Citation: Yunusa Yusuf LADAN (2018). Children’s Lullaby: Themes, Mode of Performance, Beauty and Relevance. Yobe Journal of Language, Literature and Culture (YOJOLLAC), Vol. 6. Department of African Languages and Linguistics, Yobe State University, Damaturu, Nigeria. ISSN 2449-0660
CHILDREN’S LULLABY: THEMES, MODE OF PERFORMANCE, BEAUTY AND RELEVANCE
Yunusa Yusuf LADAN
Abstract
The ‘childlore’ lullaby from African and
specifically Nigerian communities are linguistically rich, literarily vast and
worthy of being studied. However in spite of their rich cultural values and
literary relevance the songs are not given the attention they deserve and are
therefore left at the mercy of young critics who are bedevilled by a number of
obstacles such as pre matured research efforts and dearth of knowledge and lack
of adequate research grants to conduct the research. In recognition of this conundrum,
the present study seeks to document and examine children song renditions in
some communities of Africa and Nigeria in particular. The study seeks to
examine the background and performance of the songs, linguistic characteristics
and literary appreciation of the song renditions, content of the songs, and
analysis of the selected samples of the children song performance in Ngoni
tribe, Hausa community and Durrland children’s lullaby.
1.1 Background to the Study
African children’s poetry is a body of traditions and
knowledge that, “exhibits intrinsic beauty of images, rhymes, language and
culture” (Iwoketok, 2009, p. 107. It plays the role of educating, entertaining
and teaching of moral lessons. These kinds of poems or lullabies according to
Finnegan (1970, p. 299) “are characteristically natural and spontaneous
expression of feeling in all societies – a mother/nanny singing to her child.”
However, a question to be likely asked is who is a
child? According to this researcher, a child is someone below the age of ten or
a primary school age. The term ‘childlore’ imply a fusion of children and
folklore (Iwoketok,: 2014. p. 5) which is transmitted orally through an
informal watching, listening and coping of others. It is the way children
think, play and learns what no one can teach them, solve problems, create and
recreate and all the time generating within the set norms and values of their immediate
milieu. The song may involve items such as games, toys, cooking utensils,
jokes, tongue twisters, horse riding songs, running songs and so on.
The focus of this paper is on some Ngoni, Hausa and
Durr children’s lullaby, given the simple fact that the songs selected, share
relative meaning, roles and same functions viz-a-viz children nurturing,
mentoring and upbringing.
The Ngoni people are an ethnic group in the present
day Southern African Countries of Malawi, Mozambique, Tanzania and Zambia. The
Ngoni people trace their origins to the Nguni and Zulu people of Kwa- Zulu
Natal in South Africa. Songs and children lullabies are prevalent among the
Ngoni people. As a result of struggle survival, most of the mothers left the
care and upbringing of their wards to the elder ones among the children or
nannies. In this respect, most of the songs/lullabies are designed for children,
but primarily transmitted by adults. Secondly, the rhymes and songs that tend
to be for a slightly older, are group and are regarded as belonging to the
children themselves in their own play.
Meanwhile,
the lullabies in Ngoni tribe shares a relation with that of Durrland and Hausa
respectively.
Durr is
a district in Dass local Government Area of Bauchi State, Nigeria. It share
boundary with Baraza district to the East and South. It borders Toro Local
Government Area to the West and Lukshi district to the North-West. The district
has to the North Dairom, (rom
mountains) where Danda zhavoli (hill
top water) is situated. Durrland has varied arts and customs and is full of
children’s play songs.
Durrland
is also blessed with rich cultural heritage which have very strong impact on
the live styles of the people. In this respect; for instance, a popular saying in Hausa language says, “ it takes a village to raise a
child” This holds true of the fact that parents, teachers and the society or
community in which a child lives in is significant to his upbringing and
general welfare. To do this successfully and efficiently, each and every member
of such a community needs to contribute his own quota.
Raising a child involves acknowledging, appreciating
and appraising his deeds and needs and allowing him to explore his own
environment and encourage him to learn and understands his environment by
himself. The experiences acquired will in turn enable him solve his problems
and those of his immediate cultural environment. This paper seeks to
demonstrate the role children’s lullaby songs/ play in infants and children
upbringing in a way that it will benefit them and the society at large.
Children poetry (play songs) constitutes basic
socio-cultural issues that are in turn relevant to both children and adult.
