Abstract:
Traditional dances in Nigeria are caught in the gap between change and tradition. Dance as a cultural element constantly changes in form, body movement and patterns. This raises the question of culture erosion and relevance to indigenous tradition. Extant literatures on traditional dance in Nigeria have mostly appraised aesthetic and social functions of dance without addressing changes in performance. This study, therefore, examined the changes in form, body movement and patterns in traditional dances with a view to improving the compositional structure of traditonal dances for increased patronage.
This study adopted Child and Williams’ theory of transculturation, while a qualitity design was employed. Participant observations enable the researcher gain first-hand experience of changing patterns in the selected dances due to the forces of modernity. Six dance troupes (Progressive Cultural Troupe, Okopedi Cultural Group, New Dawn Theatre, Ikon Afrikana, Akwa Obio Cultural Group, and Akwa Ibom State Council for Arts and Culture Dance Troupe) were purposively selected from Uyo, Eket and Ikot-Ekpene senatorial districts of Akwa Ibom State. Structured interviews were also conducted with eight dance teachers, nine dance practitioners and 30 selected audience members. Data were subjected to cultural and performance analyses.
There were evidence of re-structuring movements, form and styles of the selected dances. The body movement in Mbopo dance by Progressive Cultural Troupe, Okopedi Cultural Group and the State Troupe were faster in tempo than the traditional version. The costumes were more colourful in appearance. Certain traditional ethical and religious rites such as virginity and fattening rites are being discountenanced. Performers in these troupes were selected based on their level of skill. The Ikon performance in Ikon Afrikana, Akwa Obio and New Dawn Troupes were more flexible as modern movements such as Jazz, Hip-hop and Salsa have been incorporated. Tradition is still considered by some of them as a thing of past and modernity as an influence from the western culture. Most people attribute the dynamic nature of Ikon and Mbopo dances to creativity since their form, costume, body movements and styles are products of the choreographer’s creation and dialogue with the past to bring about aesthetic appeal for increased audience patronage. Changes in costume, movements, patterns and presentational style in both dances are innovations to enhance audience reception. The audiences appreciated the creative and flexible nature in Ikon dance, while a few others viewed the conscious negligence of virginity and seclusion rites as an attempt to jettison the age-long tradition of Mbopo dance.
Tradition and modernity are not mutually exclusive, but interrelated – besides, tradition is receptive to change in Ikon and Mbopo dances of Akwa Ibom State, Nigeria. Therefore, there is the need for activities influenced by modernity to change tradition in order to enhance better standards for social reception.
