THE PLACE OF DANCE IN ESAN WEST LOCAL GOVERNMENT AREA OF EDO STATE: A CASE STUDY OF IGBABONELIMIN OF OKPEBHO TOWN
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THE PLACE OF DANCE IN
ESAN WEST LOCAL GOVERNMENT AREA OF EDO STATE: A CASE STUDY OF IGBABONELIMIN OF
OKPEBHO TOWN
ABSTRACT
The purpose of this project work is to examine the essence of dance in the life
of the African using the Esan’s as a case study. Dance is valued highly because
it is useful in the life circle of human beings, i.e. right from birth to
death. The researcher also went ahead and investigated on how plays an
important role in the life of the Africans particularly the Esan people.
This study is so enormous, covering the whole of dance activities and
celebration of all African societal. The use of musical instruments makes
African dance look real. The more the musical instruments are played the better
and more interesting African dance will be, thought the participants should be
prayerful and be serious with their researchers.
Dance should be performed in ceremonies like marriages, burials, birthdays,
naming ceremonies, entertainment etc.
TABLE OF CONTENT
Chapter One
Introduction
1.1
Background
of the study
1.2
Statement
of the problem
1.3
Purpose
of the study
1.4
Significance
of the study
1.5
Scope of
the study
1.6
Methodology
Chapter Two
Literature Review
Chapter Three
The history of okpebho community
3.1.
The
history of Igbabonelimin dance
3.2.
The role
of Igbabonelimin dance
3.3.
The role
of instruments in the dance
3.4.
Costumes
and symbolism
Chapter Four
4.1
The age
limit of the dancers
4.2
The mode
of recruitment
4.3
Some of
the songs used in the dance and their meanings
Chapter Five
Conclusion
Recommendations
Definition of terms
Bibliography
CHAPTER ONE
INTRODUCTION
1.1
BACKGROUND
OF THE STUDY
According to Innocent Akioya (2006) he
stressed that, to a typical African child, music is life. There is music in
almost everything that happens around him. His mother sings when washing
cloths. The sister sings while sweeping. The father whistles to tune while on
the farm. When the family gathers together for a ceremony, singing is done,
singing being an important part of music; music is therefore that thing that
makes activities around him come alive.
According to Innocent Akinoya
(2006) he defined music as sound that please the ears. According to
Abolagba J. A. (2003) he sees music as the combination of organized sounds that
is pleasant to the ears. Sound, therefore, is the main source of music. It must
be pleasing to the ear, if it is organized, if not it will be regarded as
noise.
DANCE
Abolagba J. A. (2003) defines dance, as an act in its form, is a rhythmic
movement to music either along or with a partner or in a group. Dance is also
use of the body to communicate a message. However, while drama is rooted in
words, music in songs, dance is rooted in body movement. There is this saying
that Africans are dancers. This is because Africans dance to any music they
listen to:
Dance as an art plays various roles in an individual or group of individuals.
This includes:
1.
People
dance to glorify God.
2.
People
dance to express their feelings
3.
Dance is
used for entertainment
4.
People
also dance to exercise their bodies.
5.
It is
used to appease the gods.
DANCE
PATTERNS
A dancer must master the techniques for his profession, since dance has its own
methodology. Also, dance differs from one culture to another. This is why
Europeans dance Ballat, while Nigerians have either the Bata dance of the
Yoruba, Antilogous of the Igbo or the dance of the Hausa. Each of these
different dances have their own peculiarities, hence their techniques must be
mastered before they can be performed.
There are some basic denominators
that are found in basically all dances. They are the factors that underline
techniques. Once they are mastered, the dancer has no problem in dancing. They
are the dancers tool, the “body”, the place he occupies during performance
either on stage, or on an open area called the “space” the way he responds to
rhythm either slowly or very fast called the “time”.
TYPES
OF DANCE
Dance in Nigeria is of two main types, these are: free dance and stylized
dance. In the free dancing, there are no specifications as to how each dancers
move in terms of space, relationship to other dancers and body movement.
