THE USE OF DIALOGUE; SPOKEN AND UNSPOKEN IN DANCE, A STUDY OF BENIN TRADITIONAL DANCES
THE USE OF DIALOGUE; SPOKEN AND UNSPOKEN IN DANCE, A STUDY OF BENIN TRADITIONAL DANCES
ABSTRACT
The study is an appraisal of the use of dialogue; spoken and unspoken in dance, a study of benin traditional dances.This study examines the Oba of Benin Royal Ugie ceremonies, which is an annual religious and cultural event celebrated by the Benin speaking people of Edo State, Nigeria. As a communal and spiritual activity, the Oba and people of Benin kingdom mark the Ugie festivals with Musical and dance performances. Within this context, the study adopts the historical and participant approaches as its method of contending that some events during the Oba of Benin Royal Ugie festival ceremonies are colorful theatrical performances.
The organizational structure of the Oba of Benin Palace as it relates to the observance of Ugie festival ceremonies is also discussed in this research. This study also examines the role Ewini music plays in the various Oba of Benin Royal Ugie festival ceremonies, thereby looking at its origin, socio-cultural context, formation procedure, instrumentation, and organizational set-up.
This research also recommends different ways in which music practitioner can benefit by applying a theatrical approach to the study of these royal Ugie ceremonies and its music and also the ability of the festival ceremonies to continue to act as an instrument of stability and unity for the people of Benin kingdom, by bringing people from different walks of life together during the performance at Ugie ceremonies.
In concluding, the fifth chapter pieces together the musical implications of these elements and how they could be useful to the music practitioners, their advantages and inter-dependability on one another (Music and Ugie). Furthermore, this research recommends the different ways in which music and its practitioner can benefit by applying a theatrical approach to the study of these royal Ugie (festivals) and also the ability of the Ugie to continue to act as an instrument or agent of stability and unity for the people of Edo State, Nigeria, by bringing people from different walks of life together during the performance at Ugie ceremonies.
CHAPTER ONE
INTRODUCTION
Dance is a performing art form consisting of sequences of movement, either improvised or purposefully selected. This movement has aesthetic and often symbolic value.[nb 1] Dance can be categorized and described by its choreography, by its repertoire of movements, or by its historical period or place of origin.[4] Mackrell (2019) defined dance as the movement of the body in a rhythmic way, usually to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself. He stated further that dance is a powerful impulse channeled by skillful performers into something that becomes intensely expressive and that may delight spectators who feel no wish to dance themselves. Fraleigh (1987) described dance as a performance art form in which the basic tool is the body and the body‟s purposefully selected movement in an intentionally rhythmical and culturally pattern with an aesthetic value and symbolic potential. Midelfort (2004) sees it as one of the essential forms of human‟s expression and communication. An important distinction is to be drawn between the contexts of theatrical and participatory dance,[5] although these two categories are not always completely separate; both may have special functions, whether social, ceremonial, competitive, erotic, martial, or sacred/liturgical. Other forms of human movement are sometimes said to have a dance-like quality, including martial arts, gymnastics, cheerleading, figure skating, synchronized swimming, marching bands, and many other forms of athletics.
Music and dance, as we have so far treated, is an expression of the inner state of the African, which plays a cathartic role at important time of his religious life. Dancing as a means of artistic expression in the religion circle has helped the African in sustaining their beliefs and control of the society. Dance in African ceremonies offer occasions, which serve to consolidate the individual as a member of a community by identifying his place in the universe in relation to the supernatural, the living and the dead. Through the insistent – repetition of persuasive and kinetic rhythm, their experience becomes rooted in his personality. Music and dance, which in the African societies unites body, mind and emotion in expressive action based on repetitive rhythm, is essentially a ritualistic activity and an integral element of all religious ceremonies. The study is the use of dialogue; spoken and unspoken in dance, a study of benin traditional dances.
Every community has its own cultural norms and values that are imbedded in its beliefs. Within each culture lies a set of values and norms that are ingrained and inculcated as religious acts through which particular people attempt to relate to the Supreme Being. Benins are no exceptions in that they have within their culture and customs rich festivals that make them quite an interesting cultural group. One such ceremony that has remained with them for quite some time is the Oba of Benin Royal Ugie festivals that have continued to be a phenomenon and experience where traditional beliefs are at play and have withstood the test of time.
