The Pragmatic Force and the Tiv Bard's Quest (Autosaved)

8/7/2019 The Pragmatic Force and the Tiv Bard's Quest (Autosaved)

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C.D.S Vande-Guma (Mrs.)

Department of Educational Foundation and General Studies, University of

Agriculture, Makurdi

[email protected]

07036351745, 08074686588


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PRAGMATIC FORCE AND THE TIV BARDS QUEST FORSELF-

PRESERVATION: A LOOK AT TARKERGOLOZOS STRATEGY

AbstractThis article seeks to examine, using the works of Tarker Golozo the various strategies used by

the bard to establish and maintain a smooth and cordial relationship with his audience.

Particular attention is given to describing the poets use of language with emphasis on efforts

directed at ensuring clarity of the central themes and sugarcoating truths that may seem toooffensive. Analyses are premised upon the principles for explaining the pragmatic force

namely Grices cooperative principle (CP), Leechs politeness principle (PP) and irony

principle (IP). By the means of these principles, it has been possible detect the preference for

everyday simple diction as the bards style of helping his audience easily interpret the main

thrust of his songs. The use of praise words and vocatives in addition to other devices for

promoting praise reflects his concerted efforts to identify with his patrons and other

prominent members of the community; the choice of the first person plural or singular is the

poets manner of implying that he is equally a member of the community and thus affected by

the issues addressed in his songs. Meanwhile the ironies detected are mainly implied.

Discussions therefore underscore the value of the performance as an indispensable pragmatic component of the Tiv song and the core factor for its resilience in the face of

changing trends occasioned by the so many socio-cultural and economic factors.

Introduction

Socio-economic indices such as poverty, poor literacy rates and mass under-

development play a paradoxical role in the African social reality. On the one hand they

impactnegativelyonthedaily lifeofthe African person but from anotheranglehavemadeit

possible for African Orature to remain relevant. This situation is a Third World

Phenomenon (Ikiddeh 132). Itistrue,thatthehistoryofthe Africanexperienceismarked by

years of imposition and withdrawal of colonial rule, introduction of new forms of

governance,the adoptionofnew patternsofeconomic practices,new waysof worship as well

astheintroduction andspreadof western-stylededucation/literacy.

Although thespreadof literacy is asuneven as the expected transformation inother

spheresofthe lifeofthe African individual,ithascreated a conducivecondition fororality

and literacy to thrive. This condition is seen from another perspective as representing the

traditional andmodernmodes of communication (Finnegan 53). Yet, rather than create a

sense of disillusion, facts emergent indicate that both modes play complimentary roles,


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dependingonthedemandsofthesituation. In anycase and forobviousreasons,thescalein

mostcasestilts furthertothesideoforality (Finnegan, 53).

Orality can be defined as thought and its verbal expression in societies where the

technologies of literacy (especially writing and print) are unfamiliar to most of the

population (Wikipedia). This may not necessarily be an absolute representation of the

Nigerian/Africansetting,sincemost partsofthecontinenthaveexperienced andencountered

literacy in various forms. The terms secondary orality (Ong 11) or residual orality (Mc

Luhan, qtd in Wikipedia) seem more appropriate for the fact that though the various

African/Nigerian communities have experienced and are still experiencing the culture of

writing,muchof themind-setof primaryorality (Ong 50) isstill prevalent amongstmostof

the populace.

Indeed literacyisstill perceived as an aspectof a receivedculture;greaterimportance

isstill attached to theuseof speechororal communication as a superior alternative to the

written text in many traditional affairs. The technologies of literacy are yet to be fully

interiorizedinthedaily livesofthe average African/Nigerianindividuals. Itistrue,indeed

that the literacy of Nigeria is seventy percent (70%) (78% formen and 60%) (UNESCO

2005) and the growth of urbanizationmay have reduced the plausibility of the preceding

assertions. However,suchmisgivings areeroded by the facethatonly 43.29 percentofthe

total populationof Nigeria residesinurban areas (UN: Population Division 2005).

A majorconsequenceofthisseeminglyresilientsurvival oforalityistheexistenceof

a prevalent mind-set which places high premium on the pragmatic nature of human

interactions. The term pragmaticnature,hereshould beconstrued asreferring to theuseof

language for communication in real and physical contexts, usually or in most cases in

circumstances requiring face-to-face contact, where participants can obtain immediate

feedback to their utterances which are usually subject to various kinds of


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(mis)interpretation due to the influence of accompanying paralinguistic elements such as

voicedynamics, facial expressions and bodymovement.

With the persistence of the scenario depicted in the preceding paragraphs, the

traditional verbal art formsotherwisecalled Orature andtheirpractitionershavenooption but

to maintain their relevance as agents of articulating issues concerning their respective

societies;orin alternativetermsto fill inthemanygaps left bythe imbalance inthe literate

population. Moreover, one only needs to decipher the invaluable role of the element

performance to the realization of traditional ver bal art forms to understand the crucial

interplay betweenorality andthecontinual relevanceof African/NigerianOrature.

Performancemeansthe actual useof anexpressionduring a communicativeevent as

opposedtothemore idealizedconceptof what anexpressionoughtto be (i.e.competence).

Thiselementisvital to Oratureororal literature becauseitis fundamentally a genreofhuman

expression that ismostly delivered by word ofmouth (Okpewho). Hence, the proverbs,

riddles, idioms,sungorchanted poetry and talesused tocodify peoplescultureneed to be

articulatedverbally by virtueof theirnature. Various technological innovationsmerely aid

theirmodeof production,delivery andstorage butdonoterodetheiressentiallyoral quality.

