WAEC Literature in English 2025 Theory — Question 15

Model answer

The play explores the theme of cultural conflict or contest between tradition and modernity; dance and music are used as dramatic techniques to portray the culture of the people of Ilujinle and are used to usher Sidi into marriage, as entertainment, as mockery, and as heralders of coming incidents. There are several instances of dance and music in the play: the mime involving Lakunle who is now drunk on local brew ('two drummers... insist on dancing round him'); the mime of felled trees, swinging machetes and log-dragging that take place to the rhythm of the work gang's metal percussion (rod on gong etc.); there is full use of 'gangan' and 'iya ilu' types of drums, with a clap of drums, soft throbbing drums, 'gradually swelling in volume' as the tempo gains until there is a crash of drums; song leaders raise choruses such as 'N'ijo itoro', 'Amuda el'ebe l'aiya', 'Gbeje on ipa', etc., mimed songs of the 1940s popularised by prisoners engaged in manual labour such as grass cutting. One of the mimes, the Dance of Virility, is a performance of Baroka's sexual life until he announces his impotence; the virility dance is done by Sadiku who is in her seventies, marked by athletic dance movements and the vigorous beating of the bata drums which does not last long because it is energy-sapping. On p.62 there is music or drumming or fluting, box-guitars, 'sekere' instrument, and on p.64 musicians resume their tune while Sidi sings and dances. Music and dance are used throughout to reflect the Yoruba culture and way of life.