The various Ugie ceremonies commemorated by the Benin people sees the blending and marrying of the traditional religion and significant cultural practices in an attempt to relate these to the distant ancestral being; the ancestors though so distant, yet ever present in this life, are recognized as the sustainers of all things. There is no doubt that the religious functions attributed to the Ugie Igue-Oba festival itself are quite inspirational to the adherents as well as enriching as humanity attempts to relate to the divine being using the human’s cosmological experiences. Festivals are common features in world religions and cultures. They are occasions for commemorating certain events which are of vital importance to the celebrating community. Benins religiously observe the Ugie festival ceremonies as part of the physical attempt to communicate to their ancestors seeking for blessings, good health and prosperity. Benin people should not be disregarded for their own attempt to relate to god through the various Ugie festival rituals. Rather such festival as part of ancestral veneration is in itself central to their life and worldview that will go a long way in enriching the discourse of African traditional festivals.
Festivals in general are joyous occasions celebrated with specific aim or aims in view and, as such, they have beliefs attached to them. In African festivals and their celebrations, the connection between sacred symbols of culture, myths and ritual are put into practical expression. Some festivals occur at specific periods and follow certain calendar of event. Rites and rituals of festivals are expressions of the people’s deep religiosity which is culturally transmitted in the process of celebrating festivals.
Ugie festival is important in the life of the Oba and the people of Benin kingdom, the Oba’s continued health and prosperity as well as that of the people, which are firmly enshrined and founded on the various Ugie sacred ceremony and rituals. The focus of the Ugie feast is entrenched in the core foundation of ancestral reverence that can be best described as the religious life of the Benin people.
Ugie is a general term in Benin kingdom for royal or palace ceremonies or festivals. At the end of each year the Oba (king) of the Benin kingdom celebrates Ugie festivals in accordance with the Benin custom. As a religious and cultural festival, it is celebrated with pomp and grandeur; it marks the end of the Benin year and ushers in a new year with renewed hope for peace and prosperity.
Of all the important royal Ugie ceremonies, the Igue-Oba ceremony is not only considered as the most acclaimed. It is one singular event that creates a general sense of participation for all Edo people. The Igue-Oba activities do not only involve members of the palace societies, but also the whole Benin community.
Ugie festival ceremonies are characterized by ritual activities performed at some shrines in the Oba’s palace. It is part of an old ceremony that Benin people find to be refreshing and deeply fulfilling to those who take part in the ceremony. Various artistic performances during the ceremony show that the Benins have relatively kept their past in terms of dancing the traditional dance steps, singing of Ewini music during Ugie festivals and performances of the rituals. While there are individual performances, much of the performances are of group nature.
Music is an essential ingredient in African traditional festivals. Music and dance are basic in Africa traditional festivals; a festival without music and dance is not complete because they are part of the daily living of the African.
Music, dance and rituals form very vital part of the Ugie festivals. It was also instituted for the offering of thanks annually to the gods for sparing the lives of the people of Benin kingdom, and also to ask for blessings; it was also the period for traditional offerings at some shrines in the Oba’s palace. Ugie festival has its own special songs that are only sung in honour of the events and cannot be repeated elsewhere for other festivals or ceremonies.
During Ugie festivals, dance is performed by all important chiefs. Ugie dance is a ceremonial palace dance performed during the annual festivals in honour of the Oba. It is also an ancient dance by chiefs who perform sacrificial and priestly functions in the shrines at the end of a successful year while soliciting for a happy new year. The Ugie dance is a definite dance style that is performed at Ugie festival ceremonies.
1.1 Statement of the Problem
The problem confronting the study is the use of dialogue; spoken and unspoken in dance, a study of benin traditional dances Over the years the studies on Igue festival have not been in-depth. This study takes a critical look at totality of Ugie ceremonies from the very beginning to the end, and also points out the stabilizing and unifying effects of the royal Ugie festival on the people and society. It will also give writers and scholars the opportunity of knowing the beneficial elements in the Oba of Benin royal annual Ugie festivals.
1.2 Objectives of the study
The main objective of the study is to appraise the use of dialogue; spoken and unspoken in dance, a study of benin traditional dances. The specific objective include
A determination of the nature of dance and traditional dance
- A detailed study on the role and place of Ugie music in defining the socio-cultural, entertainment and religious meanings among Benin
- A probe into the various Ugie ceremonies of the Royal court of Benin, to educate people that the Igue is not celebrated without the other Ugie And also to educate people and the society on how the Ugie in the Royal court is celebrated.
- Documentation of the various Ugie festival ceremonies in Benin kingdom Edo State, Nigeria, thereby contributing to the growing knowledge of festivals in Nigeria, Africa and the world.
