Aspects of TIV Oral Poetry

Abstract

Tiv oral poetry is a very lively and dynamic art form; and like its counterpart among the Hausa, Yoruba, and other traditional African societies it could be spoken, chanted, or sung.' Other media for the rendition of Tiv oral poetry include flutes, drums, horns, trumpets, xylophones, lyre, slit-log drums, the zither, and others. In spite of modernization and social change in Nigeria, Tiv oral poetry still plays a very significant role in the society. Unfortunately, this variety of Nigerian oral literature is seldom discussed in the literature. What follows then is an attempt to discuss the forms and themes of Tiv oral poetry as seen in protest and political songs, songs of rivalry and social commentary, nuptial and children's songs. According to Charles Keil (1979), one of the earliest to study the genre, Tiv oral poetry is composed mainly for praising, or begging, or settling personal scores; and that the poet advances his career by attacking in a series of songs someone who he feels has done him wrong (p. 15). Thus one of his conclusions is that the Tiv songs are generated by a variety of frictions and conflicts. This seems to be somewhat misleading, for the songs do not exhaust the themes (although songs of protest are widespread) of the poetry which embraces many complexities and facets of life. It consists of songs of war and hunting, praise and political songs, songs of social commentary, abuse and rivalry. Others are elegiac, nuptial, love, religious, and occupational songs. However the most popular themes in Tiv poetry at any particular point in history tends to depend on the prevailing circumstances in Tiv society and Nigeria as a whole. This explains why the poets who are most renowned and popular