Cite this article as: Ude, C. Q., & Chukwu, E. A. (2025). An analytical study of prevalent comic techniques in selected Nigerian socio-cultural skits. Sokoto Journal of Linguistics and Communication Studies (SOJOLICS), 1(3), 128–139. https://www.doi.org/10.36349/sojolics.2025.v01i03.017
AN ANALYTICAL
STUDY OF PREVALENT COMIC TECHNIQUES IN SELECTED NIGERIAN SOCIO-CULTURAL SKITS
By
Chika Queen Ude
English Language and Literature Department,
Alvan Ikoku Federal University of Education, Owerri
&
Emmanuel Chukwu
Ugwu
Nnamdi Azikiwe University, Awka
&
Ephraim Azoluwaehu
Chukwu
Nnamdi Azikiwe
University Awka
Abstract
This study investigates
comic techniques employed by Taaooma and Kiekie in their comedy skits. The
study adopts Kant’s (1790) model of incongruity theory of humour and McGraw and
Warren’s (2010) Benign Violations Theory as the theoretical underpinnings. The
skits were randomly selected and downloaded from the Facebook accounts of these
popular skit makers. The video skits were transcribed for thorough analysis,
which led to the selection of the dialogues used for the research. The choice
of data was made to ensure that the videos did not exceed 5 minutes duration.
The study employs qualitative research design for content analysis of the
selected skits. From the analysis of the excerpts in the sampled comedy skits,
the comic techniques observed were: absurdity, sarcasm, rhetorical questions,
retorts, satire, pun/wordplay, and slapstick. It also reveals that comedy skit
makers employ these satiric elements to pass a strong message on societal
change and through the means of comedy, they are not confrontational rather
subtle in their critique.
Keywords: Comedy skits, social media, humour, comic
strategies and techniques, incongruity theory of humour, Benign
ViolationsTheory
1. Introduction
With the widespread socioeconomic difficulties in
Nigeria, comedy has developed into a powerful tool for social commentary that
goes beyond simple entertainment. The popularity of social media skits, as
digital channels to question social conventions and provide catharsis,
signifies a dramatic change in the country’s comedy environment. Owing to the
rise in the production of comedy skits and a surge of interest relating to
research on humour, comics and comedy skits. It was observed that studies on
the strategies and techniques within pragmatic conduits of the comic language employed in comedy skits are largely missing.For
instance, studies like Adesoye (2018) account for humour achieved
through phonological processes focusing on Folarin Falana’s comedy skits, while
Filani and Oluwatomi (2022) explore a discourse analysis of how comedy skits
downplay the image of the female gender through objectification and negative
stereotyping in a typical Nigerian society.
Aside the instances above, there are many other works
on comedy but research on the analysis of comic language strategies and
techniques in the selected comedy skits under study is scanty. This is the contribution to knowledge the work
intends to make. Therefore, this study attempts to identify the humour
strategies and techniques deployed by skit makers, Taaooma and Kiekie, to elicit laughter, while satirizing societal issues.
The objective of the study identifies the prevailing comic language strategies
and techniques employed to create the humorous effects in the comedy skits, and
to point out how skit makers do not just create content for amusement but
subtly criticise social issues and inspire positive social change.
2. Literature Review
Humour is a universal concept present in all cultures
around the world, and framed according to the orientation and environment of
the people. As an artistic subject or
idea, it is subtle, evasive, and however, quite difficult to describe
exhaustively (Bamgbose, 2019). An attempt at definition says humour can be
defined as the quality of any action, speech, or writing that excites
amusement, oddity, comicality, or fun; the perception of what is ludicrous or
amusing in speech, writing, or other composition (Bamgbose, 2019). Studies
within humour research generally accept it to mean any form of communicative
behaviour, which is intended or interpreted to “elicit amusement, mirth,
laughter, or associated feelings of exhilaration” (Attardo, 2019:12). Humour primarily
consists of jokes whether spoken or written words, and actions that elicit
laughter or generate merriment (Sen, 2012). It refers to a variety of terms
including anything that is or may be perceived as funny, amusing, risible, or
laughable, such as laughter itself, wit, comedy, raillery, jesting, scorn,
ridicule, or mirth (Attardo, 2020).Whichever way humour is described, one main
criterion cuts across all descriptions and that is laughter. The concept and study of humour
is found in and draws insights from several disciplines such as linguistics,
literature, history, psychology, philosophy, sociology, anthropology, cognitive
neuroscience, physiology and so on (Adesoye, 2018).
Humour strategies refer to language techniques and
devices needed to create, convey, and interpret humour. These strategies
exploit various aspects of language to achieve comic effect. According to Dynel
(2013), humour is characterised by imagination, creativity, and linguistic
innovation, often utilising colourful language to convey relevant meanings.
From numerous existing researches, the techniques and strategies of humour
include a wide array of linguistic features such as absurdity, satire, puns, hyperbole/exaggerations,
humorous metaphors, analogies, rhetorical questions, slapsticks, innovative
collocations, retorts, exaggerations, euphemisms, paradoxes, register clashes,
neologisms, allusions, irony, surprise, and more. Together, these linguistic techniques
form a colourful palette of humour, enriching communication and fostering
laughter in various social contexts.
Social media has transformed
communication by merging written and spoken discourse while promoting
interactivity, immediacy, and multimodality (Ojomo & Sodeinde, 2021).
