Performance Theory and Literature

The concept of performance borders on the recognition of temporal and spatial significations as they adapt to the event. According to Schechner (1988), temporal organisation in performance is “adapted to event” and this makes it susceptible to variations and creative distortions (13). The most observable temporal variations occur in three major areas: (a) event time, which specifies that activity must obey set sequence such that all the steps of performance must be completed, no matter the length of time made available. An instance is scripted theatrical performances; (b) set time, which specifies arbitrary time pattern imposed on events. All events begin and end at specified time (certain moments), whether they are completed or not. There is an agonistic contest between activity and the clock in this kind of temporal indication; (c) symbolic time, which implies that the span of activity represents another span of clock time. For instance, rituals, theatre, make-believe play and games adopt span of clock time in applying specific duration for their performances.

In the context of spatial organisation, Schechner (1988) avers that performance borders around games, sports, play, theatre and rituals, with each operating within spaces that are uniquely organised to “foster celebratory and ceremonial feelings” (13).

UNIVERSITY OF IBADAN

51

To him therefore, the relationship that exists between games, sports, play, theatre and rituals is determined by the spaces they dominate and the use of rules accepted/expressed by each. Schechner (1988) asserts that these five fields can be sub- grouped into three thus: games and sports; theatre and play; and play and rituals. While play exhibit “free activity” where rules are made by the players and initiators in a pleasure principle of a fantasy world, ritual performances show strictly programmed pattern that express “the individual‟s submission to forces „larger‟ than oneself”

(Schechner, 1988:13-4). Rituals represent one‟s readiness to obey set rules and conventions, whereas games, sports and theatre tend to mediate the extremes of rules.

This means that these three (games, sports and theatre) balance in combining the rules of play and rituals. The concept of rules in performance signifies that rules exist as frames to what must be done and what must not be done. In between the frames, there is freedom that each player/performer must conform to as we have in play. However, there are instances when rules are applied and freedom is exerted, At such instances, some performers, especially in theatre, must adhere to the conventions and physical space, while at the same time, obey the instructions given by the director.

Keir Elam (1980) asserts that the analysis of performance system and codes can be interpreted to mean the organisation of architectural, scenic and interpersonal space.

This extended meaning of performance space is what American anthropologist Edward T. Hall calls proxemics relations (1980: 62). He continues that, “the spatial organisation of the performance venue is a primary influence on the perception and reception the audience” (sic) (cited in Elam, 1980: 56). Elam implies that the space in which performance occurs (venue) influences to a great extent, the way in which the audience perceive and receive the entire communicative activities. In African performances, the naturalness of the theatre promotes closeness, cordiality and confidentiality in both the act and the performer. In the same vein, the natural theatre in which the Ibibio libation is performed and the absence of barrier between the audience and the performer lend credence to the reception of these rites as a communicative process between the people and the deities/goddesses.

Accordingly Erving Goffman‟s (1959: 35-6, cited in Schechner, 1988: 13), enthuses that there is “an expressive rejuvenation and reaffirmation of the moral values of the community” in the natural spaces that performance occur. In the African theatre where proxemics arch is not encouraged, the space of performance promotes social solidarity in the atmosphere of cordiality that exists between the performer and the

UNIVERSITY OF IBADAN

52

audience. Proxemics relations, according to Hall, are “the interpersonal observations and theories of man‟s use of space as a specialized elaboration of culture” (Hall, 1966: 1).

The key features of proxemics are distinguished according to the boundaries between the units. Elam (1980: 62-3) identifies three levels of proxemics: fixed (static architectural configurations, play house- that relates to spaces and dimensions of stage and auditorium), semi-fixed (movable but non-dynamic objects as furniture, lightings and other informal stage arrangements) and informal space (the ever-shifting relations of proximity and distance between individuals - actor-actor, actor-spectator, spectator- spectator interplay).

In Western bourgeois theatre, the informal and semi-fixed feature systems exist under the domain of fixed-feature (Elam, 1980: 63). On the other hand, African theatres project the informal space features which do not enhance proxemics arch but rather exhibit cordiality in its “free activity” of a fantasy world (Schechner, 1988:13).

