Dramatic Performance as part of the Corpus of Oral Tradition: A Case Study of Dramatic Performances in Arondiizuogu Imo state
Dramatic Performance as part of the Corpus of Oral Tradition: A Case Study of Dramatic Performances in Arondiizuogu, Imo state
CHAPTER ONE
INTRODUCTION
1.1 Background to the study
Dramatic performances in Arondiizuogu, Imo State, trace their origins to ancient storytelling practices deeply embedded in the cultural fabric of the Igbo people. These performances, often referred to as “Igba nkwu” or “Igwa nkwu” in the local dialect, are integral to the community’s social, religious, and ceremonial life (Echeruo,). They serve as communal celebrations, educational tools, and vehicles for the transmission of cultural knowledge from one generation to the next. Rooted in the oral tradition, dramatic performances in Arondiizuogu are characterized by their dynamic blend of music, dance, mime, and dialogue, creating immersive experiences that captivate audiences and evoke a sense of shared identity and belonging (Nwoga, 7).
According to Okoronkwo, (20) Arondizuogu (Aro-ndizuogu) is a town inhabited by the Igbo subgroup of the Aro people in Imo State of Nigeria. The Arondizuogu community is believed to have migrated from Arochukwu in the present Abia State to their current settlements in Imo state, which include the Okigwe, Ideato North and Onuimo local governments. However, others of Aro descent are in other local governments in Imo State.
Arondizuogu is a group of sprawling communities with the largest area in the land obtained from Umualaoma town (formerly Isiokpu). Many believe these lands were obtained through warfare and the open massacre of people from Umualaoma. Most wars were stopped by one powerful, charismatic patriarch of the host community (Isokpu) by the name Ezerioha Udensi of Obiokwara, Obinihu, Umualaoma (Isuokpu). Ezerioha has subsequently organised peaceful allocation or donation of lands by different villages and towns close to Arondizuogu, after discovering that Arondizuogu people could not go back to Aro Chukwu.
Uche Ohia, also added that Arondizuogu was founded by the use of force by Mazi Izuogu Mgbokpo and his brothers (Iheme) in the mid-14th century. Izuogu Mgbokpo was a charismatic slave merchant who came from Arochukwu to Awka in search of slaves. He was usually harbored by a friend from Umualaoma where he slept when searching for slaves and with his goods (slaves). Some of the slaves of Izuogu maintained the name even after they were freed from captivity. Izuogu Mgbokpo had three children and three brothers. The children were Uche (Ndi Uche, whose mother was from Isiekenesii), Awa (Ndiawa) and Amazu (Ndiamazu). The brothers were Imoko (Ndi-imoko), Njoku (Ndi-Njoku) and Akame (Ndi-akaeme).
Others are aborigines such as Ogbuonyeoma, Amankwu, Ekwuru, Iheme was his chief servant and came from Isi-Akpu Nise, in Awka. Iheme and his master Izuogu used all the weapons at their disposal, including the slaves, juju, guns and other equipment to secure slaves, whom they sold to European slave merchants. Arondizuogu people refer to themselves as “Izuogu na Iheme”. Arondizuogu itself signifies “Aro of the people of Izuogu,” in Igbo. In the 19th century, Mazi Okoli Idozuka immigrated from Isi-Akpu Nise to Arondizuogu. As a great slave warrior, he expanded Arondizuogu’s boundaries.
He later changed his name to Okoro Idozuka, an Aro equivalent of his former name. He was a wealthy, ruthless and almost conscienceless slave trader like Izuogu Mgbokpo but was also a great leader. Nwankwo Okoro was the first son of Okoro Idozuka. At the age of 21 he joined his father in the slave trade. By collecting slaves and war captives, he was able to build a huge family. When the British came, they made him a warrant chief because they believed he could subdue anybody and collect taxes from them. To this day, Arondizuogu is the biggest former Aro colony and a land of immigrants settling mainly on the rich land.
