A Handbook of Methodology -------in — Dele I ̂ ayiwola w A HANDBOOK OF Methodology IN AFRICAN STUDIES E d ited by D E L E L A Y IW O L A Institute o f African Studies University o f Ibadan. john a Renees (Publishers) LiImbaidteadn Published by John Archers (Publishers) Limited G.P.O . Box 4345, Dugbe, Ibadan. For Institute of African Studies University Ibadan, Ibadan. © African Notes 1999 A ll rights reserved. No part o f this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying recording or otherwise without the prior permission o f the copyright owner and the publishers. IFSiBrsNt :P 9u7b8li-s2h1e8d8 -129499-7 Contents Dedication vi Editor’s Acknowledgements vii Introduction and Overview ix Notes on Contributors xvi S1e2 :: c tio AFSpo n Vrl imIt: is Isud a—eln A t AitRT H ISTO R Yrtys and the Attendant Perspective Tangle in Post-Colonial African art 3Cor nMeelituhso dOo. lAodgeyp —eg ba LINGUISTICS Ohioma Ifotmu Pogoson 19S3e: ctiTonh eIoIr y anPdE PRraFcOtiRceM oAf NFiCelEd IAnNveDs tLigIaTtiEoRn AinR LYi nSgTuUisDticIEs — A.I l Iwara 31S45e:: c tiDFoinae Draln IcIIe Studies — S Peggy Harper 43 6 : Afrimdcwaantoirissket dE F xCipueelltrduie rRnece —es ea nd the Dociimentation. MDaerle H ISTO RIO GRch L aAPa ynidwHY dthae Realm of eVdaialutieo n— an d Analysis c >f 71Dele l.ayiwola 79 S7e:c tiTonec IV 98:: hniqu LOlaw—Ceo gnOacle a iRlveei .B. n egs afnodr Collecting Oral Data in African Culture History — Isaac 89Albert 10: The Use saenadr cAh Pinr oRpooysainl gD ao mReasearch Idea — Isaac Olawale Albert 102 Olaoba V M U SIbCuOseL OofG AYfrican L ine:g aTli rDe aEtxap —er ience of a Field Researcher 115O.B. Olaoba 128 S1ection121:: TEhthenoory- and Practice of Field Investigation inMosunmMoulsai cAo. loOgmyi abniydi- AObni dAipkperoach to its Fie Eldth Rneos-eMaurcshic —olo gy — 141Oluyemi 153 Olaniyan S 11 e3c:t ioStnr avi ANTHROPOLO4: Anthterogpies and Methods in G YE/thBnEoL-IMEeFd SicYaSl TFEieMldS I nve Osunwole 15: Arabic Doaltoag aicnadl FFiieelldd MInevtehsotidg:a Atio Rne: sTeiarrec hEexrp’es rAiepnpcreo saticgha t—io n — S.A. 169 ASdchekoolalar o f A Ni Oge.Ori.an 117869 — Jim oh I A . Notes and References 201 Index 217 To the lingering memory of Esiri Dafieware^ poet and patriot. Editor's Acknowledgements TtDheiern e cyearback Itnaocsrrt oi stou fat egA of orIif c waAnafs r iScetaluected the Editor of African Notes, the journal of Astta rttheadt ptiumssbe loi cutahrte iso hjnoo uuarlsnd e nrds i eSasts.u wdWieee sp , otoswosikhb elany cloPounrolgdf e asfrnsoodmr d tBihsotalatan nvtla e Awe was years since the aal rheaseda rtrcahv ebrusleledt ian qinu a1rt9e6r4 .o fT ha acte wntu nlortoayk as faras og nselipyno cteiwn tiot. itCnho or1un N 9ge o 9hl8i wtu, sai nt AA fdrdw ic ewa pas i neng a cepti bNbaoo tubet o es n cit asi o mm ft teee n h eity Di Iengasartsvi teuo trector l e odan fe itself, in 196 Ar ;f aracicc ’aosnuc hnSott luaodrf 2’i . ed e oistf s ae3 l5sf. e ycPeoarnordsf e!t siWsmoeer cpoobrou itglidor ansm ermovnee the e amppetrhooadchoelodg hiciaml wfriathm ethweo prkr opoofs ao jectives woaastu lIdab asbdpeae ncai naw l aabtstu emlmopnpegtr aoetv desirtedilofu-nea .p opHfr e read lu iltryh aaAtg farr eicbeardno a tdhS-atbut adtshieeidss the free hand he gave; he constituted no hindAarifasiniacan Notes. One of the w19a9y9W. .Teh eo wrees uitl ta i sd wuthya tto i sa scekenno winl etdhgise etxhtee nindsepdi rias cl.se u Woe reo ifna orheuib rgi jtroiaoutnre nfiunal l affnooyrr Tbatthlae ems l ms auerand ge from toi cm acenomdnor yf, oaunndd amtoiorne pDroirxeicmtoarl,l y Pfrroomfe sPsoror feKstion we have derived have been thr teetehx eths i lsaottofe rt ihraeenissre awwriocthrhke asr, datnihfedfes reRe ontwycaeol. , w TDiatrmh SuP.nO s. o.r O BnEawmbuearkyiaetum sDi .T ikIenek ,e tnhoaef Aihnidssettoiptruiotigornaaplh y anadn secu rofessor Bolanle Awe i d Bab o’s works deal with dne vao ueiatg,rb gaee c momimneepanlsetu mrese,cn htbosu lt rahiyteeymm iai’sss s uawensi t;a hr tA fhwoilsekt’ os rainawndi. t hAp cecrooforrardl and gender contributions of Peggy Hialrta sr.op neW r the vision and preoccup maintaignolcnye w ohef ishtthaoevrseye,. hScoaanbvesut rioit futOteelnad dr oeeufnerir rcBeoidom btpoaa karuas. t tiIhvnee agIb em , eFo rdmaensucsist Snpoete df,o Rrgoebte rtt oA rmmesntrtoionng atnhde respMecy colleagues in the publica nadetaiative secretary cum marketinon lo gn A gtfy rw;i cway, this roll-call of names has sc ouonriatn h, a DStr,t uaOdtl iutehfsee mc ariibsk of dinator, Mrs. CaOoll!maofob Saac arinledg e, l rt Falatdhee, vii later maPsrysoe fpetsIfrs r seoopvrlesar c ethde byye e I doewceeBs saoonlarysn flae aM rAsrw.s. Oms Ed Tietho, erAsirl oe llxao r of yI awa lAtyd ealnedy es uhpapvoer tp rhoavveed gtoon eb ea ilnovnaglu wabayle. the Afteachperress eannt dv orelusemuarerth;c heeer xrdsc eebapttt otPhf g arra and Mrs. Mabel Segun have been ricaatni Notes. mwhoost ccoeurltda innolyt, pbaer tiniccilpuadtee dfor lo egeg in a fui s gItytunic rs ttHuitdauertp, then it is to contri- butoae l erdeiae e ts ioo ro,n nf. s a Alolf fr ioscptahanec resS otura drteiime spe. r weOsote rhnse trtlosy mseimIi nmal awkeo rkbold to uld, aco , so s mnweei.t hoA ffa ra iscgmaen.a TlNl ho‘het w ’e.r h se, aassta eayv ertreh ssaehta orwrcthec oamgnoditn ignassl ltr iettuhmteia oimnn aoalr rsaeul tposp uobpreport for this st of the story is by now beyond fable;t irhte aigssa , hradiste tIdoa rsayi*s, IDbealdea Lnayiwola viii Introduction and Overview Waonferep t fhiconreoeslledo g siyidn etvhre nt as ittt irgaea ftwlieoocntrsthwhile attempt as well as a duty to present an wfirhsitc hd oeucar daIe n mstoiotfdu eteilt shb ao ritnnhe e A softruaittc eao nof f oSrtueursd eias e rsc.h Tahned mfifetethod in the pursuit consistently re fo puinodnaeteiorend, otnh et h aecI ntcisvoteint utpitnaeer ntiotc fisp eianntc ieoc hn1a 9pin6ters he African 2.aS tIunfid etlh rdee, Tabseo cdafaimeyl,ed t han full- ies models baeos eftiedes l fpdloe cdrtgeedd o jno uitrsn arel.s eIta rwcha sf ionndein gosf iitns ak ibnudlsl eitnin B, lwachkic hA flraictear. h icno nAtfirniecnat hoafs g breeoa a cnto ovfneirt sinbt-uehes to broaden and what used to be referred to that the continen mcto eno tacr ca craoinemdtie m co fi upilileesen sn ai nef tlnadc tms eatnhdo ddsi aium rec ntd efxiprsetr-iheanncde . poe tce ucvloeiannrtt rfaopdrlia ccttweio on asrs,e afiosenolden si.no Tvf ehs rBteiesgeianatgiro cnh rem e first i as birneo forake a ining linssm hbianemtgw meaeny k thsw rbaoegptoownloe geoinrc p our few daz al ar em-history and modernity, whereby a travel docuzlminegn taatirornan y t haneo df1 5itanhnt etahrnpr doinr eptth saetatu in the countryside can reveal a extinctio ol iog 2ghi0tc tahtlh caenind tiouhmraises s e. vTiseh re ibnsee econdn irdge a irs nntehereaedtd t hioinsf vtorinieplwya rwotifate n toand misrepresentati ation, because they stand the risk of begin h wyis bh ay ot wl cohofin coshtb iwtsueetre vcsaa tanio vpner, hist re ossneel.r evcTeth ioais n m iase,n adnth idnerefore, the basis for that symbolic impli- itable history of og wcfuuhlme wreehn omtaleati nooknri .n aTd bh icirshd oi’sss- eet hytoee whiollmsOidanen taahn edl i vAicnfar o icrcayat nioa nnc doo nf wttihnhiese nriets, dhweieesp castinvildill ipscaaortnitosi n first foundered. The history, of co g library; every economic tree cidu elaarnr lyea vrfecarhry-ivr eeoa lcdah nidmn ga.env eroyr raBenuadtl i wtairehrsea nyoc foe f ic lonviea liasm m aunsde um. In spite of the buffetings of time, of perpetual m tcs ou mhlteius rtthe reotion. oaWlr yihn, adt s thi