Kufre Usanga

Orality in Amu Nnadi’s A field of Echoes

Amu Nnadi belongs to the third generation of Nigerian poets – the generation whom some critics consider a continuation of the second generation due to a lack of definitive/clear cut ideological separation between both generations. The second generation of Nigerian poets abandoned the esoteric language and private concerns of the first generation by simplifying the language of poetry and becoming the voice and the moral consciousness of the common man in Nigerian society.

Consisting of the likes of Niyi Osundare, Odia Ofeimun, Tanure Ojaide and others, this generation is known for deploying poetry as canons of warfare in critiquing poor leadership and the general dystopia that is Nigeria, while embracing and incorporating oral nuances in their work – an important ingredient missing from earlier generations. (See Aiyejina¹, Ushie², Chinweizu et al³)

Bold and vehement in their criticism of government, this fervidness is a distinct marker of differences between the two generations. And although the Nigerian society has retrogressed, the third generation poets are less confrontational while battling contemporary existential issues. Divergent in temperament, their convergence lies in the deployment of orature in their writings.

As is prevalent with orality across Africa, raconteurs, poets and bards while composing their narratives avail themselves of literary tropes like metaphor, simile, idiophone, satire, irony, litotes, personification, alliteration and onomatopoeia. Other syntactic stylistic elements like repetition and parallelism are also utilized to arouse emotion and effect. Familiar symbols, images and rhetorical questions are also employed to drive home their messages. Where refrains are used, it is to incorporate the entire community during performances and festivities, thereby establishing it as a communal ethos. Oral tradition therefore is a great resource for an African writer to depend upon.

Igbo oral poetry is often geared towards the continuity of both ritualistic and non-ritualistic traditions. In ritual traditions like initiation, cleansing and masquerade festivities, the poetry is structured accordingly for the specific event and engages tropes like call and response, interludes, chants, refrains and the use of slit drums and other accoutrements. In non-ritualistic ceremonies like age grade festivities and social gatherings, the poetry adheres to the form that lends itself easily for social commentary on people and the community. Egudu⁴ in enunciating the Igbo experience in oral tradition adds that ceremonial occasions like festivity, funeral or religious festivals (ritual) brings about the performance of oral poetry. 

Amu Nnadi draws motifs, symbols, images and other folkloric elements from Igbo oral traditions. Metaphors, proverbs, simile and anecdotes are deployed effectively to evoke the thought, sight and sound or images desired. In line with a Lucullan appropriation of oral literary tropes, we see Amu Nnadi’s use of proverbs, eulogy, incantation and ritualistic invocation – all values of Igbo oral tradition – incorporated into his scribal medium of expression.

Divided into six sections, which this essay cannot cover exhaustively, the focus here is its first movement, appositely titled ‘invocations’.  His eloquent capturing of oral ritual processes in the written form in a fieldof echoes⁵ is not only unequaled but also laudable, soaring high in its dependence and utilization of oral tradition.

It brings to mind T.S. Elliot’s⁶ definition of tradition as the totality of all preexistent works and forms of poetry, both oral and written which a living poet stands as heir and inheritor to. This encompasses all oral and written Igbo poetry, narratives and other works written in English in which the living poet may have availed himself of, which in turn influences. Elliot avows that this dexterous intermixture with the masterpieces of the past births a living poet’s originality because the living poet stands on the shoulders of his predecessors.

It is this digested mix that bursts forth for the keen observer to catch glimpses of the past – Igbo oral chants, Christopher Okigbo, Chinua Achebe, Pablo Neruda, Derek Walcot and others – in this impressive collection because like Osundare⁷ noted, ‘in the intricate dialectics of human living, looking back is looking forward; the visionary artist is not only a rememberer, he is also a reminder’.

Donning the personae of a chief priest, the poet commences his ‘invocations’ appropriately with an introduction to the personae and in extension himself as the poet priest of his people. For who is poet if not ‘the chief priest of words’ who uses his lines, stanzas and metaphors to invoke images for mind, body and soul. In Igbo culture, the chief priest is not only knowledgeable in the affairs of the spirit as the guide of the people in their dealings with the spirit world; he is also knowledgeable in the affairs of men, a true worshipper and often a healer with leaves and chants. Approaching the shrine, the chief priest is garbed with charms, spells, fresh fronds and totems of worship like tubers of yam, white cock and palm wine; for you cannot approach the oracle empty handed.

In ‘ablution’, the chief priest offers chants and prayers for the symbolic cleansing of the community as the spiritual leader of his people. Only through such cleansing are the people ready and open to approach the oracle and make demands. And as a communal affair, the chant employs techniques like the call and response and interlude to buttress this.

                        eke eliri na-ogburugbu, anyi abia
                                                mighty python which ties a great knot
                                                we have all come

ihe juru onu na-adig ntagbute
                                                great song a single heart cannot contain
rousing praise a single voice cannot proclaim…
we have all come, dirty, drained and famished…

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