A Methodological Review of Mike Bamiloye’s Concept of Christian Drama
Main Article Content
Abstract
Mike Bamiloye's definition of Christian drama as a "dramatic illustration of Christian messages on stage, films, radio, television, and in print for the purposes of regeneration, revival, restoration, enlightenment, and motivation" offers a contemporary framework for combining both theatrical and evangelical phenomenon inclusive of the pedagogical model for Christian drama. This study provides a thorough methodological assessment of his concept through text analysis, drawing on established theories within the context of theatrical arts, such as Aristotelian mimesis and catharsis, Brechtian epic theatre, and Fairclough's critical discourse analysis. The study examines the context and implications of each term and expression in Bamiloye's definition, illustrating how his methodology promotes spiritual development while also providing a practical foundation for contemporary evangelism. In all, by situating Bamiloye's work within the context of historical theatrical traditions and modern media contexts, the study demonstrates that his conceptual framework revitalises the educational and ethical possibilities inherent in play. The examination demonstrates that Christian drama, as envisaged by Bamiloye, is a powerful tool that promotes long-term transformation and social revitalisation. Going further, the data suggest that his methodology second-classed Eurocentric theatrical frameworks by including indigenous cultural narratives and adaptive communication strategies, extending the frontiers of Christian dramatic expression. This study significantly contributes to continuing conversations about the relationship between faith and performance, advocating for a continued commitment to pioneering evangelical activities within the arts context. It encourages a more in-depth exploration of Christian drama's transforming power, pushing for a viewpoint in which artistic expression and spiritual growth intersect to influence both personal experiences and broader societal standards. The study recommends that for cross-cultural collaborations and curricula incorporations to be effective, Christian drama should be presented through multimedia initiatives giving attention to phenomenal dynamism of innovations.
Article Details
Copyright (c) 2025 Jones Okeoghene Profit (Author)
This work is licensed under a Creative Commons Attribution 4.0 International License.
Jones Okeoghene Profit, Department of Theatre Arts, Mount Zion Institute of Christian Drama, Ile-ife, Osun State.
Jones O. Profit is a dynamic and unorthodox academic researcher with deep expertise spanning theatrical improvisation, the industrialization of Christian drama, behavioural adjustment, psychometrics, and educational psychology. With a flair for innovation, he bridges the arts and sciences to explore transformative learning and performance models.
A Google-certified digital multimedia expert, Jones is the founder of Chartechmark and Searchefy; two trailblazing ventures established to address critical gaps in the digital landscape, with a core focus on content optimisation, digital strategy, and technological innovation.
Jones currently serves as a member of the Technical Advisory Board for the Global Environment Facility - Small Grants Programme (GEF-SGP) in Nigeria, a United Nations Development Programme (UNDP) initiative. In this role, he collaborates closely with the National Coordinator, Mrs. Olubamise Ibironke, providing strategic insights into project evaluation and development impact assessments for sustainable impacts in Nigeria.
He also brings strong technical acumen to the design and development of websites and digital platforms for NGOs, businesses, and corporate institutions ensuring functional, visually compelling, and user-oriented experiences that align with organizational goals.
Jones is currently a lecturer at the Mount Institute of Christian Drama, Ile-ife, Osun State.
Adelakun, A. (2023). 5 - “God Too Laughs and We Can Laugh Too”: The Ambivalent Power of Comedy Performances in the Church (Issue October 2021). https://doi.org/10.1017/9781108923194.006 DOI: https://doi.org/10.1017/9781108923194.006
Adetoro, S. F., & Oki, O. J. (2025). Operational Management in Christian Theatre Productions: A Comparative Investigation of Zion Royal Theatre and Free Gift International. 02(01), 1–35.
Agoro, S. N. (2010). Further themes in christian drama in nigeria. 55–67.
Akinola, O. C., Ebewo, P., & Abodunrin, O. J. (2018a). Christian Worship as Dramaturgical Model: A Study of the Use of Drama in Nigerian Churches. Imbizo, 8(1). https://doi.org/10.25159/2078-9785/2311
Akinola, O. C., Ebewo, P., & Abodunrin, O. J. (2018b). Christian Worship as Dramaturgical Model: A Study of the Use of Drama in Nigerian Churches. Imbizo, 8(1). https://doi.org/10.25159/2078-9785/2311 DOI: https://doi.org/10.25159/2078-9785/2311
Albert, C. S., & Salam, A. F. (2013). Critical discourse analysis: Toward theories in social media. 19th Americas Conference on Information Systems, AMCIS 2013 - Hyperconnected World: Anything, Anywhere, Anytime, 2(January 2013), 926–933.
Bamiloye, M. (1997). Is Drama in the Bible?
