THE NIGERIAN DANCE AND THE NATIONAL QUESTION
OJUADE JELEEL OLASUNKANMI
Introduction
The art of dance is said to be “as old as man and his desire to express
himself, to communicate his joys and sorrows, to celebrate and to mourn with the
most immediate instrument: his body” (Sorell 1967:9). It is a universal
phenomenon that serves a vital function in human society in an effort to achieve
social cohesion or togetherness, causing them to feel a deep sense of communion
with one another. As a result, people are liberated from the bonds of individuality
(Lange 1975: 92). Yet, despite its prolificity and wider acceptance, dance in
Nigeria is far from the attainment of a National status.
Therefore in our study, we shall examine with reference to her geographical
location, the nature of Dance in Nigeria viz-a-viz the factors militating against its
national status. We shall also make an attempt to periodise dance activities in
Nigeria. This is an effort to clearly show the differences and area of convergence in
the political content of both periods. Also, we shall briefly highlight the functions
of dance in each afore-mentioned periods with the major problem faced with.
In conclusion, we shall make suggestions and recommendations on methods
to adopt for dance to attain a National status.
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Geographically, Nigeria lies between latitudes 40N and 140N. It is bounded
in the North by the Sahara Desert and in the South by the Gulf of Guinea, an arm
of the Atlantic Ocean. The historical antecedent of the country has recorded many
waves of human movement from across the sahara, which has never been a
complete barrier between the lands lying to the north and south of that great desert.
The role of cultural ties in the inter-territorial movement of peoples is a major
factor which explains a situation in which contacts and movements between the
Hausa of Nigeria and Niger may be greater than contacts between the Hausa of
Nigeria and the Jukun of Nigeria (Udo 1999:10).
However, archaeological evidence from various parts of Nigeria suggest that
parts of the country have been settled by man since the paleolithic or old stone age
period. 1952/53 census revealed that there are more than 200 distinct ethnic groups
in Nigeria,most of whom have distinct customs, traditions and languages. The
dominant groups include the Yoruba (10 Million), Igbo (7 Million), the Hausa (16
Million) and the Fulani (5 Million). Other prominent but less numerous groups
include the Edo, the Ibibio of the Cross River State, the Tiv of the Benue valley,
the Nupe of the middle Niger valley and the Kanuri of the Lake Chad basin. Each
ethnic group occupies a distinct and continuous territory and most of the smaller
groups had very little contact with other groups before the spread of Islam and the
imposition of colonial rule.
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Dance, which is regarded as a major art and an essential element in the
celebration of events connected with every aspect of human life, play a prominent
role. This events ranges from birth of a new baby, growing up and display of last
respect for the dead. Dance then is often spontaneous and can be woven into
ceremonies or made to serve any purpose.
Hence, Geoffrey Gorer (1962: 213) ably observed in his studies of some
ethnic groups in West Africa that;
Africans dance. They dance for joy, and they dance for
grief; they dance for love and they dance for hate; they
dance to bring prosperity and they dance to avert
calamity; they dance for religion and they dance to pass
the time.
This observation simply instruct and inform on people’s life in action especially in
Nigeria. Thus, before a child is brought into this world, the mother feels or
experiences internal movement of the yet to be developed baby. Therefore, the
baby’s arrival into this world elucidates dancing activities of joyful moment. In
order for a child to properly appreciate the cultural significance of dance, he must
have danced by or for himself or other people out of sheer instinct to move his
body to some kind of compelling rhythm. Dance, is like a mirror, through which
people reflects on their past experiences. As functional members of their enabling
society and cultural environment, the people grow up to appreciate the significant
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values which may be attached to different dances of their people in order to
promote their cultural values through art forms.
Nigerian Dance: A Review
Dance is an art form which involves the rhythmic movement of the body to
music especially with a view to expressing an emotion or an idea or to narrate a
story. Thus, Royce (1977: 3) opined that the human body making patterns in time
and space is what makes the dance unique among the arts and perhaps explains its
antiquity and universality.