Thissituation bears a lotofinfluenceontheconductoftheoral artists, who areregarded as

possessing an above averagecompetenceincommunallyshared poeticcodes andthe powers

forexpressingthem.

Onegeneral consequence isthat a face-to-faceencounterbetween the performerand

an audience is an imperative requirement for his or her practice. In this regard, the bards

situation issimilar to a normal everyday conversation. His renditionof a song for instance

could beconsidered a longconversational turn.Whereashis audiencemaynotgive feed back

in words, he (the bard) is able to obtain feedback via direct observation of the listeners

bodilyreactiontothecontentofhissongs whileheis performing. Thisisoneconditionthat


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shapesthe bardsconduct priorto andduring performance. Equallycrucial tothe preceding

pointisthe bardsrelationship withhis audience. Most public performancestake place as part

of social events. Such social events may be burial ceremonies (especially of prominent

membersofthesociety),royal installations,traditional marriageceremonies, political rallies,

communal receptions andotheroccasions involving theuseof pomp and pageantry. Nketia

hasnoted that those whoget together in suchcommunal activitiesgenerally belong to the

same ethnicityorgroup, whichmeans that the oral artistmaymerely be one of his own

audience (21). The oral performer is usually verymuch conscious of his affinity withhis

audience, and wouldcapitalizeontheopportunity affordedhim bythe face-to-faceencounter

to use his performance (songs) as a yardstick to build a rapport with his audience and

community at large,in additionto fulfillingothermotivesthroughhissongs.

Onevery keysegmentof the Tiv bards potential audience ishis patrons. These are

usually the elites, who can be classified in grades beginning from the richest/influential

farmers in the village community, the district head, to the urbane and upwardly mobile

politicianorbusinessmaninthecity. A constantdenominatoramongst all kindsof potential

patrons a bardmayhaveistheiraccessto wealth andthusthe where withal torewardthe bard

withhandsomegifts. Naturallythe bardmay beconsciousofthis fact andmaneuverhisskills

so asto attractthedesiredreaction fromthem. Yet,traditional aestheticstandardsofthe Tiv

poetictraditionmake it imperative forall itsgenresto bedidactic (Uji 51). Tiv aestheticsis

foundedupon a strong functionalist base and it isusual to findtheresponsible andcritical

Tiv audience posing questionsthat probethe lessonseach performancehastaught and assess

theeffectivenessofits pedagogical content (Uji 51).

The Tiv song has been proven to be a very useful semiotic tool for codifying the

varietyofissuesshapingthe Tivsocial experience (Kyaagba 1981, Adeiyongo 1983, Nyitse

1990, Ker2002,e.t.c.).Thissituationhasequallyestablishedthe placeofthe Tiv bard asthe


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crucial voice through which these happenings find expression. Yet, his pursuits as a

performerarenotisolated from,ifnotchallenged bythecircumstances alreadyhighlighted.

This article addresses the Tiv bards strategies for coping with the challenges of

performing before an audience of voicing his opinion over topical issues while striving to

maintain a smoothsocial rapport withhis audience andsociety/community at large,orto put

itmorecandidlyto articulatethemindsofthe proletariat withoutoffendingthe bourgeoisie,

hence,thechoiceoftheterm quest forself preservation.

Expectedlydiscussions shall require the analysesof the songsof the selected artist,

which would involve considerations of the poets choice of diction and other linguistic

resources. Thishasequally informed thechoiceof a muchmore language based theoretical

tool foranalyses the principles fordescribingthe pragmatic force (PF) of Golozosstyleof

rhetoric.

Fornearlyoverfourdecades Golozo,dominatedthe Tivmusical arena withsongsthat

expressed his personal experiences and the collective reaction of the Tiv psyche to events

affecting the Tiv people and Nigeria. Perhaps, his hybrid background had refined his

verbomotor skills and poetic process. He belonged to the generation of Tiv poets which

includedthe likesof Agugu Igbakumbur, Iyoughul Ute, Iorlumun Wanikyar, Obadiah and a

hostofothers whoexperienced Tivsocietyinits pre-literatestate, butsubsequently witnessed

and experiencedthe socio-cultural, political,economic and religious transformations which

have resulted in the present-day Tiv/Nigerian society. Manyscholars allude to the fact that

his songs were populist and captured the essence of the effects of urbanization,

westernization andmodernizationon Tivsociety (Kyaagba, Nyitse, Ker, Adeiyongo). Indeed,

Namba wan (Numberone) TarkerGolozo, ashe was fondly addressed, functioned fluidly as

a go-between the traditionalist and modernist tendencies(Adasu vii). His works are


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regarded as classics andmany members of Tiv speech community consider his songs as

sources forveryinsightful philosophical sayings.

In anycase Golozocomposed and performedhissongs foran audience and was prone

tousinghisextraordinaryrhetorical skillsto persuade and/ormaneuverhis listeners. Atsuch

publicgatherings wherehe wasopportuned to perform, whileother individuals, politicians,

opinion leaders, traditional rulers,government functionaries and the likedeliveredspeeches

on the subject for convening, the poet articulated his own views by singing songs. In the

courseofsinginghegaugedhis audiencesreaction as anyotheroral performcould - by

observing their body languageor attention span forsigns to continueordiscontinue with a

particular pattern/topicornot. Onecouldcall thistactichissurvival strategies andthemain

thrustofthis article istoexaminethe linguisticresourcesheused as an instantiationofhow

the Tiv bardmanagestocut acrossvastsegmentsofhis listeners.