i ce st fair saeln acivsee raaynn, dAe ftnrhiiegc mav icabotrincat,n inceyun?ed suI ntr oisn tick like a clock-e ltdo risn, vweshtiicgha tkioeenp dtohees coisn tti p ong ie tneo tro act aw f th ivl ahttir e era l dihtni atgirhe o s sin h. enduring traditions' each time they are performed either as oral historney ix iouml rlua nlss f eqt orlklore, music ossua eytriooaund e odnacne cignigv,e rn y oduba yn ccaeCn.h niTonhtu eae neAjnchantment is much like the taoll tshied eusn. dTehraesr teaa bninidl iirtnyegl at ooti fv cAea fprmtiucoarte’iso ipnna wwsth raiitncih oc yhe entbhaeeb: l ebsteh nyaoet fuit c tuoltfu rpee rfiso rmlikaen ang, ce appeWarosl ei n Smoyoirnek tah aonn cther eeex edmimpelinfiseiodn sidn, , ainan s cdd c reitre p hidt t ai ,tc o ha r tle h r c e e el fsku olut urloeriegd.a rids it from say thatt hAe its j fi kiceay tfIart alildsa e cwtyhel box would itio eni nas la mAmfaerk icisnapgnir ipat b etsh ttarht e ey to unlock hilosaoigi ability to s pnhhftyo rcamonsmd pJW.aEr. e ei ss e tWo throu enri rneo dtrh u ge’shv epitnos fourth dimensioughti,n ctos inntthcraeat s ott nhbee eritesw fi i eos nng. panud o e lnka pwcruiudr rpp oothsseee ooothdee-alyn, gle ff fcadnd ieeisrld wis o tlheceni pss lpin rmkeo si,ds e ctraonn . r ietIc to rerispd r, etihsnee nraet fbotihrreed ’swl-eehgyoietimate to ask: If the have to attain the asirguiert m easonsuden nitnceend e breb eyry eefci olotrefd rOesd?g oiTtnoo mm p l euv tif eiewtlhd,e tohmfe vaitinetetwern ltmi kaoenr dea sinetnesrIetp roifs sodmiffei coufl tt he ancie eulni dtaon bee t earbmles ?t oD mo awkee might to hazand cehellatu vtleho eipd re onhgvarivraeom nmfmueelldny t an rotd fs fyitmehlabdto ilnsth voeef our contemporary existence? recital, it is difficult to say o wcuarhpseettulhvreeersd tthoteh s s etseiubjective instinct can res us g?ca etEnioveensn b owefy hoaen ndp metrhafaogtnr mwetahicni ccth eally truly attain detachment. Is it really po e a pweoesr etmona vrbigrooitnnh m otfeh nep ta Wrinael lsiattsxe reonnr toidruiesttstyoid?r etIirof nwa?se Twdheoils,l hfaio sbswjieb cwletio vuteol d T c waopef t tuharceec iontuhvneet ne n tfos o arrt u ctrahanel msatneoyprtseh iancwagt,a etygh oefrr itoermsa g eohdfi sy t hooewf anw deoesbrtajeecrcintni (evi esie ndrs)ei daeloirt l dtis o c gatrhseuea atleatrlyi e btneeacntadeudesn eci nhys eia dipsep rtl.wi eIos minutiae of varied sensibilities. uyt.s iIdnedre, eidf twhee rec aarree ftowr o thoer f tkshtnueod First, ther wwieldoedm. gTbeh ioso ff c e aa ’ tsebp igse ocrtouiye hat outside cocky, self-assured rled s s eei sra . a rnrcaT d hrheeer s —pe wse rlci ikmwe ehtnhose ’ gwenaiutiinnegl yt os ebtse oaunta lytoze seek Af cond g d or is rai ccao wnthienreen ta lwl iasi twinilgl intog tmoa bkee dheivoses erhycat ses r imowubipn ki so fr eaa cdrialyb aovr atihlaeb yleo:l kt hine Alafurriceaanteis t omr aap s Hteerllsiknogv titasl esf eallnodw .c laHimorid d nh o ibed the tale of egs a u nlodd fe investigto breet hdwe soreer lsde aaatberodcuh. F-clasnse dr oa r na o h eNixmoob,t eic authno rtih i te t yl x intnha itsti hvEc eea vset l eagngare themrayr o s ees r uwyages and cultulov ,a ofiieldwork is aes ftstieunnbg,j efohcrto- wcthaeesve p res of their new-fangled mental colony. To who do not tire to tell e lrwoamyps tain sgt otroy s oinf gc oant qthuee sstns awph oefr eth sei mfinplgeetro.n rimelpatoisveed d eogr recaep, tbivetew geueens tth. t shr f,e ommr ianwnvyhe asrttei gsweaatiilrolc nh ebrys twheit hfa sncoinseast eidn ntahteiv easir, tphe game of knowledge poe The oth robably less demanding toa tcwhhuionn gmt aw e wi rn amuse or fascinatehitah cga rtoae ugmposrles ono. i de tHi sc ouvwma rhe Mv y ieo , srsf y in ish a swuipimspei m il itt a toy t h tbeterhg eioinrf hunt authentic versions of ancient lore and mysticism from the d.ae npIt t htioss oofof the Congo. Hafofrl lt yhg,e y mbmunatag snwteiect i cbm os lcnfowigfhitrc ay do tehs .r eMe wlasn no ytf h toeh fe m ulisal lsennium, we might find that some bbuegsiinnensisn go, f itnhset ituantitoenr iaaolsirs ewsdle eAlelf vretica akonef So mtn c aeytnh tenu orty baere hbeerien gt oc ownittenmespsl aoteudr decaTdheiss atgrou.t hBu the w tud iepsu bdcedhginaalgnle jnuwgsreta apf srl.io tmtTle h teoh veew rvh feoivrleey pttehhcoihluongsoholtpo hgoiiccfaa ll A tfhdr tic itlalheeor nebs e d eaesrvteinms, we hn a iy t cm ioonr ies sotbilvl ifoaurs a nifd wdea urnetailnisge. that the folk ipnhsitlaonsocep,h isthineg boeofv detylho epo mfs eunkbtnjeso. e ht Wwteoo ulhbdae v theie nndy eifvoti rdmtuoa lised from dicta as medicinal practices has yet to cbwtesl esfdyongrte h tehseeinz cepodud freopdro isne the basis o i n boegstitutf ra in the tisodcniiteainlo tnlai f af i acutbl ri oirtA g ay ho.e rnoFtuoicsr fTgorhroi swp tbohep, gunsl aoritn nspteaacnrettsi sccaiporimalytpi ooan and consump- tion. There is a notio ftronirc iaeonsf ago, b. y. t.h Aef rpihcailno storapdhietiro nJ fr.E ids.o enve lwopitmh etnhte, coopninneicotne de txop rtheisss epdh, ensoommeetnimone. cWoemsptearrne dA nwthitrho pWoelosgteiasrtl th Woiredu:ns fwoliklul gtfhihrtos tus ghhhoatvu. ld ifolk thought o f their own peoples. A For n ththise pfiurrspt opslea, coe f ocnoluyr sbee, wcpohhmiilcpohas roWepdeh sytwe..ri.tn h1 foWlke sttheornu ghpth imloasyo pbhey efo rtniocl aylne ai nrfo nlt kin dcompared ha elst hs eoatuamgil about the o witheh t sWmpeiarsiytte brinne wapitphrR ouakmcnhoinewdalt etiohdns data available ego efn ie oalfdc qtihuni issa intkidoin nad b oarunetve and about the d cA a ofp l nrri t tco h inad a e.u t nIc nthtt iso e ap r nnid t ee a is ao rfe wt heleo tlsha arogvfee pts peoples, fbah rooridt b mihe leesur m ctoo s hf xi l Aca eonsfrnt s of this has had any ihdcraito.i poHonelso ngooifst tet,h s eOt .cBo.n tLianwe ndutiy.r ie,T chto insimpact on the problems and material Adafrtiac,a ann uthnrivoeprosliotigehysa . ctH oinne t isfnepauitreess otthfo a itt swt hcoeou lolfdan iilsauelr eehm iso ttfoo rf yibe eald nt dha ena tllahamrrogepeno tbl ooogdf the and policy makers because it hadbe y iat l aww arilyelas b rf-eog rulamarrugdel alsytce iideg nnittosifr iec y sud db bijesycc itsp cmlhinoaeltat iionnf ccaoos nnfta way of rs own leiwnctotsiro dwns :itohf tth kheeise rpesincahlgio tylac ora lnoidsn iwathlieasltmf at rheae n odifn sthiimgeh ptAesf rrioiacflai snem thp noionpg urlpaalpcaehc.ie e c.I nd Tahhtae r is Bnevoeesin tp n idh eicteh sa,or adun gbthhrtures ae dtch op daeeu osteelo xgd tott sh y i t ehar sce ka e nti dso iwsleclsiepsd ligAnefe r tiihcnae niwr hpinircpehsu ettexts-photographs tha n h tic en e ht ’ codynamism o f their cultures, and which in any casai hn it lhqdeu’ oisd isseceonu rbsuet the nature o f the encounter between die obseerr dvhleyadr rd teal tions o ayvne drae l vttehhaee r, Woeb smerver once the l pscuhroploasres hioupfs its e abmdomprhniate stih observer disappears from the fram e.2 easm pth s ireiocrayl , ttrhueth sc o—nsu otmhu ,a t Lawuyi’s thesis is somewhat expansive for the peculiar to the field of e tr bi nuis t h fiesth we orddasn. gOern ceo fa ffaielslde nmotiisoanp pisl iccaotnicoeni veto k e a d thneo wulenddgeer lyoifn agn dr eaabsoounats n tth nhde t er horrAip doo pwlooligotyhg, icfbaaublt l eftis infrican ‘ ctio np. laTchei so fp rhoisbtloemric aisl annodt conqInu etsht ea neda rplyo weenrt erreplaritsioen so.f vceo lofrnoiam An tthhreoo pthoceos’ n gateennxdet rcaools fm prcooosdl. ouSncotiaimolines mooff uf lism, anthropology and literary , pic ioncntdinteqe o llur n ese cts watn etuad raeli nn t ddgo h emoo fcai ncc duojpunnatiaoqt