POLITICAL

This study examines the impact of political cross-carpeting on political development in Nigeria between 1999 and 2023. Political cross-carpeting, defined as the defection of politicians from one party to another, has become a recurring feature of Nigeria’s democratic landscape since the return to civilian rule in 1999. The research explores the causes, patterns, and consequences of this phenomenon, with particular attention to its implications for party stability, democratic consolidation, governance, and public trust in political institutions. Using a qualitative approach, the study draws on secondary data, including scholarly literature, media reports, and official records, to analyze trends in political defections across different electoral cycles. Findings indicate that cross-carpeting is largely driven by personal ambition, intra-party conflicts, weak ideological foundations of political parties, and the pursuit of political survival. While some argue that defections can strengthen political participation and realignment, the study finds that frequent cross-carpeting undermines party cohesion, weakens opposition parties, and disrupts policy continuity. Furthermore, the research reveals that the practice contributes to political instability, erodes voter confidence, and hampers the overall process of democratic consolidation in Nigeria. The study concludes that without stronger institutional frameworks, ideological party structures, and enforcement of anti-defection laws, cross-carpeting will continue to pose challenges to Nigeria’s political development. It recommends reforms aimed at strengthening party discipline, promoting internal democracy, and enhancing legal mechanisms to regulate defections.

This study examines the role of political satire in contemporary Nigerian theatre through a critical analysis of Femi Osofisan’s plays Who is Afraid of Solarin? (1978) and Once Upon Four Robbers (1980). Grounded in Marxist theory and dialectical materialism, the research explores how Osofisan employs humor, wit, and satire to critique Nigeria’s sociopolitical realities, including corruption, inequality, and systemic injustice. By blending traditional African performance elements with modern theatrical techniques, Osofisan crafts narratives that reflect the complexities of postcolonial Nigeria while resonating with universal themes. The study adopts a qualitative methodology, combining textual analysis of the plays’ language, characterization, and thematic content with an examination of audience reception. A comparative analysis reveals both plays’ shared focus on exposing moral decay and political hypocrisy, though they differ in their satirical approaches. Who is Afraid of Solarin? employs Horatian satire to lampoon bureaucratic corruption, while Once Upon Four Robbers adopts a darker, Juvenalian tone to interrogate socioeconomic disparities and the cyclical nature of crime. Key findings highlight Osofisan’s success in using satire to provoke critical reflection and engage audiences in sociopolitical discourse. However, the study identifies limitations in the Marxist framework of the plays, particularly the lack of clear class struggle and the ambiguous resolution of revolutionary ideals. While Osofisan’s works advocate for social change, they often prioritize individual flaws over systemic critique, diluting their alignment with orthodox Marxist principles. This research contributes to scholarship on Nigerian theatre by elucidating the interplay between satire, politics, and cultural hybridity in Osofisan’s dramaturgy.