Ivwiegbe vwe etaeta vwe urhobo Silence in urhobo verbal arts

Abstract

Isiesi nana ka tota kpahe ivwiegbe/unuegbe vwe eta-eta re ihwo re Urhobo ekevuovo. Ihwo rẹ Urhobo, ayen ihwo re dia ubrekpo re Ovwo vwe evun re oto re Inaijeria vwẹ Idelta. Ivwiegbe oyen irueru re ohwo vwo je eta eta oke ro fori ne o ta eta. Ivwiegbe/unuegbe O vwe otọ sasan vwẹ Urhobo. Otọ sasan anana ọ sa ghwa ota yẹrẹ okpetu cha vwẹ ota-ẹta vwẹ evun rẹ ephere. Oka ka rẹ ota ata, ẹdia ohwo na epha, emu rẹ erue ọyen ye ghwa otọ rọyen cha. Ivwiegbe/unuegbe vwẹ erhuvwu vẹ obrabra rọyen vwẹ evun ota-ẹta vwẹ Urhobo. Emu sasan oyen ghwa ivwiegbe cha kirẹ udje ophu, jẹriẹnte, ẹghwo/unekọn aroyinvwo etc. Iruo nana obo ri fori ne afuere fikiridie, o ghwa erhuvwu rhie eta-ẹta re Urhobo. O ji vwo ena ro vwo phie oruru yẹ irueru re Urhobo phiyo oma re ihwo. Ena yere idjerhe re iruo nana ke nene, ke idjerhe re a da ghwa ihwo koko a me no ayen enanọ yẹrẹ orhie kpahe ivwiegbe/unuegbe. Eta vẹ ovuẹ rẹ ayen vwọ kẹ yẹrẹ kpahe phiyọ, a da nabọ fuẹnrẹ/dje ayen nenẹ idjerhe rẹ erianriẹn ikokodo rẹ ephere na (Critical Analysis Discourse). Amrẹrẹ vughe nẹ ivwiegbe, eranvwo kirighwo vwe eta-eta rẹ Urhobo rẹ eke se gbe obo nyẹẹ. Ona rẹ ivwiegbe rhi ghwa erhuvwu rhie irueru rẹ Urhobo mamọ. Ihwo re Urhobo de vwo ota, yere ayen de nene ohwo ghwo, ivwiegbe obo rayen sa ghwa obo kpahan. Ivwiegbe na ọyen idjerhe ọvo rẹ ohwo sa wan vwo yivwi ohwo re ivun royen vwerhaa. Ekpako re Urhobo, vwe ivwiegbe vwo ha ehaa. Ọke rẹ ohwo da mrẹ nẹ urhemu rẹ ohwo rẹ ọta ota na jewee, wo se gbe ivwiẹ yẹrẹ ota rẹ ohwo na tan a cha ghwa okpetu rhe, ọke yena, ofori nẹ ohwo rẹ ata ota na kẹ nag be ivwiẹ rere ufuoma sa vwọ dia. Enana sasan ọyen erhuvwu vẹ imiovwo sasan ivwiegbe ghwa neneoma vwẹ eta-ẹta vwẹ Urhobo.

Silence in Urhobo Verbal Arts is like a double hedge sword having both denotative and tendency of having both positive and negative interpretations at almost the same time depending on the circumstances of its usage. In other words, it is an ambiguous phrase that has both denotative and connotative meanings that could be used to cause communication gap in speech act if not well engaged. This paper examines the place of silence in Urhobo verbal arts and the intricacies that are involved. Silence is an aspect of Urhobo verbal art that engages or employs complete absence of sound or speech in verbal arts especially when sound or speech is most needed in the discussion. This silence art could be deliberate and sometimes necessary for several reasons which is part what this paper is set to discuss. This aspect of Urhobo verbal arts is worthy of study owing to the beauty it introduces to discourses which has a way of compelling the interest of individuals in Urhobo verbal arts. The method used involved individual and group interviews of selected persons with adequate knowledge on silence in Urhobo verbal arts and the data were subjected to critical analytical discourse. It was observed that the use silence in Urhobo verbal art is a tool for fighting during dispute, disrespect to an elder(s) or person(s) whose behaviour is displeased with. Also, it is a tool to save certain situations that may have adverse effects. In conclusion, the silence in Urhobo Verbal Arts has its advantages and disadvantages. In other words, when one chooses not to be disrespectful or when the situation is not conducive to speak wisdom demands that silence is needed but when one observes that the behaviour of someone is displeasing and you need to displease and quarry the person then the choice of silence become necessary.