Folk Dance as a means of Preserving Ethnocultural Traditions: A study of Swange dance.

Abstract

The study describes folk dance as an integral part of folk culture and the condition of preserving folk
traditions, its worldview and way of life. Artistic and material folk culture distinguishes one people from
another. The seminar reveals the nature of the ethno-traditional culture of the TIv people young
generation. Cultural Relativism theory by Franz Boaz is used as our supporting factor for our seminar.
The historical, sociological and literary methodologies are employed for this research. Since sociological
method involves a thorough observation of the case study, it fits perfectly into this research. Folk
dancing is a key aspect of intangible cultural heritage that often reflects the ethno-cultural and social
influences prevailing in different periods and nations; each dance produces a meaning, a story with the
help of music, costumes and dance moves. It has been transmitted from generation to generation, and
to different countries, mainly due to movements of people carrying and disseminating their civilisation.
This documentation will enable a scholarly preservation of the tradition for posterity.

Keywords: Ethnocultural, Traditions, Swange, Dance, and Folk dance.

INTRODUCTION
Dance is from time to time taken as a serious Performative art because of its clarity in self-expressive
and communicative sense. It is culturally inclined because it is an integrated part of human lifetime. The
origin of Swange dance is described as being obscure as a result of its changing and transitional nature,
Tijime, (2019). Swange music and dance historically gained popularity in the mid-20th century as a
revolutionary dance band that was created by the exigencies of urban life (Gbenika,1993). Swange
dance transcends the Tiv immediate social milieu to become a national dance. Teghtegh, (2011) noted
that Swange dance has proven an effective rallying point for national integration in dance
choreographing. This dance, like many other prominent African indigenous dances, is being thought and
learnt informally, within a family setting or as a cultural group within the society. Dance education
setting in most cases consists of the teacher, learners, location, props and so on. This usually engages
the corresponding teaching and learning methods and approaches via observation, participation and
repetition. The difference between formal and informal dance education is revealed in the limited
human cognition, cultural values and philosophies, as well as the instructional techniques engaged in
the process. However, there is always a meeting point, and this may be the step by step approach to the
teaching and learning itself. Tijime (2019) opined that human being possesses a unique capacity to learn
from others, which doubtlessly informs the ability to dissect complex cultural knowledge and its possible
transmission through many generations. Warburton, (2002) on the other hand concluded that pedagogy
is a discipline that concerns the study of how best to teach. Besides its formal procedures, its primary
focus is on the art and science of instructions inherent in specific human cognition, cultures, histories
and technologies. He further viewed the art of dance as the engagement of movement in
communicating meaning, even though most dance educators challenge the need for some kind of
advancing the appraisal of learning. Dance creation and presentation are widespread activities with a
variety of creative and pedagogic milieus that rally around the rehearsal process itself. Rehearsing then
simply implies teaching and learning activities. A process traditionally practised among African
indigenous societies of which the Tiv is numbered. Juntunen, (2019) in her argument for Dalcroze
Eurhythmics as a pedagogic approach, agreed with Sally (1985) submission of the flexibility of the
Dalcroze teaching approach, with reference to Jaques-Dalcroze’s personal ideas of pedagogical
principles, such as the belief that students should not be taught rules before they have an experience of
them, (Jaques-Dalcroze, 1920/1965, pp. 59–60). She further affirms Juntunen & Westerlund, (2011)
description of Dalcroze learning to be the kind that takes place in interactional processes and through
subjective and transformative experiences, with an unpredictable learning outcome. Dalcroze teaching
is learner centred with a keen consideration of the personal and cultural differences of students laced
on some kind of philosophies or theories that can guide and provide a frame of mind for planning and
decision making in the classroom. Although the cultural pedagogy of Swange dance does not necessarily
take place in a formal classroom, except for its practice within the indigenous church settings like the
NKST and the Catholic church, where the traditional dances were incorporated into the children Sunday
school curriculum – like the MIM (Makeranta Iyange Menmen); it engages the interactive process which
naturally fits into the student's personal cultural background. This study with reference to existing
literature and field data, draw a conclusion on the relevance of Dalcroze teaching and learning approach
to indigenous Nigerian culture, with regard to music and movement.

Purpose of the Study

The purpose of the article is to describe the potential of Swange folk dance as one of the main means of
familiarizing the younger generation with the traditional culture of the Tiv people, as a condition for
preserving the original natural culture of the northern people, and also searching for modern
approaches to the organization of ethno-cultural education of children through folk dance.