Historically, dramatic performances in Arondiizuogu were closely intertwined with the cycles of agricultural activities, seasonal festivals, and rites of passage that punctuated the community’s calendar year (Uchendu, 2). During planting and harvest seasons, for instance, performances would accompany rituals to invoke blessings from ancestral spirits for a bountiful yield and to commemorate the cyclical rhythms of nature (Isichei,). Likewise, during initiation ceremonies, weddings, and funerals, dramatic enactments would serve as ceremonial markers of transition, signifying the passage from one stage of life to another (Okoye, 144).
Dramatic Performance as part of the Corpus of Oral Tradition: A Case Study of Dramatic Performances in Arondiizuogu, Imo state
One of the distinctive features of dramatic performances in Arondiizuogu is the prominent role of masquerades, known locally as “Mmanwu,” which embody ancestral spirits and cultural archetypes (Obiechina,). These masquerades, adorned in elaborate costumes and masks crafted from natural materials, traverse the village streets during festivals, accompanied by music, drumming, and chanting. Each masquerade represents a specific deity, ancestor, or mythical figure, embodying particular traits, powers, and narratives that reflect the community’s cosmology and belief system (Okpewho,).
The performance of masquerades in Arondiizuogu is governed by strict codes of secrecy, initiation, and performance etiquette, passed down through oral tradition and upheld by designated custodians known as “Ndi Nzu.” These custodians, often belonging to hereditary lineage or secret societies, oversee the training, choreography, and execution of masquerade performances, ensuring their authenticity, integrity, and spiritual efficacy (Onwuejeogwu, 58). In addition to masquerades, dramatic performances in Arondiizuogu encompass a wide range of other forms and genres, including ritual dances, historical reenactments, allegorical dramas, and comedic sketches (Ezenwa-Ohaeto, 97).
Each of these forms serves specific social, cultural, or religious functions within the community, reflecting diverse themes, styles, and performance conventions (Iwuchukwu, 25). Despite their deep-rooted cultural significance, dramatic performances in Arondiizuogu have faced numerous challenges in recent years, stemming from processes of urbanization, globalization, and cultural commodification (Chukwuma, 45). The rapid pace of social change, coupled with the allure of modern forms of entertainment, has led to a decline in traditional artistic practices and a loss of interest among younger generations (Urama, 112). As a result, there is a growing concern among cultural stakeholders in Arondiizuogu about the preservation and revitalization of their dramatic heritage for future generations.
In response to these challenges, various initiatives have been undertaken to safeguard and promote the cultural vitality of Arondiizuogu’s dramatic traditions (Okpewho, 23). Cultural festivals, such as the “Iri ji” (New Yam Festival), “Ikeji” (Harvest Festival), and “Ihiti-oha” (Cultural Day), provide platforms for showcasing traditional performances, fostering community pride, and attracting visitors from neighboring regions (Njoku, 78). Likewise, educational programs, heritage tours, and cultural exchanges serve to raise awareness about the importance of preserving intangible cultural heritage and the role of dramatic performance in shaping collective identities (Echeruo,).
Furthermore, collaborations between local artists, scholars, and cultural institutions have led to the documentation, archiving, and digitization of dramatic performances, ensuring their accessibility to future researchers, students, and enthusiasts (Okoye, 147). These efforts not only contribute to the safeguarding of cultural heritage but also create opportunities for innovation, adaptation, and cross-cultural dialogue in the realm of traditional arts (Njoku, 80).
Ikeji cultural festival of Arondizuogu in Imo State is a popular festival performance that brings the Igbo speaking community around the world together. Its origin dates back to over five centuries and it is acclaimed as the biggest pan-Igbo cultural community festival with a strong heritage and international recognition. It is witnessed by thousands of people every year. It is arguably the biggest cultural festival in Igbo-land. In contemporary times, each year has witnessed an increase in grandeur, display, dance, sophistication, and all-inclusive participation of all Arondizuogu people and friends.