ct disci nuio enor ef dwt hep preeloine t ep e rdlre soas n ueas neddw iattesh r, rthitteoh rebain. This allowi ees snd. ies Ox for thtn ec se t tehtphe e sconq w u up pp eahrsy osisort ch e ta d oel w wigno ehvoiepchle nheis dve ede odm toai nb ew sihtha piennveedn teadn ds uimbjaegctins aatnivde l‘yd utpampieeds’ foofr htihse d eraesaem os,f cSruheceahr nretnbeadyn rce3. In psychoanalytical terms, it is easier to relate to such constc oiiornsuv. senn ostlubjects wTheiosen yas n ddtho ai nsnkpo it itr ha t a mea ess. This is onhr i oa on tv ee s o x sarvpoeru esl sua ress pb epe theyn of ha eomdnedsd et lht loluvee s t ci h inemat iaosn ino wr o rly the fault ofn titnehr ep nraeonttaitohtinroosn g rsk r os aof nfo dtfeh auerirtr., - po lofaglisset Xll bspecaus dbre ecim ialaoAtgh uec ee it i esr n eo atisr otse bdloe gwsiucoabrljk et coct ealdon ontkoo tsd cotiawelnknt iupon taallrkesa dinyt olo ipt.s iIt then me faaisc pbroded. A sub y ab ietcs.oenlqf uuenrleeds ss uitbsj ecctr eaast oar mfierrset lnSihonarg kueaissrptgiecua er ea’wss itPwhr oeslilpt se raoms aasrnthdee rt Cowarilciibtahal o njuestc tt hccaraten at htniene gict ohnaec re cpportnuouapnleidsrelryud m dmi aoladoseg uoienf vccoloanisctseei scataanlt diro etnhpser eof African literary critic ns .r oePlaotwioenr shthipuss. eTxphresses itself in sentation of power as e long drawn baue dnieonticcee dw iollr atrocekncngoougwne.i lseFedodgr. eiI fth tifhso elel oxswuisbtsej entc rten f ilsteh cneto ePtd rh oiesnap retdhr oea- sCm aaelnitb aaapcnht oosrtro, rwoyfh itishc hea trahhrege utfomierilecdn itis s ath ce? Certainly, only the heard caq civilisationsa s ew weella paso nt hoer satrrgautamgeenmt ; floahat in the market-place of ideas, the pursuit o afc naodnn tfaionrrtum aasst iowonfe laolp fa ptsrh eieths h esnics-ti eosnr rinc gapulo awegneecr o.c uoOnnutsertr it duboteectsuw mteheeenn ptfaootrwimoensr ooofff ibdaetotlIle ohggraiocvauel n rdbe faetfrtolrree sd f odtoridm tshn eo otd f osctcouivpmi leiwsnaita itocioen.ns. It is the conceptual tool for iannddi gestnuoduys assc htohlaer ss uhbajveec t continuedt thitoo n t of conquest hirde b oefec nafidue sldeo wf cocoroknl ocaenspi a-a li sthmuisa.t lo Eravicneandl rbharutimhnegarinn tigsh iansnpg e tcheiemn dseuenbasv jeoocuft rto.h Many resea entify the field of research ignorance. They have imbfei bisrte udod wyth nbe rssitnuupgdieny r cthoea rtsh erb thanrg k elieve iorinttyoh wec olaemtdtpgeelne t i oan th saootfc itathlhieseiyn g aroer whuhmo iliwtye,n tlo obkeefodr ea t tthheemir. sMubajnecyt Caso loonbjieaclsts, foofr colacxk a nodof nquestft l ; h ig ie h nniort t w e mt oaw stohtererlidsr tgProougstgth-lsCe oso,lf o aonsui arsl psa eare looking at their own co llectual to endogenousnc cipmierenontbssl e homafsv s et iunnd oyAt ffbroeirce anin. tdeIinlsl ceofc mvtuemraeul dne ixftopieact, the ro s ma rp, tr.thtru eoT rough spurio pheCiros laoispn pwialihlc aymt it nhueys wpurnietdhteeirnns.tt iaFonoudrs the subject b on rather, that t hacesu rletau irsce on nofoq mrumiasentda edtoterr rastihnecre thh ay same reason, that culture wi sa hnsoud. pc oennruiqroutru errteoss iahsni s potohwsanitt iocounfl tuaisr ep fsirlllioaghtly less because it determines the quality of his su b hsheimiqmu. eIlnitkt ehe axasis tpae anrhceoenl.dt mg; e rwfo irft rhotihmne, menT ahceh iaefvoer eugpooinng tdhoee csu nltoutr ef obreecqluoesaet htheed ptoo stihtievme ,i malprovem eonnt thhim l it says is thaatt xiii wghranu ematil itcyiv rilaitshaetiro nths ana rein wthreo ucgohntt eixnt othf ea gcgornetsesxiotn oafn dse laf- csoenlfq-iunevsetn Thildefu plt rocuooerm vkpinlleloaxwg. eTlerhsde g aelna tdct eaprn r iosc vomimnoceria el osan wlryee s furslottum od f fear than of benevolen taecnded,, wkgoneso pwdee lh seotrrwuvet wh teot of e getelht !te o Bwreuaatr ld tshp eethnde dmwle eras n cdian rv roythl, ueln iktme yue arnn ftedt tienrteedr viceirwc uvmersyta onfcteesn. vDiellsaegrevresd wlye, paisl laignete ervmeeryd isaor ioefst,e nw de know f eae rga a he kind of information The present anthology has l lbeosupsr odlteihsna ,n o tfh tekh nes ouwhpulpemodsbgelede. ktsoen aokrwcnhloe wdfog rwe ;h tiehtr eedm ot.e os T nfhionistd histah redbmoonu erb uaitnn y on .og olpdreent ebnusilolinosn , tnoo r edxoteras oirtd cilnaaimry woexuiptth eirniie ntn hcee s liioxm f itoasttuhiboe-nrssse ctwthiahotno have be itea nns u wgingoderiskrtiesnc gth omiwna ntbhneees tr A ttforh ircboaeungg ihnfi ettlhhdees raceoresme apinractrehtrmetree-xpntatuaratlilis caiipntia onsnct soi pnietno swe have earlier enumerated. It has been set lucid description of the fiel d tihseca icpcploirnroedjesin,c tgt.h eBrteuo t abbtoheuyeno dnsdi n ate tvhrest of the Pogoson and Osunwole. dan Tadhn edcr oeenn cdeaepraetv ioonuo.tr h aFesor sre, xienwmsthpailncifhcie e, aetr iewtya,t ewrthight systematic techniques such as we find in Harper, Iwaradd be hryei rvAe is ande d Aelkfbro tilhcahe, uTennhcieqoruuen eare om philolo tgecyro n thatsro isbein w Ohilcaho bconstitute a survey of the field and the subjects e rot.f rceopnrceesrennt ution su s soi nf h oJauismr, oInahts’ tsi ltacusottn ac,ht r iOabslua tntieoiyan and Omibiyi-Obidike. There is a on the perceptual tendeen, .c Aeiesdste aipbnel i xnst.u Talh ep rAorganboicsi sd oincu mcomparatcg en- tatio rbhoaes dsa -nciduts l tLuparyraeilws seotnulacde’si e csino. n ttrhieb uitn ivntee lulAenrions dci att ubweha ic lel l p wpsu rrahb ctElteiactcoop ossei aehls ael k bwso oarfc f ihk t tiigns hregtoo urai cnonoddg n rt oda rfpie bhitutfeysn ia thorough fundiicnn ons eut oth g a ats o nh i r sea. dir Opredicaten p a laaoba anunnrascluiylises, d d t hoAonlub gethrht e A hlbathevreet o bcrreaortieucegarhls t iantnhtdoe itrnoet liefguriesoesut sian sogpv eteocrt tsso enoeef sha. onOwthm rOiobspiuyonil-owOgobyli eda,i nkAded baenkelodil ltaa roayfn fdfui enJlicdmt iooinnhv ehosaft viage a rtbeiesoeenan. r caIhtb eliers ifpnoersreifgmohrotmss taf nraoc mel i wntghituahits tts;hu ebtohjereecrtte icftoaorl eirl, leushmearch ef syst is conitnr iObthluaetni oifyi eeamlnds . with intricacies of inate the connc ehra csoI wmhabinns oafr raan eeis s hsfaeirrdsd t n Africa d c nae onie r spd e t XIV fbdireeld researcher. Though anthologised elsewhere, Adepegba’s paper tfcreoon ings consider mvdepeloonpncmieenest.n ot,f o tfP a h to b erg laeod stiothineooretica antho’nslo and t la isntesisg hbet tiwnteoe nth ceo lfoienl m the 1960s through tghayen. dHe aaArrlpdyeel9rps7e 0gisbs aaa ’sdn idsf toiwlrlmiatth d iioa ntl wh aeint hd a rpreto gsathrd to the the performance and literary components of the projec tL. a yoifw hoelra ’sfi e -ilcsdot lonoronitcieaasll peqoussiTpibhpieeli dtfi ifteen es represent ews iothf tshceos pfaieye slda bn. ydT hape eydr osapzreeenc, t aiAvt febr, iecdsaton, isnseotm tr ieinnsae laa rnccoyhn ewtrrsaib yhu eetixroehn,a sut hwsoth utighchhe serve to stimulate th Ieensnvptheesuctisiaigalalsy anthologytti so onan a pivotawin.l ldT phtereoa cavhnideteh elo lcoyogeuyar rsilsey acldsaeollb eiadnt etesTn hdeoeofd r yoa usar n ad gh raaPndrdaubcatotieco studr s ai nf etehde bhaucmk amneitciehsa.n Fisimna llayn, dit aisp phroape ekd oisal f tofh fr oa Febinoettlsdh, evolving discipline of African studies at Ibadan. rt tthhee xv Notes on Contributors 21.. pOCaOLHer U Rt BAYO ADEKOL iisNc uEDlLairIreU interest in A d iivsi naa tiRoens, elainrgchu isFtieclslo awn di nc omAnptahrraotpivoel orgeyli gwiointh. 