Bamiloye, M. (2022). Foundations of Christian Drama. 24(4), 15–199.
Bamiloye, M. (2023). CHRISTIAN DRAMA AND APPLICATIONS OF BIBLICAL DOCTRINES.
Barton, B. (2005). Navigating Turbulence: The Dramaturg in Physical Theatre. Theatre Topics, 15(1), 103–119. https://doi.org/10.1353/tt.2005.0001 DOI: https://doi.org/10.1353/tt.2005.0001
Bian, F., Jayantini, I. G. A. S. R., & Karya, I. W. S. (2021). An Analysis of Hyperbole in Drama “Romeo and Juliet” by William Shakespeare. ELYSIAN JOURNAL: English Literature, Linguistics and Translation Studies, 1(2), 57–66.
Boos, P. K. (2013). Altar And Stage: Liturgical Drama in Three Theatrical Traditions.
Bundock, E. (2017). Liturgy and drama: a context of catharsis and transcendence? International Journal for the Study of the Christian Church, 17(2), 93–106. https://doi.org/10.1080/1474225X.2017.1315926 DOI: https://doi.org/10.1080/1474225X.2017.1315926
Cheng, W. N., & Khoo, C. S. G. (2022). Information and argument patterns in the Introduction sections of sociology research papers. Iberica, 2022(44), 127–154. https://doi.org/10.17398/2340-2784.44.127 DOI: https://doi.org/10.17398/2340-2784.44.127
Culbertson, L. (2021). Meaning and Use: Drama and the Aesthetic. Sport, Ethics and Philosophy, 15(3), 349–370. https://doi.org/10.1080/17511321.2020.1764088 DOI: https://doi.org/10.1080/17511321.2020.1764088
Edebor, S. (2016). Nigerian Christian Drama: A Reconstruction of History. Àgídìgbo: ABUAD Journal of the Humanities, 4(1), 45–58. https://doi.org/10.53982/agidigbo.2016.0401.05-j DOI: https://doi.org/10.53982/agidigbo.2016.0401.05-j
Efakponana, E. K. (2011). Influences and Traditions: Wole Soyinka and the Nigerian Theatre. Mediterranean Journal of Humanities, 1(1), 93–103. https://doi.org/10.13114/mjh/20111814 DOI: https://doi.org/10.13114/MJH/20111814
Ekhareafo, D., Guanah, J. S., & Emakunu, E. (2018). Abstract Hitherto, evangelical video films are not seen as veritable tools of evangelism, even though the evangelical genre of the Nigerian Nollywood film has come to stay. Mount Zion Film Productions ( MZFP ) has created a niche for itself by breaking. June.
Gal, M. (2019). Visual Metaphors and Cognition: Revisiting the Non-Conceptual. Perspective on Visual Learning, Vol. 1. Vision Fulfilled: The Victory of the Pictorial Age, 79–90.
Grainger, T., & Kendall-Seatter, S. (2003). Drama and spirituality: Reflective connections. International Journal of Children’s Spirituality, 8(1), 25–32. https://doi.org/10.1080/13644360304642 DOI: https://doi.org/10.1080/13644360304642
Hardison, O. B. (2014). Christian Rite and Christian Drama in the Middle Ages: Essays in the Origin and Early History of Modern Drama. 19(1), 86–87. DOI: https://doi.org/10.2307/2867847
Harvey, O., Regmi, P. R., Mahato, P., Dhakal Adhikari, S., Dhital, R., & Teijlingen, E. van. (2023). Methods or Methodology: Terms That Are Too Often Confused. Journal of Education and Research, 13(2), 94–105. https://doi.org/10.51474/jer.v13i2.716 DOI: https://doi.org/10.51474/jer.v13i2.716
Hawkins, B. (1997). Critical Discourse Analysis - Norman Fairclough. 25(1), 76–78. DOI: https://doi.org/10.1177/007542429702500106
Huber, K. M. (2024). Aural Interruptions: The Politics of Sound in Teresa Deevy’s Radio Plays Katherine M. Huber. c, 7–23. https://doi.org/10.32803/rise.v7i1.3240 DOI: https://doi.org/10.32803/rise.v7i1.3240
Jäkel, O. (2002). Hypotheses revisited: the cognitive theory of metaphor applied to religious texts. Metaphorik, 02(October), 20–42. http://www.metaphorik.de/02/
Mooney, T. (2021). Cultivating a Culture of Electronic Evangelism. May.
