Opinion
Consciousness And Praise Poetry In Africa (II)
This is the concluding part of the article published last Friday.
Epithets knit rhythm, singing, drumming and dancing together. They make every song colourful and beautiful. Songs are like light showers of rain, without them, they induce heavy down-pour. They are like the creepers that carpet the forest of praise poetry without which individuals could run very fast in-between the trees. They make listeners more thoughtful than they would have been.
These encomiums are like architectural polish of praise poetry. They garnish and make it dense as well as offer the aesthetic sophistication. They must draw from the deep well of cosmology of Africans or else they will be irrelevant without the codes which we know, the icons that make us interpret our worldview.
Epithets draw their praise items from the socio-geographical environment. The environment of the composer informs his consciousness about the non-human world: lion, python, eagle and other animals and birds that connote bravery, speed, strength and might, and other things; the human world: uses of colours, definition of manhood, victory, greatness and others.
Are self praises more realistic than praises composers have composed about individuals and communities? Emotionality is one ingredient of praise poetry which spurs the recipient of performance to give donations to singers, dancers and drummers. Performance transports him from the realm of sadness or preoccupation with other thoughts to the realm of joy. He may give money unplanned for to performers for praising him. The same thread runs through family and communal praises.
Self- praises are about individuals who know everything about themselves. Self-knowledge makes it possible for honest persons to give factual renditions of themselves and their lineages. They are likely to use suitable epithets, metaphors and figures, exaggerating the values incarnated in their lives. The descriptions are most likely to be apt if the composers are talented but the songs are most likely to be bombastic and hyperbolic poems except, where individuals are extremely self- controlled.
People compose praises about individuals who are skilled in the craft. They know the heroes of their communities, the histories, the values, cosmology and patterns of praise poetry. They compose their songs with facts to validate the beliefs and practices of peoples. The level of emotionality is controlled. The songs consolidate the ideas in group mind and ensure that individuals learn from past heroes.
Songs about individuals form a data bank which discloses attitudes, values, past personalities from the lineages, their contributions to their families and lineages. These are the realistic items that are woven into the fabric of songs. The epithets are the building blocks of aesthetics which make songs poetic. The melodious voices are the means of verbalisation, the rhythms stabilise the songs and elements of poetry enrich them.
The songs about communities form the data that are a means to decipher the nature of the communities, their traditions of war, love, manhood, naming, practices and values. They draw from previous experiences of heroes, definitions of greatness: titles and how they are awarded, kingship systems, tests and examinations of individuals for titles and the values of the peoples which are expressed through various methods. While encomiums draw from trajectory of praises, fiction and reality blend in songs to offer aesthetic delight to listeners.
In conclusion, all good composers of praise poetry must be aware of their environment, not in the superficial sense of being uprooted Africans, or those who have moved to metropolitan centres, who regard their lore as barbaric or unnecessary and are non- active participants in the realisation of their praise songs. They must know their cosmology thoroughly with names of heroes, dates, the values incarnated in them, their roles and positions. Individuals must know the legends of their grand and great grand personalities, the roles they played in history as well as the current positions about their parents and themselves. These facts constitute items of praise poetry for individuals and communities in Africa.
Dr Ngaage is of the Department of English, Faculty of Arts, Niger Delta University, Bayelsa.
Barine Saana Ngaage
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