Therefore, dance in Nigeria has majorly been predicated on performance
theories, which M. Drewal (1991:1) believed raises fundamental issues about body
praxis, human agency, temporality, and discursive knowledge and calls into
question
conventional
understanding
of
tradition,
repetition,
mechanical
reproduction, and ontological definitions of social order and reality. However,
Strine, Long and Hopkins (1989: 183) propounded that performances is a contested
concept, “which indicates that its existence is bound up in disagreement about what
it is, and that disagreement over its essence is itself part of that essence”. In other
words, performance has no precisely agreed upon definition. Rather, it varies in
scope and import from one academic discipline to another and from one
practitioner, or human agent, to another.
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The above assertions clearly illustrates that dance performance in Nigeria is
a primary site for the production of knowledge, where philosophy is enacted and a
means by which people reflect on their current conditions, devine or re-invent
themselves and their social world. It is suffice then to say that the nature of dance
in Nigeria considering the ethnic configuration belongs largely to the category of
ethnic dance, which is popularly known as traditional dance (Harper 1967).
Consequently in Nigeria, the concept of dance, which is an art, a profession and a
discipline, according to Umukoro (2001: 19) “...like theory and praxis, are merely
two sides of the same coin meant to complement, rather than compete with each
other”.
Dance in Nigeria therefore can further be theorized as follows;
(i)
Theory of identification – This is a process involved in the logical level
whereby it involves combing the rural, local areas or the grassroots for
dance performances. Such example is the Ori Olokun’s experience in the
early 70’s in Ile-Ife.
(ii)
Theory of transfer – It involves the efforts of scholars, dance
practitioners, ethnographers, Arts councils in search of dances from their
base or groove for onward transfer to stage performances. Such
experience is what the State Art councils have been doing in organizing
competitions, in order to harvest our super-rich dances.
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(iii)
Unifying theory – This is the attempt at the Federal level, where dancers
from all walks of life are brought together at the National Theatre, this is
to foster national unity, as experienced in the 1980’s till date.
(iv)
While the theory of exposition is an experiment at the National level to
bring together a representative of the country in order to showcase our
dances to the international audience occasionally.
However, our various ethnic dances could be recognized functionally within
a homogenous society as religious ritual, as an expression of social organization,
and as a re-creative process. Invariably dance performances of the above medium
equally entertains, in that it affords delights and create spectacle for the watching
audience.
Religious, ritual, which is one of the major sources of dance in Nigeria,
regulates the relationship between the members of the society and the supernatural
powers which there is strong believe that they are in control of human activities.
Such could be exemplified in the famous Osun Osogbo festival dance, Olojo
festival dance in Ile-Ife, Sango (god of thunder and lightning) worship, Obatala
worship, Egungun (masquerade) festival dance etc. It is a central element in a
ceremony or festival which is an act of worship for the members of a particular
religious cult. The dance is usually performed by the initiates and may include the
leading members of the cult.
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In its function as an expression of social organization, dance safeguards the
traditionally established social and political hierarchy and equally emphasise the
standard of behaviour and instrucks on moral within the society. Such examples
are dances that are purely for the royal personalities, elder dances and age dances.
It is often performed by groups or teams of dancers, which clearly states their
status in the enabling society. It may be a part of a festival performance or simply
for entertainment.
Moreover, re-creative process dances are informally a free for all affair to
the members of a particular community. It could be an expression of talent or
display of expertise. Also, it gives room for improvisation. In order to have an
adequate examination of Nigerian dances, it would be necessary and adequate to
periodise it.
Dance in the pre-colonial period: In this era, there were strong degree of
communal involvement in dance activities. The art of dance permeated all
important events in the society, be it political, religious, social or economical. It
featured prominently to communicate aesthetically, which is the essence of such
occasion or context of performance.
Consequent to the arrival of the Europeans into Nigeria, the ethnic groups
that make up its present political entity lived in relative isolation culturally viewed.
Contact with either the Arabs of the Europeans was rather superficial being limited
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to itinerant Imans, European explorers and through trade exchanges. The cultural
norms of the various groups were hardly understood or appreciated by the
foreigners or non-natives. The traditional dances of our people developed in an
unrestricted manner, because creativity was freely encouraged within the limits of
the norms and conventions of the people.