Theoretical Basis

The principles within the boundaries delimited by the linguistic discipline called

pragmatics are diverse but a consensus perception runs under current admits these diverse

views. This is the understanding that between the point when a message is encoded and

eventuallydecodedseveral things/factorscanoccurorratherinterferestoshapethe listeners

(mis) interpretationofthespeakersutterance. Thismaynot beunconnected tothe factthat

majorityof the conversations that people engage in also function as platforms for building

interpersonal relationships;thismeansthedesiretocommunicate a specificintendedmeaning

constantlyinterlocks withtheurgeto preservetheinterpersonal valueoftheinteraction. J. L.

Austin called thisdesire toexpress an intendedmeaning the illocutionary force; Leechhas

goneontodistinguish betweentheexpressionofintent (i.e. Austinsillocutionary force) and


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anothermoreregulativesocial goal, therhetorical force (16). Both forcescombineto form

what Leechhasidentified asthe pragmatic force (17).

Searle J. R. had recognized that illocutionary force of utterances may vary and

identified five categories ofspeech acts, to reflect the variety of illocutionary force-types.

These areidentified as assertive,directives,commissives,expressives, anddeclarativs (qtd.in

Leech, 105 107 andMey, 120 121).

Assertives also called representativesmake assertions about a state of affairs in the

world and thus its truthor falsevalue. However representatives could be subjective for a

speakerwhoutters a proposition astruedoesso inthe forceofhisorherbelief, whichmay

vary indegrees; asindicated inthedifference between a postulation and a hypothesis (Mey,

120).

Directives, as the term indicates, aim to elicit some effect in the hearer,mostlyto

cause them to carry out an action or acquire another way of considering an issue.

Commissives alsocreate a change but intheircase, bycreating anobligation inthespeaker

who utters them. These are mostly realized as promises, pledges, and statements of

commitments andsoon. Expressives signify the innerstateof the speaker; and areusually

verysubjective andmay probablynotstatemuch aboutthe world. Withdeclaratives,such as

reflected withverbs likeresign, baptize,sentence,name,etc.thereis a directcorrespondence

betweenthecontentofthe proposition andrealityin anycasethisdoesnotrelatetothe kind

ofdiscoursediscussedhere.

While the illocutionary force avails theresources for expressing thespeakers intent

and attitude,therhetorical forceof anutterance plays a moreregulative function. Itsgoal is

primarilysocial, which istoensurethatthecommunicative processdoesnotdegenerate but

undergoes a smoothtransition. Thiscan beexaminedusingthetenetsofthreecomplimenting

rhetorical principlesnamely;


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(i) Gricesco-operative principles (CP)(ii) The politeness principle (PP) and(iii) Theirony principle (IP).TheCP ensures that thetext produced isrelevant to the illocutionarygoal (force) of

thediscourse. Gricehasoutlined fourmaximsoftheCP,eachcomprisingofsub-maxims as

given below;

(i) Themaximof quantity:(a) makeyourinformation asinformative asrequired,(b) donotmakeyourcontributionmoreinformativethanisrequired;

(ii) themaximof quality: (trytomakeyourcontributiononethatistrue)(a) donotsay whatyou believeto be false;(b) donotsaythat forwhichyou lack adequateevidence;

(iii) themaximofrelation:(a) berelevant relevanthereisused accordingto Leechsdefinitionthat

an utterance u is relevant to a speech situation if u can be interpreted as

contributingtothe... [illocutionary]goal(s) ofsorh;

(iv) themaximofmanner:(a) avoidobscurityofexpression(b) avoid ambiguity(c)be brief (avoidunnecessary prolixity)

Apparently, themaximsof theCP areoriented towardsenhancing the realizationof

theillocutionary forceofutterances. Howeverthe bardisnot alwaysexplicitinhischoiceof

expression,especially whenstrivingto avoid beingovertly blunt andtheCP maximshave

no avenues for accessing this kind of communicative strategy. It is at this point that the

provisions of the PP developed by Leech becomeoperational. The PP provides alternative


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options fordescribingthe functionsofexpressionsthatcompromisetheillocutionary forceof

utterancesinordertomaintainsocial relationships between participants.

Itsmaxims aregiven below:

(i) the maxim of tact, the use of expressions thatminimize the impact of theillocutionary forceonthehearer;

(ii) themaximofgenerosity,theuseofexpressionsthatmay bemore beneficial tothehearer;

(iii) themaximof approbation,theuseofexpressions thatmaximizethe praiseofothers;

(iv) themaximofmodesty,theuseofutterances which limittheself-praiseofthespeaker;

(v) themaximof agreement,theuseofutterancestomaximizeexplicit agreementbetweenthe addresserandthe audienceorlisteners;

(vi) themaximofsympathy,theuseofexpressionsthat promotesympathy and/orempathy betweenthespeakerandhearer(Leech, 131 132).

Apparently the PP maxims underscore the emotive value of an utterance over its

referential value.

The irony principle (IP) (another invention by Leech) mediates between theCP and

PP maxims. Itisusedtoexplainexpressionsthatmediate between beingexplicitlyreflective

ofthespeakersintent andthosethatensurethesmoothtransitionoftheinteraction between

the addresserand addressee. The ironic forceof anutterance isusuallysignaled through an

overstatement (hyperbole) or anunderstatement (litotes) or, asmostcommonlyused bythis

bard, beimplied.