Unlike traditional media, it democratizes content creation and dismantles gate
keeping structures (API, 2021), enabling individuals, especially unemployed
youths to establish social and economic relevance (Simon, 2022). Within this
digital space, the social media entertainment industry has emerged as a vital
space for content creation, with comedy skit making becoming a distinctive
sub-genre of digital performance. These skits function as tools for
entertainment, social commentary, and cultural critique, addressing issues such
as governance, economic hardship, and inequality through humour and satire
(Adesoye, 2018; Ihua et al., 2021).
In Nigeria, comedy skits gained prominence around 2015
and developed significantly after the COVID-19 lockdown, producing a new
generation of comedians known as skit makers (Adetunji, 2024) also called
content creators. Skitmaking now ranks among Nigeria’s top entertainment
industries, alongside film and music (API, 2021). Platforms like Instagram,
TikTok, YouTube, and Facebook serve as major outlets for showcasing these
short, humorous performances, typically lasting from a few seconds to several
minutes. Nigerian comic skits often performed in English, Pidgin, or indigenous
languages, deploy techniques such as exaggeration, parody, satire, and wordplay
to engage audiences (Ogba, 2021; Mark, 2024). The form itself is tailored to
the digital medium.
Skits are characterised by their brevity, with simple
plots, few characters, and relatable narratives (Mark, 2024; Ogba, 2021). This
makes them easily digestible and highly shareable, allowing them to easily
capture attention and achieve viral reach. This reach is crucial for their dual
function: to entertain a mass audience and to disseminate social critique
effectively. The industry has grown from a pastime into a significant economic
and cultural force, providing employment and a powerful platform for youth
expression (Adetunji, 2024; API, 2021; Ojomo & Sodeinde, 2021; Simon,
2022).
While entertainment is a primary goal, the function of
skits extends far deeper. In a country like Nigeria grappling with a high
misery index and widespread depression (World Happiness Report, 2024; WHO),
skits provide a crucial psychological outlet. The laughter they elicit offers a
temporary relief from daily struggles, functioning as a collective coping
mechanism. More critically, this humour performs a subtle yet powerful social
role. The skits do not just mock; they reflect the Nigerian experience back to
its people, validating their struggles and fostering a sense of shared identity
and resilience (Adetunji, 2024; API, 2021).
Despite Nigeria’s declining happiness index and
increasing socio-economic challenges (Helliwell et al., 2021, 2024), humour,
particularly through social media comedy skits serves as a crucial coping
mechanism and source of emotional relief (Adesoye, 2021). Nigerian comedy skits
perform multiple socio-economic and psychological functions beyond
entertainment. According to research, they create awareness on social issues,
correct societal ills, and provide significant employment opportunities within
the creative industry (Adetunji, 2024; API, 2021). Studies reveal that skit
making employs over four million Nigerians presently and could generate
millions
of jobs more (Usoro, 2022), thus mitigating unemployment and
empowering youths with creative and technical skills. Skits also serve
therapeutic and psychological functions.
With Nigeria recording one of the highest depression
rates in Africa, skits are found to offer emotional release and temporary
relief through laughter, which stimulates endorphins and fosters mental
well-being (Adetunji, 2024). They have become a daily source of comfort and
motivation, helping audiences cope with financial and emotional stress.
Furthermore, skits contribute to cultural promotion and a revitalization of
older art forms such as music and film, as seen in the resurgence of Mike
Ejeagha’s song “Gwogwogwongwo” popularized through a skit by Brain Jotter
(Usoro, 2022).
3. Theoretical Framework
Kant’s (1790) Incongruity Theory of Humour and Benign Violations Theory
(BVT) by McGraw and Warren (2010) provide the theoretical underpinnings for
this paper.
Incongruity Theory of Humour is one of the first linguistic theories of humour. It
was first formulated by James Beatie (1776) and later advanced by Immanuel Kant
(1790). Morrell (1987) considers the incongruity theory to be the most popular
current philosophical theory of humour and he further states that the formal
object of amusement is the incongruous. Many researchers share his view and see
incongruity as the essential element in eliciting humour. Incongruity is a
violation of a pattern in someone’s picture of how things should be. What any
individual finds incongruous will depend on what his or her experience has been
and what his or her expectations are. Many theorists agree that not
incongruity, but the congruous outcome of the incongruity contains the funny
element. Attardo (2001) outlines five essential features for incongruity to
evoke humour: the incongruity must be non-threatening, must not be too complex
or too simple, the recipient must have sufficient knowledge to be able to
process the scripts and identify the incongruity, the incongruity must be
unexpected and surprising, and the participants should be in a playful mode.
McGraw and Warren's (2010) Benign Violation Theory (BVT) offers an empirically grounded
explanation of why certain norm violations are perceived as funny rather than
offensive. Drawing from Veatch’s (1992) N+V model, BVT proposes that humour
occurs when a situation simultaneously presents a violation of social, moral, linguistic, or logical norms, yet
remains benign, that is, safe
or acceptable to the audience (McGraw & Warren, 2010; 2014). These
violations may occur across physical, social, cultural, or linguistic domains,
and their humorous effect depends on shared understanding and psychological
distance. Although BVT has been critiqued for not fully addressing cultural and
power differences, it remains highly relevant in cross-cultural humour
analysis, especially within diverse societies such as Nigeria (Emama &
Mowarin, 2020).