Poetry as opined by (Abdu) 2013:5 “expresses poetically the emotional feelings
of the poet or the writer in language charged with meaning, using its
structure, the few lines it contains and the metrical pattern to which it is
ascribed to” This holds true of children lullaby songs and the issues usually
presented includes indirect comments by the nurses to their masters, others
present mother’s delight with the child, her feelings and expectations among
other thing. This particular study is relevant because it captures and
documents the relics of the childlore song performance for posterity. It will
also serve as a working tool for interested readers and future researchers.
The theoretical framework adopted for this study is
the network of reasoning that embodies theories, concept and assumptions about
some observed events or phenomenon and the explanation as to how these events
or phenomenon are related to each other.( Sunusi, G. quoting Bonjoko, 2016, p.
165).
1.2 Themes and Mode of Performance
The songs to be discussed in this paper are unwritten
oral songs (especially the Hausa and Durr language children songs) chants or
recitations. Although the songs from Ngoni and Hausa language might have been
documented, those from Durr language are yet to be documented. The analytical
procedure adopted is necessary because it allows the” x-raying of samples of
the genre thereby justifying the mode of performance and relevance of this
study” (Iwoketok, 2014, p. 11). Restricted samples of 15 songs and their themes are discussed below.
1.2.1 Themes of Request and Affection
In Africa, communities such as the Ngoni according to
(Finnegan, 1970, p. 300) “Ngoni… women employed nurse-maids from other groups
to look after their children. These nannies in most cases do not make direct
request to their master. Most of the request is made by these nannies through
indirect ways expressing their feelings and charges about the mother’s
attitude. For instance, the song below expresses the nannies feeling about the
behaviour of the mother toward her own child; as follows:
Text 1
Ha! That mother, who takes her food alone
Ha! That mother, before she has eaten
Ha! That mother when she says, lull the children for
me
Ha! That mother when she has finished to eat (eating)
Ha! That mother she say, Give the child to me
Text 2
Nh ni nh mi kai?
What is the matter my child?
Nh mama
Is mummy
Dam ye kawai
Leave her alone,
Am na mi gini am ma bai kh when I get mine, I’ll give
you
The lullabies presented above shares same
characteristics, meaning and relevance. While the Ngoni song describes a
careless mother, who eats and drinks without taking into consideration of her
child, the second text above is in form of question and answer that clearly
portrays the love and compassion of a nanny towards the child, in that such
child feels relaxed and comfortable after her mother left her at home or denied
her an offer.
Another example of this expression of feelings about
mother’s behaviour or attitude towards children can be found in Hausa
societies. The lullaby songs below present the same statement of problems by
nannies. The song runs as follows;
Text 3
Bari kuka ‘ya ta (twice)
Strop crying my child
Allah mai mutane (twice)
God is by your side
1.2.2 Themes of Peace
Secondly, there are other lullabies that are peaceful
in nature and specifically meant to send the child to sleep. This is brought
about by the rhythm and the liquid vowel sounds of the original language. Below
are examples from Swahili and, Durr lullabies. The appealing effect of the
songs manifests itself by sending the child to sleep. For instance;
Text 4
Lululu mwana (wa) lilanji
Lululu mwana (wa) kanda
Lululu mwana (wa) lilanji
Lululu mwana (wa) kanda
(lululu, kindchen warum weinst du?
Lululu verwolutes kleines kind!
lululu, kindchen warum weinst du?
Lululu verwolutes kleines kind!)
And the same repetitive sounds come in one of the many
Durr lullabies a mother singing it to her own child. The repeated lines suggest
to the hearing of the child a melodious sound of music. The rhyming tone of
“wunne” and “ribit” in the lines creates and recreates a sense of imagery and
gradually lull the child. The lines as it is repeated to the hearing of the
child will appeal to it and send it to sleep.
Text 5
Wunne naribit
oh my, child sleep
Wunne naribit
oh my child, sleep
Wannari kh bai zha lhe
if she gets up give her some water
Wannari kh bai zha lhe
if she gets up, give her some water to drink
1.2.3 Themes of Hope and Delight
Thirdly, other lullabies represent more of the mothers
delight in playing with the child than a desire to send the child to sleep. The
following examples of lullaby from Dogon, Kamba and Durr cultures, where
mothers picture their own absorption in their children and their neglect of
other things for these children sake viewing their own attitude with certain
detachment tells of the relevance of these songs. For instance,
Text 6
O`u wst partie la mere du petit?
