The psycho-social context of songs in J.P. Clark’s <i>The Ozidi Saga</i>

Abstract

In Africa, we have songs for different occasions. Songs are often employed aesthetically to mirror what is embedded in such an occasion as it is to be recognized the world view of a people in question. Songs play a significant role in J.P. Clark’s The Ozidi Saga. While presenting actions in the epic narrative, J.P. Clark exploits the resources of indigenous Izon and contemporary African songs, incantatory chants and transliterated versions of many lyrics. Thus, in an atmosphere steeped in traditionalism, J.P.Clark combines acting, dancing, singing and grotesque behaviour by the protagonist. The lyrics link together many themes as well as serving as an avenue for communal and individual expression. We have a medley of songs presented in the epic drama. Thus there are songs to praise the traditional champions, songs to build up tension satirical songs which mock opponents, songs of worship, songs of war, songs of joy as well as songs of sorrow and death. In between the songs and chants we have ululations and exclamations yelled at appropriate points in the performance. In addition we have onomatopoeic words chanted in a repetitive manner to spur the story-teller-protagonist to a duel each time they are recited. Although, J.P Clark presents an inseparable relationship of mutual exchange between the oral and written traditions, our point of emphasis is to evaluate the context and usage of the lyrics in the narration. Only the English versions of the songs will be cited for our illustrations. The theoretical considerations for the paper are folkloristics and psychoanalysis.

Keywords: Psycho-social context, songs, J.P.Clark, the Ozidi Saga