Repetition/Parallelism

Repetition is a way of saying the same words or stretch of words over and over again. It is used to emphasize certain issues of great importance. In parallelism, Daniel Kunene (1971) juxtaposes several methods through which repetition is achieved and affirms that “repetition may be aesthetic; it may be unaesthetic and monotonous”, in either form that it appear, it is an adequate pattern that actually indicates the poet‟s intention (68).

In speech generally, repetition is used to “enhance the style” as well as to show the progress of narrative the (Kunene, 1971: 87).

Ibibio libation performances adopt the aesthetic repetitive pattern in that phrases are repeated quite often whereby emphases are made on issues for clarification and assurance:

Performer: Eѐm! mfíń ádó adod, ѐkà ádia-dia ḿkpọ úbọk áyìn, ádia-dia ákѐ ѐbé áyìn mfọọń mfọń, ḿkpọ ínámmá, ádia-dia ákѐ ѐbé áyìn ḿkpọ ídóhó...

Translation: Today is a week day; the mother will eat her daughter‟s food, without any fear or risk, she is free, too, to eat from her son-in-law without hindrances.

These sentences are repeated thrice in this particular performance (Text 1: lines 9-12, 18-21, 28-31), each after certain rituals have been conducted. The aim is to emphasize the efficacy of the performance as a safety guarantor; a belief which emphasizes that non-compliance with the uwa idiọñ adiaha awo (first daughter‟s rites of passage), may cause serious disharmony in the relationship between the parents and the new couple, as well as childlessness to the marriage.

Performer: Ḿbọk ké ábáñ akpa-o, ké ìkìm àwàká inua-o Translation: Please let the pot not break, neither shall

the gourd split or shred its edge.

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Performer: Àsọñkọ ukọd ádó ámì, ìnwọñọ dó o o o o!

Translation: This is our native gin (known for its strong taste), Come and drink.

(Text 1: 15-16, 24-25, 26-27).

This sentence Mbọk ke abañ akpa-o, ke ikim awaka inua-o, meaning “Please let the pot not break, neither shall the gourd split or shred its edge”, is repeated throughout the entire text performances. There is no way a performer can leave it out in his chant. The emphasis is to underscore the people‟s belief that one must not talk to the ancestors /deities with impunity; plea is seen as a mark of humility and reverence (Text 1: lines 9- 17, 18-26).

Ibibio libation performances sometimes display several patterns of aesthetic repetition, some of which are discussed below:

4.4.6.1 The oblique-line pattern

The oblique-line pattern is visible in:

Performer: Ńnyin èdọñ ákpé dọọk ábód, íníññé uyio ámọ ánà akọọn. Ábód ányin idọọkkọ mí ányọọñ ikàn ńnyìn.

Translation: If a lamb climbs a hill, its sweet voice goes hoarse‟‟.

The hill we are now climbing is too high for us.

(Text 4: lines 29-32).

Performer: Ḿbọk, ìyàk úkárá ámọ ádò ké ífùré yè èmèm;

yàk úkárá ámọ adad nti ñkpọ asọk àfíd ísọñ Ínì yè mmè ǹkán ǹkʌk abio ǹnyìn.

Translation: May his reign be fruitful;

may his reign bring only good tidings to the entire people of Ini land and beyond.

(Text 7: lines 67-69).

The underlined constitute the features of repetition. It is noticed that there are incremental elements following the lexical corelativity in the phrases highlighted. The stretch of words that complete the sentence is longer and different from the ones that accompanied the preceding sentence.

4.4.6.2 The vertical-line pattern of repetition

The vertical-line pattern of repetition is found in the following examples:

Performer: Yak mfíń ádò ídárá-ídara.

Yak ḿkpọ mfọhọ áféhè îkpọñ ǹnyìn!

Yak áfọn yè ǹdìtọ mfò ké ákpàn úduà ǹnyìn, ké mkpọ ínwañ, ké idọk ǹnyìn.

Yak èmèm ikenne, ma ǹnyìn

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ika ísó iwa uwa ìnọ ḿbùfò k‟ini-k‟ini.

Translation: Henceforth, may it be celebration all through and may sorrow flee far off, nay!

May it be well with us, your children.

With our market wares, with our farms produce and harvest, let there be peace that we may continue to sacrifice to you at intervals.

(Text 3: lines 39-45).

Performer: Bọ ǹdùọk òdùdù! (ọduọk ukọd).

Bọ ǹdùọk òdùdù!! (ọduọk ukọd).

Bọ ǹdùọk òdùdù!!! (ọduọk ukọd).

Translation: take your rest! (pours some of the drink on the ground), take your rest!! (pours some of the drink on the ground), take your reeesst!!! (pours some of the drink on the

ground), (Text 8: lines 72-74).