There were specific dances tailored to specific occasions. Every major stage
of human development such as Birth, growing up and Death had dances which
however were not performed in isolation. The dances were associated with
ceremonies, rites and festivities which characterize such stages. Dance therefore, at
this period can be divided into five main categories (Enem 1975). They are;
(i)
Religious ritual dances – These are essential part of the worship
procedure where it becomes a crucial communication link between God
and man. For instance, the Mai Bori possession dance during the Mai
Bori healing rituals, are regarded as the conclusive evidence that the
chasm of communication between the worshipped and the worshipper
has been bridged. Also, the Abore in Orisa-Nla dance of the Yorubas in
an effort to sacrifice the god of purity, uses dance medium, through his
dexterity to convey the prayers across to the spiritual realm. All these
possession dances are fast and rigorous.
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(ii)
Rite of passage dances – This particular typology functions as a
psychological buffer against the various stresses associated with any state
of change in human development. It serves as a medium of welcoming
and induction of new members into an existing group. Equally, it can be
used to expel the spirit of the departed one and serves as a purifying
factor for the remaining members of the group. In puberty rites, young
men and women are practically groomed through ritual processes for the
responsibilities of adulthood. Such dances are the Nkim Nkat maiden
dance of the Calabar people in Cross River State, and Obitun dance
performance of the Ondo people. In funeral dance, death is no longer
seen as a traumatic, mournful event but accepted as an inevitable rite of
passage and celebrated as a natural phenomenon.
(iii)
Vocational dances – These are forms that test and encourage what in
contemporary times could be classified as pre-requisites and favourable
conditions of service. The famous Boat regattas and water plays of the
Warri people in the riverine and coastal areas reflect the predominant
economic pre-occupation of the society which are fishing and rowing.
(iv)
Recreational dances – Here, both the Age and status are already
established dances which provide diverse forms of entertainments within
the community. These forms are generally derived from the founding
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concepts of each respective group. The age group contemporaries aspire
to communicate through their dances, the vigour and vitality associated
with their age-bracket. Such examples are the Ijeleghe dances performed
by a group of Uromi teenagers in the present Edo State. While Atilogwu
and Mpokiti dances by young Ibo males vividly expresses the discipline
and agility expected of Ibo youngsters. On the other hand, the dignified
mellowness of old age is clearly evident in the slow measured steps of
Ewo dance or Ijo Agba of the Yoruba people with Dundun (hour-glass)
accompaniment.
(v)
Political themes – These are dances that have political undertones, and
are performed mostly by status and age groups. It reflects either the
political or hierarchical order in the society. Members of such constitute
the masses, from where some may graduate to the status group. Such
examples are Obirenjowu dance parade of the people of Ijebu-Ode, and
Tiridada dance of the Hausas.
Meanwhile, the above typologies clearly indicates that Nigerian communities in
the pre-colonial era placed vital emphasis on the employment of the dance art in
order to fulfil the enjoyment of communal patronage.
The colonial experience: From 1898, the British government sought to establish
and maintain a colonial state in Nigeria (Tamuno 1969). The period of European
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contact in dance history in Nigeria marked a reversal, and presented a highly
contrasting situation. The Europeans saw our dances as primitive expressions of
child-like joys or fertility rites, based on the premise that most of the dances were
either religious or cultic oriented. They were quick to recognize the potential threat
that the continued cultural independence posed for them. It thus became paramount
to destroy the indigenous culture of the colonized people and substitute their own.
There were also subtle and coercive attempts made to discredit the religious base
of the people’s culture and render it so impotent.
Thus, the British engaged in campaigns against the peoples of Southern
Nigeria. The Church, which is a powerful ally of the colonial government, and
adequately secured by it, went to great lengths to instigate the people against their
traditionally constituted authority and to forment social trouble. Hence the
missionaries, through churches, were more exposed to the cultural practices of the
people and had opportunity to study them at close quarters. The symbolic dances
were condemned as sexy and sinful, and performers threatened with everlasting
hell-fire.
It was during this period that traditional dances of all kinds started featuring
in the reception of the colonial officers who toured local or state headquarters. In
this context, the dances were hand-picked for performances while they lack
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cultural significance. The people being entertained were hardly aware of their
content or meaning.
The trend of dance performances has continued, being encouraged by our
rulers, since independence in 1960. European dances were being encouraged at all
civilized gatherings – such include European quickstep, Waltz, Tango, Fox-trot
and were equally taught in secondary schools and universities as forms of civilized
dance culture. Whereas, our traditional or ethnic dances were looked upon as
primitive dances.