1.3 Scope of the study
This study appraise the use of dialogue; spoken and unspoken in dance, a study of benin traditional dances. It studies the Ugie music, dance, costumes and some other factors, which inform the structure and nature of the Ugie. The research will be limited to the Benin community and the Oba’s palace in Benin City, Edo State Nigeria.
1.4 Significance of the study
The study shall be of immense benefit to the society as means of etermining the use of dialogue; spoken and unspoken in dance. It shall further be immense benefit to the benin people in expressing benin traditional dances.
The necessity for this work is to research the structure of Ugie in the royal court of Benin. The study will help to create a clearer picture on the role of music and dance in the Oba of Benin annual Ugie festival and also serve as basis for further research.
1.5 Research question
The primary research question, around which this study revolves, asks.
What is the nature of dance and african traditional dance
What is the nature of benin traditional dances.
- Is music an important element in the observance of the Oba of Benin Royal Ugie festivals?
In an attempt to answer the primary question, the secondary questions address:
- What are the various social, political, religious and economic constituents of Ugie festival?
What role do the various palace societies play during the observance of Ugie festivals?
- What role does Ewini music play in Ugie festival?
- Can Igue festival be observed without the various Ugie ceremonies?
1.6 Research Methodology
This research was predominantly qualitative. Neuman (1997:419) maintains that, the difference between quantitative and qualitative research is that while the former deals with numbers, for the latter, data are in form of text, written words, describing or representing people’s behaviours and events in societal life. While Patton (2002:161) states that, qualitative research is appropriate because it has the ability to assess programs implementation. In addition to this, Leedy (2005:135) regard the qualitative approach as a valuable tool to evaluate and provide means through which a researcher can appraise the effectiveness of particular policies, practices or innovations. Carole and Chris (2005:109) assert that, qualitative approach is a text-based or non-mathematical analysis and interpretation of information. This approach aims to identify the who, what, when, why, and how of certain phenomena
1.7 Data Collection
In this study, data was collected through
- Personal involvement and experience. The researcher carried out intensive investigation into the Benin palace, (physical) structure of the palace, and the different palace associations and their functions. The researcher also used participant observation method to run a documentary on Ugie festival, and analytically looking at the music, dance, costumes, instruments and the general events of Ugie annual festival, and also made use of data such as recorded tapes and books on the Ugie
- Oral interviews were conducted amongst some members of the society directly involved by virtue of their officiating capacities in the Ugie According to Nagy and Biber (2005:119) this research approach has got the advantage of being a dialogue between the researcher and the respondent. It also allows the latter to express his views freely.
1.8 Review of Related Literature
Music in traditional community is an integral part of life in the African society. Blacking (1977) contends that, music confirms what is already present in the society and culture, adds nothing new except patterns of sound. Similarly music in Ugie festivals expresses the norms and values of the Benin people.
Music in an African society is an aspect of human behaviour; in the same way that music in Ugie festivals is used as a medium to inform and to educate the people of Benin kingdom. Okafor (2004) observes that the effect of music is the most important feature and the very reason for its existence.
Nketia (1975) argues that music making has relationship with the aims and purposes of specific social events and to the needs of performances. Music in Ugie annual festival of Benin is used to communicate message to people, and the music is also used to appease the gods of the land. In this regard, the music of Ugie annual festival does not act as an avenue for the release of emotion only but, it is also a means of communication to the people of Benin. Miller (1964) says that music probably metamorphosed from primitive modes of communication. Those modes include the use of traditional drums or similar objects, calls or howls, among others. The use of some musical instruments such as talking drums and metal bells by town criers is still evident in some rural communities in Nigeria in particular.
Fortes (1973:89) states that, “From whatever angle music is viewed, it is only embedded in the matrix of the culture and thus, shares the general trends which the general culture development follows.” This attests to the fact that music is part of culture, and that any change in the culture affects it. Changes in some aspects of Benin culture have triggered changes in the Ugie festival music, for instance, some of the phases are no longer performed according to traditional customs due to western influences.
Music is an ever-present phenomenon in any given festival, and it plays a number of roles in the celebration of Ugie royal festivals of the people of Benin kingdom in Edo State, Nigeria. Taiwo (1985), in this regard tells us that through the rendering of songs during festival, people demonstrate their honour and commitment to the object of worship or reverence. Music embodies all levels of meaning (manifest or latent) that a community desires to convey in performance contexts. In light of this James (1992:15) maintains that “music-making is such an important part of African social and cultural life that it is performed regularly in a wide diversity of social settings, when communities come together, music usually forms an integral part of the activities”.
