SUSTAINING DANCE AND ITS PERFORMANCE IN THE WESTERN
PART OF NIGERIA
JELEEL OLASUNKANMI OJUADE
PERFORMING ARTS DEPARTMENT,
UNIVERSITY OF ILORIN, ILORIN
Abstract
Despite its global fame, not much attention has been given to the study of Dance,
especially in Africa and indeed Nigeria. This has constituted a setback in the
sustenance and development of our dance performances in Nigeria. Even when
scholars are writing on matters closely related with dance, the latter never receives
the required attention or focus from them, thus culminating in the aforementioned
problem. This paper therefore focuses on the need for the employment of dance
and its performances as potential weapons of development. Our analysis, based on
the historical perspective, reveals that the dance tradition, in its developmental
processes vis-a-vis performances, assumes a graphical progression. We observe
that the current dance trend (Post-modernism) came as a result of the medley of
both traditional and modern idioms, thereby paving the way for a new concept. We
therefore suggest how dance and its performances could be sustained to further aid
our development in Nigeria.
1
Introduction
The historical overview of Africa in general, and Nigeria in particular, will
provide an insight into the nature of dance development and its subsequent
performances. The ‘western’ part, which is the focus of our study, was formally
applied to the entire region in 1939 when the administration of the colony and
protectorate of Southern Nigeria, created in 1906, was re-organized into two main
groups of provinces, with the ‘eastern provinces’ approximating to the areas of the
present-day Rivers, Imo, Anambra and Cross River States.
Thus, the re-organization left seven constituent provinces within the western
part, viz, Colony (Lagos), Abeokuta, Ijebu, Ondo, Benin and Warri (Delta province
in 1952), all of which later became the Western Region of Nigeria by the
constitutional arrangements of 19511. Incidentally, the groupings of this area into
one local government unit could not have been affected due to the pre-existing
network of socio-cultural relationship.
Consequently, the region expanded more or less complex culturally, while
the Yoruba-speaking peoples, who constitute the bulk of the population of the
Lagos, Ogun, Oyo and Ondo States, Cherish claims of important genealogical and
linguistic connections with Edo and Itsekiri people within the western part of the
country2.
2
Dance Development and Its Problems
The global perspective on dance history was captured by Royce3 as being
relatively brief, beginning in the first decade of the eighteenth century and
culminating in mid-century. This period is known as the Age of Enlightenment,
and it was characterized by a propensity for the kind of scholarship that produces
histories among other things. Dance at this period was considered as an integral
part of social life. Dance has been described as an important aspect of African
ritual, addressing metaphysical beings or powers. It is a poetic, non-verbal
expression continually created and re-created by countless performers and
interpreters for several generations4. In its formulations of time, space and
dynamics, dance transmits a people’s philosophy and values; it is though embodied
in human action. Dance, especially in the western part of Nigeria, the focus of our
study, then emanates from the religious/ritual worship or recreational/social
activities. It thus symbolizes the profound truths about the complex human
existence and gives meaning of life. Dancing, thus, is inborn, communal-oriented,
participatory by all and natural.
However, the faces of dance transcend ‘the unborn’, ‘the living’ and ‘the
dead’, as illustrated by Soyinka5. The above allusion shows that a baby dances in
the womb of a pregnant woman while the gestation period takes its course/time.
When the young individual is born alive, the dancing journey continues. The
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association of music and rhythmic movement, for instance, is introduced by the
singing of lullabies as babies are rocked in cradles and arms, and nursery rhymes
involving physical actions and gestures accompanying the baby6. Growing up to
adulthood, the baby naturally, or through learning as part of village life, is exposed
to dancing. On the other hand, as he completes his cycle in life, he dances on to the
grave- the metaphysical. So, the dance phenomenon is cyclic and it is practised by
all. That is why the Africans have continued to express their very being in dances,
which encapsulate their fears, relationships, anxieties, their joys and sorrows, and
their mystery as a people. Thus, at the first encounter with Africans by the Western
explorers, they believe till date that “all Africans portray a deep sense of rhythm”
which could be considered as true.