Present day dance: The fortunes of Dance since independence in 1960 has
drastically deteriorated. The dance culture of people born since then reflects the
dance culture of the European or American rather than that of Nigerian. In the
terrain of education, it has been a mixture of both local and foreign.
Moreover, the government at the local level attempted to ably gather some
ethnic dances of the people. For example, at Ori Olokun in Ile-Ife in the early 70’s
which brought together diverse ethnic groups.
Also, the various states council for Arts and culture also indulged in
exhuming some of these dances. Such example is the Oyo State Arts council in the
80’s under the leadership of Dapo Adelugba. Competitions were organized and
Prizes were given to troupes in order to further encourage the dance art. Invariably
at the National level, there have been several attempts to give dance a national
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status. The National theatre of Nigeria in the 80’s organized national dance
performances either for the President or for a visiting Head of states, or to
commemorate Nigeria’s independence which the writer has been a part on several
occasions.
Occasionally, through the activities of the National Troupe and some
individual practitioners, Nigerian dances have enjoyed being packaged for the
consumption of the international audience, either as a cultural exchange tour or for
academic consumptions.
Observation and Conclusion
With the prevalent situation on the state of the art of dance in Nigeria, we
have observed that Nigerian dance at the beginning had a lively and dynamic
patronage, but the colonial contact with our dances created a set back to the famous
art. Moreover, Government has tried through art festivals to further encourage it, in
order to chart a new course.
Individuals and local communities on their own are carting such courses, but
there is need for serious attention so as to create an avenue for a national
unification of our dances.
Importantly, dance in Nigeria has proved to be a potent art that can liberate
the nation from social, political and economic problems. It has also proved to be
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veritable for commerce. In other words, individuals, groups and musicians have
explored dance as a profession, and used such for commercial purposes. The likes
of King Sunny Ade, Late Fela Anikulapo Kuti, Sikiru Ayinde Barrister, King
Wasiu Ayinde Marshall and others are well known internationally. It has also
proved to be a potent source of education. Dance therefore reflects, teaches and
educate the people morally and psychologically.
Therefore, for an improvement on the present state of Nigerian dance, there
is need for the government to encourage experts by providing equipments for
intensive research and information gathering from the villages, towns, educational
institutions and through government agencies.
Also, government should ensure that culture ministries and parastatals at
both local and state level are manned by professionals.
It would also be gratifying if dance could be introduced to student right from
primary schools levels and form part of their curricular activities, up to university
level.
Finally, our media outfits have important roles to play, in order to expose
our dance culture to people of diverse ethnic background. This would create
avenue for a cross fertilization of dance and inter-ethnic dance performances.
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References
1. Walter Sorell (1967) The Dance Through the Ages. New York: Grosset &
Dunlap,p.9.
2. Roderyk Lange (1975). The Nature of Dance: An Anthropological
Perspective, London: Macdonald & Evans Ltd., p.92.
3. Reuben K.Udo (1999). “Environments and Peoples of Nigeria: A
Geographical Introduction to the History of Nigeria”, in Obaro Ikime (ed)
Groundwork of Nigerian History Ibadan: Heinemann Educational Books
(Nig). Plc. P.10.
4. Geoffrey Gorer (1962). Africa Dances. New York: W.W. Norton &
Company Inc., p.213.
5. Anya Peterson Royce (1977). The Anthropology of Dance. USA: Library of
Congress Cataloguing in Publication Data, p.3.
6. Drewal Margaret Thompson (1991). African Studies Review.Vol. 34, No.3,
p.1.
7. Strine S. Mary, Beverly Whitaker Long, and Mary Francis Hopkins (1989)
“Research in Interpretation and Performance: Trends, Issues, Priorities” in
Speech Communication Association, edited by Gerald M. Phillips and Julia
T. Wood, Carbondale: Southern Illinois University Press, p.181-204.
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8. Harper Peggy (1967) “Dance in a changing Society” in African Arts,
Autumn Vol. No.1.
9. Edith Enem (1975). “Nigerian Dances” in Nigerian Magazines Nos. 115116, 68-115.
10.Tamuno, T.N. (1969). The Evolution of the Nigerian State: The Southern
Phase, 1898-1914, London, 1972. I.E. Nicolson, The Administration of
Nigeria, 1900-1960, Oxford.
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