It is in this regard that Agordoh (2005:49) opine that, festivals in Africa are nearly always great occasions for music-making as well as occasions for public re-enactment of beliefs and values on which the solidarity of the state depends. Generally, Igue-Oba festival is characterized by music and dances. Music is provided with such traditional instruments like the Emma-drums, Ukhuse-maracas, Egogo-gong, native flutes and the elephant tusks.
Omojola (1999) elaborates on the meaning of Nigerian music as follows: social meaning can be communicated when structural elements [rhythm, melody, harmony, texture, etc] are interpreted within social situations in which they are performed. Even when not performed within specific social situations, musical performance in Ugie royal festival of Oba of Benin arouses feelings and reinforces social values usually associated with the contexts of their performance. There are various music types that are performed during Ugie ceremonies, but Ewini music is held to due to its sacred nature in the ritual proceedings.
The performance of Ewini music is one of the elements people look out for in the celebration of Ugie festivals. This is because it helps the people to get into the mood and character of the festival, and to be able to participate actively. According with Benin custom, Ewini music is reserved for solemn and important rites during Ugie festival ceremonies.
According to Merriam (1980:227) music “provides a rallying around which the members of a society gather to engage in activities which require the cooperation and coordination of the group.” Ugie festival is one of the platforms that encourage collective involvement of people from different walks of life to come together to perform Ugie music and dance. Concurring with this sentiment, Nzewi (1991:88) asserts that, “the activities of a festival regenerate a society’s consciousness of their socio-political unity through their commitment to enhancing the success of the festival”.
Merriam (1980) states further that in such events music performs a number of functions. With particular reference to festivals, the functions include, but are not limited to; 1.provide aesthetic enjoyment.
- Providing asthetic enjoyment
- Communicating feelings, attitudes, etc
- Contributing to the continuity and stability of the festival
- Contributing to the integration of the society through collective involvement in the musical performance
- Aiding emotional expression in response to visual, aural, and non-sensory stimuli
- Helping enforce conformity to social norms
- For symbolic representation
- As a means of validating the festivals.
Festivals are sacrosanct activities in the life of a people because of the benefits derivable from their performance and, music contributes in a number of ways towards the attainment of the ideals of a given festivals, just like in Ugie royal festival. Music - vocal, instrumental, or a combination of both - is one of the arts, which is extensively and intensively employed as an integral part of a festival. Nzewi (1980:10) rightly stated that, “music is the prime agency through which the bond between the living and the gods and ancestors is articulated and reaffirmed during and after satisfactory offerings and sacrifices”.
Oyin (1978:4) defines traditional African festival as an indigenous cultural institution, a form of art nurtured on the African soil over the centuries, and which has, therefore, developed distinctive features and whose techniques are totally different from the borrowed form, now practiced by many of our contemporary artists.
One of the conclusions that could be drawn from the definition above is that there are as many varied festivals as there are different African peoples in the different nations that make up the continent. This means that, within a given nation, there are different festivals which are instituted as reflections of the people’s beliefs and traditions. The content of these festivals is primary indigenous, even when there have been some changes due to exposure and adoption/adaptation of external cultural practices. In similar vein, Bebey (1969) asserts that, a real understanding of African cultures demands hours of attention, the will to look and listen carefully, to reject preconceived ideas, and to avoid hasty judgements.
Omoera (2008:114) observed tbat, “all festivals and ceremony anywhere in the world represents the experience of human beings, they are either the experiences of a person, a group of people or nation.” In this regard the series of events during the Oba of Benin Ugie (festival) ceremony could be traced back to the experience of Prince Ogun (later Oba) and his brother Uwafiokun in the forest many years ago.
In Ugie festival, dance is an important element that cannot be ignored. Dance is an expression of emotional feelings of joy, grief, and wonders in the face of the incomprehensible. Dance plays a vital role during the celebrations and ritual proceedings in any African traditional festivals. Abolagba (2003) defines dance as any organized body movement in time and spaces to express human feelings, ideal, images and beauty, in relation to musical performance before an audience or spectators. Judith (1979:26) claims that “dance tends to be a testament of values, beliefs, attitudes, and emotion”.
According to Peggy Harper (1969) dance is an expression of social organization in that it differentiates and defines the roles of folks, the sexes and groups within the social order. This can be seen during Ugie ceremonies when different categories of chief come out to perform the Ugie dance according to their chain of command.
