Featured Article: The Role of Music in The Olorogun Masquerade Festival Drama of Ayakoromo Town in Burutu Local Government Area of Delta State, Nigeria

Featured Article: The Role of Music in The Olorogun Masquerade Festival Drama of Ayakoromo Town in Burutu Local Government Area of Delta State, Nigeria

By Ebikabowei Kedikumo

Music plays a very important role in the Ayakoromo Olorogun masquerade festival performances. Music is, and always, will be part of all aspects of African life, whether it is performed by an individual or by groups in formal and informal gatherings or settings. Music is an integral part of African culture and it is unique in itself. It includes sounds produced by playing indigenous African instruments like wooden drums, flutes, gongs and bells, accompanied with singing. It does also include songs produced by Africans with their mouth popularly known as "African voice". 

Karolyi (1998) and Kubic (2010) broaden African music to include sounds not only from the abundant types of drums or xylophones as is widely believed and identified with, but to include all four groups of instruments namely chordophones, membranophones, aerophones and idiophones, with diverse construction methods, materials and shapes and repertoires.

 In the Ayakoromo masquerade performances, music making is a participatory group activity that serves to unite Ayakoromites into cohesive groups for a common purpose. Besides, the means of ensuring harmony with the movements of the masquerades are the drums. The drums confer harmony on the masquerade dance performances and their rhythm determines the movements of the masquerades. Instruments derived from natural sources comprise the majority of those used during masquerading ceremonies in African tribal societies. Drums crafted from wood, animal skins, and assortment of sticks, bells, rattles, and whistles create the music at the heart of masquerading in Ayakoromo community.

The following musical instruments are used during the Olorogun masquerade dance performances and they fall broadly into the following categories; membranophones and idiophones. The membranophones are instruments from which sound is produced through the vibration of membrane. Leather drums which constitute this category are potent instruments in the Olorogun masquerade performances. The drums are carved out of solid logs of wood and covered with hides and skins of animals. They are in different sizes, shapes and produce different sounds. The significance of the drums could be captured from the leading role they play in any performance. it is firmly established that masquerades in Ayakoromo do not talk. Dialogue is at zero level. A masquerade that talks is punished by the cult because anonymity of masquerades is held in great esteem. Speech is at minimal employment during masquerade performance and so the vital force is the spectacle amid drumming and singing, dancing, costuming and masking. The place of speech has been subsumed by drum beats, body gestures and songs. The rhythm of the drums determine the accompanying physical gyration and displays of the masquerades. In essence, the drums set the mood, bring everyone together as a community and create rhythmic music for the masquerade dance performances. As the masquerades dance, their movements are generally in rhythm to the music produced by the drums and other musical instruments at the orchestra where these drums are placed for use is called the "Awe ware" (orchestra house) in Ayakoromo community. The lead drummer who controls the music and/or the talking drum is called "Akuwa owei" (Master drummer) while his drums are referred to as "Akuwa ozi bo"(a set of talking drums). A look at some of the musical instruments used in the Olorogun masquerade dance performance is pertinent at this juncture.

First is the Opu Ozi (the big drum), the father drum. It is evidently the biggest drum in the collection. It is carved out of a big log of wood and covered with animal skin at the top. It produces a bass rhythm when hit with two sticks while one leg of the drummer rests on top of the drum. Three sets of drums are played together to produce the language of the drums. In this set of drums is the Amgbarangba (the lead talking drum). It is a hollow, long drum that is also carved out of a solid log of wood and covered with animal skin on one side. It is the star of the collection. It is this drum that gives out messages, appellations (kilebo) and meanings to the dance steps of the masquerades. 

There are also two smaller drum's of similar shape and almost of the same size that are played alongside the Amgbarangba, the talking drum. The Amgbarangba and these two smaller drum's are called the "Akuwa Ozibo" and they are arranged in front of a little fire to keep them warm and dry always. The master drummer sits on all three drums with his legs spread and with a stick in one hand, produces meaningful rhythm to which the masquerades respond. He can also give appellations, kilebo to the masquerades, the audience and to fellow cult members especially during the "Egbebilesei' dance performance. The "Egbebilesei" is a dance performed by cult members in two by two formula during the short break or interlude in the masquerade dance performances at the Ozubou playground.

We also have another smaller drum which is played by another drummer with two sticks and produces a monotonous twitter rhythm. And there is also the idiophone called ,"Awe" (wood rattle) it is a long and strong wood usually placed on a slightly raised platform between rows of about fifteen men per row in the orchestra. The participating players or performers face each other in the Awe. The Awe also produces a monotonous rhythm and a synchronizing sound when struck with similarly strong sticks simultaneously by 15 to 20 men. During performances, the drums and the Awe are played simultaneously except when members of the cult perform the Egbebilesei dance. In the egbebilesei dance, only the talking drum and the two other drums on which the master drummer sits are used to produce the rhythm for the egbebilesei dancers.

The Ayakoromo people rely greatly on instrumentation through which they achieve a fascinating performance and direct captivation of the audience. However, the playing of these instruments is not an easy job. It takes years of practice and experience to attain the expertise demanded. A detailed knowledge of the masquerade tradition is required of the master drummer for this is going to be the basis of his drum salutes to the masquerades and other unmasked performers.

The orchestra provides the music that the masquerades respond to. It is drum language that the master drummer speaks to the masquerades. He tells them with drum signal to come out and entertain the audience or go back into the masquerade house called Owu ware. He tells the masquerades to be aggressive or otherwise. For instance, if the Olorogun masquerade is approaching too close to the orchestra and he hears the drum signal "Zein Zein tugbein" (please retreat), the masquerade quickly goes back and when Olorogun moves back, the drum can tell him to be aggressive by beating the tune "Pa pa kitua" (machete anything on your path). Also, if someone is sneaking behind the masquerade or wants to get hold of it, the master drummer can play the drum signal "Zein Zein siko ke di" (please look at your waste gear). If Olorogun wants to cut a spectator with his machete, the master drummer can plead on behalf of the victim with the drum signal "Zein Zein ki ku mo, ki ku mo" (please don't cut). The drum signal "Ogidi Pou" tells the masquerade to sharpen his machete while the tune "kolo ki ee goi" signals the close of the masquerade dance performance.

The drums also give the Olorogun masquerade appellations (kilebo) such as "Alabenikolokolokolo (salt water is bitter), "Andensei" (angry face, wicked), "Egburuku (stubborn masquerade), "Mienye agbe" ( whatever he does is a beauty). These appellations are meant to propel or ignite Olorogun masquerade into action with leaping dance acrobatic displays and also urge him to continue with the performance.

However, in these modern times now, microphones are used to project the sounds or boost the quality of these local musical instruments. Nevertheless, the drums and other instruments are an integral part of the Olorogun masquerade dance performances. If the music is not right, the masquerade dancers are often disoriented, distracted and disorganized. As a matter of fact, without these instruments, there will be no masquerade dance performance and there will be no Olorogun masquerade festival in Ayakoromo community.

EBIKABOWEI KEDIKUMO