The festival is marked with colourful displays of different masquerades, such as Ogionu, Mgbadike, Nwaaburuja and Ozoebune; prestigiously parading across the market square to the public’s admiration. The essence of the festival, which ranks among the best surviving traditional ceremonies of the Arondizuogu people, is to celebrate the harvest of the first yams. It serves to unify and foster ties among Aro people who are spread across the entire Igbo speaking states and part of Cross River state. It appeals to the entire Igbo speaking peoples both at home and in the Diaspora.
According to Chikezie Okoronkwo and Gibson Okoroafor, (8) Ikeji is a four-day festival of propitiation, thanksgiving, and feasting held annually in March or April. Reckoned with the Igbo calendar, these four days correspond to one Igbo week of four market days (Eke, Oye/Orie, Afo and Nkwo). Each of these days has a special significance and represents one of the several dimensions of Ikeji – a festival renowned for sumptuous feasting, fascinating masquerades, pulsating rhythms, and colourful performances. Traditional musical instruments used to accompany the masquerades are ekwe (wooden slit drum) of various sizes, ogene (metal gong), bells, maracas and oja (wooden flutes). The flutist is a very important element in the ikeji festival.
He deftly communicates with the masquerades – weaving soulful melodies and blending esoteric messages into the intoxicating rhythm of the drums. Another interesting aspect of ikeji is the raconteur known as ima mbem – an imaginative tale delivered with a musical cadence that only the initiated can sometimes understand or comprehend. The importance of the flutist during Ikeji festival is very vital, for he communicates things hidden from the ordinary eyes to the masquerades, combined with soulful melodies, steps and gestures, “blending esoteric messages into the intoxicating rhythm of the drums” to the admiration of the crowd.
During Ikeji festival, on the last day, a ram is usually tied to a pole at a popular market square with a single thread. Somebody with the strongest protection from any juju of whatever type is expected to leisurely walk to the ram amid heavy attempts with juju from other people to knock him down, maim him or kill him. Only the brave can participate, while the not-so-brave will either abstain from or remain with the crowd as spectators. Only the brave can stand forward from the crowd, one after another, and approach the tree to untie the ram. However, each contender will be attacked by forces that are beyond the scope of this article to explain to stop him from reaching the ram.
If overwhelmed, he will beat a retreat back to his starting point. Eventually, the bravest among the masquerades participating in the competition for that year’s festival, after overcoming all odds, will reach the ram untie it, and take it, to thunderous applause by the spectators. This will be followed by visits to his house by fellow kinsmen with food and wine to elevate the status of his village. Each year this is used to commemorate the person in Arondizuogu and neighbouring towns with the strongest juju or voodoo power of which Pericoma Okoye won several of these contests. It is on this backdrop that the study examines dramatic performance as part of the corpus of oral tradition: A case study of dramatic performances in Arondiizuogu, Imo state.
Dramatic Performance as part of the Corpus of Oral Tradition: A Case Study of Dramatic Performances in Arondiizuogu, Imo state
1.2 Statement of the problem
The cultural heritage of Arondiizuogu, Imo State, Nigeria, is rich and multifaceted, encompassing a diverse array of traditional artistic practices, rituals, and performances. Among these, dramatic performance holds a central place, serving as a conduit for the transmission of cultural values, historical narratives, and communal identity. However, despite its cultural significance, dramatic performance in Arondiizuogu faces numerous challenges that threaten its vitality and continuity. The encroachment of modernization, globalization, and shifting societal norms poses a threat to traditional artistic practices, as younger generations gravitate towards alternative forms of entertainment and modes of expression.
Furthermore, the erosion of cultural memory and the decline of intergenerational knowledge transfer exacerbate the challenges facing dramatic performance in Arondiizuogu. As older practitioners pass away and traditional modes of apprenticeship and mentorship diminish, there is a risk of losing critical elements of artistic technique, repertoire, and cultural meaning. Additionally, economic pressures, limited institutional support, and insufficient infrastructure for artistic training and production further compound the difficulties faced by practitioners of dramatic performance in Arondiizuogu.