Both the illocutionary force and rhetorical forcemust not be perceived as isolates

comprising a single principle (i.e. the principleof pragmatic force). Their inclusion within


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this pragmatic principlereflectsmoreof a relationship ofinterdependency: withouttheclear

identification of the illocutionary goals (forces) of a speakers intent in specific terms (as

assertive or representatives, directives, expressives or commissives) there is no basis for

determining the conformity to or departure from the maxims manifests in any kind of

discourse. The analysesofsongsinthenextsubsectionshall beteleguided bythis perception

in additiontothiscaveatemptor:

A speech act isnotnecessarilyembodied in a sentenceor in a speech by a single

character: speech acts, as units on the pragmatic level of analysis, do not have to

correspond to easily recognizable units of syntactic ortextual analysis (Leech and

Short 293).

Itis possibleindeed, forinstance forseriesofclauses,sentencesorevenstanzastorealizethe

sameillocutionary force. To avoidredundancy inreference,discussionsshall glossthesong

texts.

Analyses of Song-texts

Duetospaceconstraints,descriptive accounts providedhere are limitedtotwosongs

outofscoresof poetry produced bythe artist. These are Ernaniluzuana mkuremga? (Why

thescarcityof fuel?) and Mba yanve tilegomna bunderecii la (All those whocontested

for and lost the Governorship elections). The titles reflect the central theme of each song.

Transcriptions conform to the orthography commonly used throughout the Tiv speech

community. The choiceof appropriateorthography posed nodifficulties because there is a

high level ofmutual intelligibility amongst thevariousdialectsof Tiv language. Hence the

languageishomogeneous. Theseparationofvarioussegmentsintostanzas was judged bythe

lengthof pause,theshorterpausesobserved bythe poet wereusedtodelimit lines and longer

pauses,todelimitstanzas.


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The transcriptions in Tiv constitute the primary source for analyses. The versions

translatedin English aremeantsolelyto facilitatethereaderscomprehensionofthesongs.

Text A

Er nan ilu zuan a mkurem ga? (why the scarcityof petrol?) was the poetsmuch

fameddiscourseon the scarcityof petroleum products in the country. In this song, Golozo

decried the scarcity, proffered reasons to criticize the situation and commented on other

development projectsexecuted bythe Nigeriangovernment.

Thedominant illocutionary acts realized in this poem areexpressives used by the

poet to codifyhis feelings and assertives through whichhemade factual reference to the

issues addressed in his song.Instances of expressives occur in the opening stanzas of this

song, as follows:

Alume pineman alushaminga kpa

Oru pinentsumga oo

Oru pinentsumga me pine

Mba ve fetakeda veyimam aa

Alume pineman alushaminga kpa

Oru pinentsumga oo

Oru pinentsumga me pine

Mba ve lu kehemenveyimamna

Meaning:

If I ask andifitisnotcorrect

Theone who asksnevergets lostoo


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Theone who asksnevergets lost

I will askthose who are learned

Letthemrescueme aa

....

I will askthose who are leaders

Letthemrescueme aa.

Thesestanzas areclassified asexpressives byvirtueoftheillocutionary forceoftheir

contents. Asthedefinition inthe previoussectionreveals,thesestanzasservetoconveythe

poets attituderatherthanrepresent an actual conditionorstate. Golozohad anticipatedthat

the primary subject of his discoursemay elicit some ill feelings towards him. Hence he

resorted to evoking this hypothetical situation to appease his target, namely the Nigerian

government but at the same time underscore his conviction to persist with his discourse

regardlessofthereactions fromvarious quartersofhis audience.

Meanwhile,thethirdstanza begins with a rhetorical question:

Ku,ernaniluzuan a mkuremga

Maniluhitaru Nijeria iorveerenmkurem?

Meaning:

Whythescarcityof fuel

Whenitisin Nigeria that people produceoil?

This should be considered an assertive because the bard had used it to enact the reality

addressedinhissong. Theexpressioncarriesthe principal illocutionary forceofhisdiscourse

bycodifyingthe absurdityofthesituation: that Nigeria anoil producingStateisexperiencing

theshortageof petrol. Other assertives in this poemconvey additional factual claims about


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theincreasingnumberofvehicles, airplanes andindustriescited bythe bardtorepresentthe

growingdemandon petrol and itssister products. Thesamestanza ends with a muchmore

bluntexpressionofundisguiseddisgust:

Kape kwaghman aluimba la ga a

Meaning:

Thussuch a situationshouldnot be.

Itisindeed anundisguisedexpressionofdisgustduetothe poetschoiceoftheterm

imba la (which literallymeans ofthatsort). Theexpressioniscommonlyused bythe Tiv

peopletoshow disgust at a kindof behaviouroranobject thatisdeemedto beoffensiveor

abnormal. Itisnotsurprisingthereforethatthe bardcouldnotrestrain fromusingthe phrase

despitehiseffortstomitigatetheimpactofhis performanceonhis patrons.

Whereasthe assertivesinthe firstthreestanzas function ascomplaints,thecontentsof

thenextstanzasswitchtotheexpressionof approval orsupportofthe Nigeriangovernment.

Theseinclude Golozos appreciationofthereductionoftaxes andthe positiveimpactonthe

masses and theestablishmentofmedia houses atdifferent locations in thecountry, ascited

below includinghisgratitudetothe Nigeriangovernment forcreatingtheopportunity forhim

to perform beyondtheshoresof Nigeria:

Moniyaghygomna u Nijeria yimam aa

M g beramomdue ken won

Ka ma za ngorontsorkera lanemzeoo

I pande kpandegh kpa doo

Iorkera mba tanzegeinya ga

NgiseorTiv a tiba ishwa


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Nanyem angahara anyraza tee Katsina

Aiengenumatungee

Orkera zenden angaharga

I maa iyoughinan abaverngishin Ibadan

I maa iyoughinan abaverngishin Ilorin

Werayange purkarataan-kar-anyiin

Nigeria ciimba zuan bughunisha Jos.