3. AeOxfLrtAiecnWasnAiv LSeEclyu cStl poArtu DorEefP AfEofGrri BctAahn ei sST Rtruoedsniete asGc haa lnlPderr oyhf eaisdns or AoLnB bEoRdTy ims aar khiinstgosr iaamn owngit hth cu sep YeociraCula roralfit sAe frican Art History. Conflict Studies. He has recently visited bianth ta lde . aHne e hxhasib iwtie o ornk eodf UStnuidvieerss iptyr oignr Jaomrdmaen .a tH teh eis inpsiotintueeter inogf Athfrei ceasnt aSbtulisde n hrie m edsU ttsh ei nF uPleaancie. and 4. AFoLlEkXlo IrWe AanRdA Fi s. ennti toedf a CNoantifolincst 5. WAAsKosIroNlcd Aia DBtil Eoa ncJk IM oFf s r eNan iPgcrheor Lfieaissor of Linguistics and has a special interest in He is the eOsHtiv t aisl oaf . A errHatest u arwneda. s HC uea l tiusC rotehn es(u FPlEtraSenTstiAd CeE)nd tii tnoo frN tithgoee r Litahi.neg u1i9s7ti7c 6. institute of Research Fellow in Arabic Documen- tation. hDoafE sLA Efrb iLeceAannY I C WAoStf ord uOrica inn aSttourd ioefs ,t Uhen ivAerrasbiitcy oDfo Icbuamdaenn,t aNtiigoenr iCa.entre at the 7. NOoLrUtYhwEMesIt eOVrLniAs diLtiiAens gt e waches Theatre and Dance Studies at the Institute He is also Sen (iNoIlIrlYi nLAoeNi Sshc)e hrUoenl aihvree riassti t aieUlsslo. the Editor of African Notes. He Ile-lfe, Nigeria. He isc t uhArosesldro sci inaa t MPe huL.sDeicc. s t f t uar er (UK) Leg rote mrO biQnau feeEmethnin ’sAo wU onni ve(rGshitayn, aB)e lfaanstd. olowo University, 8. Institute oPUOanLliUavcFeeEr sMciutIy f O AoLffrA iIcObaBandA Sa ttnue.ad cilture. He has rH ehiseces ,s U shnpisievtcoeirsity of Ibadan. -m ently coaryln dainut tctethereed sI tna ssitsti utuidntye Looeff g uAsfircioclaong yS tautd itehse market in Ibadan, th al History and , 9. EMthdOeu SIcnUastNtioiMtnu.Ot eSL’hsA ep OuisbM laiIc BRaIt eYi oIB-nOo udni the largest open published wid BI jDiat I.KMEa rhkoelt. He has been the manager of particular atteenltyio non t oem sdeuoasciruccamhl ePinnr-os ftteraustsimoo drs oaf EPthh.Dno. -f rmomus iUcoClLogAy .i nS hMeu hsaics 10. ASyIBstIeNmUsO LwAit hO sSpUNWOLE holds a Pn enh. t.Ds . anind Rmeulsical genres with ecialisation in Ethno-medidne. Higei ohna s anpdu blBisehleiedf XVI 11 wPunEidfieliGdt e Gl o y cYf on the uswhen sohlt Hl ARPERehe ecre tiItonunsr,tn i et u rei otcne fa horuo egfru bArsaed to f ritniec datr nat hdSeitt uioDdniaeansl c heien a al1nin9dg6 4Psystems. 12. OHIOMA POGOSON dsEtinnuggdl iaeandnd dt. hdeo Ecusime eSnttoanteio nu nuan ,e traiflno drthm ewa naesac eral ycS ttiuve 7_ emss Naritg ehrisiato froyr ohfi sB ednoicnt oarnadl ditiss sPearltaacteio rne. gHaliisa .recent ingteesr eosft Khwasa brae eSnt atthee, xvii •‘■W*'MWW*WV Secti.o n I # W W M M M W Hw _w___w_ _»__w__w___w__m Art History SPLIT IDENTITY AND THE ATTENDANT PERSPECTIVE TANGLE IN POST-COLONIAL AFRICAN ART FORMS C o r n e l i u s O . a d e p e g b a l J ' hDexaepvsepe cittgeao nntcheye changes that African ways of life and traditional values scatoprnpoteniangr uefodau cst tihn aolsyr r op acir ned uotgshhte- c socilonolcnoein alc oAloaitleemd ma af oigniga ylt hpf forniricamalnias tmiao,rn t As.o frfT icthahene i tcayor nthee rccreepattiiovne oefff othrtes aortf s c.ae srN no btef oen a major artists. To the audience, ar feomrmersg, r eoi nnt ilt wat hyA ashfr aias s cl asi a not unor groups. The identittsrpnaeddceiitraisolltnya ancld oiAnnfsgri idcaeanrnde d a crrate loatonti go ytni s tpos rfao ntbhdlee m thaeir works are neither individuals fo esvidoelv eth ae spuo rpti ut floahrrmlayss aicdsr veowacthaeatdet di isn both the w itable approach to athphepe rrneoe awbche iantrgot tstrh iretm honsu.e The approach as used aditiotwn ai tls A ofsrnhiecoarntc oamrti ngwsh; iicth i s fo iser vtneronat d ait aibsoa nrcaruli African art is certainly not etxuadmyi noaft ioAnf ritcoa.g1n e Bthaurett r,a sww tihhtihec hot hnteoly nmaepawpn ryoa aritcs h f oop e nlot rup tlyr oa ltlyhe understanding o rms u tlahisre l y tfruaadndvciottiicona relevoaanntea a tld l afaors statr r, t ttheinhitge f pthoei nnte iwn athrte. search for an appropriate methodology for understanding s 4 A Handbook o Tith ies Tatoda kjbeeecntg iivtnoe w“mAitefhr, however, f Mtheethroed iosl ongey eind Afforirc acnla Srtiufdicieastion on Africa as goaedf ojetghcrteai vpech oicanaptlip nleeiennstt i aincoa cnicnu” pirniee fdceu relbtnuycr eaa l tospt auArdtfirieciscu alcanor marrmatsco ean nlaydn post-colonialism. together with Sudttayon f roaonnmldy Ewththheii cohcpo iuath,n ets roiaemdse jehdcoitriwveec e tladyse trs ioovufe rdse. fenCroust l ttout hraae l slyeec,n ttitioth of r ne iisn hna them tthhea t Saarhe aahrlael wcqouhvaie b loir ite ftai egrte dh ebo yfi , s bbsluoatech.k po MWthee pn utalatith iorttn io fnoisrs m. oWhe excsne het plyatn iodm h eartd hteeh isoa fra tpiisptt lsit coar etisfoehnror wiesd a tphtope r obsppyr aittaihtaeel po African. n of Ethiopia, the countries to Teconhc wech the artists and eier o r pfo oSrsu ttd-hcaeon l ooinnth iae1lr9i s5fo trh emiro satr tp faorrtm osf btehleo nfigr swt ehrael fu onfd e incided with the m6 p, aenvredior tydh er oetcfim enuetp ,m souonrsgltye o sf titnah retmethd e biwer citah thr etoh nlaes tE uceronptuerayn. However, post-colonial African art did amrteis i etni cdi enpodeuentppdeuentndst.­ alPittainment of political freedom. In art, cofoelso,t n-ctihaoelliorsenm ia ilsm Aonfsort ilcyca lnset aanarr tteb dra eciantuk a dliflfryfoe mrhea nsct oiplto a sn niaionlit s mmjuo ssttto abspepogesicntt- sc owoloift nhAi afrltiihcsemainr. dceencatudreys Aoffr tihcea nla astr tc.entury, post- colonial A sa frrtrisoc oaotnf iatnhr et cirose lsogiinmoinap lliiysn m twt heaenn etdia ertalhys TThhee p oCloi lonial EnTothhee r pcooltniitctiracola llcs o oncfto rntohtlre w dh iochf Tcorloandiailtisional African Art commercial enterpriso elcs o uvwnetrryi esm auncdh mth emire apneso before it and the trio - strength pwelneases d it nh eCt hhuerm iscbtoiraleonlnliatiy af lo rea rnaadll. tecrosapmdeibctiiinoalenldya l ttrohe elbi griisoncugus l paptnuu rreepnsod fho irctoeh i gthnha ed ru colbene, ceenCp htir niostrtfi oduced into the region replac swesh. icInhd uwsterriea l pmraotdeu atncreaitddy i tiamonnad commerce - Europ rials from ainl lEyAu frrtoiocpa en s eaarlrsvtoe, mbtheuegitarun a eel da tradition ton us-nesetdy etlrhes etiaern d adul icnhagtainodn- mtra wcolonial mastersd, i taisoa nniandlf ade whaiacdyhm uitwnilieistrtieera s tpivareno dm cptothenrdvo eunbgihye nchurches and with the time that traditionale rAiofrrsi.c aoTnfh leia frect,o blooefntceianaml bepr earrneicdooedgd na tc“hpeesr , nAeferdic afnosr Europe. The rush to collect the art objects that filossoelld i mc itive”owoasien dacri. dt ebidny the raaerntcd di mgthnpeitoiirvo etnrr co Cu.Op.l eAdD EwPEGBA/Siip Identity and the Attendant, etc. 5 paid emploaiysdmhiteeidon ntthe c itohu nthtrei easb soefn tchee iorf etrxaisdtiitniog ntarla dpirteiosenravla atirotn o obfje tchtes titnrraateddriiettiisootnn oaafll tcahrreat figtssrts ow spa l barrtoiustgsh at lsaob sotuart tebdy t om goivnee tuapr yp reocdouncotimony . owAfirnigc atno ncoelwo h nwiaalyissm o, f tlrifaed iutusip ri ecafhne rdur sefoeddr nltieottw lbele yo prir nnatocrtoduced jobs and trade to their no longer functionaohl neaarnled dA efisrnsi cebanynt i caaol r i lot naipa rbut bpleie s secma ewrd,e a amd ars paer d stc ., el Toahssteui mst obe se manthsuoualg han i ftdodse r e lse i nnthdlye. feIoirablen,n r d t huxuriou wst.h oeaef s WThpelreeoms ete Colonviednrent a prryfo erm iaall Oedruigin o f Post-Colonial A frican Art t ducation toh et hceo upnrotrdoieufescs,t sioitohnne a olff i tror bcaaaintsieiondng minian iant rlsoyud boujnec cettdh esu nicneh e datssh eao rft tcthhoealonies general, training. Notable easrbtl