Norris, J. (2020). Improvisational Drama as Inquiry: The Role of the Simulated-Actual in Meaning Making. Cultural Studies - Critical Methodologies, 20(1), 63–74. https://doi.org/10.1177/1532708619884961 DOI: https://doi.org/10.1177/1532708619884961
Ododo, S. E. (2023). NIGERIAN THEATRE IN A DIGITAL ERA. 11, 1–160. DOI: https://doi.org/10.4314/ntj.v23i1.1
Oki, O. J. (2024a). Doing Christian Drama with Paul’ s Evangelical Approach studying Mike Bamiloye’ s Characterization in Esin Ajoji and Shackles Movies. International Journal of Novel Research in Humanity and Social Sciences, 11(2), 12–25. https://doi.org/10.5281/zenodo.10820381
Oki, O. J. (2024b). The Greatest Dramatist: A Comprehensive Exploration of Mike Bamiloye’ s Perspective on Jesus Christ in the Context of Theatrical Expression The Greatest Dramatist: A Comprehensive Exploration of Mike Bamiloye’ s Perspective on Jesus Christ in the Cont. February.
Oki, O. J. (2024c). Understanding Christian Drama and its impacts on the society. January 2023. https://doi.org/10.5281/zenodo.10658392
Oki, O. J., & Adetoro, S. F. (2024). Examining the Role of Christian Drama in Facilitating Social Transformation: A Study of Two Mount Zion Film Productions Movies. Global Academic Journal of Humanities and Social Sciences, 6(02), 55–68. https://doi.org/10.36348/gajhss.2024.v06i02.003 DOI: https://doi.org/10.36348/gajhss.2024.v06i02.003
Oki, O., & Olatunji, O. (2024). The Rebirth of Christian Theatre in Nigeria: The Zion Royal Theatre in Perspective. DOI: https://doi.org/10.22492/issn.2188-1111.2024.22
Olalekan, O., & Oki, O. (2024). Scriptures To Pictures: Interrogating the Channels of Adapting Bible Stories for Contemporary Audiences. 01(09), 144–163.
Olayiwola, E. (2020). Nigerian evangelical film genres: the spectacle of the spiritual. Journal of African Cultural Studies, 32(2), 115–130. https://doi.org/10.1080/13696815.2019.1610364
Olayiwola, E. (2021). Nigerian evangelical film genres : the spectacle of the spiritual Nigerian evangelical film genres : the spectacle of the spiritual. Journal of African Cultural Studies, 0(0), 1–16. https://doi.org/10.1080/13696815.2019.1610364 DOI: https://doi.org/10.1080/13696815.2019.1610364
Rasmussen, B. (2008). Beyond imitation and representation: extended comprehension of mimesis in drama education. Research in Drama Education: The Journal of Applied Theatre and Performance, 13(3), 307–319. https://doi.org/10.1080/13569780802410673 DOI: https://doi.org/10.1080/13569780802410673
Rogerson, M., & Rogerson, M. (2016). Medieval Mystery Plays in the Modern World: A Question of Relevance? 43(2013), 343–366. DOI: https://doi.org/10.1353/yes.2013.0009
Romero, E., & Soria, B. (2005). Cognitive metaphor theory revisited. Journal of Literary Semantics, 34(1), 1–20. https://doi.org/10.1515/jlse.2005.34.1.1 DOI: https://doi.org/10.1515/jlse.2005.34.1.1
Schaper, M. M., & Pares, N. (2021). Co-design Techniques for and with Children based on Physical Theatre Practice to promote Embodied Awareness. ACM Transactions on Computer-Human Interaction, 28(4). https://doi.org/10.1145/3450446 DOI: https://doi.org/10.1145/3450446
Schuber, D. (2016). MUSIC DIRECTION FOR THE STAGE: TRAINING FOR SUCCESS IN CHRISTIAN-BASED PERFORMING ARTS. 4(1), 1–23.
Soni, S. (2018). Origin, Development, Decline and Revival of English Drama. 5(12), 2480–2487.
Taiwo, A. A., & Adewale, A. J. (2006). A Socio-Semiotics Analysis of Names in Abejoye : A Yoruba Christian Video Film. 130–138. DOI: https://doi.org/10.33258/linglit.v4i3.972
Ugese, H. I., Kabala, F., & Kitonga, D. M. (2021). Role of Sacred Drama in the Spiritual Transformation among Youth of the Catholic Archdiocese of Lagos, Nigeria. 5, 188–198.
Usmiani, R. (1970). The Invisible Theater: The Rise Of Radio Drama In Germany After 1945. Modern Drama, 13(3), 259–269. https://doi.org/10.3138/md.13.3.259 DOI: https://doi.org/10.1353/mdr.1970.0055
Villahoz, A. I. (2018). Humour in medieval English literature: Chaucer and the Mystery Plays.
Article Sidebar