Meaning:

As formyhumbleself, Nigeriangovernmenthelpedme

I havesungevenoutside Nigeria

Whenever I startsingingeveryone knows itsme

Thereductionoftaxisgood

Peopledont payheavytaxes anymore

Inthe past, a Tivman wouldcarry a sackof beniseed

He wouldtrektosell in Katsina (Ala)

Nowadays,vehicles are plenty

Nobodytreks anymore

Thereis a radiostationin Ibadan

Thereis a radiostationin Ilorin

Onthe 19thofthismonth


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Nigeria as a whole will meettoopentheonein Jos.

These elaborate articulations conform to the CP maxim of quantity because they

provide adequate information aboutthe issues addressed. They also fulfill theCP maximof

quality becausetheinformationdenoted providessufficient factual evidenceinsupportofthe

poetsclaims.

However, there is an apparent incoherentgap between the facts depicting problems

beingexperienced bythe Nigeriancitizenry andthosethat are pro-establishment. This lackof

coherence between the assertives is in breachof theCP maximofrelation: berelevant and

themaximofmanner: beorderly. A pieceofdiscourseisdeemedrelevant whenitrelatesto

thecentral thrustof a text. Itisimpossibletoinferanytopical connection betweenthe poets

criticismofthe fuel scarcity anditsnegativeimpactontheimprovedstandardof living: such

as improvedmeansof transportation andhis pro-establishment pronouncements describing

how he had benefited from government patronage, the opening of radio stations and the

reduction in taxes. His train of presentation is,moreover, not orderly because at several

junctureshiscriticismisinterrupted by a flow of praises forthegovernment.

This inconsistency in focus, however agrees with the maxim of approbation and

agreement, both tenets of the PP. The PP maxim of approbation depicts the use of

expressionsthatmaximizethe praiseofthehearer (listener). Golozo was aware, perhapsthat

hisutterances were potentially offensive, hence the persistentdivergence from criticism to

praise in the course of singing. This could have been the bards strategy to smoothen the

feathersthathis probingobservationsmayhaveruffled.

As for the maxim of agreement, the bards gleeful display of support of the

governments decision over other developments this is equally aptly conveyed in the

concluding linesofthis poem:


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entirely inaccurate basedon this premise. Although the poet wasnotvisibly ironical, these

inferences are pregnant withthem.

However, on the whole, if this poem is an argumentative text, the listener, at face

value, may be confronted with the dilemma of determining which segments of the text

actually reflect the poets point of view. This is because Golozos dispositions at the

beginning and towards theendingofhis performance are poles apart. Incavalier terms, the

bardhad blownhot andcold, perhapsthesourceofsolacecould beobtained byconsidering

theunvoiced/implicitironiesinthetexts.

Text B

Mba yan ve tile Gomna bunde ve cii, la (All those who contested and lost the

Governorship elections) was performed in the aftermath of the Benue State gubernatorial

electionsin 1991. Inthis poem Golozo advisedthedefeatedcandidatesto accepttheir fate as

the peoplesdecision. Althoughthismay be perceived asthecentral topicofthis poem,other

keyissuescan bededuced fromthistexts,henceitssomewhatheterogeneous topic base. The

illocutionary forceofthe bardsutterancesequallyreflectsthisdiversityin focus.

For instance, the song begins with a categorical declaration; best considered an

expressivesinceit articulatesthe poets personal views:

.M gberenimoi patiga

Gohozogberenimoi patiga

man kwaghngu a hulem

mnongou wanzwa

Meaning

. I dontsing party (political) songs


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Golozodoesnotsing partysongs

But when I findsomethingconfusing

I trytocomment

This was Golozos strategy for pre-empting the possible interpretation of his

performance as a show of partisanship orsolidarity with thevictor at the election, Rev. Fr.

Moses Adasu. In this regard, these lines reflect a conscious effort, by the bard, to ease

perhapstheunderstandingofhismessage asspecified by Gricesmaximofmanner. The lines

are equally precise and adequate, providing essential information in compliance with the

maximof quantity.

Havingsetthenecessarytextual/extra-textual environmentthe bard launched into an

offensive withthe followingdirective:

Mba yanvetile Gomna bundvecii

Ora danvihinshima mayange ga

Meaning

All those whocontested and lostthegubernatorial elections

Noneofyoushouldeverget angry

Again these lines areveryexplicit,devoidof any pretensionsor efforts to fine tune

theimpactoftheirintendedmeaning ascan beobservedinthe bards bluntidentificationof

hisreferents (thedefeatedcandidates).

In anycase,the following lines aresomewhatintriguing;

Tindi waseuhen Benueer:

Ora tilegomna ysaa nana kpurityough keng

Aluu kpurityoughga y

Mba sangen wema yangega aa.

Meaning


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Ourrulein Benueisthat:

Ifyoustand forgovernorship election,

Youmust be baldheaded

Ifyou arenot baldheaded

You wouldneverbeelected.

Onecouldconsiderthese lines assertivessincetheyenactthe bardsrepresentation, attempted

ornot,ofsome formof reality. Their explicitnature render them sound illustrationsofhis

effort to provide clear information, support his claims with evidence, with relevant

information, and avoid being ambiguous. In actual fact,thehistorical facts atthattime were

actually in support of Golozos claim. By some stroke of coincidence, the 1st civilian

governorof BenueState, Mr. AperAku was baldheaded and Rev. Fr. Moses O. Adasuthe

2ndindividual togetelected to that post was also baldheaded. Both bald-headedcandidates

vied for the post againstcandidates who werenot bald-headed; AperAkudidso twice and

emergedvictorious while Adasuhadonlyoneopportunity.