yv sioeNut siog eef srnsiaeennw ti aaalr rtetiisnsttdss - ph(rAaoddin uatc ot sO.g nToa h tttu idmos o, e Eeisn c onmuolotd not L bolu,u rAopke sl et faood f inola rf afE oaolr seSemaklaoansht, i Ben Enwonwremost SAusftduadnye saet ptahien uteS)r lasw,d Aeer heSm cethrdoa ined in Britain. So also did the Dretsisttas ,w Ahfoe wsrteiucrdakni eT dae rkatlties ,tt shw ew hAohc oaa dltsreoam isnyte oMdl o ohafba mrFoimnadee dAi nSrchtl iubindr eaL ino naudied d nodn I.b rOathhiemr aSnkudn tdheer A Bcaodgehmosisei adne lwa hGor asntdude iCedh aiun om fbi eoArtrh et aititnn h tehFC e roE alnc Soolcgel aend. e ed,; t GhGeeer bmErteah niKoyr paiisnatndo ccuomltuAmrlaotlhn ob auacgrkhtgi srtotichu envsdeas l,u ewea eraslynte arti es Beaux Arts anything else. Their workdrs n mtwr satisn inagre of different generations and ianttdriivbiudtuesa liosft itcr asdeiltfi-oenxaplr eAsfsriiocanns ajo siencr r ue lc po e tt xh mpee acdtaen tchye min t ow veasltueer no raigritn, aalibtyo,v ea oarnt athned asratm teea cEhuinrogp iena tnh evira lruees pteoc titvhe nt e iucror rea. sbAt estg otin htenr iing of untries, theebvsaeel natunad p estresroenoatly students. T l vanguard psaic naidnl artistic orientation became a permanent mark of modeh ruansri ttiytsh tiesn i raA lfsEroui crpaoa pasrestea.dn Not long after these early set of artists were being trained abroad, the art schools fashioned after European models were also being set up ifno cuAsf rica. They were different from those of Europe only in their locations, hi the materials introduced as well as in the method and of the training in them, they are the same with western art s6 A Hatidbook of Methodology in African Studiestorcrahiigoniols. Enesdatal iibtn Iyn t hathnee dsm aam, lla est in Elished in 1ht9rea3idr6 i utiniroosntpr eusatcantro tarersdt wscehroe oElsu, reompepahnass isu nwtials ton , Achimota he sAkfirlilc aannds btehsyet a tfbholeri smShcaehld o aorintl socKfh aoFmoinlpsea tlAaor, btseU gaeats ntMadbaalk iseih Cteood l jloienign eB alainncd k G tAahfkareinc aSa v. weIrta wsfr aotshm ef otflhilroesmwt .eodf peBarrasoectlth iespre daMi ntathree c rere University College which was art school whcr-esS.r onInv enKtiinosnhaals aE uirno p1ea9nn4 31t, 9e39. There, Margaret Trowell art was taught.1te aW nhieos rltatrhsa imneseetdna tbiinloi snBhineeldgg iatuhlmseo . E aacc ohlCeina gSth t poLrliocc epdruirees t, toR pervoedreuncde aDned Applied Arts In Khartoum whiac Trhhe e trhwee a aspl sroe u e,s c seE ,n named atautbr lCoispohelleaedng ec fltoaefsr the Ar as sFiitcnhaeel YMNaio tpsoa nrgereba ie tment o Ca tn o, dslt ehasen MdF ielege w f tAnoefa iesrr t se and Crafts in TAertsst aD Aberlitps ahwrethdmich wchnology) iwenn at1s 9 a15s91 4 ri6un n and the Academie des Beaux Department of the Nigerian Collegeo efos ftt haAebr tlY L aubbbya u amT eBbcaehslnghiiiac aninl aIZnratsiitrsiett,u. tTLeaui h (es n rneo niwnt Tcoorhilegosinneia awlll ye reeers att.h abeM lfiasohnrmeyd a mli noa rrIteb ianhdsaatvinteu btibuoetn eswn easset sat s,r haSencdise feninrcr ee1 da9n 5td3o .T ZeTachrheina o Filinon ge1y 9 Aw5ra5tss. pmhraoevdseei fncicot anitnti nNuiegde rwiai,t hfo trhme awl art schoo tbalbislihsehde di n sBinlaceck tAhfernic aa innd thaet Ainf rtihcea caorelio onnnoiast.l pTearhrait.si cius lator lysh d eosiwftfee rtrnhe anctto tn lhsve e apnreoti sontn-o atcl o fmelowenetihar ol tdah rawtn ii tnthes tnlii ttuatlnteido o ntrsh neinoy ianls oA Tfrhtihceae f. oVwrmeorraykl siamhrotp posscr htaoannotld s i were not f rtohme othnolyse p elasctaebs lifsohre adr tb einfosrtreu tchtieomn mEanuedrto hopotedhasen.r Tminhededsiveiai d wwuoaerlrske,s hetmoapupsg nho ttc hcAea fsrfiioocunananlds acatierotnn ti rneo sfu mnwcoohdniecvrhen, n Atrifuornnic aalbn yw aersstot eamrrnee tthheei rdT yhfiooncsgue sAeifnsr ;i cwathhnei ctyhraditions l .owyeedre atnwdo t htyopsee sw: hthicohs ew in which European Europ ere set up to revive wfoormrkaslh ospch oinosltsr ubcutot rwtsh errsoeium gt ea pohl n yea n cmpdrooi efufderiraaeg wvidendet eitna r hpd e epiv erimir od p sautcua lhodl . yed e cnIrntes amwtioevre wisittthy csaaisms eiislna, rtt hhinw e e tehxieet hcoourutgitna ngi nistteherersif reo raifnr stgsu ciwhn i twshoo mrthkese hicrao spcesrs,e . awTtaihosin sts o m aeenntdhs uoerdev, eatnhc acftoh retdhirien gp r toomatresuc elmtsiso eesrsti aools ng artff fafoiunrtdmhses ndwtiicfof uiicnl C uddl itv b .Oe . Aidtouf DEP arlea eAc EoGBcferipfc a A ta n /Syf tpim Idpeontsiitty and the Attendant, etc. 7 instructions were not givenn,o etnhx pet rhaeerst siisogtnr ioosu,ns c na dac nlad could be taken as ould tsihmtial tlw bheeiv cienhnf Mluwaernhscehenad l jfMuosrotmu thnet minestrreu cadm b ayl of tor estCaoObnlnigslyho eian sin. 2 r d F arteinocnh, -sappeapkrionvga Al fror disapproval of their works by their earliest of s dub cethhfo ewr ePo erpokposlsheto’-spc Ros leowpnu ibclainc in 1944 at Lubumbashi (foramisa elierslsm co toafy . untries like t b ClTioshhneeg doe , werElisabetabhrvyli ilePler he e o tDwf eotmh oeo fc rsautcich Rierre Rom s ecphuobollisc “CLo’Ancgaod. emIt iew adse lf’iArsrtt Pcoaplluedla ir“eL eC oHnagnoglaairs”” . bTuht e ww)a osri nkl sahttheoer tawicRn oe- Dpauensbfdloi cs tshees tchh p b heagnange fdr otmoof fnsrtoi eea nuadfsfstoudenet.u nrAi swchchms to poor e dwninta gso fl atiottse rtf horoduce worge uiv nefdoneu r byks thamtn dawetee rar, ina are tlwhs ct t suggest themes, provide models oehr coii d ogln wentalytoe Anrkti l fr o wpicni at hiwn ttaionsg get tomh ade by his representation to his students. He only gavivee thaedmvai nct:eh eho enpn lcame e mrh ewa kwieth o uthhlides wpanahdien npts r.io3t vwTidhaesed m stcheherogmoe ldw wwitahits h n retuchnees sAtahcraaytd mewmaatiyee r uidanelstsi lsB uaecfahtue axr s A hprisat spdeer,a cee tthoo dws et dtchea sn ivnMa es1 t9ia o nrodkf iMdn’A otrt, 54 greoahtneee a rns tas f em ers Estab’ orm lcsis h ea hnp taolw anr t bsyc hLoaol which eidpc araol lapscorh o icnwi ehtni u hcc r eyh e . c4 nwt Moolaosn c , ooannse vinennsd.t iicAoanctceodr deianrgli etor, Mwaarss hesatla Mbloisuhnetd, wscahso otlh. eT hCee nnatrme e dd’Aerritv eAdf rfircoamin eth, ieap lqo era, th ally upaurltaerrl yoe f r sBeefrfcaeo Enudr oopfe asunc rhe swuoltrekds hionp as wRameoprauktesbhuliorc p a orwtfi astsC, oePnsigetoarrb elii nsLh ewdh i zrezdav itlole ains t“hPeo tPoe oPpolteo’s” aPsie rthrea t Loofd ’tsh eh oounsee beosyta, bodldiisd. h T bchyh e a io t Frirwgeiannsc established in 1951 and the master intrigued and made ewhdii stb hmy tahDseet esprfo hos fs mtehsathematics teacher and an friends paints and other materials to w atioonr tkss e t. ah Tsreth c h e o poal iwntaisn gass tahcacti dOesnatlail, odniflfye resnutr rforuonmd etdh atth oef bDoeyssf oswseitsh atnrda dLitoido,n athl e w Aofirrtgih ss.ue cpHrpieslty lmiyn egtot hhooikmd f rwaonamds nhhoiisst tlpehaferttm itehssee, lmfvue rtsno.5i swheodrk t he materials such as paper, p caaainnnits seo rab, njcedlca tibsm,r ueodsrh gteoas n hiasave freely up to allowing them to discover the techniqnuedde 8 O A Handbook of Methodologbbaeb swaetihd ae nrt odsuch experimental workshops y wine Arfer icraunn Sitnud iMesozambique, Zim­ cuinopdn ettopin etunhedede pn t oNh iapgvleaery ia da ii rn the 1960s. Although the earlier workshops cannot The onocese t.i-nc oMlonoiza rerjcatj alm pbe loyrr i oirndo.fl leuT iehnno sctehe deo fp trNhoeidg eulracique appears to hai ttaieo ren v ooennf A ebsfer, igcsaaunnc haaf rttwe rao nNrdki gsaehrtoive been a two-man affrai sapt’sss jtbuoas ltdl -eavn ir, wLo e