CHAPTER TWO (2)

2.0 PERFORMANCE IN ORAL LITERATURE

Oral literature only comes to reality through performance.

Performance is central and integral to oral Literature. Oral literature

becomes justified only when it is performed. The performer takes

advantage of the linguistic and paralinguistic resources at his disposal to

realise his goals. Oral Literature does not and cannot exist outside

performance, therefore, the importance of performance cannot be over

emphasised.

Ruth Finnegan in Oral Literature in Africa, stresses the importance of

performance in Oral Literature when she opines that “without its oral

realization and direct rendition by a performer, an unwritten literary piece

cannot easily be said to have any continued or independent existence at

all."(5). This excerpt explains how vital and fundamental performance is

to oral literature. This point is further buttress by Nkem Okoh who asserts

that:

Oral Literature cannot said to exist at all

without or, in the absence of performance.

Only when such actualisation takes place

a piece of Oral Literature be born, librated,

 unlocked, and given vibrancy or said to have

a clear tangible existence.(96).

Therefore, it is only through performance that Oral Literature comes into

existence and the oral artist or performer realises his importance in the

society because the oral artist recreates, critique and reflects on the

society.

2.1 THE CONCEPT OF PERFORMANCE

The concept of performance is very elusive yet central to Oral

Literature. Oral Literature exists in the consciousness of the artists. It is

solely brought to life through performance. The performance context or

situation becomes the only means by which the totality of the aesthetics

experiences in Oral Literature can be realised and criticised. Therefore, it

is through the performance context that we are able to see the beauty of

oral literature.

Performance generally comprises an event or events which a

performer or group of performers present one or more literary piece or

work of art to the audience. In the performance concept, the performer

makes use of his/her creative ingenuity to present a work of art to the

audience. It is through the performance concept that the performer

deploys the paralinguistic and linguistic devices to enhance his

presentation or delivery of an oral tale. The performer makes use of

paralinguistic devices such as body movement, gestures, facial

expression, histrionics and dramatisation to present his tale. It is also

through the performance concept that a performer or artist deploys

linguistic devices like tone, metaphors, imagery, digression, and allusion

to make the delivery of an oral tale enjoyable by the audience.

Isidore Okpewho observes that, “the performance situation is the

total act as well as the context and the environment involved in the

delivery and criticism of Oral Literature."(42). It is the beauty of

performance that makes it literature. Performance implies embellishment

and graphic presentation of materials as opposed to rote memorisation or

verbatim patronage. It means that performance then helps in the

achievement of aesthetic pleasures.

Although, performance varies depending on the age of the performer, the

occasion for performance, type of setting and musical accompaniment. It

is only through performance that the aesthetics of a literary piece is

realised, appreciated and criticised. It is also through it that a performer

or artist can recreates, improvise and manipulate.

Performance is the process of creating interactions between an artist

or artists and the audience. No two performances are ever the same,
every performance is a new piece of literature. Performance is therefore,

the moment of creative fulfilment when through the stretching of the

artist’s individual talent and creative imaginations, the artist finally breaks

through the audience into participation as a joint partner in the creative

enterprise.

2.2 THE PERFORMER(S)

The relevance of performer(s) in Oral Literature emerged as a result

of controversies on the literariness of the art form. The performer(s) was

conceived as a product of a primitive communal enterprise and as such

nonexistent in the analysis of Oral Literature. Ruth Finnegan asserts that

“the question of original composition is a difficult one. It is clear that the

process is by no means the same in all non literate countries or all types

of Oral literature.” (10).

With the realization of the centrality or importance of the performer in the

actualisation of verbal art and with emphasis on Oral Literature as a

distinct art, the performer as a key factor attracts the attention of critics.

Oral performers have come to occupy a central position in oral Literature,

refuting the assertion that oral art is a product of the community. Isidore

Okpewho posits that “it is as superfluous as saying that everyone in a

community can tell a story to him.”(20).

According to Isidore Okpewho,

Although the artist or performer is exposed

to various forms of cultural education

available to every member of the community,

what generally separates the artist from the non

artist or performer is a more than average

sense of what is beautiful and existing, a high

capacity for expressing oneself with effective idioms,

proverbs, tones, imagery and a deep interest in

practicing a particular type of art.(20).

The above statement underscores the fact that the performer is

considered as a creator with profound imaginative ability, a projector of

the culture of the people and a custodian of the norms and values of the

people. Through the performer, Oral Literature comes alive, the

performer is the guiding sensibility of his people. He/she acts as a

mediator between the people and the leadership of the community; he

also acts as a critic in the society.