Therefore in Nigeria, dance is popular, widespread and universal by all,
regardless of age, sex and social status. The dances that we can lay claim to in the
western part of Nigeria can succinctly be viewed from three basic phases of our
development – these are the pre-colonial, the colonial and the post-colonial phases.
Also, dance forms could be classified and analyzed in varying categories – those
that survived and thrived within the communities (traditional) that are raw, those
making waves in the academic environment (modern oriented) and the prototype of
the western world that is in vogue now – the medley of both traditional and
modern, as embraced by our youths of today. Dance as a form of art has suffered a
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lot of persecution in the hands of people generally as observed by Yerima 7, making
reference to Professor Susanne Langer’s observation on the treatment of dance in
Europe and America. However, Nigeria’s situation is a bit worrisome. Professional
dancers and would-be dancers have been relegated to the base of the economic and
social strata. Psychologically, there are stigmas attached to their personalities and
they are labelled with such pejorative names as ‘Alajota’ (one that dances for
economic reasons), Alagbe (a beggar), ‘Alarinjo’ (strolling dancer), ‘Alaini ise’ (a
jobless person), etc. However, such appelations negate the philosophy behind
dance, which takes centre stage on socio-cultural occasions in performances having
to do with individual or group celebrations, i.e. most rites of passage where
individuals move from one status of life to another, such as naming ceremony,
coronation, festivals, feasts, communal purification and cleansing, etc.
Considering the above, dance performance may be regarded as an artistic
expression predicated on movement; it has also been aptly described by Layiwola 8
as a dramatic phenomenon induced by a psychological state. However, it has been
observed that the Nigerian people, and indeed other peoples of Africa, had hitherto
been subjected to slavery and colonialism by the so-called superpowers of the
Northern hemisphere before the new dawn of independence. Thus, our general
psychological state, especially as concerning aspects of our culture has been
distorted.
5
Nigeria got her independence in 1960. For Nigeria and for many countries in
Africa, independence was meant to usher in a new era of economic/social
development. With independence, it was assumed that Nigeria would adopt the
democratic system of governance and take her position in the comity of nations for
positive development and transformation. Unfortunately, shortly after she acquired
her independence, Nigeria was plunged into a civil war resulting from the military
coup in which several civilian leaders lost their lives. The aggregate of our
collective experience has negatively affected our dance culture.
It is against this background that one can perceive the progression of our
dance development in Nigeria, especially in the western part. Because Nigeria (and
indeed many countries in Africa) is now poised for development as a modern
nation, there is adequate need for the sustenance of our dances, lest they become
extinct. As we are rich in oil and mineral resources, so also do we have a potential
market for our dances in the European Union, the western and eastern countries.
The Western Nigerian traditional dances include those performed during
religious/ritual and communal festivals, vocational dances and folk dances. The
Yoruba’s Bàtá, Ijebu’s agemo, Lagos’ eyo, Ondo’s obitun, and the various dances
by the Ijaws, Itsekiris and Egbas, fall into this category. Such dance forms feature
only during Egungun (masquerade) festivals, hunter’s festival celebrations, or the
worship of their gods, i.e. the Sango (god of thunder) festival. Dance exposes
6
people to performances because of its communal nature, for easy participation as
members of the community, whereas, the movement aesthetics is based on the
community’s accepted norms and standard.
Moreover, the social dances change with time, based on the creative ability
of the various music artists. Thus, people do participate in dance as a form of social
relaxation at functions or in their private homes and at times on disco floors. In the
early 1960s, the highlife western twist, dominated the social dance scene in Nigeria
while the 1970s featured the O wa mbe’s and the Apala Syncro system as the main
juju output. Fela Anikulapo-Kuti (now late) and Orlando Julius gave impetus to the
afrobeat dance among the young elite. The 1980s brought in the Talazo, the fuji
raggae, alatika and the famous western break dancing. Meanwhile, our traditional
dances, with their different sources, have remained in their contents and
techniques. Essentially, as one moves from one locale to another in the western
part of Nigeria, the language and custom keep changing and differing. Also, the
existing dances among individuals in different places differ in form, content and
style. This situation thereby gives room for varying techniques in performances.