orrekbnsochoy el ofafpo rtth em cardeea tbivye a pPootretnutgiauless eo fa Vrcahleitnetcet , MPaanlacghaon tManiraa,n adna GAufreicpaens aCfotnerg oi toa npMs n d club attendant he found painting in the tennis club in prompte, ddt h a bee irnvq u ye Mn teh ste h (Rntahpeu et foo oew npouee u nsx bM pldi inapee c rr Zuimo’s i tmfo )C in 19einnbtta o e b ng rwewsa oets a 5an9 nn .d Utnh indo tN deiog leiek reP etohvpeelnoia p ibens petl aeeb’saugt wll oi rslRiheeerp uobf liscuas cal ds itmsahlieolanrrt colhyf ymMeaaatlrausgr: eaG nuit ly painting n ae nphaei ss h oaandrlt y. b pMereaonlva igpdaaenidnt athinniamg ctalhaneidm nededre adtwehdian tg fa Gcfuirloitmie s htios ts. him to l epes dis icemoavprleryro evsdec hhaoniomdl mmaotnuEtrhqeludya in 19 eianaltvlooe w 5ha9in sca enan ouw d tsot very tora kne dna iat e barly in 1961, the arngtl heAe f hriiccmlua nbp pabaiyns ts oioffufnel lrp-itn cimhgi tehe. cimtM h aaalad g saaturrainter. ndt aainon gaea dns dofo onar S ptgh aaellisburyoll ietgircayal llef or l ly successful wacy(u.n sWoewdh emHna aMrinacrlEye )w oeb sy t hFe situation in' Zimnnb tahbbee r cawanomkr ekM sachdEomwp iernnuis,n t trahat the National Gallery in participation in the activities w oien teart estht eo ft itmhee E etounrr ,ot hpthee administrdid noeat n a fcactvoivoloiutnirei ssAt a sot.o frT t fricahh o nee f tpMalelueaknsate particrsuo. MbYgcowEuwan,eg n wl oewcraeho was verylarly in stonl e e,a nrwctioasutss r,a dgionemc f l umthduein chgg a ltilhneetre yrg eaasntedd thine sdietuvaetlioopni ndgi dl oncoatl gZaimllebrayb waret,i satns.d SMtocnEew esncu llipntkuere ds inwto d theaienrr t pe a iinfno tut hnaedn d lcl erresycau tialvpttt;e nbduatn ts, cTulhproduc e outputs o poft mutrhaees, bftoherecm aausrs,t eits htosof.u tghhe cpreirtiscoisnmals ,a wndh iicnhd iMvicdEuwaleisnt iccl, aaimre t in the- ruins of ancient Though e i osdno tspo ht iohs attivhceae t oepfdaf,es trm;e odbs uttto l itkheeliyr give caeonxpn oevfrefirsmsheeolnoyt tsn ianiovdfeiv of th . i e tT dual hMhebe i awM stic riob Crak i ersi n n htroM thpbee ww iary hofio crhmc ewsn,a trsthehich was e ob re igwn orks of the workshop igiu nnaO lilsnyo gsbeto ,u pNigeria is 1962, sinta rted as Ibadan by C.O . ADEPEGBA/Siip Identity and the Attendant, etc. 9 vaI1ni r 9s t istshtoeems eoI bf iandateual artistsa lwln llk eiccntedualere nisnt evt sor , omwf Ibadolveedrei.tt ,eA rd aisnc uUssn ia 62. But it was the perform ispn,r gi mnatus-mpsi vcan eikad r sditiys pilna y 1o9r6 p1e rafso rma ftohreuirm a rftosr. laenadd ilnegd oDrguarno isLeard oipf oth, eth Iebna daa nlo cceanl tdreer,ac mtt innosgf, witasoc rtaokcrstshiv oiaptin ewds ,a tsh oracutc naa sttithorenarcaetl eliynd, nOoafs toitgvhbee o OeMasroblgaybr ioO .cs eonIgt was fr atist, to request Ulli Beier, a Ladipo’s theatre grtboreou pt.ah raUttil slt ohm the perfoo set up a similar centre in his visual art activities of the it weB es vo eriwe isua krse hrhe l art oi pmf oswrem wremorr inkasgch tooaprrst / garbegilf was not anc etawrret. nsIsnning of the gues ist e, sfh aeocntf, c eDm utohrsoet wmfoerins tihm t artists and Ulli Beier’s painter-w terean vl iiwsmuepasolt esairrtntio penad ruotrcic aistpliaoavnni tsswh aaistm tiihntea rtwieoao irfeker,s eh Gopepro irwmghainircaihl.y wTihnae s t hrdeeeq chands of Nigerian formal art schools with hignhc teioro fn eE dtuour cowaptheiaoatnn a Ual lrltie nBfoterriyme uirdi reseadmwlye nt ments. O f s in th aoesf wlIanosstrtiikntsught eoi npof. lfu suecnhc ew oonrk sthheo pa rctesn torfe si tsi nc oAufrn require­ University) TAahtfe ri lciseae ntIt fieSn tguw duaispe si,on fUf laun eivsneicmresidilta yrb oyc fe itcnraty,r eho, af trhoderliy gO ihnrai saO sa lontkhyue ansO osmof gutbhchoe emdauncByae ttfiaoolrnee n titoneoddke Nptoieg naedrrtei antnhcsre o wiunigth n tIhfee (Onsoowgb Oo beaxfepmh t er ii m Nigheeeir twihaeo, rra ka nsbhuilomitpyb aenpro pror fem neeftfaiocnersts sht oiwp fe umrreet Ahewenrot l tohwo revive the obviously disappearing traditional art. In a number o tmfh paolddae. aenidr worograknsihsoepds. Ifno r1 8s9u7c,h t haer ttirsatidci tiroenvaivl arl ulwere roef Batetneimn pwteads roerm osuveccde bssfuc t y tehlls o ey, nBB ager ritish. But in 1914, the aicteiinsshssti t watteherede bghyoig ithnh-geh artnoodl eein dhtnre ao pwdpuoocuienl dtma npedlna tyt h oienf ga new tress of Obaseki,t rhueam inBbdlriiintrige a ssc d tio trional rulh afu ptlphe oes inyinstetde eimrg e wntheaess e that uwrenhpdilceahrcg erdwo utehe former ruler. Twithout sunrcedc ewsmsi,at hina ly to se rravde ititohnea l rboryaaslst-yc asatnindg haandd wboeoedn -cadrrvivineng wanodo d-carving into tth ttheee mc upbrtasrn icnwuilenarg eo fo asfl estcoho enm dkaaidrnyeg intwose tiritenu ttrirooendvsuiv cieend .b troAatlhdt ihtLoiaougngoahsl Omu-Aran. However, none of the efforts to keep traditions alive, especially in wood-carving, was as successful as the notable workshop experiment run by two Catholic priests, Fathers Carroll and Mahoney in the Yoruba town o1f0 Oye E A Handbook of Methodology in African Studies ttdhriafefd ewirteioonrntk a kclir taia.f rTtihster yo bfojerc ttihveessho a ortfi stthiec nOeyeed sE koift i theex pCeartimhoelnict wchausr ctho. eHmepnlcoey, Siwneh tet hnue pt h loeicn sa cl,u1 pttsmen including traditional wood-carvers were assembled at wood-carvingl9 p rt4at aood ipc8tr,i s t riwooduvt na ihtieee rse lcw ew hroae ra ipmkyrsse a.s ghoeT es pnh tien a h nodn ve led toa gst h s alolyeoc t rhneo edcr exg c p afb aiagsreiu ti eornn set ss i cd fnsion s io n sucr ec ehid nasts eorffe trheeonti n cce of the n rtuehepadet .r otofB iJ he uswrucashs. wwehlilc Yhao sra urtbeh en ocont ut its whether w se re as naturalistiianc sscccuaulspltp t iunernue i etiyms anm plo dy epdo pfourl a tureet aol gfe oanrne crwaielolnyot d h,I u mrmiusaanntdiiosatnnic e.o aBf Yoruba sculptural forms The naturalism fea,r et hea bcsrtarda nulc d ett n e iodts on f eint -h tnrcoaodgnrittaripoahsntial uses. Yoruba sculptu Yoruba civi cli stpoai eticotehnse., htIfhieme w ciehnno tt,r heien, AC1be9 r7 e2so,, f eresIftmea boaltirestlh ye rmda tohatenirvd a tthean the abstractions of the later trained artist naiytmroemp afior trBs a Crutbeletcruh, rnamicl oaSrl teu do siftcome dils lA robufan ytshomi Barber, an indigene of details, sometimes described as surre aap lisesetmelfn,- t reaa iUwnneodirv kesrhsoitpy noace f mLaegdo sa.f tAert wdihffoer eanret Yfroormu btah alitk eo fh itmhe. Tfohrem male tahrot d sochf otholesi .n cetTon a h t nrhedeiir s thi scs a , at n hure a art odfwe n on f eormt asr r tmm-socisnhtuo tooelf treecphrneInsic eanNlt competence and extreme patience in the use of ma vteesrr i,a rlhesqa ruadinrldey ftoohfre mc omanlot edamer iatgt eisorcnihaao l owdleshv eiarcnees such as foreshotening, proportion and modelling. But the gsop aoolsrf a troryfa itanhritens g d there have been the highest numbers of both t i siw ns orkshop centres, emphrainotimhnege tfiiomnr embsoa tlp hla artcthe eds c fohonoro mtlhs a esa insd diic nht hotehto ewm doyir sbkcueshtswsoipeoesn.nsal art schools and the6 to w ibnef o rtskstrha seidh ops were uct woorofs r tkhinseh tpohepers is.n o Tnmo wonhrkee st s l hti encavacoseopsh lvwe se dn oitn stthreik oi he emphasis in the training reisnr ei ntht reta hienw eoa ng drr gt la yinns ci dshiwa f eot foeiolrsne natan. ndTd h me same can schools, has been on originality of both rtkhseh oarptssi,st teslri nkae na driht t s thcohes otro ulonsfn tinhge Roeugtastradnledsinsg oofn etsh eaimr otnragi nthineg the fo a rbtiasctks gisr obuenindgs, thwehmaste