Rather, each dancer expresses his inner feeling independent of what other
dancers or other parts of the body do.
Stylized dance on the other hand, is concerned with purposeful and uniformity
in movements. The movements are planned in such a way that body relationship
and individual relationship are all meaningful examples is the atilogwu dance.
CATEGORIES
OF DANCE
Dances can also be categorized along functional line.
1.
Occupational
dances
2.
Social
dances
3.
Ritual
dances
OCCUPATIONAL
DANCES
They are associated with or staged or reflect different aspects of Nigerian
professions, such as hunting, divination, fishing, farming etc.
SOCIAL
DANCES
This include those staged for social occasions such as wedding, title taking,
etc.
RITUAL
DANCES
This include sango dances, new yam dances, masquerade dances, etc.
THE
STRUCTURE OF DANCE
Dance has three (3) basic structures. The beginning, the middle and the end.
DANCE
FORMATIONS
There are different mathematical formations, which provide the framework for
the organisation, position, space and movement of the dancers and the music
orchestra or ensemble. These formations are as follows:
a.
Circle
formation
b.
Parallel
lines formation
i.
Double
parallel lines
ii. Triple parallel lines
iii. Quadruple parallel lines
c.
Single
line formation
d.
Semi-circle
formation
COMPONENTS
OF DANCE
Dance contains the following components: Music, drama, costume, language and
mimes. Music is indispensable in dance because the dancer dances to the rhythm
and tempo of music including sudden and planned musical variations.
Drama is used in the form of acting or behaviour or farmers during planting and
harvesting activity, paddling a canoe as in EGWU-AMALA of women dancers in
Delta State, and in cante dancers of the Efik, Ijaw and Ibibio people. Costumes
provides and expressed the external body beauty and gives colour of joy,
sadness, gallantry, war, peace, smartness or worship to the dancers and the
dance depending on the type of social functions and objectives of the dance.
Language is in the form of words and statements in the vocal line including,
commitments, creative speech and recitations associated with a particular. Mime
is in the form of gestures by different patterns of facial expression, arm,
head and eye movement and signs with the intention to analyze some ideas.
ASPECT
OF DANCE
The following are those aspects we considers as we dance.
1.
Awareness
of space; in any dance the spacing of dancers are taken into consideration. The
kind of dance determines the interval between the dancers.
A good dance; leader should space
the dancers, so that they all we be free when dancing and will not hit one
another when displaying a particular skills. Spacing of dancers also helps the
audience to have a free view of the dancers and be able to identify the best
dancer. Also spacing of dancers, gives room for air ventilation. As well as
helping the dancers to be able to breath in fresh air for strength in then
process of doing this act.
2.
Awareness
of time: This is very important to every good dancer. The dancers should be
very sensitive, watchful and vigilant in order to know when to come in with the
dance. It is when the dancers have the awareness of time, that they will know
how many beat to follow and when to stop. They must all stop at the same time
and start together.
3.
Awareness
of weight: When we talk about weight, we mean the weight of every dancer.
Whether they are suffering from obesity or no, it must be considered. This is
because the size or weight of a particular dancer will determine the kind of
dance he or she can participate in e.g. somebody that is suffering from obesity
cannot be chosen for the Esan dance called “Igbabonelimin”. The average people
are mostly chosen.
4.
Body
awareness: This talk about the physical appearance of people that are involved
of an individual will determine what he or she can do better. This is the most
important aspect among the others. For example, the disability of a particular
person will disturb him or her from doing what his or her mates are doing.
1.2
STATEMENT
OF THE PROBLEM
A great number of Africans do not
know much about their cultures. They are being influenced by civilization
today. Africans now sing like the white men and even dance western dances,
neglecting their great cultures. Even in search of books that we can use for
research is very difficult to get. Most authors (Africans) do not write books
on their different cultures any more because of civilization. This is the
reason why there are limited sources of information.
In this study, the researcher
would like to create the awareness in Africans to be proud of their culture and
to protect their culture for identification.
1.3
PURPOSE
OF THE STUDY
The purpose of this study are as
follows:
1.