In light of these challenges, there is an urgent need to examine the factors contributing to the decline of dramatic performance in Arondiizuogu and to explore potential strategies for its revitalization and preservation. By addressing these issues, stakeholders can work towards ensuring the continued relevance and vibrancy of dramatic performance as an integral component of Arondiizuogu’s cultural heritage, fostering community pride, social cohesion, and intergenerational continuity.
1.3 Aim & Objectives of the study
The aim of this research is to comprehensively investigate the status, challenges, and prospects of dramatic performance as part of the corpus of oral tradition in Arondiizuogu, Imo State, Nigeria. By examining the cultural, historical, and sociopolitical contexts surrounding dramatic performance in this community, the study seeks to provide insights into its significance, resilience, and potential for revitalization amidst contemporary challenges.
Objectives
- To explore the historical development and cultural significance of dramatic performance in Arondiizuogu
- To identify the challenges facing dramatic performance in Arondiizuogu
- To assess the impact of modernization, globalization, and technological advancements on dramatic performance
- To propose recommendations for the revitalization and preservation of dramatic performance in Arondiizuogu
1.4 Significance of the study
This research holds significant importance for multiple stakeholders, including scholars, cultural practitioners, policymakers, and members of the Arondiizuogu community, for the following reasons:
- Cultural Preservation and Heritage Promotion: By documenting and analyzing the status of dramatic performance in Arondiizuogu, the study contributes to the preservation and promotion of the community’s cultural heritage. Through an in-depth exploration of dramatic traditions, the research helps to safeguard intangible cultural assets, ensuring their transmission to future generations and fostering a sense of pride and identity among community members.
- Academic Scholarship and Knowledge Production: The study fills a gap in academic literature by providing comprehensive insights into the dynamics of dramatic performance within the corpus of oral tradition. By offering empirical data, theoretical frameworks, and methodological approaches, the research enhances scholarly understanding of the intersections between performance, tradition, and community identity in Nigerian society, thereby enriching the broader field of folklore studies, cultural anthropology, and performance studies.
- Community Empowerment and Capacity Building: Through engagement with local stakeholders and collaborative research methodologies, the study empowers members of the Arondiizuogu community to actively participate in the documentation, analysis, and preservation of their cultural heritage. By involving community members in research processes and decision-making, the study fosters a sense of ownership and agency, enabling them to take proactive measures to revitalize and sustain their cultural practices.
- Policy Development and Cultural Revitalization Initiatives: The findings and recommendations of the study provide valuable insights for policymakers, cultural organizations, and development agencies seeking to support initiatives aimed at revitalizing traditional arts and cultural practices. By identifying challenges, best practices, and opportunities for intervention, the research informs the design and implementation of policies, programs, and projects focused on cultural preservation, community development, and heritage tourism in Arondiizuogu and similar contexts.
1.5 Scope of the study
This research focuses specifically on the practice of dramatic performance within the cultural context of Arondiizuogu, Imo State, Nigeria. The study examines a range of dramatic traditions, including masquerades, ritual dances, historical reenactments, and allegorical dramas, that are integral to the community’s oral tradition. While acknowledging the broader diversity of cultural practices within the Igbo cultural landscape, the research primarily centers on the unique expressions of dramatic performance found within the Arondiizuogu community.
The study encompasses a multidisciplinary approach, drawing on methodologies and theoretical frameworks from folklore studies, cultural anthropology, performance studies, and heritage preservation. Through qualitative research methods such as ethnographic fieldwork, participant observation, interviews, and archival analysis, the research seeks to capture the lived experiences, perspectives, and practices of community members involved in dramatic performance.
While the primary focus is on documenting and analyzing the current status of dramatic performance in Arondiizuogu, the study also explores historical roots, socio-cultural dynamics, contemporary challenges, and future prospects of these traditions. Additionally, the research may touch upon broader themes related to cultural identity, social change, globalization, and the intersection of tradition and modernity within Nigerian society.
Dramatic Performance as part of the Corpus of Oral Tradition: A Case Study of Dramatic Performances in Arondiizuogu, Imo state
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