livse sf.o rTehmihso,e sihrto wwtoeo rrmakn thas d el. i ii < euini leocingi idcai vr >te thiids , autns tah l a at tthmroeso hdgee oee swfn te oorrfak ltslr yao ifnc hitnhager.a tcFwtoeorr misgersod iu npb syt of artishe workshop-trained arh teigs rtwesa.otrekr ts s rodafto ve i tohnneoa tl sirsceahftolieooc rl-t, n C.O . ADEPEGBA/Siip Identity and the Attendant, etc. 11 The Diversity o f Forms and The Problems of Handling IandjLunos nttihdce A cpaptarloogauceh of the ex mon th on anyee aco so in rtiugolidn 1969, Jaqueli g aibvleiet yds ouoncf hei n tado i cvtoih nheeib mitDiaoennlay n oagfr ect iosantnst deem xPhphiobirliiapr y FArfyr icima na gairnte hde lhdo iwn tahfteeirr , whoorwk sm aalnsoy mbeo,re arti dsntucsea especia nr l new orks of art.7 If ttehde warittihstosu tc oinu lfdri nbgei nags tinoctarellays incogn? fuTshien gv. arTiehtey onre eddilv lyef ora eisdn at1969, now m ore th a n th irty years purposes has prompted me into sity o be studied and h o w diverse w ill cut across contemporary African rc aorh avoefn tuhees afrotr wtroariknsi nisg, hhaovwee vkeerp, t noont EDisc m ncoeurrnaigbelde aInmd aSgoems etoifm eEsx pFeorsiseinlicseetsd f innodgrym uspc.l 8a wsTsihtihfei c faotuiorn tse nfdor tea ch in g te n d e n c ieesn cairees: thf la)t Understanding, and (4) Adaptations fr o(am3n) dTA rbaIsddtreiataicsot,in oan(ls2 ) N a iv e Visions A brety Foonrdm Cso. mmon TImhea fgirests toe f ExperiencesTaabnhsdet yr acmoctnaiotyen mbse ndency con p roperoparrrterysa eiitndst,e in sgis tst of even still lives, all rendearrsee,p dowr h itno es r tlo afidfr t geuraaisvntedsn’ lt w sree,x p orekrise in d iffe re n t d egrees o f rep r or can be understood by the haer ti naduivdiidelunigacileo w.u enss ecensta taionnds wo fo rtrlda d ivtiieown asl. v earliest: Aina Onabolu, Aldnola Lasekan and B aeTnyhs e iet hwast, alraen d sca p e s Entwenodnewn uce yx pwlaaisn atb oler as well he tchoen tteemnpdaoesrn aAcryfye wsAtfeirlrli kcca oTnne asktrlitet. uotef sE tthheio plaiarg desetm poenrscterantteadg et he t o f N ig e ria o f tehned ewnocryk sa nodf NNaaivive Visions iganpexivs p pte rneo acmvhias ieruricetniocnet ooefnr ista os o, r h fmols e r fw t indivuchoo rinkptsreho idodpuu acsel c haortoilsts were only enrferen s in which the stu cdoeunrat gweda s bsyim tphley irnetseunltteiodn sm. oTrhee irfmr ofosm rm arlsae c hkac vhoea fr na crc “emet.pe aEsvteenrp iine ciensd”i vwidiuthalo uvits ioannsy o ft elcifhen aicnadl saonmd eltoigmiceasl icnatveerrr-eulaptsi onfoshr iprse poorf e re rrigessaeerddn by naive a b stractio n s w h ich mseonttiafs tational tioafonnrad l v tohline uimsrk eil,l dth a n the artists’ adefqoulkeptalcoyrihc, tphreompeosr tiaorne p12mthreeon dNtu acottfis o Onoyafe l sGEokm A Handbook of Methodology in African Studies aGlarlelaedryy i a Wndoirckasthei ltleei , rwtyho Wer kaosprhkposrphosoa pcsh uoecsfh Zoaifms wbohaf ibctwhhe ed Abayomi Barber School, criticism; those doo,p f t htoehf e f oZtrirmmadbs iatibniow ntheae l wwceroarrefkt ss eooxmfp eteh iafenf edar r, thaere Ceaxrhieomwe tincstot sr arote f t chtehopelit ciNo Enatxsi.po en(Araisl­ tNohfio gaseenr iyao fow Afe btraheye oo ucmoticn oBvmeanrebse ro fS pcrhioor kn cOteyde tEhkriotiugh and non-interference ol in in encourage much styli tsitoaicnp apclr hoaaarnctg hes sc h o oLwaolglesod.)sg , eGa eorenf eYnrooartl ulydb,a traditions, while ( oifn tthhee wotohrekrs owfo i frftekhrsee indhi nontpo sfnr -otdmeiad cthose O vidual ar thisnintosgt. tdo Ns ooh gasbvtoyel iwcsotoipcr ikceshdha onopng eew iahs obvious in the works of Twin Seven Seven of the egenerated into the cnioloemt htmheero nateors titts htteso uoerxfi st“etP naotrt tot hfoParotm ttosh” e isnirc Whooreoisglt i enAvaferl nics tasy.e)lee mheads ACobstrahneairmtdhpleylre ste c taibostnrascts are th artists, wuhgaesgr eet shttiervaieri nopefrd on dainutu ctre e. aNrot tf omram Gebre Kristos and Skuntdihoeenr faBonroymgthaholi nnsyg tahtroat its dtasor epw rcoiotdhmu cwpelhe setuethlcyhe without art schools works a nodr tshchemoo lws oanre t hoeu tHstaainled iSnegl aisns ieth eI irP rciz sian of Ethi oporia wfroormks rhf ootprhmse. ya,Bl otahtrhet asEpnthedci oifpiciaa.l9l yN oatwabalr eda seo dfw seuhlcli hsa sw fooBrro kgshi naot omplete abstract paintings. Both of forms such as r ereos dKiunc ianrt and the former was even abstrRaecdt pAabisnttriancgts or prints of Louiss iMan r aA’s i s tegoa gsr ’lsy n pon-figurative art into Tin Cans, Green Abstract product o Cosmological Explosion. ood nworks of fM au rfaoirnmaa lO yaretl asmchi ooofl , thhaev eO sbqoeguebenob epwlulabo o auifmn Stboineurgt sho foA ftf lish h eem ubnrytiotlneidc aarrtc hinit eNcitgoenriica .series, are among the earliest tracersk osh e rf odcpo w,m hepsillepete iccthaia, also a e aebl lsyet raahrcliyst AAldaptations from Traditional Formswanhtdho o thuhaegv hes o trhueervcyie ssai treoed f i ntthrcear edtairtsaiiodnnigta ilio nna arntlu famorrbtm efros, r micnos n thateedmiarp pwtoerodar rkiyns tAaofr rican artists vfraormy aScucdoradni nhga vtoe tdhreairw cnu litnusrpailr abtaiocnk grfrooumn dAs.r aWbhici lea most o e nd Islatfh ntehioret mamic swacrrotiirs n pkt y tsss ! be C.O . ADAinffclauuesnec edo f byth tehier irIs ElPaEmGBA/SZip Iden Chrisict iabna cickognro au tintyd a nadn tdh e And magicath ttoendal imsea not,f etc. 13 Mo ges , Etthhoisoep ioaf Wweerset tohhafe risinct ascp ohinraatveteimo dnpr oaorwar rnyo utAhtfperir crve consistently a uictasn. e Haarottiiwvsetes v idaereras from traditional sculptural forms. whoms ea wreo rAkhs mheadve Mdboeaephntae mdinm ftlreuaded niStciheoidnb a e, l asalosrmot efno orntm ocstoa nbslies teonnte sin atmheoirn gso tuhrecems hNaigveer isahno warnti sitns flsuuecnhc eass Afryoom A jtaryi rain ad iatbnioydn AaCr aanbdi in their works. Among From Nigeria also is Sokari Douglas-Camlh puw wcok c Issb cArranihpyitam an nwSdua l aawlhphih oaosbfee tSwsu odaranknds Hsacneudrl pawtduoarrpekstsa atsirotern atsdh dferl oevm aor vitoreuard s diptiiseocrnefaorlnr miabriltne f goi mramrats hoodseen thmeamsekss aanndd fofirgmurse os.f AfricTahne avrtairsitest yd eomf oanpstprraotaecsh g tehse, asrttyilset s’a nosdp. eos f ohfe re xppeeorpielen,c eths ea Knadl aihdaerais. ncKooemrnmnpelaedltlyye1 0a basntdra catss twhhe icahr t tefonrdm sto wrange fr eonfmonre msessx tarasemards internation m ong present-day ance and a olbeis smenr,a vtetuhdre abyli ysc mJoe uatlndo ritdhaeecinmatlsi teylpv re bjpuead teircxoepnse acgwteeh dioc fth o t hhhea vaert an international appeal. But the accept­ particulaorelfsy t athhse e siatrir lwtli sAetssftr eiacrnandn a stu hb a deu v iiet er n w sb oslurokrmsr.ee dBti ymt htehese isrpe euermpc-e bptrotiin vhgeai nvgpe,l atdcheeepm eaerntndistet ds a snoedne lstehasetsii rs fcAaocfrptioicerarinlsy bo“aafc bkswgureorsdut.en”rdns . Tarot s tchueec,ih rt hwaenior r aiknusdd iaivesi ndicnueda, ilivtsihmdeu saahlr.o tiBusutldst aatolrw eo aumytsos irsdehe orowsr, spurcehpU onansfdo eArtunately, the thrust o efs ptehcei aplluyr cwhahsen their worriannat lOy nwaebsotleur na. nTdh Ae kfiinrsotl ag eLnaesreaktainon ae n oodf fc Aotfhneetwierme aprot kss haare not lcioknetlye,n tebde cawuisteh tlohceayl wpaertreo nuangneo tiinc their respective co rary ed or hardly recogrunkni sTtereidek sle sa wrbteiesertnes west , most Bcaolrllooowwn ei raanln wayrtorrolgda. nTchen ab e o y fw theree o fuotrsciedde taou udniednecres toafn tdh tehire itri mloecsa lw toaustleds i hnaas r ttdhhlyee walenea sdetixenhrgni b mitau ohiniousnet u g itm hgn e o Ed o nicr d goe