This concept further implies that instructions and conventions are inevitable and integral in performance. Schechner (1988) avers that there is axiom of frames, that is, more structures (frames) within these frames – inner frames within the outer frames.

Whenever the outer frame becomes looser, the inner frame becomes tighter and vice- versa. The improvisational artist, which the oral performer is, is free from both the director‟s and drama frames but owes his major anxiety in the situation of delivery of his performance and his ability to measure up to the audience expectations. In this manner, the oral artist adopts the tighter the outer (conventions), the looser the inner (the director‟s instructions) principles.

In terms of spatial regulation, the Ibibio libation performer obeys strict compliance with the conventional provisions. His is the tighter the outer, the loser the inner frame structure. For instance, while the performer consults the deities, the type of performance determines the time and place of performance. This also influences the props that must accompany the ritual. A case is the performance for the appeasement of amasa, the water goddess, for the release of a flood victim who has gone in search of fishes or crabs that overflow the river bank on the days of flood due to heavy rains. The flood itself is believed to be masterminded by the goddess, a strategy to remind the people whenever the required sacrifices are deemed to be delayed.

Since no literary text has meaning on its own unless in performance where the aesthetical propensities are reflected, the different features which constitute audience captivating factor are aesthetically elicited by the analyzer for the purpose of making

UNIVERSITY OF IBADAN

53

meaning. Sign as a major focus of Semiotics which invariably implies the understanding accentuated in libation texts thus makes this theory related to the present study. Similarly, the consideration of the entire outlay of performance which includes the temporal and spatial organisation in connection with performer-audience relationship in making meanings of Ibibio libation performances also makes performance theory relevant to this research.

UNIVERSITY OF IBADAN

54

Notes:

1. An Asante proverb of unknown origin. Accessed on 05/07/2012. http//.www.

neac.org/files/documents/libation_ceremony/

2. In an interaction with Rev. Fr. (Dr.) Emeka Nwosuh, Dean of Studies, Dominican Institute, Samonda, Bodija, Oyo State.

3. In an interaction with Prof. P. A. Ogundeji, Department of Linguistics and Nigerian Languages, University of Ibadan.

4. In an interaction with Rev. Fr. (Dr.) Emeka Nwosuh, Dean of Studies, Dominican Institute, Samonda, Bodija, Oyo State.

5. In an interaction with the clan Head of Oku, Etebom (Dr.) Effiong Eberefiak.

6. In an interaction with Rev. Fr. (Dr.) Emeka Nwosuh, Dean of Studies, Dominican Institute, Samonda, Bodija, Oyo State.

7. In an interaction with Rev. Fr. (Dr.) Emeka Nwosuh, Dean of Studies, Dominican Institute, Samonda, Bodija, Oyo State.

8. In an interaction with Rev. Fr. (Dr.) Emeka Nwosuh, Dean of Studies, Dominican Institute, Samonda, Bodija, Oyo State.

9. In an interaction with Rev. Godwin D. Usoro, a Senior Pastor of the Pentecostal Assemblies of the World, Abak, Akwa Ibom State.

10. In an interaction with Rev. Godwin D. Usoro, a Senior Pastor of the Pentecostal Assemblies of the World, Abak, Akwa Ibom State.

11. Festus Adesonoye‟s lecture on English Language Clinic (ELC) entitled “Of Nigerian English and Nigeria‟s English” delivered on 26^th April, 2013 at the Trenchard Hall, University of Ibadan.

UNIVERSITY OF IBADAN

55

CHAPTER THREE

PERFORMANCE AND IBIBIO LIBATION RESOURCES

This chapter examines, among other things, a discussion on performance as a means through which Ibibio libation resources are manifest. Ibibio libation performance is noted as a communion between the secular and the sacred. It involves the performer‟s resourcefulness with his texts in his efforts to impress his audience, since the audience is the only context within which oral performance makes meaning. The oral performer owes the audience the duty of manipulating his/her voice (tone) level, his choice of words and his gait, which must be properly harnessed, to the satisfaction of his audience. The chapter also focuses on the Ibibio libation resources collected at the point of performance. It discusses the different literary features of performance that the collected libation texts portray. It also presents the taxonomy of Ibibio libation texts and the contexts necessitating each performance.