The Tiv people of Benue State are renowned for their rich oral traditions in poetry and storytelling, which have served generations as instruments of education, entertainment, historical preservation, and social critique. These traditions, rooted in precolonial village life, adapted to colonial and post-independence contexts while remaining central to Tiv cultural identity.
Who Are the Tiv?
The Tiv are a predominantly agrarian people inhabiting the fertile valleys of the Benue River. Linguistic and oral evidence indicates migration from southeastern regions several centuries ago. Social organisation revolves around the tar, or clan units, and the ipaven, community gatherings where stories and poems are performed. Oral traditions preserve genealogies, moral codes, and collective memory in the absence of written records.
Forms of Tiv Oral Literature
Tiv oral literature includes several distinct forms:
- Kwagh-Hir Theatre: A masquerade performance combining storytelling, puppetry, and music to address social and political issues.
- Ityo: Satirical songs or chants used during communal gatherings to highlight wrongdoing.
- Kpev: Heroic or historical poetry honouring leaders, warriors, and ancestors.
- Tales and Fables: Animal tales and moral stories passed through generations.
These forms employ rhythmic language, rich symbolism, audience interaction, and blend education with entertainment.
Oral Poetry in Precolonial Tiv Society
Before colonial contact, Tiv oral poetry fulfilled multiple functions:
- Historical Record: Preserving genealogies and recounting victories.
- Moral Guidance: Reinforcing social norms such as honesty, communal cooperation, and respect for elders.
- Conflict Resolution: Satirical verse allowed disputes to be aired without violence.
- Ritual Significance: Poetry was integral to rites of passage, marriages, and harvest celebrations.
Orator-poets were respected for eloquence, wisdom, and courage to speak truth to power.
Changes During the Colonial Era
British colonial rule in the early twentieth century introduced literacy and Christian hymns, which competed with indigenous oral forms. Missionaries and administrators, including Rupert East and P.A. Talbot, documented Tiv stories, proverbs, and songs, providing important ethnographic records, though often filtered through colonial perspectives.
Urbanisation, railway expansion, and market development exposed Tiv oral artists to new audiences. Hybrid forms emerged, with traditional poetry incorporating Christian themes or references to colonial politics.
Post-Independence Tiv Oral Heritage
Following Nigeria’s independence in 1960, Tiv oral poetry became a medium for political and social commentary. Kwagh-Hir theatre troupes performed across Benue and beyond, addressing governance, corruption, urbanisation, and health issues including HIV/AIDS awareness, while retaining satire and moral instruction.
Academic institutions, particularly Ahmadu Bello University and the University of Jos, began systematic documentation of Tiv oral traditions in the 1970s and 1980s, preserving them for scholarship and future generations.
Key Figures in Tiv Oral Tradition
Several individuals have significantly contributed to preserving and promoting Tiv oral poetry:
- Aondohemba Ikyaven: A master Kwagh-Hir performer whose work set standards for political satire.
- Professor Tsenongu Aboh: A scholar who extensively researched and published on Tiv oral traditions.
- Akiga Sai: An early Tiv historian who recorded oral narratives in the early twentieth century.
Joseph Tarka, though a prominent political figure, had only indirect influence through occasional use of Tiv proverbs in public speeches.
Tiv Oral Traditions in Contemporary Nigeria
Since 1999, Tiv oral heritage has continued to evolve in democratic Nigeria:
- Cultural Festivals: Events such as the Benue Cultural Festival celebrate Kwagh-Hir and other art forms, connecting rural performers with urban audiences.
- Media and Technology: Local radio broadcasts provide access to storytelling, while limited digital archiving has preserved some performances for posterity.
- Education and Preservation: Some schools incorporate Tiv folktales, and universities offer courses on oral literature. NGOs and cultural organisations maintain digital archives to safeguard elder knowledge.
Challenges Facing Tiv Oral Heritage
Despite resilience, Tiv oral poetry faces challenges:
- Language Shift: English and Pidgin increasingly dominate in urban areas.
- Commercial Pressures: Adaptation to modern tastes risks losing traditional nuance.
- Elder Knowledge Loss: Master storytellers passing away threaten the continuity of repertoires.
- Limited Funding: Cultural preservation projects often lack stable support.
Contemporary Significance
Tiv oral poetry and storytelling continue to matter for several reasons:
- Cultural Identity: Oral traditions affirm Tiv distinctiveness within Nigeria.
- Moral and Civic Education: Satire and allegory critique corruption, injustice, and social decay.
- Conflict Resolution: Poetic exchange remains a peaceful means of airing grievances.
- Tourism and Economy: Festivals attract visitors and generate local income.
Author’s Note
Tiv oral poetry and storytelling have chronicled the people’s journey from precolonial governance through colonial disruptions to the freedoms and challenges of democratic Nigeria. They constitute a living system of knowledge, community dialogue, and artistic expression. Preserving these traditions is essential for cultural pride, civic engagement, and creative innovation, ensuring that the Tiv voice remains audible for generations.
References
- Aboh, T. Tiv Oral Literature: Tradition and Transformation. Jos: University of Jos Press, 2005.
- East, R. Tiv Proverbs and Folk Tales. London: Oxford University Press, 1932.
- Sai, A. Tiv History and Traditions. Lagos: Nigerian National Archives, 1939.