The two theories provide a coherent analytical
framework for studying humour in Nigerian comedy skits. The Incongruity Theory explains the
cognitive and linguistic mechanisms that create humorous effects through
surprise and mismatch, while the BVT illuminates how these violations are
rendered socially acceptable within shared cultural and contextual boundaries.
The combination enables a comprehensive analysis of how Nigerian skit comedians
use incongruous expressions and benign norm violations to generate laughter,
critique society, and reflect lived realities.
4. Methodology
The research was conducted using online video skits from Facebook
accounts of the selected skit makers: Maryam Apaokagi known as Taaooma, and
Oluwabukunmi Adeaga-Ilori known as KieKie. Three skits from these most popular
female Nigerian skit makers (Dataleum, 2024) were randomly selected before
downloading and the videos were played severally and transcribed for analysis.
The selected videos are
1) Taaooma [5.7M
followers]: Infidelity
(1:48secs), Jollof rice (3:56secs), Happy Children’s Day (1:41secs).
2) KieKie [3.9M
followers]: Big Daddy Camry
(5:38secs), Lagos fake life
(5:23secs), Gen Z apprentice wahala
(4:58secs)
These skit makers are popular for their massive followership and regular
production of comic skits online. The data were presented in excerpts. The
qualitative method of analysis was adopted where the data were thematically
discussed and content analysed bringing out the comic techniques and norm
violations in the selected skits under study.
5. Data Presentation and Analysis
This section constitutes a tabular presentation of the comedy skits and
their comic techniques from the point of view of Kant’s (1790) Incongruity
Theory of Humour.
Table 1: The Comic Strategies
and Techniques in Taaooma’s “Infidelity”
|
|
Excerpts |
Humour Device |
|
1. |
Kunle (Whispering):
Hello Anita. I will call back now. I’ve already seen your WhatsApp
and pictures, everything is looking slimy…. Ronke (Sundenly): Kunle!? Kunle: Yes? No no no…Aramide
don’t tell me that. I should call Sanwo-olu? Don’t worry, it’s okay. I don’t
have…I don’t have a business with you. If you know how I…I was
just…I…I…are…erm…Aramide. Ronke: Engineer Aramide? |
Absurdity |
|
2. |
Kunle: Yes, Engineer Aramide (Ronke sighs, crosses her fingers, and
looks at him doubtfully as he spoke) Can you Imagine? I was telling her…That
VGC bridge they say they want to do it. For how long will they do this bridge
for? Ronke: Eeeeh…? (Responding open mouthed as if surprised) Kunle:All the motor have spoil. Everyday traffic. Are you not tired,
Ronke? |
Rhetorical question |
|
3. |
Kunle (Pleading): Ronke, Ronke, Ronke! Hold on now. Let
me…. Ronke [as she throws away
his bags]: If I see your leg in this
place again... Kunle: Okay, Ronke who...who
will I call? Ronke: Call Sanwo-Olu. |
Sarcasm/ Retort |
|
4. |
Kunle: There's one road there, they call it Agbede. If you see that
road, Ronke! Hold my phone. The road is like this… [Begins to demonstrate the
undulating nature of the road with his arms spread sideways, and how it makes
commuters unstable in the cars.] Kunle: Your motor will just be doing…Ah! [Still shaking his body to
demonstrate. |
Slapstick |
Table 2: Comic Strategies and
Techniques in Taaooma’s “Happy Children’s
Day”
|
|
Excerpts |
Humour Device |
|
5. |
Teni: If you
come close to me again, if you touch me again...Uncle Matthew, I will SING
for you. My mother have already teach me for this day. S is for Solar plexus.
I'll give you uppercut like this… I for Instep. I will... (Stamps her foot on
the ground) N, I will give you jab in your nose like this, uppercut. And G, I
will give you this thing in your groin. |
Absurdity |
|
6. |
Uncle Mathew: Ah
ah…Teni? Teni? Teni my wife. Teni: Who is your wife…did
my mummy say that she want to abandon me; that she want to put me in your
hand? …That’s how the other day
you say I should come and sit on your laps. Are you Santa Claus? Did you…Are
you doing Father Christmas now that you say I should come and sit down on
your lap? …I don't want any biscuit from your hand Uncle Mathew. Don't allow me
to disrespect you; because if I disrespect you, I'll say your head is not
correct. |
Sarcasm |
|
7. |
Teni: I will give you a
dirty slap. I will give you a punch. I will give you uppercut like this…I
will give you jab in your nose like this…I will give you this thing in your
groin. |
Slapstick |
|
8. |
Temi: Did you not come for my naming ceremony
yesterday? …did my mummy say that she
want to abandon me; that she want to put me in your hand? …Are you doing Father
Christmas now that you say I should come and sit down on your lap? |
Rhetorical question |
|
9. |
Uncle Mathew: Okay, I know
what’s wrong. I have biscuit for you. Do you want biscuit? Teni: I don't want any biscuit from your hand Uncle Mathew. Don't
allow me to disrespect you; because if I disrespect you, I'll say your head
is not correct. |
Retort |
Table 3: The Comic Strategies
and Techniques in Taaooma’s “Jollof Rice”
|
|
Excerpts |
Humour Device |
|
10. |
Kunle [took a spoon of
rice]: Haaa!! Mmmmm! Gbadebo!? Did
your wife cook this? She cooked it herself? ...Madame did you cook it
yourself? I can't believe this. This is best. In fact, this is the best!