It is an astonishing artistic and exploratory experience to see the people of Benin kingdom perform Ugie dance during the Ugie festivals. Their dance steps and gestures are agile, graceful, admirable, and elegant. They are distinguished by unrivalled charisma and harmony especially with regard to movements in both upper body, arms and legs. The dance steps are coordinated and integrated art of movement controlled by the rhythm of music (Ugie festival music). The Ugie festival dance tends to express values of Benin traditions. Adesin Adegbite (2010) asserts that, dance (in festivals) plays a significant role in the life of the people. For instance, it creates an avenue for communication between the audience and the performers (participants).
The Ugie festival dance is a traditional Benin dance which is performed only at Ugie. The Ugie festival dance is observed to add colour to the occasion; this gives the people of Benin opportunity to see the Oba of Benin kingdom and his traditional chief’s dance to Ewini music.
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THE USE OF DIALOGUE; SPOKEN AND UNSPOKEN IN DANCE, A STUDY OF BENIN TRADITIONAL DANCES
THE USE OF DIALOGUE; SPOKEN AND UNSPOKEN IN DANCE, A STUDY OF BENIN TRADITIONAL DANCES
ABSTRACT
The study is an appraisal of the use of dialogue; spoken and unspoken in dance, a study of benin traditional dances.This study examines the Oba of Benin Royal Ugie ceremonies, which is an annual religious and cultural event celebrated by the Benin speaking people of Edo State, Nigeria. As a communal and spiritual activity, the Oba and people of Benin kingdom mark the Ugie festivals with Musical and dance performances. Within this context, the study adopts the historical and participant approaches as its method of contending that some events during the Oba of Benin Royal Ugie festival ceremonies are colorful theatrical performances.
The organizational structure of the Oba of Benin Palace as it relates to the observance of Ugie festival ceremonies is also discussed in this research. This study also examines the role Ewini music plays in the various Oba of Benin Royal Ugie festival ceremonies, thereby looking at its origin, socio-cultural context, formation procedure, instrumentation, and organizational set-up.
This research also recommends different ways in which music practitioner can benefit by applying a theatrical approach to the study of these royal Ugie ceremonies and its music and also the ability of the festival ceremonies to continue to act as an instrument of stability and unity for the people of Benin kingdom, by bringing people from different walks of life together during the performance at Ugie ceremonies.
In concluding, the fifth chapter pieces together the musical implications of these elements and how they could be useful to the music practitioners, their advantages and inter-dependability on one another (Music and Ugie). Furthermore, this research recommends the different ways in which music and its practitioner can benefit by applying a theatrical approach to the study of these royal Ugie (festivals) and also the ability of the Ugie to continue to act as an instrument or agent of stability and unity for the people of Edo State, Nigeria, by bringing people from different walks of life together during the performance at Ugie ceremonies.
CHAPTER ONE
INTRODUCTION
Dance is a performing art form consisting of sequences of movement, either improvised or purposefully selected. This movement has aesthetic and often symbolic value.[nb 1] Dance can be categorized and described by its choreography, by its repertoire of movements, or by its historical period or place of origin.[4] Mackrell (2019) defined dance as the movement of the body in a rhythmic way, usually to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself. He stated further that dance is a powerful impulse channeled by skillful performers into something that becomes intensely expressive and that may delight spectators who feel no wish to dance themselves. Fraleigh (1987) described dance as a performance art form in which the basic tool is the body and the body‟s purposefully selected movement in an intentionally rhythmical and culturally pattern with an aesthetic value and symbolic potential. Midelfort (2004) sees it as one of the essential forms of human‟s expression and communication. An important distinction is to be drawn between the contexts of theatrical and participatory dance,[5] although these two categories are not always completely separate; both may have special functions, whether social, ceremonial, competitive, erotic, martial, or sacred/liturgical. Other forms of human movement are sometimes said to have a dance-like quality, including martial arts, gymnastics, cheerleading, figure skating, synchronized swimming, marching bands, and many other forms of athletics.
Music and dance, as we have so far treated, is an expression of the inner state of the African, which plays a cathartic role at important time of his religious life. Dancing as a means of artistic expression in the religion circle has helped the African in sustaining their beliefs and control of the society. Dance in African ceremonies offer occasions, which serve to consolidate the individual as a member of a community by identifying his place in the universe in relation to the supernatural, the living and the dead. Through the insistent – repetition of persuasive and kinetic rhythm, their experience becomes rooted in his personality. Music and dance, which in the African societies unites body, mind and emotion in expressive action based on repetitive rhythm, is essentially a ritualistic activity and an integral element of all religious ceremonies. The study is the use of dialogue; spoken and unspoken in dance, a study of benin traditional dances.