Golozosgoal wastoemphasisthesestrikingsimilarities between bothepoch-making

eventsthrough presentingthecoincidence as a mutual law reflectingthecollective preference

of the peopleof BenueState. From another angle, an assessmentof theseutterances within

GricesCP maxims probably provides a weakreadingofthe poetsintent. Forthismayhave

beenmerely a strategyto pep up his performance with a humorouseffect, andconvince,in a

humorousmanner, those who lost the elections that perhaps the electorates in BenueState

weremore disposed towards bald-headed leaders: probably that physical traitsmay be for

them anoutwardsignthatis a sine qua nonevidenceofinnerwisdom.

This attempt athumourconnotes a moresocially-orientedgoal. Itreflectsespecially

that poetsuseof tact to lessen the impactofhisdirective (rather advise) dissuading those

who losttheelections fromseekingtoreversetheoutcomeoftheelections. Inthissensethe


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PP maximoftact plays a mitigatingrole byminimizingtheimpactoftheillocutionary force

of thedirectiveon the persons addressed in thesong. This technique wasmotivated by the

desire to penetrate emotional divisions to use Jakobsons terms (qtd in Todorov 274).

Golozos portrayal of the physical attributesof Aku and Adasu was likely tohavesoothed

any tense emotions nurtured by all segments of his listeners/audience (losers andvictors)

becausethischoiceofepithetsmayhavecausedhis listenersto laughinspiteoftheirdiverse

reactionsovertheoutcomeoftheelections.

Through the following elaborate reference to Chief Abu King Shuluwa, the poet

underscoredhis point:

Chief Abu KingShuluwa nigse je

Vanderonerwengomna sarun a sar

Aluuna ya ga kpa una kpega

Man alu wen a yaanga ysaa

Ka Ando Teruna sen a ya iyol na

Adasu ka wanu Ando

Fada Adasu ka Ando

Era yeyChief Abu KingShuluwa hargenga

U kuhangomna iyol na.

Meaning:

Chief Abu Kinghad already

Saidheonlydesiredto begovernor

Ifhe loses,hewouldnotdie

Andifhe loses,itisonly

Godhimselfthat woulddescend and win

Adasuis a sonof God


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FatherAdasuis God

Ashehas won, Abu KingShuluwa

Hastakenup drums andisdrumminghimself.

The validityof Golozos illustration rests on certain key factors namely, the bards

choiceof referent, Abu KingShuluwa, was relevant to the pointhesought to explain he

wasnot bald headed; byemphasizing Adasusstatus as a clergymanthe bard inferredthat

Shuluwa was indeeddefeated by Godoroneordained by Him;theexaggerated portrayal of

Shuluwas jubilantmood helped to exemplify the kind of reaction the poet expected from

otherdefeatedcontestants.

Apparently,the pragmatic forceofthe bardsdiscoursetiltsmoretowards facilitating

the listenersunderstanding of the songor its illocutionary force than seeking to soften the

impact on Adasus opponent, besides the comic reference to his bald-head . This can be

detected from pedagogical success attained through his choice of examples, which can be

supported by feasible fact as alreadynoted. Thesametempoismaintained asthediscourse

progresses. In each of the assertives that follow the poet did not hesitate to voice out his

genuine opinion about the state of affairs addressed. For instance, it is apparent from the

following linesthatthe bard felt frustratedoverhisinabilitytogain audience with Governor

Adasu:

Tion Ijua Kema TuleorMbanor

Tionishughun kpa ka meza mermeza

Sugh Adasu kpa

Tativvenamianga

Manngise jevande lunorimoo wam aa.

SnnenMisa Ifanka

U ngu kua Veronica Mishi wan Anygo


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WanMbatyerevee

Nevandembanhengerine

Ka neza eremianme lam a gomna

Golozo No. I ka orusha tohoy

Nguzuan a ianga a

Meaning:

Tion Ijua Kema Tule, a man fromMbanor,

Tion when I gotogreet Adasu

Theynevergivemethechance,

And I have beensinging abouthim forlong [beforenow]

.

Son-nenMr. Ifanka,

You and Veronica Mishithedaughterof Anygo,

Daughterof Mbatyerev

You are alreadytown people

You aretheones who will go and

Make way (forme) tosee Governor

Golozo No 1 is a bushmansoheisnever

Given a chance.

The expressions manngise je vande lunor imoo wam aa-through which the poet

alleged a priorfamilial acquaintance withthe Governorand Golozo No.I. ka orusha tohoy

ngu zuan a ian ga a especially high light the poets feeling of frustration. Golozos

lamentations in these lines show the poetsdesire to be explicit, as can beobserved inhis

choice of everyday diction. Hence the force of Golozos communicative behaviour was

directed towards ensuring thathe was clearly understood regardless of the social impact it


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mighthavehadonhisrelationship withthe Governors aides identified as tativ whom

he openly accused of denying him access to Governor Adasu. Within the framework of

GricesCP maxims, the poets strategy is compliant with all fourmaxims: the quantityof

factssupplied is adequate;the facts provide feasibleevidence withdeicticreference (i.e.the

identitiesofthereferents are indicatedclearly); they are alsorelevant to the pointraised by

the poet; and themanner of poets communicative behaviour (i.e. choice of expression) is

devoidofobscurities.