Partie puiser de lear
Pas revenue de puiser leav
Patie pilker feuille de baoba
………………………………
Surla falaise, sur la falaise, un deuf de poule est
suspends!
Mother, mother of the child, leave off crying,
poverty!
You have come; you have surpassed me in crying
And even if it is the rain which rains
I put away the tree, I shall call my mother
…………………………………………………..
I shall not bear the goats who are bleating
Text 7
Wun kh nau ni bonni gonau
whose child is so beautiful like this
Wun kh nau ni bonni gonau
whose child is so beautiful like this
Wun kh nau ni bezni gonau
whose child is so ugly like this
Wun kh nau ni bezni gonau
whose child is so ugly like this
1.2.4 Themes of Hope and Proeperity
Fourthly, mother’s who comment of their feelings and
expectations of the attitudes of others. These kinds of songs for example are
characterized by rhythm and cadence as well as notably meditative in tone
(Rundi , 1970, p. 301). For instance;
Text 8
O co qui me du travail je t`aime
Demain de bonne heure nous canserons
Detres bonne heure, des quil fera clair
…………………………………………
Mon roi, mon roi,
1.2.5 Themes of Education and Tongue Twisting
Fifthly, there are songs that are pedagogical in
nature and are meant to teach the child the art of speech. There are also
rhymes or songs for grown-ups to recite to children distinct both from
lullabies and from ordinary adult songs. They may be termed as tongue twister.
The Hausa culture are said to have many nursery songs in both rural and urban
areas which is rich in tongue twisting words and phrases. These kinds are made
up of amusing combination of short and sharp sounds to teach children the correct
pronunciation, but do not necessarily have meaning. For instance;
Text 9
Tattabara tara
‘Ya tara
Kwai tara
Tattabara tara
‘Ya tara
Kwai tara
Text 10
Turmi ture kura, kura ture turmi
Turm ture kura, kura ture turmi (as many times and as
fast as possible)
Text 11
Fada ndui gurkici zam gmsi jika
Fada ndui gurkici zam gmsi jika
1.2.6 Games and other Themes
Like text 9 above, text 10 and text 11 are also tongue
twisters. They are specifically meant to be sung and enjoyed. These forms of
children play songs, represents rite of passage. In some cultures most
especially, the Durr and Hausa cultures, some children play songs, particularly
those characterized by action, demonstrate great deal of transition from one
stage of growth to another. A good example of this’ childlore’ play songs is
the one when a group of children mostly of the same age mate will meet to play.
In the play, younger ones are asked or warned not to join or participate in the
game. This is because it involves a great deal of running, climbing on others
and other acrobatic display in which the young ones cannot have ability to
endure the hardship of the game.
As the lead singers of the rhyme begin to sing, other
children responded ‘Damo’( a highly patient reptile). One of the playmate will
placed both his knees and hands on the ground. The singer of the rhyme would
run towards him and holds him between his chest and upper abdomen. He then
raised his two legs upwards and puts them down on the other side. This action
can only be done by the grown-ups who are physically fit. Even among the group
who belong to the same age group, the weaker ones cannot withstand the game.
The song renditions vary from culture to culture and from one dialect to
another. Sometimes the language of the songs turn abusive and challenging such
that the other group challenge the other to do same if they can. Because of its
risk and difficulties, the song/play renditions turns into luck and tears at
the same time. These types of songs run as follows;
Text 12
Damo riye riye, damo
The great one, damo
Damo na bakin kogi, damo
The one at the bank of a river, damo
Damo cinye mutum, damo
The one that can eat man, damo
Allura da zare,damo
From head to toe
Ka kamo tsuntsu, damo
If you caught a bird
Ka kai ma Hajiya, damo
Take it to your mum
Text 13
Damo ‘yar Hajiya
Daughter of hajiya
Mu je Katsina da ke
Lets travel to land of treasure
Mu samo kanwa
And get some potacium
Mu kai wa Hajiya
Lets take it to hajiya
Ta danana ta ji
Taste it small
Uban wani ya fada
Who will say no
Text 14
Allazi wahidun
God is one
Mai rabo sa’a
He, who deserves it, take it
Marar rabo sai hakuri
If you don’t, be patient
Shiga da marmari
If you are lucky, you enjoy it
Fita da hawaye.
