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THE DRAMATIC DIMENSION OF THE COMMUNAL, ART FORMS OF THE WESTERN IBOS: A CASE STUDY OF THE FESTIVALS OF THE IGBUZO OF BENDEL STATE
ABSTRACT
This thesis examines the dramatic nature of the performing arts of the Igbuzos. This is an area in which no extensive work has been previously carried out, although many exciting theatrical arts existed in Igbuzo. This thesis, therefore, highlights the dramatic traditions of the Igbuzos, and demonstrates their dramatic validity. To say that the field of oral drama in Nigeria is a difficult one is an understatement. It is polemic, and the conflicting views on the subject make it a problematic field of study. The views of some critics, who have European orientation, are that African oral arts are not drama though they might possess some dramatic qualities. However, this thesis examines the dramatic arts of the Igbuzos from the relativist viewpoint that argues that African oral performing traditions are drama because they meet the demands of the theatre. This relativist argument is pursued in this thesis which spans five chapters. In Chapters One and two the socio-political structure of the Igbuzos is examined in order to establish the relationship between art and culture. The establishment of this relationship exposes the function of art in society. It is this function that lends strength to the argument that Igbuzo festivals are drama. Chapter Three discusses the dramatic dimensions of Iwu, Ine and Ulo. Chapter four looks at the dramatic extent of Ogbanje Festival, which is a hypnotic dance drama. The four festivals of the Igbuzos recreate the people’s world view thus providing education and enlightenment. Chapter Five examines the changes that have occurred in the performance of Igbuzo, festivals. It is argued in this chapter that European colonial domination which affected the entire polity of Igbuzo is reflected in the performance of festivals because of the tie that binds art and culture together. Chapter Six concludes this work by summarising the essential findings in this work. In this chapter, it is argued that Igbuzo festivals have many dramatic elements. Because of these dramatic qualities, and because they can satisfy the functions of the theatre, it is argued that they are essentially dramatic.
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