Iba…N’Troupe preaches unity, love through dance
The National Troupe of Nigeria (NTN) recently succeeded in using theatre to galvanise national integration. Through the performance of a dance drama, Iba the apex theatre troupe showed that it is possible to unite the country and by so doing re-brand Nigeria through the rich cultures of the 97, 000 communities.
In fact Nigerian unity even in the midst of multi-ethnic nations was brought to bear through the use of a few dances from some ethnic groups. Created and directed by Ahmed Yerima, the artistic director of NTN, and choreographed by Arnold Udoka, the director and Head of the department of the Performing Arts, NTN, Iba is an idea for the people to appreciate the vibrancy of Nigerian performative arts.
This is achieved through the use of chants, songs, costumes, acrobatic and masquerade displays among others. Through Iba, the NTN harnessed the various performance styles of the localities used. The cultural nuances of the three major ethnic groups-Igbo, Hausa and Yoruba alongside, Ibibio, Tiv, Edo etc were obvious in the performance. The production started with a chant to the Orishas, where the Iba clan is invited to a worship as well as pay homage to Yemoja, the gods of fertility and beauty and Sango, the god of thunder, rain and fertility.
This call was at the instance of the ancients. The Akpekpe dance and Sango-bata performances followed and they attracted the gods who listened to the prayers of man, hence their appearance. The heed to this call by the gods was because of the intervention of the ancestors, who are represented in Okanga masquerade. The phenomenal presence of the masquerade facilitated the interaction of man with the divine. Meanwhile the importance and indispensability of the womanhood are well demonstrated through the marriage rites in Odudu dance. The use of drum in Drums Invocation and flute in Egwu Odum indicate fellowship among communities and celebration of valour in man.
The Boori depicts healing as Sato emphasizes oneness. With the meaning of Iba as homage or honour, the production really celebrated the period it was shown, i.e from December 25-27, the Christmas season which is the period of oneness not only in Nigeria but world over. Indeed the beauty of the dances laid in the uniformity of the dance steps and body movements of the dancers. This proved that the choreography was professionally handled. The costumes added to the aesthetics of the performance as the colour combination portrayed harmony.
The observation of one minute silence for repose of the soul of Mrs. Matilda Egbunike, the NTN costumier who until death, assembled the costumes which added colours to the performance by management of the troupe. With the approval of the audience as these dances were presented from the rich traditions and cultures in Nigeria, Iba demonstrated that certain cultural heritages have come to stay despite the threat posed by western cultures. For instance at the point where the Egwu Odum dancer, Onyemuchara Casmir Enyeribe and the flutist, Chukwuma Enyeribe mounted the stage, there was a loud ovation and thunderous continuous clap in the auditorium. This feat was repeated when Adedayo Liadi thrilled with acrobatics as well as when the Sato masquerade entertained the audience.
What aided these outstanding performances was the lighting effect by the technical director of the production, Biodun Abe from the lighting booth. Particularly the use of follow spot on the dancers created a good emphasis. The synchrony of the drums with the songs and dance steps was captivating, as it provided a good rhythm and tempo for the performance.
Loading ...