Every community has its own cultural norms and values that are imbedded in its beliefs. Within each culture lies a set of values and norms that are ingrained and inculcated as religious acts through which particular people attempt to relate to the Supreme Being. Benins are no exceptions in that they have within their culture and customs rich festivals that make them quite an interesting cultural group. One such ceremony that has remained with them for quite some time is the Oba of Benin Royal Ugie festivals that have continued to be a phenomenon and experience where traditional beliefs are at play and have withstood the test of time.
The various Ugie ceremonies commemorated by the Benin people sees the blending and marrying of the traditional religion and significant cultural practices in an attempt to relate these to the distant ancestral being; the ancestors though so distant, yet ever present in this life, are recognized as the sustainers of all things. There is no doubt that the religious functions attributed to the Ugie Igue-Oba festival itself are quite inspirational to the adherents as well as enriching as humanity attempts to relate to the divine being using the human’s cosmological experiences. Festivals are common features in world religions and cultures. They are occasions for commemorating certain events which are of vital importance to the celebrating community. Benins religiously observe the Ugie festival ceremonies as part of the physical attempt to communicate to their ancestors seeking for blessings, good health and prosperity. Benin people should not be disregarded for their own attempt to relate to god through the various Ugie festival rituals. Rather such festival as part of ancestral veneration is in itself central to their life and worldview that will go a long way in enriching the discourse of African traditional festivals.
Festivals in general are joyous occasions celebrated with specific aim or aims in view and, as such, they have beliefs attached to them. In African festivals and their celebrations, the connection between sacred symbols of culture, myths and ritual are put into practical expression. Some festivals occur at specific periods and follow certain calendar of event. Rites and rituals of festivals are expressions of the people’s deep religiosity which is culturally transmitted in the process of celebrating festivals.
Ugie festival is important in the life of the Oba and the people of Benin kingdom, the Oba’s continued health and prosperity as well as that of the people, which are firmly enshrined and founded on the various Ugie sacred ceremony and rituals. The focus of the Ugie feast is entrenched in the core foundation of ancestral reverence that can be best described as the religious life of the Benin people.
Ugie is a general term in Benin kingdom for royal or palace ceremonies or festivals. At the end of each year the Oba (king) of the Benin kingdom celebrates Ugie festivals in accordance with the Benin custom. As a religious and cultural festival, it is celebrated with pomp and grandeur; it marks the end of the Benin year and ushers in a new year with renewed hope for peace and prosperity.
Of all the important royal Ugie ceremonies, the Igue-Oba ceremony is not only considered as the most acclaimed. It is one singular event that creates a general sense of participation for all Edo people. The Igue-Oba activities do not only involve members of the palace societies, but also the whole Benin community.
Ugie festival ceremonies are characterized by ritual activities performed at some shrines in the Oba’s palace. It is part of an old ceremony that Benin people find to be refreshing and deeply fulfilling to those who take part in the ceremony. Various artistic performances during the ceremony show that the Benins have relatively kept their past in terms of dancing the traditional dance steps, singing of Ewini music during Ugie festivals and performances of the rituals. While there are individual performances, much of the performances are of group nature.
Music is an essential ingredient in African traditional festivals. Music and dance are basic in Africa traditional festivals; a festival without music and dance is not complete because they are part of the daily living of the African.
Music, dance and rituals form very vital part of the Ugie festivals. It was also instituted for the offering of thanks annually to the gods for sparing the lives of the people of Benin kingdom, and also to ask for blessings; it was also the period for traditional offerings at some shrines in the Oba’s palace. Ugie festival has its own special songs that are only sung in honour of the events and cannot be repeated elsewhere for other festivals or ceremonies.
During Ugie festivals, dance is performed by all important chiefs. Ugie dance is a ceremonial palace dance performed during the annual festivals in honour of the Oba. It is also an ancient dance by chiefs who perform sacrificial and priestly functions in the shrines at the end of a successful year while soliciting for a happy new year. The Ugie dance is a definite dance style that is performed at Ugie festival ceremonies.
1.1 Statement of the Problem
The problem confronting the study is the use of dialogue; spoken and unspoken in dance, a study of benin traditional dances Over the years the studies on Igue festival have not been in-depth. This study takes a critical look at totality of Ugie ceremonies from the very beginning to the end, and also points out the stabilizing and unifying effects of the royal Ugie festival on the people and society. It will also give writers and scholars the opportunity of knowing the beneficial elements in the Oba of Benin royal annual Ugie festivals.