To create
awareness of the acrobatic dance called “Igbabonelimen” to the public.
2.
To
examine the role of music in Igbabonelimin dance.
3.
To
identify some of the songs used in Igbabonelimin dance and their meanings.
1.4
SIGNIFICANCE
OF THE STUDY
A survey into the problem of
dance with regard to Igbabonelimin. In Esan West local Government of Edo State
is much significant to Esan West (okpebho) but to Nigeria in general. The
importance of carrying out this study is that, at the end, it could serve as a
resource materials to many who want to gain deeper knowledge about the problem
of dance and also the benefit of this measure.
This study will encourage the
people of Esan West and Africans in general to be more interested in dance and
also, to be actively involved. Above all, this piece of work will offer very
useful information on dance, and also act, as a source of information to
Af4ricans and parents, who are keen in studying or understanding more of
African culture or cultural heritage.
1.5
SCOPE OF
STUDY
This study would have covered the
entire Esan part of Edo state. But due to time and finance, the researcher has
decided to restrict her study to Igbabonelimin dance of Okpebho community of
Edo State.
1.6
METHODOLOGY
In carrying out this study,
various research techniques were adopted in the collection of data,. This
section looked at oral inter view, field trip and library research.
ORAL
INTERVIEW
The researcher employed oral interview to ascertain the information portraying
in this study. The researcher visited some communities and villages in Esan
West Local Government.
FIELD
TRIP
For the purpose of this study, the researcher paid visit to four villages in
Esan West Local Government Area. In order for her to watch the Igbabonelimin
dancers as they displayed their skills live in the scene. The villages covered
were; Irrua, Ogwu, Egoro and Ewu.
This helped the researcher to gather more
information for her research work.
LIBRARY
RESEARCH
For the purpose of this study, the researcher made use of some books written by
different authors for research. The research visited different libraries to get
more facts.
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CHAPTER TWO
2.1
LITERATURE
REVIEW
This section reviewed some
selected literature based on the definition of dance. Effective response to
music may be shown outwardly in verbal or physical behaviour. The values of
African societies do not inhibit this. On the contrary, it is encourages, for
through it, individuals relate to musical events or performing groups and
interact socially with others in a musical situation. Moreover, motor responses
intensified one’s enjoyment of music through the feelings of increased
involvement and the propulsion that articulates the beat which physical
movement generates.
The important attached to the
dance does not lie only in the scope it provides for the release of emotion
stimulated by music. The dance can also be used as a social and artistic medium
of communication. It can covey thoughts or matters of personal or social
importance throughout the choice of movements, postures, and facial
expressions. Through the dance, individuals and social groups can show their
reactions to attitudes of hostility or cooperation and friendship held by other
towards them.
Abolagba J. A. (2003) defines
dance as any organized body movement in time and space to express human
feelings, ideas, images, and beauty in relation to a musical performance before
an audience or spectator”. There is difference between music and dance.
Although it is music that leads one to dance. The act of listening to music for
the sake of enjoyment is music, but when one tends to enjoy it further by
moving any part of the body to rhythm with the music is dancing.
J. H. kwabena Nketia (1979)
stress ‘that the basic movements used in traditional dances may be either
simple or somewhat intricate in conception”. The ideal dance of the frafra of
Ghana a relatively slow dance compared with other frafra dances, is made up of
simple movement done in columns. Each dancers wears a set of buzzers on the
right ankle and holds a sword in his right hand”. “as the dancers sing, they
stamp the ground with the right foot on the strong beat of the music and take a
short light step forward on the weak beat. “ the dancers look ahead they do not
dance towards the earth. In contrast with this are the basic movement of the
dances of the Akan of Ghana. Here we have a complex pattern of basic steps
against seemingly independent movement of various parts of the body, which may
be combined simultaneously with hand and leg gestures. While the feet are
moving regularly in duple beats, the body may be tilting side ways in similar
or shorter durational units, with the hands or arms perhaps moving at a
different pace”.
