on the questionnaire, we can appropriately resolve research question 2 by stating that the radio drama (Abule Olokemerin) has recorded an indepth success at reinforcing information about HIV/AIDS, Family planning and Reproduction Health on the minds of its listeners. Thus, one is justied to state that the radio drama has an enormous effect in reminding its listeners about the Social Information in focus.

RESEARCH QUESTION 3: Has there been any satisfactory behavioural change among listeners of Abule Olokemerin on the observance of preventive attitudes and the suppression of superstitious beliefs about Family Planning, Reproductive Health and HIV/AIDS?

To really measure the level of behavioural change as motivated by Abule Olokemerin among its listeners, we turn our attention to items 12, 13, 14, and 17 on the questionnaire. ITEM 12: Before you started listening to the radio drama, how condent were you to demand for condoms, contraceptives etc from your local Pharmacists (Chemists)?

FREQUENCY TABLE 12: CONFIDENCE LEVEL OF RESPONDENTS TO DEMAND FOR CONDOMS, CONTRACEPTIVES e.t.c. FROM THEIR LOCAL PHARMACISTS BEFORE THEY STARTED LISTENING TO ABULE OLOKEMERIN. OPTIONS FREQUEN CY 1 PERCENTAGE

a.

Very Condent Condent

0.67%

b.

1.33%

c.

Fairly Condent Not Condent TOTAL

93

62%

d.

54

36%

150

100%

Source: Researcher!s led survey, 2006. ANALYSIS As many as 93 people (62%) claimed they were "fairly condent! to demand for condoms; contraceptive etc. (which helps in the prevention and control of the HIV/AIDS, Family Planning, and Reproductive Health) before they stared listening to the radio drama. 54 others (36%) said they were !Not Condent! at all to demand for such things from their local Pharmacists (chemists), while only 2 persons (1.33%) said they have always been "Condent! to demand for such things even before they started listening to Abule Olokemerin. Only 1 person (0.67%), who from observation resided in Ijebu-Igbo, could boast of being "Very Condent!

to demand for such things before he started listening to Abule Olokemerin. These gures uniformly point to the fact that people"s condence to demand for condoms, contraceptive etc. from their local pharmacists (Chemists, in local parlance) was on the average before they started listening to Abule Olokemerin. ITEM 13: Since you have been listening to Abule Olokemerin, what level of condence have you developed to demand for condoms, contraceptives etc. from your local Pharmacists (Chemists)? Sequel to question 12, this question enquired from respondents how their habits of listening to Abule Olokemerin had aided their condence to demand for Family Planning and Reproductive Health pills/ contraceptives as well as condoms for HIV/AIDS prevention. FREQUENCY TABLE 13: CONFIDENCE-LEVEL DEVELOPED IN RESPONDENTS BY ABULE OLOKEMERIN SINCE THEY

(i.e. RESPONDENTS) HAVE BEEN LISTENING TO IT OPTIONS FREQUENC Y 74 71 5 -150 PERCENTAGE

a. b. c. d.

Very High High Fairly High Low TOTAL

49.33% 47.33% 3.33% -100%

Source: Researcher!s led survey, 2006. To question 13 on the questionnaire, 74 people (49.33%) confessed that since they have been listening to Abule Olokemerin, they have been able to garner a "very high! condence level to demand for Family Planning and Reproductive Health pills/contraceptives as well as condoms from their local Pharmacists. This group is closely trailed by those who claimed the radio drama has given them a "high! condence level to demand for such things in question. They were 71 in number (4.33%). Only 5

individuals (3.33%) had been helped to attain a !Fairly High" condence by the radio drama. Nobody said Abule Olokemerin has given him/her a !Low Condence" level. With the analyses of questions 12 and13, we can clearly note that the behaviours of listeners to taking preventive measures against HIV/AIDS, Family planning and Reproductive health has been modied well by Abule Olokemerin, but what about the suppression of superstitious beliefs? Item 14 analysed below, provides insight. ITEM 14: Do you think orthodox Family Planning, as done at the hospitals, is immoral? Based on the fact that the society being studied is a predominantly rural African, which naturally still savours some vestiges of African superstitions, the need to measure how Abule Olokemerin has been able to tackle such superstitious perspectives became inevitable. Thus, question 14 probed into how this has taken place, especially as it concerned Family Planning.

FREQUENCY TABLE 14: RESPONDENTS" VIEWS OF ORTHODOX FAMILY PLANNING METHODS AS FOSTERED BY ABULE OLOKEMERIN OPTIONS FREQUENC Y 2 130 18 150 PERCENTAGE

a. b. c.