In the Igeli dance of the Okworogung people, there is no specific

performer, it is a dance by a group of performers. The performers get

dressed in their traditional regalia and start the performance of the dance
accompanied by the rhythm from the xylophone by experienced and well

skilled players.

2.3 THE AUDIENCE

The audience are the members of the artist community, the

audience are responsible for moulding the artist’s consciousness, they

challenge the artist in the knowledge of his culture, norms, values,

practices, taboos and ethics of the community. The members of the

audience prescribe for the artist; they judge the authenticity of a tale as it

reflects their culture and as delivered by the performer. The audience in

Oral Literature performance can be passive (non-participatory), active

(Participatory), visible or invisible.

The audience in the Igeli dance of the Okworogung people are active,

that is they participate fully in the performance of the dance by clapping,

cheering, booing and appreciating the performers.

2.4 OCCASIONS FOR PERFORMANCE

The occasion for performance of the Igeli dance varies from one

context to another. The Igeli dance is solely performed for relaxation and

entertainment. The dance can be performed in different occasions, which

includes burial ceremony, naming, coronation, marriage ceremony,

visitation of a dignitary, new yam festivals and death of a member of the

dance troupe. All of these are the occasions for the performance of the

Igeli dance. The Igeli dance does not have a particular occasion hence,

the performers and audience share in the collective rhythm produced by

the xylophone and its players.

2.5 THE PERFORMER(S)/AUDIENCE RELATIONSHIP

The performer(s) and audience share a special bond in the

performance of the Igeli dance. The performance of the Igeli dance does

not depend on the principle performance and xylophone players alone,

but also on the audience that are present and active. The performer(s)

and audience share a special relationship during and after performance.

In respect to the Igeli dance, emphasis will be on the

performer(s)/audience relationship, since the performer(s) is central to

the audience while the audience is also an integral part of the

performance. The audience during the performance of Igeli dance, cheer,

boo and clap for the performer(s) where and when necessary.

In the act of miming and dancing performance of the dance, the

audience is near passive hence, only members of the dance group mime

and dramatise. The audience react to the performance when the dance

reaches its climax by clapping and cheering the performers to keep up the

tempo. In a situation where the performer(s) does something that is

against the norms and values of the community, the audience react

immediately by either booing the performer(s) or walking away from the

site of venue of performance. At the end of the performance, the

audience gather and clap for the performer(s) for a performance well put

up or audience leave the venue of performance murmuring and

complaining about a performance poorly delivered.

The Igeli dance performance is rich in the culture of the Okworogung

people, informative, educative and well cherished for its polished melody

and harmony. The dancers (performers) are beautifully and gorgeously

dressed, thereby adding colour to the performance. Creative dance steps

are also accompanied by strong rhythm produced by the xylophone,

which adds value and melody to the dance.

CHAPTER THREE (3)

3.0 ELEMENTS OF DRAMA IN IGELI DANCE.

According to Aristotle, “drama is the imitation of an action” he also

went further to identify six elements, which constitute drama. These six
elements are plot, characters, theme, setting, music and diction. In any

art form that is classified as drama, these must be found aside. However,

brief explanations will be given to the different elements that make up

drama which are found in the Igeli dance.

3.1 PLOT

Plot refers to the arrangement of the incidents or events. Aristotle's

use of the term plot is similar to the use of the term structure. Thus,

without plot, there is no performance, so if the Igeli dance does not have

a structure that leads to preparation and actualization of performance,

then there would be no outting. Therefore, plot is a vital element of Igeli

dance hence, the events in the art form are carefully and serially

arranged, starting from when the performers get dressed in their

costumes, the performance of the art form, which entails dancing and the

end of the performance where the performance are clapped for or

cheered for a good performance and booed or jeered at for a poor or bad

performance. All these have their peculiar time which constitute plot in

the Igeli dance.

3.2 CHARACTERS

Another element of drama that can be found in the Igeli is

characters. The characters here ,refers to the people in the dance who
carry out the performance. This element is very important that, so long as

action is to be performed, the people to perform the action must be

available. The Igeli dance has the following as characters.

3.2.1 The Leader of the Dance: The leader of the dance is the

chief custodian of everything that has to do with the art form. He blows

the whistle to maintain uniformity and orderliness amongst performers.

He coordinates the performance and makes sure every performer gives

his best during performance. He also appreciates performers who give

their best and berate or scold those who are lazy or did not perform well

during and after performance. He is a skilled and a well-known performer.