If you are not, you walk out empty hand
Text 15
Tuka tuka riye-riye
Jarawa tuka-riye
Iya ga mazari na sara gunduma
Jarawa tuka-riye
Gurlk gurlk na sara gunduma
Jarawa tuka-riye
From text 12 to text 13 a picture of a reptile which
though not strong but patient was created, showing how endurable the person is.
His strength or act of endurance out weight that of his colleagues, such that
no child can compete with him. Therefore each and every one in the play/game
relied on him in order to survive. Text 13 also describes a daughter or son of
“Hajiya” who is capable of being able to withstand any challenge, but also
takes care for the fortune of younger or weaker ones. As such, he/she is always
respected and relied upon in times of need. In text 14, the play/song ends with
an appeal, from the strong ones to the weak ones that God is one, and one
should be patient whenever a strong colleague over comes him/them. This one
specifically symbolises justice and fair play in a game. Text 15, is a type
that teaches the act of learning to speak correctly among children. The song
can only be enjoyed on the basis of its rhyming effect.
In addition, some children songs are satirical in
nature. These kinds of songs do not necessarily reflect or criticizes children
alone, but also challenge the exploits of adults. For instance a useless old
age who doesn’t respect himself and goes about committing laughable and or
exhibiting bad behaviours in the streets or at other public places. The
children during their plays will imitate the actions of these old people before
their colleagues.
From the discussion above, it is clear that childlore
poetry serves different purposes viz. soothing the child to sleep, indirect
comments made by nannies of their masters through such lullabies, the delight
that mothers take in playing with her child, comments made by mothers on their
social position, feelings and expectations and those lullabies that are
targeted at teaching the children the correct pronunciation of some words. The
play songs could also be used to show rite of passage and also ridicule the
exploit of the people in a particular society.
1.3 Beauty and
Relevance
The word beauty suggests combination of qualities that
appeal to the senses. The striking visual quality in horse riding, the emphatic
hide and seek game, the exclusive choice of words in games and tongue twisting,
all suggest intrinsic beauty and sense of humour. A typical horse rider enjoys
all the benefits of riding up the hills or down as the horse goes at the pace
of a gallop. This is similitude of a boy who gallops with his corn stalk horse
and rides majestically and deriving emphatically all the benefits of a real
horse rider. Similarly a nanny who lured a child to sleep will also feel
comfortable and have time to do other house hold activities.
The beauty of tongue twisting in children does not
only lies in the way it entertains, but also how it affects the child
educationally and contribute to the positive development of his intellectual
ability. The ability of a child to be able to talk as fast and accurate as
possible is a measure of his strength in speech.
1.4 Summary and Conclusion
What this presentation is all about is that every
conceivable aspect of human life finds expression in ‘childlore’ and that the
field is an ageless repertoire of commentaries on life and human society.
Children lullaby like any poetic discourse comments on “complicated universal
truths like greed, futility of life violence and tyranny” (Iwoketok, 2014, p.
37). Other themes including fear, destitution, hunger, love and vices committed
by adults are appropriately addressed in the songs by children. Also the language
is simple, the style is flowing freely and the choice of diction reflects the
common happenings in the society.
This paper, therefore, studied childlore within the
Durr, Hausa and Ngoni context which is essentially a study in children’s
childhood tradition. It is a combination of oral literature, history at some
point and art criticism at another point. It is relatively unexplored field of
scholarly enterprise but promises increasing returns. Sub- genres such as
folktales, riddles, children’s play songs, tongue-twisters, traditional games
for or by children, children masking activities and songs are all inclusive in ‘childlore’.
It can be seen that the samples of play songs examined
in this paper validate the stand point that children’s oral songs or poetry is
a vehicle for entertainment, social protest, agility, cultural transmission and
propagation. It is a veritable tool for rehabilitating our collective
experience as a people or community. Several of the songs by children are
revolt against injustice, child abuse and a call for being good in the society.
The memorable lexical items in the songs presented
attest to this view. The repetitive lines in text 4 & 6 wun kh, and wunne and the rhythms’ produced in text 8&9 of turmi ture and tattabara tara ‘yaa tara kwai
tara vividly captures this stance.
Finally, it can be concluded that the childlore of any
society/community/ethnic group in Nigeria has social and cultural values, hence
its continued existence and relevance from generation to generation.
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