Yes No Undecided TOTAL

1.33% 86.67% 12% 100%

Source: Researcher!s led survey, 2006. ANALYSIS Despite the entrenchment of superstitious beliefs in Ijebu North Local Government, Abule Olokemerin has succeeded in convincing the people that Family Planning in the orthodox way is neither incongruous nor superstitious. This fact draws its strength from data in frequency table 14 above. A whole of 130 people (86.67%) disagreed that orthodox Family planning method was immoral. This was

unexpected of a rural Yoruba society in southwest Nigeria. 18 others (12%) were !undecided! while just 2 persons (1.33%) still believed the Family planning method was immoral. ITEM 17: Has Abule Olokemerin encouraged you to observe some Family Planning steps in your immediate family? If indeed, there has been a suppression of superstitious beliefs among respondents by Abule Olokemerin, have they actually started observing some advised pragmatic steps about Family Planning? This is the concern of question 17 analyzed below? FREQUENCY TABLE 15: HOW ABULE OLOKEMERIN HAS HELPED RESPODNENTS TO EMBRACE MODERN, WESTERN FAMILY PLANNING METHODS. OPTIONS FREQUENC Y 148 2 PERCENTAGE

a. b.

Yes No

98.66% 1.33%

TOTAL

150

100%

Source: Researcher!s led survey, 2006. ANALYSIS Almost all respondents afrmed that Abule Olokemerin radio drama has encouraged them to observe some Family Planning methods in their immediate families. 148 people (98.66%) said !Yes" while only a paltry 2 individuals (1.33%) differed in their responses, they said !No" Abule Olokemerin had not encouraged them to do such. Therefore, to research question 3, we have been able to answer (aided by the data of item 12, 13 an 14 on the research instrument) that indeed, there has not only been a satisfactory, but equally a landmark behavioural change among the listeners of Abule Olokemerin on the observance of preventive attitudes towards HIV/AIDS, Family Planning and Reproductive Health as well as the suppression of superstitious beliefs about these things. This further shows that radio dramas possess great potentials in conveying and reinforcing Social Information.

RESEARCH QUESTON 4: What degree of increment has Abule Olokemerin recorded in the demand for Family Planning and Reproductive Health services/medication and condom-use among listeners of the radio drama? A review of the data generated by item 13 (as featured in frequently table 13 above) and a fresh analysis of both item 15 and 16 shall jointly contribute to the resolution of this research question. ITEM 13 (reviewed): Since you have been listening to Abule Olokemerin, what level of condence have you developed to demand for condoms, contraceptives pills e.t.c. from your local Pharmacists (Chemists)? As noted earlier, the intent of this question was to determine how listening to Abule Olokemerin has helped raise the condence-level of respondents to demand for condoms, pills, e.t.c. used for HIV/AIDS, Family Planning and Reproductive health prevention and control.

Data generated, as presented in frequency table 13 earlier, showed that the condence-level of 74 people (49.33%) had been sufciently increased to a !very high! degree, while 71 people (47.33%) has had only a !high! increment in their level of condence. Only 5 people (3.33%) had a !fairly high! condence upon listening to Abule Olokemerin. Nobody"s condence has been reduced or lowered by listening to the radio drama. ITEM 15: Have you ever attended a Voluntary Counselling and Testing (VCT) consultation to determine your HIV status or for a counselling session on Family planning, since you have been listening to Abule Olokemerin? FREQUENCY TABLE 16: RESPONDENTS" ATTENDANCE OF VOLUNTARY COUNSELING AND TESTING (VCT) SINCE THEY HAVE BEEN LISTENING TO ABULE OLOKEMERIN OPTIONS FREQUEN CY 1 PERCENTAGE

a.

Yes

0.67%

b.

No TOTAL

149 150

99.33% 100%

Source: Researcher!s eld survey, 2006. ANALYSIS A mammoth number of 149 respondents (99.33%) disclosed that they had never attended any Voluntary Counselling and Testing (VCT) on HIV/AIDS or a counselling session on Family Planning/Reproductive Health before they started listening to Abule Olokemerin while only 1 person [a resident of Ijebu-Igbo] (0.67%) could boast of having attended a VCT before he started listening to the radio drama. From this, we deduct that listeners of the radio drama never thought it wise to attend a VCT for the health related issues on discourse, before they commenced listening to the radio drama. ITEM 16: Have you ever attended or still considering going for a VCT to know your HIV status or a counselling session on Family Planning since you have been listening to Abule Olokemerin?

