Abstract

One of the most developed and advanced poetic genres in Africa is the Udje oral poetic form of the Urhobo people of Nigeria. As an indigenous oral song-poetry tradition that is practised by many subgroups of the Urhobo polity, Udje has been termed by scholars as the premier songpoetry tradition of the people (Clark, 1965, 2008, Ojaide, 2003, 2009, Darah, 2005, 2009, 2010 and Okpako 2011). Udje is an elaborate song-poetry tradition in which songs are composed with the sole intent to hurt the prestige of the opponent. The songs are woven in biting images that not only lampoon individual(s) with antisocial traits but satirise people with physical disabilities from rival camps. In the cultural milieu in which udje thrived, people dreaded the poet. Many relocated from their communities after being sung with stinging metaphors during udje performances. This essay leans on the above thematics to examine how the satirical butts of udje have shaped considerably the ideological outlook of the poetics of the tradition in Urhobo land. In order to place the socio-cultural artistry that animates the performance aesthetics of Udje poetic tradition in its proper perspective, the paper highlights the historical and cultural experiences of the people and how they have impacted on the aesthetic thoughts of the oral poets, and how it has helped to check the individuals with deviant behaviour as well as maintain society‘s moral balance/order. The materials for this essay are sourced from the repertoire of notable udje maestros such as Oloya of Iwhrekan, Memerume of Edjophe, Omoko of Egbo-Ideh, and Kpeha of Owahwa. The study reveals that the spirit that animates satire in Urhobo oral poetic tradition is not only to wound the personality of the individual(s) but also to maintain the delicate social equilibrium of the society. Paul Richards expresses this view when he notes that ―udje music hurts, but the stinging produces a glow‖ (2011,viii).

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