According to Christy Omorogbe
(2005) dance is defined as moving about rhythmically alone or with a partner or
in a set usually in fixed steps or sequence to music. In dancing has existed
either as a recreation or as a religious manifestation, or both the body is
involved in a dance, the like the mind.
According to roger Copeland
(1983) he declared that dance is in general terms, human movement with an
implied purpose such as the communication of an aesthetic or emotional idea,
participation with music, or the achievement of certain mind body states,
sometimes as simple as physical fitness. In this way, dance is contrasted to
utilitarian movement such as walking, hammering, typing, lifting, weight etc.
that has a direct ‘materialistic’ purpose. There are other forms of human
activities that can be classified as not strictly utilitarian, such as
pantomime and sports.
CHAPTER THREE
THE
HISTORY OF OKPEBHO
According to the ministry of information and
culture, it was stressed that, the people of Okpebho, just like their kit and
kin neighbouring agbazile to east, are Esan. They are descendant of Bini
migrants who fled the famous Bini empire at the height of internal disorder
between the 12th and 14th century A. d. as the fleeing
bands moved north east of the empire, they began to settle down in groups in
scattered location, they developed into clans at the head of each of which is
an Onojie: (traditional-ruler). Each clan is organized into villages, which,
themselves are made up of lineages. A group of related families constitutes a
lineage.
Okpebho people are, therefore, Edo by tribe whose language has undergone only
slight medication, over the centuries, to create minor dialectical differences
from, pure Bini language. The close cultural and historical relationships
between the Esan’s and Bini are demonstrably illustrated by the name
“Esangbedo” meaning Esan do no harm.
In Okpebho, members of the communities are functionally stratified into these
broad groups. Social stratification, therefore, allocates a particular
responsibility to a particular group for instance, the (Egbonughele)
environmental sanitation groups, is responsible for keeping the streets and
hamlets clean. This group is made up of male adolescents in the society. People
graduates from this groups into the next which is the (Igene). This sound
group, the active labour force, forms the physical background of the society.
Made up of the adults and stronger male persons, they the “Igene” are quickly
summoned to execute communicable projects including the defence of the
community at wars. The third and final group is the (Edion) senior citizens
groups. There is a limitation apart from being qualified by age, one must have
performed the burial ceremonies of one’s late parents before being accorded an
Odion Status. One of the rites which must be performed by a man is the Iruen
Ceremony.
Iruen which marks the attainment of manhood is a ceremony during which the celebrant
will reap a flamboyantly woven wrapper round his waist. He will then move from
house to house to house and from one village to another announcing his manhood
status to the public and receiving cash gifts from appreciative well-wishers.
At the apex is the Odion who is a single most elderly man in the communities
called the Odionwele who presides. Over all community meetings and carries out
all sacrificial duties.
CULTURE
Okpebho is a land of rich
cultural heritage which can be manifested in various behavioural patterns. For
instance, before the advent of western civilization, the women used to and
still produce woven cloth. A particular type of this is called “Igbulu’ in Esan
language. Rectangle in shape with two opposite fringes terminating in loose threads,
Igbulu is wrapped under and across the right arm pit and folder on the left
shoulder. The Igbulu is the traditional dress of the Esan male adult worn on
occasion like marriages ceremonies, anniversaries of important events,
festivals and courtesy calls on important people.
Igbulu has continued to withstand
the relentless on slaught of modern fabrics from the numerous textile mills
across the country. Today, the kind of gesture and sentimental expression of
goodwill of the people is manifested in the presentation of the Igbulu to
visiting dignitaries as souvenirs. An aspect of the culture of the people of
Okpebho is that which recognizes the conferment of chieftaincy titles on
deserving people. The traditional ruler of the clan is vested with the responsibility
or prerogative of identifying and conferring on such people appropriate
chieftaincy titles as a reward for their contributions to the socio-economic
development of the area.