The goal of this question is to know whether or not Abule Olokemerin has motivated its listeners to either attend or still planning to go for a VCT on the Social Information it disseminates about health issues. FREQUENCY TABLE 17: FREQUENCY TABLE FOR ITEM 16 OPTIONS FREQUEN CY 150 -150 PERCENTAGE

a. b.

Yes No TOTAL

100% -100%

Source: Researchers! eld survey, 2006. ANALYSIS Amazingly, the whole 150 people (100%) studied, professed through the questionnaire administered to them that they have either went for, or still considering going for a VCT on HIV/AIDS, Family Planning and Reproductive Health, as motivated by Abule Olokemerin. Good commendation must

be given to the producers, sponsors and talents who jointly contributed to this feat of positively inuencing the lifestyle of listeners of the radio drama. From the foregoing, one can easily resolve research question 4 by stating categorically that the radio drama Abule Olokemerin- has succeeded in bringing about a high degree increment in respondents" demand for Family Planning and Reproductive Health services/medication as well as condom-use through its presentation of incisive and action-motivating episodes. RESEARCH QUESTION 5: What inuence do the characterization and plot of Abule Olokemerin radio drama have on the reality perception of the listeners? The remaining items on the questionnaire, viz; items 18, 19 and 20 shall be analyzed towards unravelling a satisfactory resolution to this last research question. Essentially, this research question was raised specically to reappraise how the characterization or presentation format of radio productions, particularly dramas appertain to the

elicitation of desired response to the messages contained therein.

ITEM 18: Which of the following set of names sounds familiar to you on Abule Olokemerin? FREQUENCY TABLE 18: RESPONDENTS" FAMILIARITY WITH THE CHARATERS FO ABULE OLOKEMERIN OPTIO NS a Fadeyi, Abija, Ogunde, Awero Ayefele, Alapanla, Olatunji, Ayinke Balogun, Owonikoko, Ojajuni, Aina Funmi, Ogundiran, Lola, Adekanmbi TOTAL FREQUENCY PERCENT AGE --

--

--

--

150

100%

--

--

150

100%

Sources: Researcher!s eld survey, 2006.

ANALYSIS: Like frequency table 17, the statistical table above shows that all respondents were familiar with the characters of Abule Olokemerin. 150 of them (100%) found it relatively easy to tick on Option C, which paraded "Balogun, Owonikoko, Ojajuni, and Aina" all of whom in actual sense are the only set of characters presented among the options.

ITEM19: How often do you have the impression that these persons are real persons? OPTIONS FREQUENC Y 28 93 18 PERCENTAGE

a. b. c.

Very Often Often Occasionall y Seldomlly TOTAL

12.67% 62% 12%

d.

11 150

10.9% 100%

Source: Researcher!s led survey, 2006. ANALYSIS 93 people (62%) were !often" impressed that the identied characters are real persons. 28 others (12.67%) were impressed with the characterization !very often! while 18 respondents (12%) were !occasionally" impressed. Only 11 persons (10.9%) were !Seldomlly! Impressed. ITEM 20: Do you think these characters have any inuence on the messages passed on Abule Olokemerin?

FREQUENCY TABLE 20: FREQUENCY TABLE FOR ITEM 20 OPTIONS FREQUENC Y 150 -150 PERCENTAGE

a. b.

Yes No TOTAL

100% -100%

Source: Researcher!s eld survey, 2006.

ANALYSIS: The whole study sample afrmed that the characters on Abule Olokemerin have inuence on the messages passed by the radio drama. The whole 150 of them (100%) answered !Yes! to the question raised. With a very easy identication of characters of the radio drama by the respondents, we can obviously infer that indeed such characters help in impressing the Social Information passed on the programme. The respondents even agreed unanimously that the characters inuence the messages passed thereon. Therefore, they are also systematically goaded into imbibing what the producers of the drama want them to imbibe.

Chapter Five: SUMMARY, CONCLUSION AND RECOMMENDATION

5.0 PREAMBLE Being the concluding chapter of the project report, this chapter shall present a lucid summarization of the eventual ndings of the eld endeavour. From this, a conclusion shall be drawn about the communication strength of radio drama in conveying and reinforcing Social Information in the society. The chapter shall equally make an effort to present opinionated but still evident recommendations about the topic of study, based on research ndings.

