AN APPRAISAL OF FOLKLORIC FORMS IN TIV PLAYS AS INSTRUMENT FOR CULTURAL EDUCATION

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AN APPRAISAL OF FOLKLORIC FORMS IN TIV PLAYS AS INSTRUMENT FOR CULTURAL EDUCATION

Abstract:

The artistic portrayal or representation of folkloric forms into plays ought to reflect the crux of such traditional forms or materials in order to underscore their significance. This research examines the use of folkloric forms in a number of Tiv plays: Iyorwuse Hagher‟s Swem Karagbe (1979), Saint Gbilekaa‟s Prized Chickens are Not Tasty (2002) and Yev Peter Gande‟s The Rebound (2012). The use of Tiv religious myths of Swem (ancestral land), Tsav (Witchcraft), Kor (concoction) and dance festivals through folktale narratives is considered a vehicle of conveying cultural education. The methodology deployed for data collection and analysis for this research is qualitative method, through content analysis of the three plays. With the aid of Sam Ukala‟s “folkism” as the theoretical framework, analysis of data obtained from the three plays is put into proper analytical perspective and context. The research therefore, found that: (a) the three drama texts significantly use folklore as a composite phenomenon. The usage ranges from Tiv religious myths like Swem (ancestral location), Adzov/Mbatarev (non-human spirits), Tsav (witchcraft), Kor (concoction) and dance festival or celebration. The plays also use complementary folkloric forms like connotative names of characters, proverbs, amongst others. The use of oral narratives by the narrators, thereby juxtaposing history and folklore tradition to make statement in the three plays is also another important finding. The use of folklore, allows important themes to be communicated to the audience. Another finding in this regard is the use of linguistic variables in the plays. There are cases of code switching involving English (dominantly used) and the Tiv (minimally used) languages. The research then concluded that folklore is very significant, because it facilitates cultural education. Playwrights who desire to write on folk culture should therefore harness them with genuine adequacy that would translate to cultural education instead of misrepresentation of folkloric forms in a creative piece

AN APPRAISAL OF FOLKLORIC FORMS IN TIV PLAYS AS INSTRUMENT FOR CULTURAL EDUCATION

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