Moreover, before the arrival of the Europeans or the westerners in Nigeria,
the ethnic groups that make up her present political entity lived in relative isolation
viewed from the cultural perspective. Although there were reported inter-ethnic
trade contacts, the cultural norms of the various groups were hardly understood or
7
appreciated by the others. This made the traditional dances of our people to
flourish and develop in an unrestricted manner. This is largely because creativity
was freely encouraged within the limits of the norms and convention of the people.
There were dances for every major stage of human development as indicated
before – that is, birth, growing up, and death. These dances were always associated
with ceremonies, rites and festivities, which characterize such stages. Some of
these dances were employed to worship the gods or give honour to ancestors, and
there were others, which were adopted for purely social or recreational activities.
One striking feature of the traditional dances of this period was the strong degree
of communal involvement.
Meanwhile, the period of colonialism marked a turning point in the
development of dance in Nigeria. Since the majority of our dances were either
religious or cultic-based, the Europeans that came across them first, saw them as
primitive expressions of child-like joys or fertility and mortuary rites9. But, on
getting closer to feel those dances and their interpretations, they recognized that the
traditional Nigerian dance has an integral socio-cultural unity with other serious
concerns of life, especially the people’s religious beliefs. It actually brought about
subtle and coercive attempts made by them to discredit the religious base of the
people’s culture and render it so impotent that it would never be vital again. Thus,
the British launched serious campaigns against cultural dances in Western Nigeria.
8
Many of our dances were simply tagged as fertility, obscenity, witchcraft or human
sacrifice dance, so as to be easily stamped out of existence.
The history of the destruction/distortion of our dance in Nigeria, especially
in the western part, began with the advent of colonialism as earlier submitted. It
was during this period that our dances of all kinds started featuring in the reception
of colonial officers who toured district or provincial headquarters. The dances
lacked cultural significance in this context, and the people being entertained were
hardly aware of their content or meaning. This horrible experience has continued
till toda, having been encouraged by our rulers since independence in 1960. The
period exposed us to foreign European dances at all formal gatherings, including
state banquets and private parties at the expense of our traditional dances. The
European quick step, waltz, tango, fox trot, and so on, were taught in secondary
schools and universities as forms of civilized dance culture while our traditional
dances, when they had the opportunity of being featured, were looked upon either
with some nostalgia or with outright disdain.
Consequently, the dance culture of Nigerians, especially those who attended
western schools, reflects the dance culture of the Europeans, the Americans or
Latin Americans rather than that of Nigerians. This reality tells a lot about the
developmental processes of dance in Nigeria. For instance, at the entry level of
students in the present writer’s department – Performing Arts Department,
9
University of Ilorin – students find it difficult to mention some of the familiar
surviving dances in their local communities. This is due to the fact that their
orientation is based on foreign, rather than Nigerian norms. There has been a more
or less wholesale attempt by our youth therefore, to perfect and market such
imported music and dance concepts as the rock, raggae, jazz and blues without
thinking of themselves as Nigerians.
Creating a Balance
Within the ambit of the craze of technological development, it has been
discovered that dance in Western Nigeria has been plunged in-between the
traditional and modern idioms. Therefore, concerted efforts have been made by
some individuals, scholars and, of course, our government, due to pressure from
well meaning Nigerians, to bring back the glory of our dances in various ways in
their cultural environments. Notable among such is Adedeji’s10 account on the
activities of the Alarinjo Travelling Theatre, which was in form of masquerade
dance performances with acrobatic dance displays.
Furthermore, the Ori Olokun Dance Theatre at Ife in the early 1970s brought
together various ethnic dances in the western part of Nigeria. It was an avenue that
paved the way for talents to be discovered, and subsequently our dances were
given prominence. In fact, it was the eye-opener for the people, with a
development that later transformed into the formation of state arts councils. The
10
state arts councils were charged with organizing periodic dance/theatre
competitions at the local level on to the state levels. Thus, credit needs to be given
to Professor Dapo Adelugba, who, during his tenure as the Director of the then
Oyo State Council for Arts and Culture, discovered talents in the area of traditional
dance through which this researcher came into the limelight. Dancing at this period
enjoyed the patronage of the second republic politicians too. For instance, the then
civilian governor of Oyo Stagte, who was a lover of the arts, late Chief Bola Ige,
ensured that he had a bit of the dance culture anytime such meetings occurred. Its
sustenance was felt at the federal level, though in the form of entertaining the
Commander-in-Chief of the Armed Forces or the Head of State during important
occasions like the celebration of independence day, children’s day, or to entertain a
visiting head of state.