3.2.2 The Dancers: The dancers are the chief performers of the

art form. They are gorgeously dressed in their traditional regalia, which

help add colour and beauty to the performance. The dancers perform

according to the sounds and rhythm by the xylophone as beaten by the

two players and demonstrate using facial expressions and body gestures.

The dancers are praised at the end of a performance for a good

performance or booed for a bad or poor performance.

3.2.3 The Xylophone Players: They are two in number sitting at each

end of the xylophone. They beat the xylophone using wooden sticks

usually four (two for each) to produce sounds and rhythm which the

dancers follows accordingly. They maintain the tempo of the dance

because when the beating of the xylophone is fast, the dancers’ steps are

also fast and when it is slow, the dancers’ steps are slow. They are

usually monitored by the leader of the art form who blows his whistle to

signal fast beats or slow beats depending on the occasion of

performance.

3.3 THEMES

Theme refers to the central idea of a work of art. Here, theme as an

element of drama found in the Igeli dance cannot be overruled, as the art

form is an interpretation of the values, morals and ethics of the people of

Okworogung. This shows that the Igeli deals with ideas, which are

transformed into works of art. This is so because every performance must

present an interpretation of life in Igeli. The dance is performed based on

the security consciousness and bravery shown by its founding fathers.

Some of the themes in the Igeli dance include:

3.3.1 Security: Based on the history of the dance, security is one of the

predominant themes of the dance. The dancers perform this art form to

remind themselves of the need to be secured. The performance

encouraged members of the community to be watchful over their

children, properties and belongings and those of their neighbours. This

calls to mind how conscious and mindful the Okworogung people are in

maintaining peace and order thereby keeping the community safe from

the activities of armed robbers, thieves, murderers. For instance, the

blowing of the whistle during performance has two implications, first is to

maintain uniformity and order and secondly to alert neighbours and

friends during impending crisis.

3.3.2 Bravery: This is also one of the major themes found in the Igeli

dance as an art form. The founding fathers of this art form displayed

bravery by staying in the bush to safeguard their crops from the attacks

of wild animals. The dance is performed chiefly in the community to

remind all indigenes of the community to be brave in times of adversity or

trouble. It takes a brave man to overcome dangerous situations.

Therefore, every member of the community is called upon to be brave,

stand up to life’s challenges and defend the community when the need
arises. David Agba Ashu notes that "the stamping of the feet at some

point during performance is to display strength and bravery."

3.4 SETTING

Setting refers to the time and place an action takes place that helps

the readers or audience in discovering the meaning of a literary text the

setting of Igeli dance is very peculiar to the indigenes of Okworogung

community. The art form is performed at the village playground where

members of the audience form a circle leaving the centre for the

performers. A raised platform is made for the elders to have proper view

of the performance. The audience are not allowed to mingle with the

performers to avoid distractions. Although, Western education and culture

has influenced the setting of the Igeli dance, but some items that

constitute the costumes are still used by the performers during

performance.

3.4.1 Costumes: The costumes are beautifully designed traditional

attires used by the performers during performance. The performers also

use different costumes depending on the occasion of performance. The

costumes ensure uniformity among members as well as providing the

audience with the rich history of the Okworogung people. Some of the

costumes are:
a) A white singlet worn by male and female performers, which connotes

peace.

b) Wrapper (any colour depending on the occasion) – worn by

performers to show uniformity and add colour to the performance.

c) Bottle tops – worn by male performers to make jingling sounds and

add rhythm to the performance.

d) Waist beads – usually used by female performers to make sounds

and add sound effect to the performance.

3.4.2 Properties (Props): These are objects or items used on the

stage during performance. They are very essential to the development of

a performance. Props can be personal, stage or hand props. Personal

props are worn or carried by a particular actor, Set props are furniture

that adds to the look of the setting, and performers carry Hand props

along. The props in Igeli dance performance are very glaring and visible

for the audience to see. They include:

a) Whistle: The whistle is usually carried by the leader of the dance and

hung around his neck. The leader uses the whistle at intervals to

maintain order and peace and to signal change of beats sound.

b) Wooden Sticks: They are usually four in number, two for each

xylophone player; it is used by the xylophone players to beat the

 xylophone and produce beats and sounds which the performers

dance accordingly.

c) Xylophone: It is a wooden rectangular shaped like instrument that

produces the sound and rhythm as beaten by the players sitting at

each end. The dancers dance according to the beats, rhythm and

sound produced by the xylophone.