1.2 Objectives of the study
The main objective of the study is to appraise the use of dialogue; spoken and unspoken in dance, a study of benin traditional dances. The specific objective include
A determination of the nature of dance and traditional dance
1.3 Scope of the study
This study appraise the use of dialogue; spoken and unspoken in dance, a study of benin traditional dances. It studies the Ugie music, dance, costumes and some other factors, which inform the structure and nature of the Ugie. The research will be limited to the Benin community and the Oba’s palace in Benin City, Edo State Nigeria.
1.4 Significance of the study
The study shall be of immense benefit to the society as means of etermining the use of dialogue; spoken and unspoken in dance. It shall further be immense benefit to the benin people in expressing benin traditional dances.
The necessity for this work is to research the structure of Ugie in the royal court of Benin. The study will help to create a clearer picture on the role of music and dance in the Oba of Benin annual Ugie festival and also serve as basis for further research.
1.5 Research question
The primary research question, around which this study revolves, asks.
What is the nature of dance and african traditional dance
What is the nature of benin traditional dances.
In an attempt to answer the primary question, the secondary questions address:
What role do the various palace societies play during the observance of Ugie festivals?
1.6 Research Methodology
This research was predominantly qualitative. Neuman (1997:419) maintains that, the difference between quantitative and qualitative research is that while the former deals with numbers, for the latter, data are in form of text, written words, describing or representing people’s behaviours and events in societal life. While Patton (2002:161) states that, qualitative research is appropriate because it has the ability to assess programs implementation. In addition to this, Leedy (2005:135) regard the qualitative approach as a valuable tool to evaluate and provide means through which a researcher can appraise the effectiveness of particular policies, practices or innovations. Carole and Chris (2005:109) assert that, qualitative approach is a text-based or non-mathematical analysis and interpretation of information. This approach aims to identify the who, what, when, why, and how of certain phenomena
1.7 Data Collection
In this study, data was collected through
1.8 Review of Related Literature
Music in traditional community is an integral part of life in the African society. Blacking (1977) contends that, music confirms what is already present in the society and culture, adds nothing new except patterns of sound. Similarly music in Ugie festivals expresses the norms and values of the Benin people.
Music in an African society is an aspect of human behaviour; in the same way that music in Ugie festivals is used as a medium to inform and to educate the people of Benin kingdom. Okafor (2004) observes that the effect of music is the most important feature and the very reason for its existence.
Nketia (1975) argues that music making has relationship with the aims and purposes of specific social events and to the needs of performances. Music in Ugie annual festival of Benin is used to communicate message to people, and the music is also used to appease the gods of the land. In this regard, the music of Ugie annual festival does not act as an avenue for the release of emotion only but, it is also a means of communication to the people of Benin. Miller (1964) says that music probably metamorphosed from primitive modes of communication. Those modes include the use of traditional drums or similar objects, calls or howls, among others. The use of some musical instruments such as talking drums and metal bells by town criers is still evident in some rural communities in Nigeria in particular.
Fortes (1973:89) states that, “From whatever angle music is viewed, it is only embedded in the matrix of the culture and thus, shares the general trends which the general culture development follows.” This attests to the fact that music is part of culture, and that any change in the culture affects it. Changes in some aspects of Benin culture have triggered changes in the Ugie festival music, for instance, some of the phases are no longer performed according to traditional customs due to western influences.
Music is an ever-present phenomenon in any given festival, and it plays a number of roles in the celebration of Ugie royal festivals of the people of Benin kingdom in Edo State, Nigeria. Taiwo (1985), in this regard tells us that through the rendering of songs during festival, people demonstrate their honour and commitment to the object of worship or reverence. Music embodies all levels of meaning (manifest or latent) that a community desires to convey in performance contexts. In light of this James (1992:15) maintains that “music-making is such an important part of African social and cultural life that it is performed regularly in a wide diversity of social settings, when communities come together, music usually forms an integral part of the activities”.
It is in this regard that Agordoh (2005:49) opine that, festivals in Africa are nearly always great occasions for music-making as well as occasions for public re-enactment of beliefs and values on which the solidarity of the state depends. Generally, Igue-Oba festival is characterized by music and dances. Music is provided with such traditional instruments like the Emma-drums, Ukhuse-maracas, Egogo-gong, native flutes and the elephant tusks.