Incasehis audience was pronetomisconstruehis purpose,the poet progressedvia the

followingstanzastoexplainthe purposeofhisdesiretosee GovernorAdasu:

Misa Nyiakaa oruhen Amua ngushin Taraku,

Misa Abaiyol kpa ngushin Taraku

Sm Akure IgbenorushinMbakor

Aluerwen a lagh a na se wanianyoo

Seza yila Anyam lungwa a Vihiashe

Seza wa gomna kwagh:

Adeunengenhenikyum

A nengen kenhemen

U kpen akpengerusrtarBenuega

U zenden a zende asoroo.

Meaning

Mbakor

If we are luckyto begiven a littlechance,

Weshall call Anyam lungwa Vihiashe

Weshall go and advicethe Governor:

Lethimnotseenear(only)


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Heshouldsee farahead.

Ifyoudependonrumours/gossip

Youcantrule Benue,

You will begoing fromonesorcererto another

Here again, there is an apparent absence of a shortfall in the bards drive to drum

home themeaningofhissong tohis listenersunderstanding. Onesolid indicator is the apt

figurativedictionthrough whichhe advised GovernorAdasu;theimageryyields a somewhat

challengingifnot provocativeimpressionof aninactive leaderwhoissatisfied with listening

tosycophants butequallyencouragesits keytarget (Adasu) to bemore focusedvia connoting

a prevailing lackofdirectioninhim.

As the song gradually draws to a close, the bard launched into conscientious

recollectionofhow thegubernatorial ticket was allotted to IkyrAdasusclan. Asoutlined

below;

Injinia Ochogida Agada gema gomna na Tiv

Idoma vetdiputi

Tivgema vena Dbuu Jee

Dbuu Jeegema vena Ikyr

Ikyrza kasenngon kerayol ave

Iormba senve kuren avee;

TimbirAlukudan kernum wer;tilega,

Shimera SaaorGerechi ade ker

num weritilega.

Orunan a ngoroner: i krsha ka gandenmo la

Akawe Torkula una rumuny


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A krorla nan wua atia oo.

Meaning:

Engineer Ochojila Agada hasgivengovernorto Tiv

Idoma havetakendeputy.

Tivinturnhavegiven (it ) to Double J

Double J inturnhavegiven (it) to Ikyor

Ikyorhavegone and are fightingthemselvesoverit.

People are laughing atthem andclappingtheirhands

TimbirAluku,dont askthemtostop fighting

I will alsotell SaaorGerechinottostop them

Anyone who will cryout: stop I am beingoverpowered

Akawe Torkula,ifhe agrees

Letsuch a person pay fine.

By launchingintothediachronicsofhow Adasueventually became Governorof BenueState,

Golozo wasmerelyevokingthetraditional Tiv philosophyof Ya na wan ingbian, which

means, literally, chop andgiveyourbrother/sister. Thisisthetraditional conceptthat forms

the basisof powersharing amongstthe Tiv people andinvariablyhow theyinfluence affairs

in thegovernanceof Benue, asevidenced in the re-occurrenceof theverb phrasegema-na,

whichmeans turn andgiveinthissong. InthismannerGolozo questionedtherationale for

thedisagreement amongst the Ikyr people,since the position was peacefully allotted them

by traditional due process. Hence, the bard concluded that the people of Ikyr, (short for

Shan- kyorasthe peopleofthe peopleoftheShangev-Tiev arecalled) weremerelymaking a

ridiculousspectacleofthemselves.

What isofnote,concerningthe poets linguistic behaviour,istheundisguisedsatire.

This ischieflysignified inthe poemexpressions like za kasenngon kerayol ave, iormba


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senve kuren ave whichtranslates to Ikyorhavegone and are fighting themselvesover it,

people are laughing atthem andclappingtheirhands. Thiscan also bedetectedinthe poets

directives to key figures in the Tiv society not to intervene in the quarrel especially as he

appealed to the paramount leader, TorTiv Akawe Torkula to fine the first person to admit

defeat.

It is thereforenot inaccurate perhaps to assert that the bards elaboratestyle agrees

withCP maxims;yet,his performance probablynotdevoidofsomemoresocially-inclined

tactics of expressions. One feature which could be considered as an obvert strategy for

relating with his would be listeners, is the preponderant use of vocatives throughout this

poem. These aremainlythenamesof persons addressed bythe poet forexample, Julius Atom

or Kwande, Tion Ijua Kema Tule orMbanor, Son-nen Misa Ifanka, Veronica Mishi wan

Anygo wanMbatyerev amongstseveral others littered acrossthetext.

Itis a common practice forbardstomentionthenamesof peopleoccupyingelevated

social statusesduring performance,especially whenthey perform at publicgatherings where

many VIPs are present. The factthatonesnameisincludedin a songisusuallyregarded as

an acknowledgementofhisorhersocial status.Such persons wouldnaturally feel gratified

andexpress appreciationthroughgivinggiftsincash and/orkind. Golozomaynothave been

unmindful ofthis impact,thusdemonstrating an attempttomaximize praiseofthehearer(s)

asdefined withinthe politeness principle (PP).

The bards narration of his fruitless sojourn in the city to see Governor Adasu is

excusableunderthe PP maximofsympathy, becausehismotivemayhave beento persuade

Son-nenIfanka and Veronicato assisthim. Hissatirical commentthathe wasdenied

access to the Governor by his (Governors) aides because he (Golozo) was a bushman i.e.

orsha tohoy addsimpetustohisefforttoconveyhis predicaments andemphasizehis

dependenceonhis addresseestosucceedinhis quest.


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Moreover,hedisplayed a high level oftact inhisgeneral reference to the peopleof

Kyr clan. Social facts show that Adasu lead opponent in the opposing party NRC was

Professor Ignatius Ayua, hails from the same local government as the Late Adasu, that is

Konshisha Local Government, even though he is from the Gaav clan (regardless of this

difference Tivtraditional genealogystill classifies bothclans as belongingtosame branchof

the Tiv family tree) and that the Prof.sought litigation to reverse thedecisionof the polls.

