A textual interpretation of Sisaala Bayira performance

Abstract

This thesis is based on an ethnographic study of the Sisaala Bayira performance in context. The research was conducted in the Sisaala East and West, the north eastern and western parts of Ghana. The data was gathered through fieldwork on live Bayira performances during funerals in Walembelle, Tumu and Gwollu using observation and interviews as the main research tools. The main purpose of the study was an exploration of the historical context and aesthetic features embedded in Bayira performances. These have literary significance and make meaningful contributions to the development of African orature. The theories which backed the study are Tedlock’s and Schechner’s Performance Theories. Bayira performances were captured by audio visual recordings which were then translated from Sisaali into English using Newmark’s (1988) Theoretical ideas on translation. They were coded and used for critical analysis. The results revealed that Bayira performances are embedded with aesthetic and symbolic representations whereby Bayira performers use figurative language, histrionic gestures and other paralinguistic features as effective performance skills. The art of Bayira performance is tantamount to warfare whereby performers use pithy expressions; demonstrate panegyric skills, exhortation, and admonition and trade in diatribes. The use of symbols brings realism into the art of Bayira performance. Bayira performance has several pedagogical implications apart from moral lessons. Bayira songs teach communal and traditional values and comment on issues affecting the community and individuals in society. They teach people extended knowledge and wisdom by praising good behaviour and condemning unacceptable acts which are inimical to society