ORALITY AND THE AESTHETICS OF PERFORMANCE IN EGARA POETRY OF OBIMO

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ORALITY AND THE AESTHETICS OF PERFORMANCE IN EGARA POETRY OF OBIMO

ABSTRACT

This investigation of egara as an oral genre is challenged with the fact that there had not been any previous research on it even at ethnographic level. The researcher is therefore presented with the challenges of field collection of data, transcription of the egara data and then their translation into the English Language and analysis. Because egara is a cultural production, we adopt new historicism for its analysis. The researcher uses judgment sampling design of non-probabilistic sampling technique because the reference subjects will provide the required information for this research process since most of the egara artists are few well-known aged persons. These samples of egara are collected by means of electronic devices such as tape recorders and cameras. In the course of our analysis, we find that egara is an oral performance; that although oral performances are evanescent, they have attributes that identify them as literary in form and content; that  egara has cultural, sociological and aesthetic values; that egara is used to trace relationships as we can see in the egara ọrụ types; that orality is a metaphor for aesthetic sense-making in egara; that many of the things that elicit audience response to egara in the form of ululations, exclamations and audience-participation consist in the paralinguistic elements which can only be realized in the oral form; that aesthetics is subject to cultural interpretation; that egara opens up many paths of thought by means of its anecdotal structure; that from this, it can be inferred, contrary to the belief in certain racial quarters, that Africa has history, religion, science, arts, crafts, literature and others which are as old as human existence.

TABLE OF CONTENTS

TITLE PAGE –         –           –           –           –           –           –           –           –           –           i

APPROVAL PAGE – –           –           –           –           –           –           –           –           –           ii

DEDICATION –         –           –           –           –           –           –           –           –           –           iii

ACKNOWLEDGEMENTS   –           –           –           —          –           –           –           –           iv

TABLE OF CONTENTS       –           –           –           –           –           –           –           –           v

ABSRACT      –           —          –           –           –           –           –           –           –           –           vi                    

CHAPTER ONE: INTRODUCTION –      –           –           –           –           –           –           1

  • Background of the Study –           –           –           –           –           –           –           –           1
  • Statement of the Problem- –           –           –           –           –           –           –           9
  • Objectives of the Study- –           –           –           –           –           –           –           –           9
  • Significance of the Study- –           –           –           –           –           –           –           10
  • Research Questions-        –           –           –           –           –           –           –           –           10
  • Scope of the Study-         –           –           –           –           –           –           –           –           10

CHAPTER TWO: LITERATURE REVIEW-     –           –           –           –           –           11

2.1 Orality and Literacy-        –           –           –           –           –           –           –           –           11

2.2 Aesthetics –           –           –           –           –           –           –           –           –           –           29

2.3 Performance-         –           –           –           –           –           –           –           –           –           42

CHAPTER THREE: THEORETICAL FRAMEWORK AND RESEARCH METHODOLOGY     –            –           –           –           –           –           –           –           –           53

3.1 Theoretical Framework-   –           –           –           –           –           –           –           –           53

3.1.1 Michel Foucault and New Historicism- –           –           –           –           –           –           56

3.1.2 New Historicism and Deconstruction-  –           –           –           –           –           –           58

3.1.3 New Historicism and Cultural Materialism-      –           –           –           –           –           59

3.1.4 Criticisms against New Historicism-     –           –           –           –           –           –           59

3.2 Research Methodology-   –           –           –           –           –           –           –           –           60

3.2.1 Sources of Data –           –           –           –           –           –           –           –           –           61

3.2.2 Population of the Study-            –           –           –           –           –           –           –           61

3.2.3 Sampling Design-          –           –           –           –           –           –           –           –           61

3.2.4 Procedure for Data Collection and Analysis-    –           –           –           –           –           62

3.2.5 Determination of Sampling Size-          –           –           –           –           –           –           62

CHAPTER FOUR: DATA PRESENTATION AND ANALYSIS–         –           –

4.1 Egara Ọrụ  –           –           –           –           –           –           –           –           –           –

4.2 Egara Ọnwụ –        –           –           –           –           –           –           –           –           –

4.3 Egara Ọmaba  –     –           –           –           –           –           –           –           –           –

4.4 Egara Nwa  –         –           –           –           –           –           –           –           –           –

4.5 The ḷgba ḷka Songs –         –           –           –           –           –           –           –           –

CHAPTER FIVE: SUMMARY AND CONCLUSION –              –           –           –

5.1 Summary   –           –           –           –           –           –           –           –           –           –

5.2 Conclusion –          –           –           –           –           –           –           –           –           –

5.2.1 Findings –           –           –           –           –           –           –           –           –           –

5.3 Recommendations –          –           –           –           –           –           –           –           –

Works Cited  –           –           –           –           –           –           –           –           –           –

Appendix

 

ORALITY AND THE AESTHETICS OF PERFORMANCE IN EGARA POETRY OF OBIMO

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