Omojola (1999) elaborates on the meaning of Nigerian music as follows: social meaning can be communicated when structural elements [rhythm, melody, harmony, texture, etc] are interpreted within social situations in which they are performed. Even when not performed within specific social situations, musical performance in Ugie royal festival of Oba of Benin arouses feelings and reinforces social values usually associated with the contexts of their performance. There are various music types that are performed during Ugie ceremonies, but Ewini music is held to due to its sacred nature in the ritual proceedings.
The performance of Ewini music is one of the elements people look out for in the celebration of Ugie festivals. This is because it helps the people to get into the mood and character of the festival, and to be able to participate actively. According with Benin custom, Ewini music is reserved for solemn and important rites during Ugie festival ceremonies.
According to Merriam (1980:227) music “provides a rallying around which the members of a society gather to engage in activities which require the cooperation and coordination of the group.” Ugie festival is one of the platforms that encourage collective involvement of people from different walks of life to come together to perform Ugie music and dance. Concurring with this sentiment, Nzewi (1991:88) asserts that, “the activities of a festival regenerate a society’s consciousness of their socio-political unity through their commitment to enhancing the success of the festival”.
Merriam (1980) states further that in such events music performs a number of functions. With particular reference to festivals, the functions include, but are not limited to; 1.provide aesthetic enjoyment.
Festivals are sacrosanct activities in the life of a people because of the benefits derivable from their performance and, music contributes in a number of ways towards the attainment of the ideals of a given festivals, just like in Ugie royal festival. Music - vocal, instrumental, or a combination of both - is one of the arts, which is extensively and intensively employed as an integral part of a festival. Nzewi (1980:10) rightly stated that, “music is the prime agency through which the bond between the living and the gods and ancestors is articulated and reaffirmed during and after satisfactory offerings and sacrifices”.
Oyin (1978:4) defines traditional African festival as an indigenous cultural institution, a form of art nurtured on the African soil over the centuries, and which has, therefore, developed distinctive features and whose techniques are totally different from the borrowed form, now practiced by many of our contemporary artists.
One of the conclusions that could be drawn from the definition above is that there are as many varied festivals as there are different African peoples in the different nations that make up the continent. This means that, within a given nation, there are different festivals which are instituted as reflections of the people’s beliefs and traditions. The content of these festivals is primary indigenous, even when there have been some changes due to exposure and adoption/adaptation of external cultural practices. In similar vein, Bebey (1969) asserts that, a real understanding of African cultures demands hours of attention, the will to look and listen carefully, to reject preconceived ideas, and to avoid hasty judgements.
Omoera (2008:114) observed tbat, “all festivals and ceremony anywhere in the world represents the experience of human beings, they are either the experiences of a person, a group of people or nation.” In this regard the series of events during the Oba of Benin Ugie (festival) ceremony could be traced back to the experience of Prince Ogun (later Oba) and his brother Uwafiokun in the forest many years ago.
In Ugie festival, dance is an important element that cannot be ignored. Dance is an expression of emotional feelings of joy, grief, and wonders in the face of the incomprehensible. Dance plays a vital role during the celebrations and ritual proceedings in any African traditional festivals. Abolagba (2003) defines dance as any organized body movement in time and spaces to express human feelings, ideal, images and beauty, in relation to musical performance before an audience or spectators. Judith (1979:26) claims that “dance tends to be a testament of values, beliefs, attitudes, and emotion”.
According to Peggy Harper (1969) dance is an expression of social organization in that it differentiates and defines the roles of folks, the sexes and groups within the social order. This can be seen during Ugie ceremonies when different categories of chief come out to perform the Ugie dance according to their chain of command.
It is an astonishing artistic and exploratory experience to see the people of Benin kingdom perform Ugie dance during the Ugie festivals. Their dance steps and gestures are agile, graceful, admirable, and elegant. They are distinguished by unrivalled charisma and harmony especially with regard to movements in both upper body, arms and legs. The dance steps are coordinated and integrated art of movement controlled by the rhythm of music (Ugie festival music). The Ugie festival dance tends to express values of Benin traditions. Adesin Adegbite (2010) asserts that, dance (in festivals) plays a significant role in the life of the people. For instance, it creates an avenue for communication between the audience and the performers (participants).
The Ugie festival dance is a traditional Benin dance which is performed only at Ugie. The Ugie festival dance is observed to add colour to the occasion; this gives the people of Benin opportunity to see the Oba of Benin kingdom and his traditional chief’s dance to Ewini music.
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