[took another spoon] Oh, oh, oh, oh. Mm mh! In my experience of eating
jollof, this is the best. What’s her name? Basira right? Anybody that has
Baci...Ah! They are cooking gbasigbasi. |
Hyperbole/ exaggeration |
|
11. |
Kunle: Ronke...Ronke! I have been eating Jollof
for the past two months now. Kilode? Ronke: Yes oh! That's what
is available; Jollof rice. Every day, it's Jollof rice in this house. |
Sarcasm |
|
12. |
[Every day, Ronke served him
jollof rice; Day 9…Day 17…Day 27, Ronke serves another plate of Jellof rice] Kunle [Taking
the food]: Hm mm! Mm mmh! Aronkeyshaya, you're a
good wife. [Day 32, Ronke fed him
jollof rice] Kunle: Mmmmm!
Aronkeyshaya. (Smiles) [Day 50….Ronke still served
jollof rice.] Kunle: Are you playing for Chelsea? Because you
can cook, Cucurella! |
Absurdity |
|
13. |
Kunle: Aronkeyshaya, what's for dinner? Ah ah! My
wife, my wife. Thank you. Uh oh! Jollof rice? (He eats it) Mm mmmmmm!
(Smiles) But you said we were going to eat Amala today? Kunle: Are you playing for Chelsea? Because you
can cook, Cucurella! |
Rhetorical question |
|
14. |
Kunle: Aronkeyshaya. (takes
his food, shocked) Ronke...Ronke! I have been eating Jollof for the past two
months now. Kilode? Ronke: Yes oh! That's what is available, Jollof
rice. Every day, it's Jollof rice in this house. Kunle: You do not know that
her rice is not sweet. I just say we should eat it... Ronke: Wo! Six months in this house, you are
still eating Jollof rice. Shebi you say I don't know how to cook jollof rice?
I will show you pepper…By the time I finish with you… you will turn red. |
Retort |
Table 4: The Comic Strategies and Techniques in
Kiekie’s “Big Daddy Camry”
|
|
Excerpts |
Humour Device |
|
15. |
Director: All of you
performed exceptionally well during auditions, and that's why you've been
shortlisted. But…we only need one person for that role. And the decision to
choose…ultimately depends on me. And…probably, you. If I'm happy with you, I
can make decisions that will favour you. I am the director of this
great project. You see, this movie is going to cost us 150 million Naira. I
control things here. You're just inches away from being a superstar.
All you need to do is eeerm…you know…make big daddy happy. |
Satire |
|
16. |
Director: Go and get yourself prepared. And make
sure you keep your phone close to you. You're a superstar. Young lady: Thank you, sir. Director: You are a superstar. Look at you. |
Sarcasm |
|
17. |
Director: Yes, my dear. You see…, those other ladies, they are mere
desserts. You are the main course. (Laughs). Woman (in Yoruba): I’m just
hearing big daddy, big daddy…sorry Camry. I mean, what’s the meaning of all
this? Where did you get this man from? Enioluwa: It’s from the industreet. |
Pun/Wordplay |
|
18. |
Enioluwa: Director, meet our
madam. Director: Wha…wha…what’s
going on here? Enioluwa: What? You mean you
did not know our executive producer of our upcoming movie? Director: What? Woman: Oh my…Enioluwa come
on, I already met the Director. Or…should I say, big daddy? Will you get up
from that chair? So, this is what you do here? This is how you lure girls…for
roles? This is what you do? |
Rhetorical question |
|
19. |
Director: Please… you see this life that we are
in…devil has too much power but no salvation. Devil, too much power but no
salvation. Woman: Wow! Wonderful! Until you mentioned that
we are living in this life, me I thought that we are living in hell fire. I
didn't know pe we are living in this life...Will you…will you…will you get up
from that chair. …Mr. main course, you’re fired. You are fired! Move! You are
fired! I said get out! I said get out. You’re fired. Get out! Director: I’m not…I’m not big daddy. Woman: Sorry, Camry…Rubbish! Come on will you get
out of this place. |
Retort/ Sarcasm |
Table 5: The Comic Strategies and Techniques in
Kiekie’s “Lagos Fake Life”
|
|
Excerpts |
Humour Device |
|
20. |
Kiekie: Angie baby, what did you do? You just carry paint emotion to be
precise you begin to paint all of social media: Facebook, Instagram, Twitter,
Snapchat, even YouTube. What was that? Ah! That party was so bloody (In
Yoruba). Angie: Is that what you have a problem with?
Because, that's the tip of the iceberg. My friends? They are the hot shots of
the society. I don't roll with nonsense. You should already know that. Angie [Later
when Kiekie asked for a refund]: I don't have any money. Audio money. The
money is not mine. I rented it from a mallam, for my birthday party. I wan
make my haters body dey hot, I wan pepper them. |
Absurdity/ Satire |
|
21. |
Kiekie: Do you know...do you know the person you're
shouting on her head? Do you know who she is? Do you know that as she’s
standing here like this she can within her good heart of heart, She can give
your street people 425,000 to go and drink mineral because she wants them to
be high on sugar…Yeah! Do you know who she is? The latest millionaire in
town… |
Hyperbole |
|
22. |
Kiekie: You don't have which
money? When it’s not that everything I saw on Instagram and Facebook is
video-shopped. It can't be video shop na. They were spraying you money…. Ah!