On such occasions, the recipient,
clad in large white wrappers and bedecked with beads, dancers, in the midst of
members of his family, friends and well-wishers, go to the palace to be
formally invested with the honour. Back at home; he receives guests in
sumptuous entertainment. Conferment of chieftaincy titles on worthy citizens
allows such people to be closer to the traditional rulers. It also confers on
recipient’s privileges and responsibilities. Another manifestation of the
people culture is the presentation of kolanuts at socio-cultural gatherings. At
such gathering summoned to celebrate an even to resolve longstanding disputes
or to deliberate on common issues affecting the people, the presentation of
kolanuts is to involve the gods and spirits of the ancestors to shower the
occasion with abundant successes and blessing.
Another aspect of the people
culture is burial ceremonies of late parents. The people believe that when a
parent dies, he or she remains restless, in the spirit world until the children
here on earth, particularly the eldest male child performs the burial ceremony.
Traditionally, burial ceremony means calling members of the lineage of the
deceased (Egbele) to offer prayer and blessings to the dead in order to find a
restful place in the spirit world. The burial ceremonies of ones late parents
are very expensive.
They are usually occasion, which
involve the slaughtering of animals like cattle’s and goats. Feasting and
lavish entertainment of relations, friends are usually a part of the ceremony
in the community by the children of the deceased is looked upon as disrespect
for the dead. Infact, after a sufficient time-long, if the dead is not properly
and peacefully rested through burial ceremony, the community could attract
sanctions of snub and condescension on the children. And such children can never
assume odion status in the community because the people will not accept their
iruen (manhood) ceremony until they have performed burial ceremony of their
late parent(s).
FESTIVALS
Okpebho is a land of traditional feasts, which are celebrated to commemorate
great historical land marks of the past. By far the most important and widely
celebrated feast in the land is “Ihuan”, the new yam harvest festival. Ihuan is
celebrated clan by clan and in each clan it is held in one village after
another which involved entertainments and event which involves entertainments
and a lot of eating, drinking and general merriment particularly if the harvest
in any particular year is really bountiful. Friends and relations from other
places are welcome to a lavish feasting for three to four days.
Various dances mark the celebration. But the traditional ruler of the clan
would normally signal the commencement of the festivals when he, accompanied by
top traditional chiefs who handle various palace affairs, dances to the shrine
of the particular deity responsible for the rich harvest to offer prayers and
sacrifices to appease it. Such sacred dances by the Onojie are usually
accompanied by [pulsating drumming with a large crowd of people at the
background, all wishing the traditional ruler success (Iyare) as he proceeds to
play homage to the deity.
TRADITIONAL
DANCES
In Okpebho, traditional dances come in various forms. There are for instance,
hunters dance, Iloh, ikhinabogie, Oleke, Asono, Ijeleghe and Igbabonelimin.
Traditionally, the original concept of Igbabonelimin is recreational. In
Okpebho, there is usually one day of the four-day traditional week which is set
aside for resting and pursuit of creative activities. Such a day, called Edeze,
affords an apple opportunity to stape Igbabonelimin in dance before town folks
and villages elders purely for entertainment. The dance has fascinating and
intricate acrobatic stunts and tumbling by which Esan are prominently
identified nation-wide. An exclusive male dance, it is not unusual for the
elderly female to be initiated into the cult. If this happens, the women stay
at the background to participate.
RELIGION
Three types of religious practice are observable in okpebho. These are modern religions
which comprises Christianity and Islamic. The traditional or indigenous
religion is also practices by a large number of people in the area.
Christianity, which made it debut in the area early 19th century, is
now posing a serious challenge to traditional religion. it is very prevalent
among youths and educated adults.
Christianity, which is of various denominations, has been consolidating its
coming of the whitemen. For instance, at Ewu, the cradle of assemblies of god
Church, there is an institute for advanced theological studies. And ironically,
this medium sized northern town of Okpebho, Ewu, happens to harbour one of the
largest concentrations of Moslems in the area. This is because of its
geographical location being very close to Agbede in Etsako, a predominantly
Moslem community. Also at Ekpoma the Catholic Church has a brother Roman
Renewal Central and a branch of saints Peter and Paul major seminary a
preparatory institutions for the training priests. The propagation is marked by
doggedness and unwavering zealotry as pastors and priest penetrates deeply even
into community that are far flung for evangelical mission.