5.1 SUMMARY OF RESEARCH FINDINGS The study has been able to reveal the magnitude communication strength inherent in radio drama (as exemplied by Abule Olokemerin) to intimate the society about essential Social Information and in consolidating such on the minds of members of the society. Results of the eld

study indicate that good, creative characterization of radio dramas plays a pivotal role in the overall achievement of the drama objectives. Abule Olokemerin, the study equally showed, has helped develop the consciousness of its listeners about such issues that affect their health and family lives. That way, it facilitates the reduction in the cases of HIV/AIDS, poverty induced by unspaced child rearing, among other things that retard societal growth and development. Notably, the eld survey further revealed that the radio genre under study (i.e. radio drama) has in no small measure motivated behavioural-change among members of its listening audience. People now get more conscious, more than ever before of the prevalence of HIV/AIDS in the Nigerian society, just as they have been convinced and successfully goaded towards either suppressing or absolutely disregarding superstitious philosophies surrounding modern-day methods of family planning and reproductive health.

Resultantly, there has been an obvious increment in the demand for modern-day family planning and reproductive health services/medications as well as condom-use among members of the society.

1. CONCLUSION 2. Although yet to be harnessed optimally, the potentials of radio drama has been proven (at least by this study) to be so enormous, especially when the object of public mobilization comes under focus. The fact that drama is not a traditional and regular feature of the radio medium gives radio drama the edge to easily ensnare the interest and attention of listeners, especially when creatively packaged like Abule Olokemerin. This way, dramas on radio become a powerful utility to organizations and governments intending to effectively mobilize the public.

Hence, further researches should be encouraged on the packaging and presentations of radio dramas in order to further optimize its potentialities for the advancement of societal causes (and even for commercial purposes as the may be).

3. RECOMMENDATIONS 4.

In light of the ndings of the study, the researcher recommends, that Nigerian radio stations should create more rooms for the production of radio drama in their scheme of programming. This in a way makes them to easily full their social responsibility functions towards the listening society. The producers and nanciers of Abule Olokemerin should endeavour to give the didactic drama more media exposure. From ndings (especially through the researcher"s

personnel observations), one realizes that the radio programme does not only have a high appeal to the rural dwellers, it could also serve as a good mobilization tool for urban/city dwellers. Apart from health-related Social Information dissemination, radio dramas could as well be utilized for effective citizenship education by the government. Thus, public funds should be channelled into radio drama productions cum development for bringing about an improved Nigerian society.

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BIBLIOGRAPHY
BOOKS Abosede et. al. (eds) (2001); Research Methdology for Management Science Students. Lagos, Mixon Publishers. Akindele R. and Kamaru L. (2001); Fundamentals of Mass Communication. Ibadan, adalef Communications.

Folarin B. (1999); Foundation of Broadcasting. Abeokuta; Link Publications. Folarin B. (2002); Theories of Mass Communication; An Introductory Text. Abeokuta; Link Publications. Lasode O. (1994); Television Broadcasting: The Nigerian experience. Ibadan, Caltop Publications (Nigeria) Limited. Macmillan (2002); Macmillan English Dictionary for Advanced Learners. London, Macmillan Publishers Ltd. Mgbejume O. (2000); Dramatic TV-Film Script writing (Revised edtn.). Jos, National Film Institute. Odejide B. (1999); Research Writing in the Social Sciences. Ibadan, Centre for Economic & Allied Research, university of Ibadan. Odetoyinbo A. (1998); Principles of Mass Communication. Abeokuta, Gbenga Gbesan & Associates. O" Donell L.B et. al. (1993); Modern Radio Productions (3rd edtn.). California, Wadsworth Publishing Company.

Odugbemi O.O and Oyesiku O.O (eds) (2000); Research Methods in the Social and Management Sciences. AgoIwoye, CESAP-OOU. Onabajo O. (1999); Essentials of Broadcast Writing in the Social Sciences. Lagos, Gabi concept Ltd. The Holy Bible: King James Version. England, Cambridge University Press. MAGAZINE Community Satellite, Issue 8, 2007. pp.9 JOURNALS/REPORTS World Health Organization, WHO (2000); Prevention of Mother to Child Transmission of HIV: Selection and use of Neverapine; A Report. Geneva, World Health Organization, (WHO) AIDS Prevention Initiative in Nigeria (APIN) (2000); Journal of the AIDS prevention Initiative in Nigeria. APIN INTERNET/ VIRTUAL LIBRARY http://w.w.w.wikipedia.org/socialtheorists http://w.w.w.obaadeoye.blogspot.com

http://w.w.w.wikpedia.org/informationasamessage David Hendy (Radio), in Encarta Encyclopaedia (2005); Microsoft Corporations