Performer: Ǹnyìn ìbò o o, yàk ùdiá adʌk ídém mfọn- mfọn, ikpọñ abeed ńkọk ùwák–ùwák, ìwá adʌk ídém asai isọñ, úkọm yè mbòrò esuuk itu ǹyán-ǹyán.

Translation: We are saying that our yams must yield abundantly, our cocoa yams must produce abundantly,

the cassava must split open the grounds with big tubers while our banana and plantain must produce long huge bunches.

(Text 5: lines 46-51).

4.4.6.3 Re-statement of ideas through synomyms and indirect references

The Ibibio libation performer adopts re-statement of ideas through the use of synomymous words that collocate with each concept and indirect references in the underlisted examples:

Performer: yàk ùdiá adʌk ídém mfọn- mfọn, ikpọñ abeed ńkọk ùwák–ùwák, ìwá adʌk ídém asai isọñ,

úkọm yè mbòrò esuuk itu ǹyán-ǹyán.

K‟esid ufʌk ǹnyìn, ìbò yàk íbaan eman kwà ètáhá, kwà édérétaha.

Translation: We are saying that our yams must yield abundantly, our cocoa yams must produce abundantly,

the cassava must split open the grounds with big tubers while our banana and plantain must produce long huge bunches.

In our homes, we are praying that our women should deliver healthy bouncing children weekly (pours some of the drink on the ground).

(Text 5: lines 48-53).

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The blessing of fruitfulness that the performer is asking for is emphasized by the different underlined synonyms that collocate with the concept referred to.

Performer: Èkà énañ ama ata ḿbíd, ǹdìtọ ese sʌññ.

Ebo ké étó kééd akpe duọ, áfen ase típpé k‟itie ado.

Translation: When the mother cow eats grass, the calf watches intently.

It is said, „when one tree falls down, another must come out to take its place‟.

(Text 3: lines 11-14).

The performer in the above excerpt uses structural synonyms in re-stating his request that the divinities intervene for the people. He emphasizes the reason why the youths should be spared from dying: Ebo ke eto ked akpe duọ, afen ase tippe k‟itie ado “It is said, „when one tree falls down, another must come out to take its place” – which is the need for continuity in lineage. In the understated extract, the performer makes a plea for the withdrawal of the scorge, saying that the burden and pains of the repeated loss of lives has eaten deep into the number that the village was known for:

Performer: Ifʌkkọ ínuèn akpon die yàk ńdúfúúd itiaba afid?

Ńnyin èdọñ ákpé dọọk ábód, íníññé uyio ámọ ánà akọọn.

Translation: How big is the lap of the skylark (bird) that it should be infected by seven dangerous boils?

If a lamb climbs a hill, its sweet voice goes hoarse‟‟.

(Text 4: lines 26-28).

Ibibio libation performances in some cases portray some mixed tenses where the verbs narrative used by the performer display the depth of intent nature of the performance. In this type of repetition, eulogy is the purpose of the poet and he deploys

“pseudo-exhortative verbs” whose sole aim is the recollection of some historic situations where the powers addressed had performed similar or greater feat (Kunene, 1971: 85). In the phrase: Afid ḿbùfò esehe ‟da ye nnyin, idi idiwọñ do k‟bọk nnasia do o o - “All you spirits/forces in support of his cause, drink to your good health from my right hand”, - the performer clearly recalls instances of success that the deities and the ancestors have not disappointed the people. This forms the basis for the people‟s constant reliance on their consultation of these powers.

Another repetitive technique that is common in the Ibibio libation performances collected is the use of ordinary present tense indicative. Before any performance is carried out among the Ibibio, there is the call on the deities and their respective ancestors, especially those ancestors that were noted for their steadfast and bravery while on earth. As the people believe that the same strength is still possessed by these

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forces even though dead, they are confident that “not only did he [they] do it then, but he is [they are] capable of doing it any time under similar circumstances” (Kunene, 1971: 86):

Performer: Dáññá ǹdùfò èkéda ùbọọñ ènyʌñ ènám afọn, ìbò yàk ǹdùfò enọ áyín ǹdùfò ámì ùkèmé àdí nám afọn ké‟yio úkàrà àmọ.

Translation: As you were able to rule the land successfully, we are asking that you grant this your son the favour to rule successfully too henceforth.

(Text 6: lines 28-30).

Performer: Àfò ake sóbóké àfíd údìm ábiò k‟ínì ammọ éké tuàkká ìyád-èsìd mfò.

Ǹták ádò ánám ǹnyìn ǹdìtọ mfò ìyémmé àdí tọí ìyád- èsìd mfò.

Translation: You, who wiped off an entire community in the past when your wrath was sorely woken.

That is why we (your children) dread waking your fierce anger.

(Text 10: lines 52-56)

Kunene (1971) declares that the performer in this case “seems to be saying to the audience that the hero is right now engaged in performing the actions described” (86).

This really is the thrust of their consultation and dependence on the presence of these forces for every possible human activity.