OCCUPATION
The people of okpebho like other communities across the state, are primarily
farmers. They grow such major staple crops as yams, cassava, maize, and
plantain; others include tomatoes, pepper, okro and melon. Fruit crops widely
harvested in the area include kolanuts, pears, bananas pepper fruit and
oranges. Also grown is pineapple. There is extensive cultivation of rice at
Ekpoma and its environs popularly called “Ekpoma rice”, it is very tasty and
harvesting period usually witnessed many traders. From many places particularly
fro Benin and east of the Niger coming to Ekpoma to trade on it. Iruekpen,
another industrious community on the outskirt of Ekpoma town is noted for cocoa
production.
Palm nut harvesting is a major aspect of agriculture in the area. The men
climbs the tall oil palm trees that are part of the luxuriant vegetation of the
area to harvest the palm nuts and the women work on the nuts to produce sweet
red oil. Also in okpebho, modern economic development and the growing
complexity of modern administration have generated some professional
occupations participating in the area of public service and
teaching.
THE
HISTORY OF IGBABONELIMIN DANCE
According to Nosa Omorodion (2008),
“traditionally”, the performance (display) of the Igbabonelimin is in two
stages. The first stage is the introduction of the respective elimin (spirit)
as they enter the arena. This stage is called ‘Oye”. What happens here is that
in a burst of energy the elimin shows themselves by brief acrobatic gestures.
They take turns to form a circle or a semi-circle. Meanwhile the
instrumentalist plays in the background to prompt the performing elimin.
The second stage of the
performance is the proper individual displays of the Igbabonelimin. This is
called “Oyegue’. During the Oyegue the performers display their individual
skills in the spirit of competition. The Igbabonelimin performance does not
consist of acrtobatic alone. It also involves dance and mimicry. The mimicry is
very interesting because of its symbolic illustration. This is the aspect where
the nature of the originators of the performance is revealed. The
Igbabonelimin, here attempts to demonstrate the mannerism of the apes. This
usually stires up so much mirth from the spectators.
In concluding, it is pertinent to
state that every Igbabonelimin assumes a name and a character upon
introduction. Thus, you hear them being referred to as “Aeroplane” “jet” or
some graphic local name. This nomenclature is supposedly consistent with their
assumed performance character.”
THE ROLES
OF IGBABONELIMIN DANCE
According to Sunday Usionbaifo
(2009), he declared that the acrobatic dance known as Igbabonelimin, play
several roles in our present day society. They are as follows:
1.
To
protect out cultural heritage
2.
It is
used to welcome aliens into the land.
3.
It is
used to create awareness to the public.
4.
Igbabonelimin
dance is used for social activities.
5.
Its plays
economic role.
TO PROTECT OUR CULTURAL HERITAGE: The
acrobatic dance popularly known as Igbabonelimin is what the Esan people is
known for. This dance has been I existence for years and it is still existing
today. The Igbabonelimin dance protects the culture from generation to generation.
The Igbabonelimin dance is what Africans recognize the Esan people for,
anywhere they go.
IT IS USED TO WELCOME ALIENS INTO
THE LAND: If the Onojie has a visitor, the Igbabonelimin
dancers will be called upon to display their skills. This act is to welcome the
visitor into the esan land. These dancers most times get support from some
wealthy visitors, after displaying their skills.
IT IS USED TO CREATE AWARENESS TO
THE PUBLIC: Occasionally, the igbabonelimin dancers attend
great occasions to create awareness to the public. They use this medium to
advertise their skills for people to recommend them in any occasion.
IGBABONELIMIN DANCE IS USED FOR
SOCIAL ACTIVITIES: During social activities like marriage ceremonies,
naming ceremonies etc, the Igbabonelimin dancers display their skills to
entertain the audience. In Esan land, no social activity is complete or
interesting without the display of the acrobatic dance popularly known as the
Igbabonelimin.