3.5 MIME IN IGELI DANCE.

Mime is the art of representing actions, events, situations or

stories solely by gestures and body movements, without speaking. Mime

(from Greek mimos meaning imitation or actor) is also a person who uses

mime as a theatrical medium or as a performance art. Miming involves

acting out a story through body motions without the use of speech.

(Wikipedia). The Igeli dance of the Okworogung people is a complete

mime dance hence, dancers or performers do not play any music or song

but only dance according to the sounds and rhythm produced by the

xylophone. The performers of this art form only change their dance steps

when the players change the rhythm and sounds of the xylophone.

The Igeli dance is a completely mimed performance because no

performer talks or sings during performance. The performers express

their feelings and emotions through facial expressions, which could be

sad, happy, angry, worried, annoyed or scared, by understanding these

emotions, the audience understand more about how the performers are

feeling and what is happening in the performance. For instance, in the

performance of the Igeli dance, the performers in miming a death scene,

assume a ferocious expression and imitate strangling a victim.

In the act of passing or sending messages to the audience, the

performers use different gestures, which are also understood by the

audience. The time to make necessary gestures is determined by the

leader of the performance, through his whistle (in most cases) sending a

signal to the performers to prostrate and welcome a dignitary or an elder

hence it is mimed. When the elder is about to leave the site of

performance, the leader also blows his whistle telling the performers to

wave goodbyes to the departing elder or dignitary.

For the display of strength and bravery, the performers stand up

revealing their bare chest, (male) displaying their muscles and assuming a

ferocious facial expressions which is understood by members of the

audience.
 CHAPTER FOUR

4.1 STYLISTICS CONTENTS OF IGELI DANCE

The Igeli dance has a peculiar style which is usually followed before

the actual performance. This style becomes a norm which must be

properly followed before the dancers and players carryout the

performance. Firstly, the village playground or site of performance is

properly swept and tidied anticipating the arrival of the dancers and

players. After this, the xylophone players come to the venue or scene of

performance and sit at the opposite end of the xylophone facing each

other. As the occasion commenced, they start beating the xylophone

using the wooden sticks which are usually four in number, two for each

players, thereby producing sounds, rhythm and beats. The sounds and

beats is an invitation for the dancers to enter the arena and start dancing

or performing. Dressed in their costumes or traditional attire step into the

playground and start performing. They dance according to the beats and

sounds produced by the xylophone and also change their dance steps

when the sounds and beats from the xylophone changes. The tempo of

the performance is determined by the xylophone players and the chief

custodian of the dance. The players determine the way in which the

dancers perform, by producing slow beats which the dancers perform

slowly and by producing fast beats which the dancers follow accordingly.

The chief custodian of the dance blows his whistle when necessary to

maintain uniformity amongst dancers and to quieten the audience.

The performers of this art form implore paralinguistic or non-verbal

features which is understood by members of the audience to pass

messages across. The dancers use histrionics of facial expressions,

gestures and body movements to express different feelings and emotions.

They dramatise, swing their bodies with agility and jump when necessary

in accordance with the beats and sounds from the xylophone. The leader

or chief custodian of the dance urges the performers to put up their best,

hence, every performance is a platform for dancers to tell the history of

the people; reawaken their consciousness about security; entertain the

audience and pay homage to the gods for providing them with

instruments to drive away birds and other wild animals that destroys

crops which are planted by members of the community.

4.2 STYLISTIC FEATURES OF IGELI DANCE

The stylistic features of Igeli dance are the literary qualities which can

be found in the performance of the art form. These features are very

important hence they reflect and showcase the cultures and traditions of

the indigenous people of Okworogung. Stylistic features are divided into

two major types namely; linguistic and paralinguistic features.

4.2.1 LINGUISTIC FEATURES

The linguistic or literary features of Igeli dance refers to the qualities

expressed by the sound of the xylophone during performance and which

are peculiar to the members of the audience and the community at large.

Some of the linguistic features are symbolism, onomatopoeia, digression

and allusion.
4.2.2 Symbolism.

A symbol is a concrete or familiar object that is used in reference

to or as an explanation of an abstract idea or a less familiar object or

event. It is a particular useful means of conveying certain important

truths or lessons about human lives and the problems of existence.