Methodology for the Study

The historical, sociological and literary methodologies are employed for this research. Since sociological
method involves a thorough observation of the case study, it fits perfectly into this research. The work
also reviews relevant literature and videos associated with the Abuja Carnival, from inception till date
and the key dance performances from the major ethnic nationalities of Nigeria, which are analysed in
the study. Also, the work involves extensive research and study findings on the history and development
of Cultural Diplomacy

LITERATURE REVIEW

Concepts of Dance

Dance, according to Bakare (1994, p.2), is “the rhythmic movement of the human body in time and
space to make a statement” Dance thrives on living experiences. Thus, it paves ways for it transmission
from generation to generation which reflects the changes in social conditions. Dance therefore is
regarded as a major art and an essential element in the celebration of events connected with every
aspect of human life, and it plays a prominent role in entertainment (Ojuade, 1997, p. 16).

Historically, and according to Ojuade .J in his article (Yerima, Bakare and Udoka 2006, p. 57)
Dance is one of the first human activities which did not directly serve the
mere survival of man. The experience of dance came as man’s effort of
expressing individual and collective feelings. Such existence of dance in
the early periods of man may be witnessed only by pictorial
representations, carved images of primitive people on the walls of the
caves. The pictures were created in phases, showing the developmental
stages of man within his developmental environment. The developmental
processes of human societies have shown that their survival is predicated
on a functional association in which men became a part of the broad
communities and their activities were regulated by their social needs.

Dance and movement are done for a particular need. Man does not just move for the sake of moving,
the motivation comes from an identifiable source. This source could be external or just an internal need.

Theoretical Framework
Cultural Relativism theory by Franz Boaz

Cultural relativism is the idea that a person's beliefs, values and practices should be interpreted based
on that person's peculiar culture rather than be perceived against the criteria of another (Maicibi, 2017).
Metuh (1987) revealed that Boas introduced the ideology of cultural relativism which holds that cultures
cannot be objectively ranked as higher, lower, better or more correct but that all humans virtualizes the
universe through the instrumentality of their own peculiar culture, and interprets same according to
their own culturally acquired norms. For Boas, the object of anthropology was to understand the way in
which culture conditioned people to understand and interact with the world in different ways and to do
this it becomes necessary to understand the mode of communication as well as the cultural practices of
the people being studied.

DISCUSSION

One of the means of ethno-cultural education of children is dance art. The dance culture of the Sakha
people reflects the nature of the way of life and the outlook of the Yakuts. The traditional culture of the
Sakha people, including dance, concentrates in itself aesthetic, ethical, moral ideals. Culture as a result
of centuries of spiritual experience, should be used by students in the education system through the
prism of ethno-cultural pedagogy. Dance reflects the culture of a concrete historical period in its
integrity, which is an important source for studying the native culture and mentality of its people.

“Indigenous dance is an art form that transforms images, ideas, thoughts and feelings into movement
sequence that are personally and socially significant” Akas, (2013). All indigenous African communities
engage in dance in displaying their cultural musical heritage. It is an art that enjoy remarkable
sustainability all through many generations. Virtually all indigenous cultural activities engage music in
one way or the other to emphasize its impact on the indigenous people for many decades. The
continuity of such socio-cultural practices is being thought of either consciously or unconsciously.
Moumouni, (1968), observed that education in Africa must be noted, and cannot be detached from life
itself. Traditional education according to Andrew and Anyam, (2011) is described as a functional
education that integrates an individual within his/her society for self-reliance.
The Tiv are of the semi Bantu linguistic affinity according to Andrew and Anyam, (2011). They
predominantly occupy the Northern and Southern parts of the middle course of the Benue River and its
tributary the River Katsina-Ala. The Tiv share boundaries with Anambra and Cross River states on the
south and with Taraba and Nasarawa in the North; in the West by Otukpo, Apa and Oju local
government areas of Benue state and in the East by the Republic of Cameroon.

The indigenous Swange dance of the Tiv people is considered the most decent, popular and loved music
style of the Tiv which has survived all kinds of oppositions till now. Historically, the Swange dance is an
evolution and fusion of various genres of traditional music in stages from Kwagh-alom or Kikya songs to
the more choreographed Ibyamegh and Angye songs and dance to a much more refined and dynamic
stage of Swange dance we have today, Tsevende (2013). Swange dance is classified into different major
groups and subgroups which are being thought and leant for cultural engagement and recreational
purposes. Thus, adequate knowledge of the dance and all it entails is essential for outstanding
performance at any time.