IT’S PLAYS ECONOMIC ROLE: The
Igbabonelimin dancers that have engaged themselves in this acrobatic dance took
it as a profession to fetch money for their daily living. Although some of them
still engage themselves in other jobs like farming, fishing, etc as another
means of assisting themselves financially. They also travel from one place to
another such as schools, villages and cities to display their skills and they
are being paid.
THE ROLE
OF INSTRUMENTS IN THE DANCE
In any dance, the instruments
stand as a backbone that makes up the dance. The important of instruments used
in Igbabonelimin dance cannot be over emphasized. That is, no Igbabonelimin
dance is displayed without the use of instruments. The use of various
instruments in the dance is to give intro of the dance accompanied with some music
in African rhythm.
Another vital role the instruments plays in the dance, is the beat. The
instruments are used to produce different beats that guides the dancers. The
dancers are not expected to dance outside the rhythm produced with the instruments.
Again, in the dance, the instruments perform the duty of a leader and conductor
to guide the dancers. The various instruments used in the dance are mostly
played by some men and women in the background. But the person who plays the
flute is always a male.
Some of the instruments used in Igbabonelimin dance are;
Flute – Ufiere
Drum – Ekegan
Gong – Agogo
COSTUMES
AND SYMBOLISM
There is no dance that is
performed whether African or western dance without the use of costumes. In the
acrobatic dance known as Igbabonelimin, costumes such as mask and clothes made
of wool are being used in the dance. The dressing code in the dance is quite
different from other acrobatic dances. The costume used in the dance is for
identification and to promote the culture of Esan land.
SYMBOLISM
The costume used in Igbabonelimin dance symbolizes spirit (elimin). The
costumes these dancers put on make people to recognize them as spirit and not
an ordinary people.
CHAPTER FOUR
THE AGE
LIMIT OF THE DANCERS
Sunday Usiobaifo (2009) declared,
“that the age limit of dancers in Igbabonelimin dance is not specified. But
from a teenager and above, one is qualified to be a dancer of the Igbabonelimin
dance”.
THE DANCE
FORMATION
Sunday Usiobaifo (2009) asserts,
“that the dance formation in Igbabonelimin dance, could either be semi-circle,
or a free one. In the semi-circle formation, the dancers arrange themselves in
a “c” curve shape and the instrumentalists are sitted by the side of the
dancers.
There is no leader in this dance formation. While in the free dance formation,
the dancers are not arranged. Each dancer is free to take any position that is
convenient for him. The instrumentalist still maintain their position at the
background.
THE MODE
OF RECRUITMENT
According to Sunday Usiobaifo
(2009), “the mode of recruitment is very easy. The criteria for the recruitment
are:
1.
The
individual must be an indigene of that land.
2.
You must
understand Esan Language and be able to speak clearly.
3.
Physical
fitness also matters.
4.
Education
is not a barrier.
5.
Complexion
is not a barrier.
6.
Dwarf
people are not qualified into the dance
A person who has the following
criteria is already qualified to be a member of the dance. The qualified person
immediately, starts to undergo some training and he is being taught all the
songs used in the dance by the leader of dance. The qualified dancer does not
display his skills immediately, its takes a gradual process. On several
occasions the leader of the dance will have to test his ability to see if he is
capable of displaying his skills. If he is capable, then he is allowed into the
scene to display his skill.
SOME OF
THE SONGS USED IN THE DANCE AND THEIR MEANINGS
OBHEN LOLO
Obhen lolo dughu ghe
Any person with eyes come and
see
jetin nojie alimindughere
Jet the king of masquerade is out
obhen lolo
Is good for our look.
ONONBHEN IGHO
Ononbhen igho
If you do not have money to spray
Quani keke ewa
Look under your bed.
NO WE REGBE MEN.
No we regbe men
Instead of problem to kill me
Ogbor obadan noghele
Let it kill the centre tree of the community.