You are a big girl. Hello my dear jare, transfer abi BTC? |
Sarcasm |
|
23. |
Angie: Is that what you have a problem with? Kiekie: No oh that's not what I have a problem with o. No my
dear... Angie: Because,
that's the tip of the iceberg. Kiekie: Talking of bag, I don't have tea so no need for bag
(InYoruba). |
Pun/ Wordplay |
Table 6: Comic
Strategies and Techniques in Kiekie’s “GenZ
Apprentice Wahala”
|
|
Excerpts |
Humour Device |
|
24. |
Kiekie(To
Enioluwa and Priscy): Please, somebody told you say pe she's going for
burial, that somebody died in their house; …A 55 year old person die, she's
going for house of her in-law house, and you sew this type of nonsense for
her; crop top and under skirt. Enioluwa: I'm sorry, is Kiekie not her name? (Priscy shrugs her shoulders)
Anyway, so Kiekie as I was saying, this is what we are trying to achieve. We
follow what's on social media and what is trending, and you know it's 2023,
so we are going with the vibe and you know she's going for a burial, so we
gave her white because white represents what? Heavenly! So with the skirt, you know
we are going for more earthly tones and that's what brown represents because
you know, it represents the earth. The person is going to be laid down into
the great beyond. |
Absurdity |
|
25. |
Enioluwa: …so we gave her white because white represents what? Heavenly!
[Laughs] Fade: Shut up!
What if they are not going to Heaven? What if the person that died is not
going to Heaven? Enioluwa: Ehn, that's why you wore black now. |
Sarcasm |
|
26. |
Kiekie: I have never never seen this type of catastrophe before,
without getting a trophy or drinking a trophy. Priscy: So what happened was
we actually did something before, but like it wasn't…giving gen Z. It
wasn't giving what it's supposed to give. Priscy/Enioluwa: …we ‘slayed’! Kiekie: You, you ‘slayed’
cloth, me I will ‘slay’ you…. |
Pun/wordplay |
|
27. |
Priscy: Jesus! Oh my goodness! My Gucci bag! Enioluwa: Oh no…! Oh no…no!
It's a lie! It's a lie! It's a lie! Your Gucci bag! Not your Gucci…not your
Gucci bag! No! I need to tweet about this. Priscy: Oh my God! Take a
picture. Enioluwa: No, I need to, I need to take evidence. |
Hyperbole/ exaggeration |
|
28. |
Kiekie: Instead of 5 yard you sew catapult. Did she tell you
pe she's the girlfriend of Reekado Banks, and you made catapult for her?
What's the meaning of this? Priscy: We threw
the rest away. Kiekie: You
threw the rest away? Do you know it is your destiny you throw away? |
Rhetorical question |
|
29. |
Enioluwa: Exactly, Kiekie exactly. Fade: (Slaps
him) Are you okay? Shut up joor Kiekie, abi Oga? Priscy: So, we
had to like do something…make it work. That's the point of being a designer,
professional. Enioluwa: Yeah! Cause like the first sketch wasn't working and then we had to
try something new and... Both: …we
‘slayed’. (excited, held hands and jumped, laughing). Kiekie: Wait…You, you ‘slayed’ cloth, me I will
‘slay’ you, alapata standard. |
Retort |
Data Analysis of Comic Techniques
The incongruity theory asserts that the perception of
something is incongruous when it violates our mental patterns and expectations
(Kant, 1790). The comedy skits make use of different comic devices as
techniques for eliciting humour. Such comic devices as absurdity, rhetorical
questions, sarcasm, and retorts were the comic choices identified in most of
the skits, while techniques like hyperbole, slapstick, pun, malapropism, and
distortion, were utilised in a few of them.
Absurdity: Absurdity in comedy is a style or approach that uses
the unexpected, irrational, and nonsensical elements to generate humour. Humour
is absurd when it is based on situations, characters, and or actions that are
extremely ridiculous or not making any sense. Absurd humour is often surprise;
having the climax of a set-up entirely contrary to what was expected.
A good example of absurdity is seen in Taaooma’s “infidelity”, in Table 1, excerpt 1, Kunle who was whispering while on call suddenly
begins to speak loudly immediately Ronke called his name, and wondered why he
would make such suspicious call. It is a display of silliness because if truly
he was talking to engineer Aramide his friend, why would he speak in low tunes
about an abandoned government road. Also in Taaooma’s “Happy Children’s Day, “instances of absurdity abound. For example,
we find absurdity in Uncle Mathew addressing a primary school girl as “my
wife,” and also in Teni’s claim that the man attended her naming ceremony the
day before, an intentional absurdity, to undermine his statement and highlight
her infancy. In addition, in Table 2
excerpt 5 her use of the word “sing” to imply an attack presents an absurd
twist. Teni said she will “sing” for Uncle Mathew but then launches into a
punching demonstration. The acronym “SING” repurposed as a self-defence combat
tool is incongruous because it contrasts a musical verb “sing” with violent
physical action. These absurdities create humour through contrasts that
generate laughter while spotlighting disturbing social realities through
ridicule.