According to David Agba Ashu, the chief custodian of the dance, some of

the symbols as used in the Igeli dance and their meaning are as follows:

4.2.2.1 Palm-Wine

A keg of palm-wine is usually placed at the centre of the scene of

performance. It symbolises the major occupation of the people and their

means of livelihood. It is also a symbol of peace and unity hence

performers drink from that same keg.

4.2.2.2 Kolanuts

Kolanuts are usually served to performers at the end of every

performance. A fruit of kolanut is usually chewed and spewed to the

ground alongside palm wine inviting the ancestors to come partake in the

performance. It is also a symbol of peace and long life.

4.2.2.3 Animal Horn/Whistle

 In the past, animal horn was used but the whistle has replaced it

because of modernity. It is blown to signify the presence of the owners of

the farm and ward off wild animals. The whistle is a symbol of silence

when blown.

4.2.2.4 White Singlet

It is a symbol of peace and purity as worn by the performers

4.2.3 Onomatopoeia.

Onomatopoeia means the echoing of sounds. When the xylophone

is beaten, the sound that comes from it echoes and paints a mental

picture in the minds of the performers thereby prompting them to dance.

The sound from the xylophone is onomatopoeic, that is, it echoes and re-

echoes continually in the minds of the dancers and the audience. The

sounds are not repetitive but are carefully produced following the rhythm

and beats accordingly.

4.2.4 Digression.

Digression is a method whereby an oral artist departs for a

moment from the main line or subject matter of a performance either to

address an object or a person at the scene of performance. Since the

performance is mimed, the whistle is the major means of communication

used to achieve digression. The whistle is blown to acknowledge the

presence of an elder or dignitary in the scene of the performance thereby

digressing from the main or actual performance. It is also blown to

indicate that an elder is leaving the scene of performance, thereby

prompting the performers to wave goodbye to the elder.

4.2.5 Allusion.

Allusion is a technique people used in growing their language in literature

by borrowing imageries and ideas from other people’s ideas, imageries or

imaginations. Allusion also means reference to ideas, people or historical

figures in literature. It unites both oral and written literature. In the

performance of the Igeli dance, some of the dance steps and items used

alludes or represents the history of the dance.

According to David Agba Ashu, the chief custodian of the art form, the

stamping of the feet on the ground by the performers alludes to bravery

displayed by the founding fathers. The xylophone is a representation of

the wooden object used at the founding stage. The sounds generated by

the xylophone allude to the noise made by the wooden object which

helped in driving away birds and other wild animals from destroying the

crops. The art form was initially meant to scare away birds and other wild

animals from destroying crops in the farm, but the dance has been

adopted and modified and now it serves the purpose of entertainment

and a means of informal education.

4.3 PARALINGUISTIC FEATURES.

The paralinguistic features of Igeli dance are the non-verbal

qualities employed by performers in the performance of the art form.

Since the art form is a mimed performance, the major ways in which

performers dramatise and express their feelings and emotions includes

facial expressions, gesture, body movements and use of non-verbal

implements like xylophone, whistle, waistbeads, bottle tops etc.

4.3.1 Facial Expressions.

Facial expressions are used by humans to convey various types

of meaning in various contexts. It also refers to the expression of

emotions and feelings through the use of the face when performing. The

performers of this art form have learned and mastered different facial

expressions.The performers' facial expressions could be sad, worried,

annoyed, scared or happy depending on the context and occasion for

performance. For instance, in an occasion such as marriage celebration,

the dancers perform with joyful hearts displaying it in their faces by

smiling, laughing and sharing in the joy of the married couple.

4.3.2 Gestures.
 Gestures are a form of non-verbal communication in which visible

bodily actions are used to communicate important messages, in place of

speech. It is also a movement of parts of the body especially hand or

head to express an idea or meaning. These are signs made by performers

during the performance of the art form. Members of the audience and the

performers properly understand these signs; hence, they share same

cultural and literary traditions. One of the gestures used by the

performers could be to tell the audience to be quiet by placing his finger

on his sealed lips. Another gesture could be that of request where a

performer can indicate that he is thirsty by throwing back his head and

putting his cupped hands on his mouth thereby requesting water or palm

wine to quench his thirst.

4.3.3 Body Movements.

Body movements involve the use of the different parts of the

body to communicate messages to the audience. The thunderous

stamping of the feet at some point in the performance signifies bravery

and courage displayed by the founding fathers. Another instance of body

movement is the incessant shaking of the head to indicate no to a fellow

performer or to a member of the audience.