Using the Swange dance of the Tiv people of Central Nigeria as a template, Saint Gbilekaa (1993, p. 56)
commenting on the Tiv music and dance as forms of communication posits that "music and dance in Tiv
society are used to express various emotions". This explains that there are music and dances for funeral
occasions, marriage ceremonies, installations, ritual processes, political events, and the different
festivals in Tiv society.

The pedagogy of Indigenous Swange dance is approached as a kind of semi-formal and informal style of
learning. Basic rules of the dance are thought as the foundation for the actual stage performance of the
dance, this includes the positioning of the body- twisting of the upper and lower limbs, waist and neck
and so on. Stage movement from one spot to the other, as well as corresponding gestures to a particular
sound, rhythm or word. Also, the dynamics of stage interaction are thought by older members of the
group standing in as instructors or teachers. Swange dance is usually presented as a choreographed
dance movement, therefore, new members are thought the art of concentration and focus, according to
Blessing Nguhmen and Aondona Vanger in an oral interview, during training/rehearsals at MIM, steps,
movement and transition are numbered. Even though the art appreciates individual skills and the ability
to improvise, more attention is put in place to encourage members’ articulation and submission to
organized group movement.

More than often, during rehearsals, young and new members are encouraged to move around the
practice arena (usually open field) making different gestures with their hands, arms, heads, or upper
bodies in response to the rhythms and melodies of the music played. According to Nguhmen and
Vanger,” sometimes, as small children, we were told to just sit down and watch the experts perform,
this helps us understand the way our bodies move in response to the sounds produced on the musical
instruments and the songs we sing”. Other elements of Swange dance pedagogy include discipline,
character, respect, continuity, self-confidence, responsibility, accountability and creativity. All these are
cultural and behavioural nuances of the Tiv people.
Results & Conclusion
The condition for the successful preservation of the identity of the people and the development of
ethno-cultural education is the interaction of the structures of cultural organizations and educational
institutions schools, families, media, cultural institutions, public organizations, and local authorities. It is
difficult to preserve the specifics of ethnic culture and ethnic identification only through school
disciplines of ethnocultural content.

Folk dance is the ancestor of all the directions of dance, which were formed on its basis for many
centuries. Folk dance is an effective means of educating an ethnophore in school and a source of
pedagogical and cultural studies. It reflects the national specificity of the ethnic worldview, attitude,
features of social behavior and human connection with the surrounding world, consisting of many
components that characterize the spiritual, social and cultural life of the people. Folk dance of the
Yakuts requires deep knowledge of history and local history, ethnopsychology and ethno-choreography,
folklore and music, applied arts, etc.

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Foetisch.

Tiv, people living on both sides of the Benue River in Nigeria; they speak a language of the Benue-Congo
branch of the Niger-Congo family. The Tiv are subsistence farmers whose main crops are yams, millet,
and sorghum, all of which are eaten as porridge or are made more palatable by their combination in
sauces and stews. Although goats and chickens are plentiful, few cattle are kept because of the tsetse
fly. The polygynous Tiv family occupies a cluster of round huts surrounding a reception hut; brothers
usually live next to one another.

Tiv social organization is based on patrilineages that are closely associated with particular geographic
features; in segmentary lineage systems such as the Tiv’s, a given lineage may be associated, more or
less exactly, to a particular village, a group of lineages to a larger district, and so on. Genealogies go back
many generations to a single ancestor; the descendants (through the male line) of each person in the
genealogy thus form a territorial kinship group. The force of patrilineal descent, while dominant in Tiv
institutions, is balanced by institutions such as age grades (groups of men of about the same age who
provide mutual assistance and allies against lineage pressure), cooperative groups, and institutionalized
friendships. Although traditionally the Tiv had no chiefs (political decisions were made by lineage
elders), the British administration established a paramount chief in 1948. The Tiv’s complex system of
exchange marriage was outlawed in 1927 and was replaced by marriage with bridewealth.

Some Tiv have converted to Christianity, and a lesser number have adopted Islam; but their traditional
religion, based on the manipulation of forces (akombo) entrusted to humans by a creator god, remains
strong. The akombo are manifested in certain symbols or emblems and in diseases that they create. An
organization of elders who have the ability to manipulate these forces meets at night to repair those
manifestations of akombo (e.g., epidemics) that affect the group; these phenomena require human
sacrifice or its metaphorical equivalent. The Tiv numbered about 2,500,000 in the late 20th century.