In Taaooma’s “Jollof
Rice” we find absurdity exemplified in Table 3 Excerpt 12 portrayed
in how frequent Ronke served Kunle jellof rice, every single day for 50 days.
And even while Kunle knew his wife was not happy with him, he always received
the meal with smiles and calls her name pleasantly, “Aronkeyshaya, you're a good wife.” We also see the illogicality in
complimenting her cooking,“Are you playing for Chelsea? Because you can cook,
Cucurella!” even when
he cannot afford to eat anymore rice. The absurdity of using Cucurella,
a footballer, as a culinary compliment linking cooking to football creates
laughter. The mismatch foregrounds Kunle’s desperation to impress Ronke and
later survive her food revenge.
KieKie’s skits also contain absurdity as exemplified in Table 5 Excerpt 20, and Table 6 Excerpt 25. In “Lagos Fake Life”, the idea of “renting
money” or throwing a party with borrowed funds introduces absurdity as a humour strategy based
on Angie’s nonsensical logic, “I want to
pepper my haters.” The biggest absurdity is revealed after Kiekie’s bold
claim of her friend’s wealth and the immediate embarrassment that follows when
she asked for a refund of a borrowed fund she just used to settle the Hotel
Manager and save her from embarrassment. The skit uses this projection to
criticise youth obsession with wealth and public perception. In “GenZ Apprentice Wahala,” the ridiculous
actions and thoughts of the young apprentices, Enioluwa and Priscy, contribute
to heavy incongruity in the skit. Nigerian youths who belong to the generation
Z are lampooned as they insist that the crop top and mini skirt made for the
customer is the best designer style suitable for a burial occasion.
Satire: Satire could be said to mean making fun of people by
imitating them in ways that expose their stupidity or flaws. The skits used in
this study satirised either behaviour or a group of persons. While some are
very obvious, the rest are implied in the embedded message. Taaooma’s “Infidelity” and “Jollof Rice” satirize faulty behaviours of spouses in a typical
Nigerian home, cheating and over complimenting.
Strong satirical displays are seen in Kiekie’s skits –
“Big Daddy Camry,” “Lagos Fake Life,”
and “Gen Z Apprentice Wahala.” In Table 4 Excerpt 15, the Director’s
comments are used to mimic leaders in industries, especially the entertainment
industry, that sexually abuse and objectify aspiring female artists in the
country. His comments:
“If I'm happy with you, I can make decisions
that will favour you. You're just inches away from being a superstar. All you
need to do is…make big daddy happy.”
…exposes the corrupt
dynamics of power and abuse in the film industry. His reduction of the female
candidates to food metaphors, “desserts” and “main course” is a satirical commentary on
objectification of women, portraying how some industry gatekeepers treat
aspiring actresses as consumables.
Table 5 Excerpt 20
parodies the social media culture of affluence, where
appearances are everything and financial depth is often faked. Angie rents
money for birthday clout, and Kiekie unknowingly uses loan money to maintain
the same charade, just to act wealthy before the manager. The parody is a
satirical imitation of social climbers who go to extreme lengths to “pepper”
imaginary haters, stage luxurious lifestyles on social media while hiding their
real financial status. Through this act, they build layers of deception within
their friendships and online personas, “I
wan make my haters body dey hot”. On the other hand, the actions of
Enioluwa and priscy in “Gen Z Apprentice
Wahala” satirize the usual way of GenZs known for faulty copying and
application of ideas from the internet to real life situations. The GenZs are
projected to be unaware of African cultural norms: making a crop top and mini
skirt to a burial and addressing their Boss by her first name. There is
incongruity when they do not see anything wrong with their attitude; rather
they claim being abused when reprimanded.
Rhetorical
question: These are questions that do not necessarily require
an answer. It is just a tool to create humorous effects. This device is found
in five out of the six skits sampled in this paper.
In Table 1
Excerpt 2, Kunle’s questions to Ronke concerning the VGC bridge and the bad
roads in Lagos is not necessarily to know her opinion on the issue, but used
indirectly to further buttress the suffering of the people due to abandoned
government infrastructures in the state. It is also used to create a humorous
effect as Kunle is seen struggling to divert Ronke’s attention from the
possibility of him cheating to his deep concern for bad roads. To heighten the
humour Ronke responds with asking if Engineer Aramide is the one dressed in
bikini. In Taaooma’s “Happy Children’s
Day,” Table 2 Excerpt 8, Teni
queries Uncle Mathew to expose his deceit and foreground her tender age against
the man calling her “my wife.” Also, when she asks, “Are you Santa Claus?” “Who is Uncle Math…?”she counters his
supposed control and demand of respect over her.
Also in Kiekie’s skits, Table 4 Excerpt 18, the Executive Producer’s outburst in the form
of rhetorical questions at the Director when she finds out how he “lures girls for roles” and objectifies
them while acting as lord over a project that is not his does not actually
require him to respond, but criticizes the casting couch culture among men who
are gatekeepers in the industry. Similarly, the rhetorical questions by Kiekie
to her apprentices in Table 6 Excerpt 28
are used to expose the ludicrous thinking of our youths that call themselves
GenZs and how detached they are from their culture due to their attachment to
material things and social media lifestyle.
Sarcasm: Sarcasm in
comedy skits is a humour style that employs irony, understatement, and
exaggeration to achieve comedic effects, often mocking or criticizing subjects
humorously. It serves to highlight the absurdities of daily life and comment on
social issues.