 CHAPTER FIVE (5)

5.0 SOCIAL SIGNIFICANCES OF IGELI DANCE.

The Igeli dance of the Okworogung people do not just reflect the

cultures and traditions of the people but also have some social

significances or relevances. The dance is an embodiment of morals,

norms and values which usually determine the social attitudes of the

people and their mode of interactions with other neighbouring

communities. David Agba Ashu in an interview highlights the following as

the social significances of the dance.

1. Igeli dance is an informal way of acquiring education and a medium of

oral dramatic documentation of the history of Okworogung people. This is

clearly seen in the dance steps and the costumes and paraphernalia used

during the performance of the dance. The stamping of the feet by the

performers signifies bravery and strength, palm wine represent peace and

unity.

2. It is a form of entertainment and pleasure within and outside

Okworogung community. The dance is chiefly performed to entertain

members of the immediate community and other people who come to

witness the performance.

3. Tourist Attraction: During the performance of the dance, people travel

from far and near to witness the performance, hence, the community

becomes a tourist centre while the dance is a tourist attraction where

people visit occasionally to witness the performance of the dance.

4. Means of generating income : The danceis a means through which its

performers survive. At the end of each performance, performers are given

money which serves various functions such as buying of new costumes,

palm wine. In some cases, the dance troupe are invited and paid for their

performance thereby generating income for themselves and for the

development of the community.

SUMMARY

This research work has extensively dealt with the analysis of the

Igeli dance taking into consideration the stylistic qualities and elements of

drama which are found in the dance.

 Chapter one takes a close look at the historical background of the

Okworogung people and the origin and development of the Igeli dance.

Chapter two looks at the performance of the dance, performers,

audience, occasions for performance, performers/audience relationship,

analysing the importance and influence of each factor in the realisation of

the dance.

Chapter three explores the different elemyof drama as found in the

dance and mime as a dominant feature in the dance which makes it

drama.

Chapter four takes a look at the literary (linguistic and

paralinguistic) featuresof the dance which makes it a unique dramatic

performance.

Finally, chapter five deals with the social significances of the dance

to the Okworogung people and the society at large.

CONCLUSION

Igeli dance is one of the most vital cultural practices of amongst

the Okworogungs. It is used to continue the cultural heritage of the

people. The dance maps out the cultural values and traditions of

Okworogung which is of course explored with its dramatic aesthetics.

Western culture or education has affected the dance in the

sense that some musical instruments are now out of use, however, the

research has indentified Igeli dance as drama because many dramatic

elements such as setting, plot, characters, themes and mime are in the

performance. Other literary devices like symbolism, onomatopoeia,

allusion and digression have been explored in the dance.

In conclusion, African drama precisely in Igeli dance

performance is cultural since it prrforms its function in the indigenous

community. Hence, African drama duels majorly on dance, mime and

other features both to entertain and educate and to fulfil some form of

cultural expectations.

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Mackrell Judith, "Dance" http/www.encyclopaediabritannica.com/

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the Cultural and Socio-Economic Life of the Utugwang People

Obudu Local Government Area of Cross River State:

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Sorell, Walter. The Dance Through The Ages. London: Hudson, 1967.

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LIST OF INTERVIEWEES

Name: Chief Oko Odiang.

Gender: Male

Age: 60yrs.

Status: Clan Head of Okworogung Community.

Address: Okworogung Village-Utugwang-Obudu.

Phone Number: Nil

Date of Interview: 16th January, 2020.

Venue of Interview: Chief Oko Odiang's Compound, Okworogung-

Utugwang.

Name: Mr. Francis Oshie.

Gender: Male.

Age: 63yrs.

Status: Civil Servant

Address: lkot Effanga 8 Miles, Calabar.

Phone Number: Nil.

Date of Interview: 31st January, 2020.

Venue of Interview: Mr Francis Oshie's Compound, Ikot Effanga, 8 Miles,

Calabar.
Name: Mr Mfam Jacob.

Gender: Male.

Age: 57yrs.

Status: Farmer.

Address: Okworogung Village-Utugwang.

Phone Number: Nil

Date of Interview: 16th January, 2020.

Venue of Interview: Mr Mfam Jacob's Compound, Okworogung-

Utugwang.

Name: Mr David Agba Ashu.

Gender: Male.

Age: 70yrs.

Status: Chief Custodian and Leader of Igeli Dance.

Address: Okworogung Village-Utugwang, Obudu.

Phone Number: Nil.

Date of Interview: 28th January, 2020.

Venue of Interview: Mr David Agba Ashu's Compound, Okworogung-

Utugwang.