APPENDIX [A reproduction of study-questionnaire, as used during the eld survey]

OLABISI ONABANJO UNIVERSITY FACULTY OF ARTS DEPARTMENT OF MASS COMMUNICATION Date: .. .. Dear Respondent, SOLICITATION TO HELP COMPLETE QUESTIONNAIRE Oba" Adeoye is my name, a nal year student of Mass Communication at the aforestated University. Thus, I humbly solicit for your kindness in helping me complete this questionnaire, which has been designed for the purpose of

garnering data for my Bachelor of Arts (BA) undergraduate thesis. Titled: "The Communication strength of Radio drama in the conveyance and reinforcement of social information; an appraisal of Abule Olokemerin and listeners in Ijebu north local government area of Ogun state," the thesis has been mandated as a prerequisite for my attainment of the said BA degree in Mass Communication. Therefore, be assured that information supplied for this purpose shall exclusively be used for same. I shall appreciate your honest and complete response to questions raised herein. Thank you,

ADEOYE, O. OBAFEMI

! SECTION A

[Demographic Variables] INSTRUCTIONS: Please tick [x] against options that best describe your personality. 1. Age. (a) 18-23 years (b) 24 29 years (c) 30-34 years (d) 35 years and above 2. Sex. (a) Female (b) Male 3. Level of western Education attained. (a) F S L C (Primary six) (b)W A S S C E (Secondary school) (c) B A B Sc B Ed B. Tech e.t.c. (First degree) (d) M A M Sc M Ed e.t.c. (Second degree) 4. Marital Status (a) Single (b) Married 5. Number of children (a) 1-3 Children (b) 4-6 Children (c) 7-9 Children (d) 10 Children and above (e) None 6. How sexually active would you descried yourself? (a) Very active (b) Averagely active (c) Minimally active (d) Not active 7. For how long have you been listening to Abule Olokemerin radio drama?

(a) 1 year and less (b) 2-4 years (b) 5-7 years (d) 7years and more

SECTION B [Specics] 1. Before you started listening to the radio drama, what level of information did you have concerning HIV/AIDS, Family planning and Reproductive health? 2. (a) Very high (b) High (c) Low (d) Very Low 3. Since you have been listening to the radio drama, what level of information have you attained concerning HIV/ AIDS, Family planning and Reproductive health? 4.

(a) Very high (b) High (c) Low (d) Very Low

10. How often are you reminded of the dangers and prevention of HIV/AIDS, wrong Family planning methods and Reproductive health through listening to Abule Olokemerin? (a) Very often (b) Often (c) Fairly often (d) Not often 11. Thinking of Abule Olokemerin, what comes to your mind rst? (a) Drama Entertainment (b) HIV/AIDS (c) Family Planning (d) Reproductive health 12. Before you started listening to the radio drama, how condent were you to demand for condoms, contraceptives, pills e.t.c. from your local Pharmacists (Chemists)? (a) Very condent (b) Condent (c) Fairly condent (d) Not condent 13. Since you have been listening to Abule Olokemerin, what level of condence have you developed to demand for condoms, contraceptives, pills e.t.c. from your local Pharmacists (Chemists)? (a) Very high (b) High

(c) Fairly high (d) Low 14. Do you think orthodox Family planning as done at the hospitals, is immoral? (a) Yes (b) No (c) Undecided 15. Have you ever attended a Voluntary Counselling and Testing (VCT) session to determine your HIV status or for a counselling session on Family planning, before you started listening to Abule Olokemerin? (a) Yes (b) No 16. Have you ever attended or still considering going for a Voluntary Counselling and Testing (VCT) session to determine your HIV status or for a counselling session on family planning, since you have been listening to Abule Olokemerin? (a) Yes (b) No

17. Has Abule Olokemerin encouraged you to observe some family planning steps in your immediate family? (a) Yes (b) No 18. Which of the following set of names sound familiar to you on Abule Olokemerin?

(a) Fadeyi,Abija,Ogunde,Awero (b) Ayefele, Alanpanla, Olatunji, Ayinke (c) Balogun, Owonikoko, Ojauni, Aina (d) Funmi, Ogundiran, Lola, Adekanmbi 19. How often do you have the impression that these persons are real persons? (a) Very often (b) Often (c) Occasionally (d) Seldomly 20. Do you think these characters have any inuence on the message passed on Abule Olokemerin? (a) Yes (b) No

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