Sarcasm in Taaooma’s “Infidelity” as exemplified in Table
1 excerpt 3 functions as Ronke’s power move as she turns Kunle’s invented
excuse against him. Humour is created through the ironic statement “Call Sanwo-Olu,” to underscore her
knowledge of the truth and mock Kunle’s absurd attempts at justifying his
actions. In Table 2 excerpt 6,
Teni’s response about the biscuit mocks Uncle Mathew for lying in order to
manipulate her. Her mock-polite warning not to “disrespect him,” drips with
veiled insult, since she immediately threatens to question the state of his
head. The Santa Claus comment is especially sarcastic. It ridicules Uncle
Mathew’s deceptive gesture while feigning naïve confusion on the part of Teni.
In Table 3 excerpt 11 shows sarcasm
in skit with Ronke’s sharp reply “Yes oh!
That's what is available; Jollof rice. Every day, it's Jollof rice in this
house” when Kunle complained of eating only jello rice for over two months,
she tries to make a serious point in a light-hearted way.
Also in Kiekie’s skits there is the presence of
sarcasm. In Table 4 excerpt 16, the
director ironically makes the girl feel she has been given the ‘golden’ role “You are a superstar. Look at you” since
she agrees to “make big daddy happy.”
He sarcastically mocks the gullibility of the lady. In Table 5 excerpt 22, Kiekie’s response
You don't have which money? When it’s not that
everything I saw on Instagram and Facebook is video-shopped. It can't be video
shop na. They were spraying you money….spraying you…Ah! You are a big girl.
Hello my dear jare, transfer abi BTC?
…humorously criticizes Angie’s fake exaggerated wealth, thereby mocking
social media false living projected most times by our youths just for public
recognition. Finally in Table 6 excerpt
26,while Enioluwa explained their reasons for making the choice of cloth
they did and Fade retorted: “Shut
up!...What if the person that died is not going to Heaven?” his response “Ehn, that's why you wore black now” is a
strong sarcastic statement that kept both Kiekie and Fade embarrassed and
gobsmacked.
Retorts: Retorts
are another humorous technique and strategy employed in the skits. A retort
refers to a sharp and clever reply that directly follows a previous statement
with which it forms an adjacency pair (Obasi & Melafa, 2022).
In Table 1 excerpt 3, Ronke
retorts, “If I see your leg in this place
again...Call Sanwo-Olu” as she throws Kunle’s bags out of the house for
flirting with a lady on his phone and lying that he was speaking to Engr
Aramide. In Table 3 excerpt 13,
Ronke’s retort grew from a mindless punishment to aggressive responses that
express her anger and resolve to punish Kunle for undermining her culinary
skills in public:
“Yes oh! That's what is available,
Jollof rice. Every day, it's Jollof rice in this house.
Wo! Six months in this house, you are still eating
Jollof rice. Shebi you say I don't know how to cook jollof rice? I will show
you pepper.
Be eating it now.By the time I finish with you… you
will turn red.”
In Table 4 excerpt 19, the
woman’s response to the director who suddenly began to seek pity when he
discovered he was speaking to the Executive producer of the project he claimed
to “control things” shows retorts in use. She vents her anger on the man who
has been sexually exploiting women in the name of giving them roles, with
claims that all decision lies with him. Retort usually manifests at the second
turn in an exchange as a somewhat ridiculous reply to the first turn thereby
generating a humorous feeling in the listener(s). Retorts are usually not
produced to amuse the producer of the first turn (Bamgbose and Ajayi, 2019).
The director does not find the retort funny,
“Wonderful! Until you mentioned
that we are living in this life, me I thought that we are living in hell fire.
I didn't know pe we are living in this life…Mr. Main course, you’re fired.”
Director: I’m
not…I’m not big daddy.
Woman: Sorry,
Camry…Rubbish! Come on will you get out of this place.
…but the audience would, as they recognize that the
woman makes sarcastic statements to mock the man’s failed exploitative plans.
In Table 6 excerpt 29, Fade’s angry
retort “Are you okay? Shut up joor
Kiekie, abi Oga?” as she slaps Enioluwa following his address of their boss
with her name; this is perceived as a sign of disrespect in the typical
Nigerian culture or in a master-apprentice relationship. Another retort comes
from Kiekie in a more sarcastic tone “Wait…You,
you ‘slayed’ cloth, me I will ‘slay’ you, alapata standard” as she
threatens to deal mercilessly with the apprentices for foolishly destroying a
customer’s material.
Hyperbole: Hyperbole involves an extreme and deliberate use of
exaggerated statements to generate humour, highlight a message, or intensify a
situation beyond its actual reality.
In Table 3
excerpt 10, of Taaooma’s “Jollof Rice” there is the use of
hyperbole in Kunle’s exaggerated praise of Gbadebo’s wife’s jollof rice, which
is the starting point of the conflict in this skit. His overenthusiastic
compliments, “I can't believe this…In my
experience of eating jollof, this is the best” delivered in a dramatic tone
are comically excessive. The exaggeration was so profound that he compares her
cooking to the world acclaimed Nigerian best chef, Hilda Baci: “Anybody that has Baci...Ah! They are cooking
gbasi gbasi.”The use of
hyperbole enhances the comedic effect by satirizing excessive compliments,
particularly in public. It highlights how exaggerated flattery can result in
unexpected and amusing outcomes within relationships.