PLATE 1
A CROSS SECTION OF THE IGBABONELIMIN
GROUP WITH SOME OF THEIR INSTRUMENTS
PLATE II
A PHOTOGRAPH SHOWING THE IGBABONELIMIN DANCER
ON DISPLAY
CHAPTER FIVE
CONCLUSION, RECOMMENDATIONS,
DEFINITION OF TERMS AND BIBLIOGRAPHY
SUMMARY
The indigenous dance traditions of the okpebho’s are practiced by the
societies. They observed their own dancer, norms and do not have to enter into
agreement with others into in turning systems or any aspect of dance practice.
Dance is organized as a concurrent activity in the variety of settings in which
social events takes place. It may be performed for sheer fun of it, or for the
message that is communicates and interaction, sharing of community sentiments,
or the tribute to an individual or offering scarifies to their gods.
The performance group may be spontaneous or organized, as a concurrent activity
in the variety of settings in which social events takes place. It may be
performed for sheet fun of it, or for the message that it communicates and
interaction, sharing of community sentiments, or the tribute to an individual
or offering sacrifices to their gods.
The performance group may be spontaneous or organized, consisting of people of
either the same age, sex, occupation or other social dance, group, or religious
association from their own dance. The musical instruments found throughout
Okopebho are numerous but I restricted my self to few ones with the few major
classes, and they are commonly found among the Okpebho’s most especially that
of the Aerophon, Idiophones, chordophone and membranophone, which are widely
used among the people, e.g. maracas (Okese), Idiophone,
Animal’s horn (Ubu) Aerophone band (Ekanga) membranophone, musical bow (otagba)
chordophone.
Traditional dance is valuable, been that culture is the total way of life of
the people. Again one should adequately take care so that ones traditional
dance is not wiped out totally with the influence of western dance; because
where institutions and associations cease to be active, their dance and
ceremonies ceases to be performed and continue to live only in memory of those
who use to practice it.
CONCLUSION
AND RECOMMENDATION
From the answer given during the interviews, it can be deduced that only few
old or young ones know much about their culture.
Inspite of western civilization and western forces and forms of acculturation,
there is still a continuity of African cultural heritage that has been passed
on from generation to generation by our fore fathers. This is clearly shown or
is manifested in various ceremonial occasion which is celebrated in almost all
parts of the continent, such occasions like festival, naming ceremonies, birth
and puberty rites, funerals celebration and entertainment, exercise and so on.
All these occasions for traditional dance are not left out.
1.
The
significance of our folk songs in promotion of our culture cannot be
overemphasized. I recommend that, the government should encourage the youth as
much as possible by financing them to enable them have enough training that
will acquaint themselves with their cultural values that will soon go in
extinction if not properly handled.
2.
It is
therefore, good that the teachers and the curriculum planners make it possible
for the young ones to have some knowledge about their traditions.
3.
Traditional
dance should not be left out, so that all the folk songs from our rich culture
will be documented so that it will be useful for posterity and future research.
DEFINITION
OF TERMS
Norms:
Standards of behaviour that are typical of or accepted with in a particular
group of society.
Alien:
Somebody from another country or society.
Clan: A group
of families who are related to each other.
Lineage; The series of families that somebody is descended from.
Lineage; The series of families that somebody is descended from.
Kit: A set
of tools or equipment that you use for a particular activity.
Kin: Your
families or your relatives.
Migrant: A
person who moves one place to another, especially in order to find work.
Empire: A group
of countries or states that are controlled by one ruler or government.
Dialectic: The way
in which two aspect of a situation affect each other.
Backbone: The
most important part of a system, an organizing, that gives it support and
strength.
HAMLET: A Very
small village
Stratification: The
division of something into different layers or group attached to the edge of
something to decorate it.
Heritage: The
history, tradition and qualities that a country or society has had for many
years and that are considered an important part of its character.
Fabric:
Materials made by weaving wool, cotton, silk, etc used for making clothes.
Relentless: Not
stopping or getting less strong.
REFERENCES
Abolagba,
J. A. et al (2003): A New Approach to the Study of Music, Nigeria: Joint
Heirs Publications.
Innocent,
I. A. (2006); Basic music Studies. Nigeria: Akioya ventures.
Nketia, J. K.H (1979);
the music of Africa, London: Victor Gollancz Limited.
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