Moreover, our television stations then actually served as a linkage between
our traditional environment and the people outside such practices. This was in form
of weekly presentation of dances (traditional) in episodes, while the people learnt
more about their treasure – Nigerian dance on screen.
The academic communities were not left out. In fact, apart from the volumes
of plays written by our scholars which were staged with dance occupying or being
their live wires, our strolling dancers and professional artistes contributed a lot to
the development of our dances. For instance, late Chief Hubert Ogunde, late Ishola
11
Ogunshola, late Chief Wale Ogunyemi, Late Funmilayo Ranco, late Chief Oyin
Adejobi, and a host of others, employed dance in the staging of their theatrical
performances.
Incidentally, our great scholars and playwrights such as late Professors Ola
Rotimi and Zulu Sofola, Professors Wole Soyinka, Femi Osofisan, Olu Obafemi,
Shamsudeen Amali and Ezekiel Kofoworola, Dr. Ayo Akinwale, and a host of
others, believe so much in adding dances as ‘tomapeps’ in staging their
productions. Similarly, the role played by the Shuaib Hussein-led executive of the
Guild of Nigerian Dancers (GOND) deserves credit. Their activities, especially on
the annual ‘International Dance Day’, as observed in Nigeria, have contributed
immensely to the development of our dance. Also, the dance performances of Liadi
Adedayo’s Ijodee Dance Group within and outside Nigeria, with the support of the
French Cultural Embassy in Lagos, have created room for the blending of both
traditional with modern forms of dance. The traditional dance performances of the
Lamidi Ayankunle-led Ayanagalu International Dance Group and Fatai Ojuade’s
Bata/Gese Dance Group have a tremendous influence on the people within and
outside Nigeria.
Meanwhile, the National Theatre of Nigeria and the National Troupe have
been at the forefront in the sustenance and development of our dances too, through
periodic theatrical performances. These dances were usually picked from different
12
parts of the country in order to represent Nigeria. The troupe’s repertory consists of
more than thirty choreographed dances and other challenging productions.
Of relevance are the activities of the departments of theatre/drama and
performing arts in Nigerian universities, especially where dance is emphasized,
like the Performing Arts Department of the University of Ilorin. Here, dance has
been the cynosure of our theatrical performances and studies. Dramatic scripts
enjoy lots of choreography, ranging from traditional to modern, and the new
experiment post-modern forms of dances. However, despite the efforts made so far
for the sustenance and development of dance in Western Nigeria, as highlighted
above, there is still an urgent need for its enhanced standardization in order to face
the challenges of the present situation.
Suggestions and Recommendations
It is obvious from our investigations that dance sustenance and development
in Nigeria lies so much in our readiness to accept and project our dances. Also, it
all depends on how ready we are to re-plan, examine the level of development of
our dances, to propagate a virile dance culture in the people and to create
awareness in them about the relevance of their dance.
It is also pertinent to state that dance must be accorded its due place in
national development. There is a proper need for a radical shift in governmental
13
positions on funding of dances and recognition of dancers. For instance, Nigeria as
a country now should be able to own a school of dance, where choreographers,
choreologists and dancers would be trained. It would take care of hiring of experts
when the need for such arises. At present, the experts handling dance activities in
Nigeria are not enough to take up an in-depth research in the area of Nigerian
dances.
Moreover, people should be encouraged to take up studies in the area of
dance art. There is also the need to re-orientate Nigerian people on dance against
the background of the present situation that stigmatizes the art of dancing. It is also
important to re-address dance development and its performances in the Nigerian
polity.
In addition, government needs to help in the provision of fund in order to
educate people through workshops, seminars, practical demonstrations, and so on,
which will be of therapeutic import to the people. Such a step will surely bridge the
gap between ‘town and gown’ and will further project our dances through the
media, both electronic and print. Thus, appropriate funding will also reserve the
inability to view our recorded dances on account of the prevalent obsolete
machines and equipment, ultimately resulting in positively transforming the
fortunes of our dance culture.