Couldthe poetsgeneralization about Kyrhave beenintended as a strategytoevade beingto

particularistic lesthis performancemay beinterpretedincertain quarters as beentoo biased?

Regardlessof whatmay beconsidered an appropriateresponse,the poets indirectreference

shows a conscioususeoftact forself-preservation. Interestingly,though,theonly opponent

of Adasu, whosename features prominentlyinthesong,isChief Abu KingShuluwa, whom

the bard praised assettingtheexamplethatotheropponentsshouldemulate.

The open request to Timbir Alaku Saaor Gerechi not to mediate in the

disagreement amongstthe peopleof Ikyr, in additiontothesuggestionthatthe first person

to admit defeat be fined, expressly contradict the irony principle (IP). The basis for this

perceptionisthe absenceof anyeffort bythe poettodisguisehisdisgustovertheincidence,

hencethisverbal outburstorshow ofsatire.

Discussions here show that the poets disposition in this poem presents a complete

departure from his approach in er ilu zuan a mkurem ga? Whereas he interlaced his

criticism with praiseofthe Nigerian Government,inthis poemhemaintainedtheunyielding

stanceofsocial critic,regardlessof whoseox wasgored byhis bitingstatements.

Conclusion

The preceding analysesdemonstratehow the face-to-faceencounterbetweenthe bard

andhis audience in addition to thevarious formsof affinitiesexisting between both parties

influencehis choiceof expressionduring performance. This reflects the pragmatic forceof


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themessagesinhissongs. To putitin alternateterms,hiseffortstocreate a balance between

trying to ensure that the meaning of the contents of his songs were well understood and

maintaininghissocial rapport withhis patrons andother listeners as well ashiscommunity at

large. Ithas been possibletoidentifyusagesthatsimultaneouslyconformtotheCP maxims,

the PP maxims andthe IP. Theseoccurrences aresuchthat a usagethatisin breachof a CP

maxim for instance, is justifiedunder a PP maxim, while a subtle irony that is inconsistent

withthegoal ofthe PP actualizesthe IP.

Bycrisscrossing betweenopposingviewsintext A, forinstance,the poetviolatedthe

CP maxim, beorderlyso astosatisfythe PP maximof approbation as a displayofsolidarity

andsupport forthe Nigerian Government. Intext B,his bluntcriticismofthe peopleof Ikyr

ismitigated by thedeliberategeneralization to avoidsinglingout the particularnon-gallant

loser,that puzzle was left forhis audiencetosolve.

It is this persistent meandering of focus that accounts for the pragmatic force of

Golozosstrategy forself preservation, a technique whichinvolvedcodifyinghisintentions

through the use of apt diction, symbolisms to aid his listeners understanding, while

sugarcoatingtheirimpactso asto preservehissocial rapport withhis audience.

Moreover, the poets direct involvement with his audience is further intensified

through the preponderant usage of personal pronouns such as m (I), se (us), to refer to

himself andhiscommunity (includinghis audience) as a whole. Theseshowedthedesire in

the poettoidentify withhis listeners andcommunity.

Studieshaveshownthatmuchofthetopic base forthe Tivsonghas beendrawn from

epochsofcommunal significance (Yina 39) andon prevailingcircumstancesin Tivsociety

and Nigeria as a whole (Adeiyongo qtd in Yina 37). These songs constitutemuch of the

medium forspreading information aboutvarious kindsofhappenings inthe world formuch

ofthe populace and inmostofthesesongstheidentitiesof key facts, figures andcharacters


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maynot beshrouded insomuch imagerytoobscuretheir actual identity from the listeners.

This isevidenced in thesongsdiscussedhere for instance by thereference to actual events

(fuel scarcity, opening ofmedia houses, elections) and real people (Adasu, KingShuluwa,

Son-nen Mista Ifanka, Akawe Torkula e.t.c.). The bard in this sense is conscious that the

worldencodedinhissongisreal andheisverymuch partofithencethenearsubjectivismin

approachtothethemes addressedduring performance.

The factor of patronage is also a near formidable factor that shapes the bards

performance. The Tiv bardmaynotconsiderhimself a full timecareersinger,indeedmany a

Tiv bard have farming as their principal occupation, Golozo was a classic example ofthis

group, andevensharedhisexperiences as a farmerinothersongs (notincludedinthisstudy),

narrating the benefits derived from applying organic fertilizer and using other modern

farming techniques. However, factsshow that the amountoftime expended by the bards to

either professions (i.e.singing and farming) dependto a largeextentonthe benefitsderived

therein, withthe pendulumswinginginmostcasestothe former, asthecasemay be. Insuch

circumstances, a conscious effort to cut across a variety of the audience and societymay

cometothe bard as a natural resorttoensuresurvival andcontinuityinthe preferredcareer.

In any case, these tendencies shouldnot be seen as eroding or even trivializing the

roleofthe traditional Tiv bard asthevoiceofhiscommunity. Tivsongshave becomevery

useful semiotic devices for storing history for posterity and regardless of how a bards

personal/subjective dispositionmay be; he or she is constantly challenged by this fact and

strivesto attainthedesired balance.


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WORKS CITED

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ed. Oxford: Blackwell Publishing, 2001

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Uji,C. Tiv Aesthetics: Facts and Misrepresentationthe Tiv in Contemporary Nigeria Ed.

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OralityWikipedia, the Free Encylopedia

Documents

The Pragmatic Force and the Tiv Bard's Quest (Autosaved)