Exaggeration is a dominant humour device in Lagos
Fake Life, in Table 5 excerpt 21. Kiekie repeatedly
overstates the financial capacity of Angie, creating a comic contrast with the
reality of her poverty:
“She can give your
street people 425,000 to go and drink mineral because she wants them to be high
on sugar…Yeah! Do you know who she is? The latest millionaire in town.
The hyperbolic tone paints Angie as extremely wealthy
only to later reveal that she “rented” the money, thereby intensifying the
humour and criticizing audio wealth among youths in Lagos and Nigeria at large.
Slapstick: Slapstick is a comedic performance style
characterized by exaggerated physical actions and absurd behaviour such as by
throwing things, falling over, etc. It often relies on visual gags and
over-the-top gestures to create a playful, cartoon-like portrayal of reality.
In Table 1
excerpt 4 of Taaooma’s “Infidelity”
there is physical comedy at the end as Ronke throws down Kunle’s bags and boxes
while he runs around trying to catch them. Also in Table 2 excerpt 7 of “Happy
Children's Day” Teni’s bodily threats, slaps, uppercuts, jabs, and groin
kicks, are movements that show physical comedy as she demonstrates how she
would physically beat Uncle Mathew following the acronym SING. Her actions are
humorous given her small stature, talking to a man who is possibly twice her size.
Her physical demonstrations, stamping her foot…raising tight fist… raising her
knee… charging at his groin, add to the physical comedy and amplify the
hyperbolic threats, transforming the scene into a caricature of martial arts
defiance.
Pun/Wordplay: This type of humour includes things such as twisting
or playing with the sounds and meanings of words, phrases, and/or idioms.
In Table 4,
excerpt 17, of Kiekie’s “Big Daddy
Camry,” there are a number of
humorous manipulations of language, including puns, and double meanings used in
the skit. The director’s nickname “Big Daddy” is layered. In one
context, it is meant to imply power, status, and desirability. On the other
hand it can literally mean a physically big father-figure. When she
dismissively calls him “Camry”,
it becomes a pun: “Sorry, Camry.”
This destroys his self-assumed title and reduces him to an ordinary,
less impressive status, heightening the humour in the skit.
Also in Table 6, excerpt
26, Kiekie creates more humour by playing on the meanings
and sounds of some words: “Heyyy...! I
have never never seen this type of catastrophe before, without getting a trophy
or drinking a trophy” expressing bewilderment at how Enioluwa asked her to
stop shouting, as he explained that her loud voice is affecting Priscy’s mental
health. Another instance is found in Table
5, excerpt 23, while Kiekie expressed how overwhelmed she was to see all
that money sprayed on Angie at her party, Angie told her:“…that's the tip of the iceberg.” And Kiekie responds “Talking of bag, I don't have tea so no need
for bag” playing on the words from ‘tip’ and ‘iceberg’.
Application of BVT
According to McGraw and Warren’s (2010) Benign
Violation Theory, humour arises when a situation is simultaneously perceived as
a violation of norms and benign. In other words, the humour in the skits
presents situations that are obviously violations of societal norms and
culture, which are presented as not harmful (benign) due to the medium of
expression, comedy. The humour functions as a moral corrective, criticizing
wrong behaviours or exploitative acts. For instance, it shames dishonesty,
child grooming, spousal disrespect in Taaooma’s “Infidelity, Happy Children’s Day, Jellof Rice” respectively; and
sex-for-job culture, fake life and GenZ faulty habits in Kiekie’s “Big Daddy Camry, Lagos Fake Life, GenZ
Apprentice Wahala” while allowing the audience to engage with the scenarios
through laughter rather than confrontation.
The BVT framework thus explains how the projected
moral and social violations, which may be offensive subjects, are converted
into a comic narrative through strategic humorous and satirical framing. The
humour punishes the offender, and
restores moral order, and while entertaining the audience, it reinforces a
critical social message and discourages negative behaviour. The skits
therefore can be seen as an avenue for social commentary and advocacy through
laughter, which aligns with the theory.
6. Conclusion
This study has investigated the comic techniques in
selected comedy skits. It employed Immanuel Kant’s (1790) model of Incongruity
theory and, McGraw and Warren’s (2010) Benign Violations Theory of humour to
account for the objectives and aim of the study, which was to examine and
discuss the comic language strategies and techniques employed to create the
humorous effects in the comedy skits and to analyse how these strategies are
employed in the selected comedy skits to convey particular messages to the audience
while they laugh.
From the analysis of the data, it was observed that
the prevalent comic techniques found in the study are absurdity/incongruity,
sarcasm, rhetorical questions, retorts, satire, pun/wordplay, and slapstick. It
can be deduced that these devices are the commonest humour techniques employed
by Nigerian social media skit makers to successfully tackle sensitive social
issues and relate vital messages through comedy. The paper concludes that these
elements help comedians to address/criticize social issues and inspire societal
reforms.
The present research did not exhaust all the comic
techniques and skits from other skit makers in its analysis. Therefore, it is
recommended that future researchers focus on other techniques and contents
created by other artists that this research did not explore, such as
malapropism, distortion, mimicry, among others. Other aspects of humour
analysis to include stylistic, lexical, phonological, and semantics analysis
could also be explored in these or other comedy skits.
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