14
Conclusion
Our attempt was to historically situate the state of dance in the western part
of Nigeria vis-a-vis its sustenance and development in performances. However, it
is the belief of this writer that a lot is expected to be injected into our dance
activities in order to further aid its upliftment, sustenance and development. This is
indeed paramount and crucial, because Nigerian dances easily find solace in hearts
and are highly appreciated globally, but are suffering from neglect at home. The
thrust of this study has been to review the dance activities in Nigeria and suggest
ways of promoting and enhancing their growth as an integral, functional part of
national development.
Notes
1
.
Burns, A. (1958). History of Nigeria. London: Impression.
2
.
Johnson S. (1921). A History of the Yorubas, Lagos and Lloyd, P.C. (1957).
3
.
The Benin Kingdom and Edo Speaking Peoples of South-Western Nigeria.
London.
4
.
Royce, A.P. (1977). The Anthropology of Dance, Bloomington: Indiana
University Press.
5
.
Ojuade, J.O. (1997). The Secularization of Bàtá Dance in South-Western
Nigeria: A Study of Some Bata Dance and Theatre Groups. (Unpublished)
15
M.A. Dissertation, University of Ibadan, Institute of African Studies, Ibadan,
Nigeria.
6
.
Soyinka, W. (1976). Myth, Literature and the African World, Cambridge:
Cambridge University Press.
7
.
Copeman, C. (2002), Dance as Intangible Heritage; A Paper presented at
the 16th International Congress on Dance Research, Corfu, Greece, October
30- November 3.
8
.
Yerima, A. (2003), Fragmented Thoughts and Specifics: Essays in Dramatic
Literature, Ikeja: Bookplus Nigeria Limited.
9
.
Layiwola, D. (1991). African Notes, Journal of the Institute of African
Studies, University of Ibadan, Ibadan, Nigeria, Vol. XV Nos. 1&2, 19-27.
10
.
Amankulor, J.N. (1977). “The Concept and Practice of Traditional African
Festival Theatre’, (Unpublished) Ph.D. Thesis, University of California, Los
Angeles, pp.93-94.
11
.
Adedeji, J.A. (1978). ‘Travelling Theatre’, in Ogunba O. and A. Irele (eds)
Theatre in Africa, pp.27-51. Reprinted in Ogunbiyi, Yemi (ed) Drama and
Theatre in Africa-A Critical Source Book, Lagos, 1981 pp.221-247.
16
References
Adedeji, J.A. 1978. ‘Travelling Theatre’ in Ogunba O. and Irele A. (ed) Theatre in
Africa pp. 27-51. Reprinted in Ogunbiyi, Yemi (ed) Drama and Theatre in
Africa – A Critical Source Book, Lagos, 1981 pp.221-247.
Amankulor, J.N. 1977. ‘The concept and practice of traditional African festival
theatre’. (Unpublished) Ph.D. Thesis, University of California, Los Angeles
pp.93-94.
Burns, A. 1958. History of Nigeria. London: Impression.
Copeman C. 2002. Dance as intangible Heritage, in Paper presented at the 16th
International Congress on Dance Research, Corfu, Greece, October 30November 3.
John, S. 1921. A History of the Yorubas. Lagos and Lloyd, P.C. (1957). Layiwola,
D. 1991. African Notes. Journal of the institute of African Studies,
University of Ibadan, Ibadan, Nigeria, Vol. XV. Nos 1 &2 19-27.
Ojuade, J.O. 1997. The Secularization of Bata Dance in South-Western Nigeria: A
Study of Some Bata Dance and Theatre Groups (Unpublished) M.A.
Dissertation, University of Ibadan, Institute of African Studies, Ibadan,
Nigeria.
Royce, A.P. 1977. The Anthropology of Dance. Bloomington: Indiana University
Press.
17
Soyinka, W. 1976. Myth, Literature and the African World. Cambridge:
Cambridge, University Press.
The Benin Kingdom and Edo Speaking Peoples of South-western Nigeria. London.
Yerima, A. (2003) Fragmented Thoughts and Specifics: Essays in Dramatic
Literature. Ikeja: Bookplus Nigeria Limited.
18