Adenekan Lanre Qasim was born in Abeokuta, southwest-Nigeria. He is from a family of clergy whose religious teachings shrouded their understanding of theatre beyond mere entertainment.  However, Qasim was an active member of a cultural troupe during his primary education, and his acting skill was equally demonstrated and commended during his Diploma study in Mass Communication. As fate would prevailed, he was offered Performing Arts at University of Ilorin despite his application to further study in mass communication. Therefore, he reluctantly accepted performing arts not because he detest it, but as a result of his religious perception of the art theatre. Afterwards, he developed strong interest in the art, and thus dreamt of a career in practicing and teaching theatre. Presently, Qasim is a Theatre Arts lecturer at Bayero University, Kano (BUK). His ideological orientation is premised on using theatre as a tool for social change, and that is at the core of his artistic research works such as deploying drama as a therapeutic tool for rehabilitating persons with substance use disorder in Kano. He believes that using drama/theatre for social re-engineering will aid societal development, and birth the understanding of theatre as a functional art for social change.

Omorodion, Martina O. is a creative writer, theatre researcher and an entrepreneur. Born in Surulere, Lagos, at an early age she was exposed to the dynamism of the theatre through the cultural performances of the local Catholic Church she attended. Matty, as she is fondly called was introduced to the delights of the written words by her father who ensured she never ran out of books to read. She took her love for books further by writing stories and short plays. In High school she joined the late Fran Kuboye’s Jazz 38 club where she took part in music, dance and drama performances. Her passion for the theatre encouraged her to pursue a B.A in Theatre Arts from the University of Benin, majoring in Dramatic Theory and Literature. She spent the early part of her career as a literature teacher and worked with students on Performance and Creative Writing. Years after, she leaves teaching and proceeds to the University of Lagos where she bagged a Masters in Theatre Arts. 
Martina works as an independent researcher and a script writer. She is currently pursuing a Ph.D. in Dramatic Literature and is exploring the intersections of violent conflict and womanhood in the dramatic work of Ahmed Yerima.

Silas Oghenemaro Emovwodo was born in Ile-Ife, south-western Nigeria. He is the third child of his engineer-turned-farmer, and a retired nurse, also now turned farmer, mother. As the youngest of an intercultural family (Urhobo dad from Delta state and Yoruba mum from Ogbomoso, Oyo state), he fell in love with the performing arts early in life as a member of the defunct ‘G-Force’ drama group where he and his two older siblings all performed. Silas bagged his BSc. from Bowen University in Mass Communication and was a member of the campus fellowship drama unit. Silas journeyed to Indonesia as a recipient of the Indonesian government’s Darmasiswa scholarship program where he studied Theater at the Indonesian Institute of Art (ISI) Surakarta. He co-founded the defunct Lima Unsur group, where he co-wrote scripts and acted for performances at the International Mask Festival, Borobudur International Art Festival among others in Indonesia. Silas wrote the script and acted in the stage drama for the Easter service at his Gereja Bethel Indonesia Keluarga Allah (GBIKA) church. He scripted, directed and acted in Elesin: Penunggang Kuda Raja (Elesin: the king’s horseman) an adaptation of Wole Soyinka’s Death and the King’s Horseman. Silas also hosted his Contemporary Directing project employing shadow puppetry to raise awareness about climate and environmental issues. Silas earned his master’s degree in Media and Communication from Universitas Airlangga, Indonesia and his research interests are on theater and art’s impact on sustainability.