lmc ttomo rbe enw and int sh e m en in the ttitudes thentowa1en9 a rd5 de sr0 e q itsu on h eeas ir tceo dwn toteorm kpspr. eoAsrea snrtyto rBAyef nrtoi cElad by Evelyn contemporary African artists. “Yes, I kgnwoooowdr k Ees nnowouofg nhwt hiulel’u s swetraoa nntiw oaonrn tow fbu yt h inea reputation in England. But no good art is being done in Afrrrliykc aa snteodtd ahyois;f 14 tnaolnkieAn igwn aail blO obnueat ,b”d A Handbo ocolounm’es mpineo nrttth ok reae onf Mexett hfoidfotylo gyye ianr Asf rican Studies works which celebrated ditt hsth eoe f mEtthuhesi eoLupamigaon ds ireeli -ct and 1 know what I am icnownfaerrdr edlo ookni nhgi mo ft heth eh onpoiounre eorf am ocoduerr tn C phAau teor croh.1f 1hains dt imroey aanltdy Twekle’s ppaotsrto-cnoalgoen iaol fp etrhieo d,a rtthse haratsis tsn ostt illb lee in oonk fcoornwsfairsi ttceear12 are proofs ofrd ntnot . faoErrvteiesingtsn . ubpBu uytet ors l h otichcahel oEtrnualriyno pefdeoa rin n hraiergtch osegcr prices the of the artists wahns oittoiool sne si. ntUa t b blhl uie t B laeatilees or, bcoemcamuseen tiitn gw oans dilish ne the g not traditions self-consciously into aw1 9 ci6od0lelsan,g toietb iesosef trebvnye sb pturhioaldctl iatnh nNeif iycgihenrigeia to have r g broke f nnc obanirtctsei srotnsf gdeaisnllpaeoirssiseiatsin oce and the idea high preonmf iisEu utmhro aopt nem mtohsuatsn n tiinti etsh imed as African and even to date, to be hiAcaifvarenic sao n ews , evarilenla dmg enosor e often established in the art modernity. With the French corthl odanrnei asvls i spEuouall t o aofr ntNilsytisg t.e hAreim aa.o1r3tn igsTt shm,e ah nfaayvc etA fporlifac catehndes tahttei tFTurhdeeen sc chor fAi ttifhcrieisc maEnus rcoooplfoe natinhe esa ucaodruiteild even as ricpoyipean has sts were nr oeot f t oassimnce towards theu bnnececowo bmecome anilation, A nAeefc r“tiFcearden n f wr mi acrhi c tt” aa!nrks ionf ecErmuitropean orientation in bringing about the new art such a shs. Ttthhheee Aseclfehrm picheiasnesiocoalnst i idts s y th.1 b4oo nMt hoindividual whi cfrhoe r i csl oeomafvtmeinnog n c d rtr an the workshop i o eaartfer dttiihvteiiot ync icted mrsi sb eohfitnedn ofro rfogro tetmenb.r aTchin ained atoircrteiiss mttsos. ,t Thhheoe w airentvtiseetrlsl, e ticsrt autihane eg q aturreatists are the arts of this group of artists which could be mistaken le fdoco rinnt sdftioitoironmn oaallf AAEuffrrriioccaapnne a nas ruaebr jtessc otam-pmepear ents of Skunder Boghosiaantit’mtse eer s d eoctre osnetsemiddp.e lroAeyfdr iscbtayenltes arly paintings werresa wytehhro weas ll t study a roeafcr eeti hvneeio brtrd o bi a u“nr dhe ceat no ngtdnh iosasavebo lioyd”f ibisnes cutaheues s aeerx eho ifrb atihitsieon he held at the Galerie Lambert in 196416, m orotist bat noliuckege.h1ly5t pabrayei n thtaiebn sgnuser wod f. A tf eridirc aoannb s atthrraetic swtt sef.o srtNemorsn v taohriaHenc t tm aartee rniao he seem is-clihteorlaartes satrree ectme a oirsrt eisa tlscs oo lts rptaatently African. But no barbers’ shops as Africans’ than the works dmoisff h poi a lsre tt adab rwlee h ceornemg mtahroedn inilmyg uagstheeds in art schools. Aafryiecda no na rvtieshtsic ltersa inanedd e vsianlcueTa htiteoh ner epla C.O . ADEPEG coofl ocnethmiaele neptr oaos fta t BrA/Siip Identity a-cnodal oditional Afric nadn t hve Attendant, etc. 15 continually affected the artistnthsiea li nfr Aetqhfreuiiceran nco yu taporuf a lsuuecsh wai thcr works are still neither here nor there and tth tes f.o idTrmehnest iatysre ittehimcei sEmu rionp etahne rraetshueltra ntth asnp list hoofw i dneanttuitrya lhlya s isn osto mheel-p etdim teos ecnocnosucriaous ti ge lyi n o st tsf s thatenoough d ta . rt hthaiesvtie collection a The rs dcscoivhneosrleasnress ufioanlr nadn sdt udapy porfo tphreia atert ismtse’ twhoordkosl.o Ngye itfho erest in the museums aemnxdsp. a npMrdiuivncaght e A ifncrtoicelalreencs ttai orhtn asbs e yonofo nttd r abtdheieetn iot rnsaah e dro r i walsotiuonnn db ale hrasst atnhdeirneg b etehne iar ianrset itutions especially devoted to the collection ol f Amfroicda yan r ct oaflroltersmc toas.br s and offe em African Wo uahnridtles, tahned re rare. The only c b xaAtsafkrnietct artrnya. dairtti oansa la o cntretaeamchpinogra rsyu bmjeactte irniacllsu dteh aitn mthoesitr sscyhlloaoblus sewsh aicrhe mscoudlpAetlrutnhr eoAsuf rgoihrc apnHa eiannrtrti ynin g Dst hrae fwt mal athearsia lms asudceh aa s ctaesxer et esatcilhl innog t ocfo Amfrmicoannl ya e t ilfeos, jewellery, pottery indicated elsewhere rt inare still very few. 18O, ngleyn ecraatl aplougbuliecsa tioonf se oxnh icboitniinotcenlmsu r s dctehhdoe oalinsnd1c7 l,au sms iIoo nhd aevmoef ysaeenltdf - tptohr oebmye gotiotnion agan raden fdien w sfp.a ocSnte,s roisorceuhdso lcbarsyit tiitcch iesa mtati rttoui porary African art art are just improving. f sd tceso tnhteemmspeol ,rv aemrsy,o scAtaf nrci cobamen m faoorutnn lidys pthaarttsT cwoofen Entuteirmeotphpoe acrneanr dytue vAryef lroAicpfarmnice anantr .t a,F rabtg egsc,oa miunse tethi meit e es s etrorworatredous smly ocdoenrsnid eArferdic aans loairnkceeh istkweycostuucrrldaep ewnrsoh,w ica hn hehexsatiset antbseie oennt o o cf poEanusssrid opeereva ebin a nw r Aa lysaf r1binoc 9oa6utt1 09es, t, haw nas of the view wonders to what extent the issues of Europelyan iinndfliugee nnmciseeo cidoce mbmma seeAndft,r itwchaaanst bpcleear ssisotridessed if the later western naturalistic traditions tha tdo dn. e trOhivnee ead r tfe rvcoeamnn scclaasrseTi hc csaa ll atGrnardde eitcciooeu nna. tnrdie sR oomf eo rare seen as belonging to their different attributethe e dmfivo er rastnihdtey tianhr ett hfaeob rsamernts cfo irgmin and not just as extensions of the interest in the art groping iehn a soth f s l etrfhateirt e d hmeeorxs ptte hcsatcneh aifferent ddo, l t ira tsrriasn cgtw lesectionh cohd os. iNhs latairvs o necg tuesihnshodiw ntno ommong 16 mapproach to the A Huannddebrosotka nofd Minegth oodfo lothgye ina Artfr ihcaans Setuvdoielvs ed. The special ta addeevtqohucodology used for traditional African art by scholars is not mhoer SeD ion aatteed e, vhe tghcoea nnt hi“ne on w1 f 9or t Mam3liu0 ics h n,h e wl ethsraditiodicaset netdh t ehtnart for art sake” whe n faoflir e altdrht e i fnmovroemdsstei rfno r whaitth tirnad art thiteioirn aculg lAatutfirroiecnsas f icno r h omsfc sG it u. riisa ucloen astman of orlipgtiunr, etsh em ecoaon tlgy ttshhtaiesn ,c tulaylt ttuaerdnavtlio orcnaated approach for th nt emphasis is no thits e orpn at hitdha net oto hbfeuj enaccettssi tohansest e iac n­ Both anthropology and art history, ertv tsriagdt n iitfiioc h eben u mta tao jnt anhnaecl eea xroptf e tfnorms emphasises th their to htseae l aitorytf oafobsr jemocbstjs e.a cnBtsdy. trshetuge ea irsndttuleedrsyes s too ffo tfth haeer td tirhfady of art to undfies drtieotinroycn eal Aferstandisn icnau rlt or trh iciesai rn traardt,i tihoanvae duisp tur l int cehirpeellisdnes involved in African traditional art objects as aefr. otsrY.m etN, etbihtoahtteh r o cfol afa inmth r t so tphinoe l oaagrpty.p Wirso hatihclhee soaennetlmhyr soc ltpaooi mluon gdtisoet rssk tinanon twdh etht hsete u mdpeyet rhoipof hdAeofrrlaoiclg ayna n oadfn dtdh eeos tchoretihrp er. to be studying not the mainstream approach of anthropology.t nivAoe tA hrmet edhtihisscotiodpr liiunaseness n-western artsd a a c labsnoy uhof nd mnies tdetnoe n ignor trriosictnaa nl cdaa p ep trhoea cfha cdto eths ant oet vfeonrb iind tthhee western sennsteh, rotrpaodliotgioisntasl taorot seventeen and explain art. As and similathr ntchneionnttg usrb ycu atHn o bblelea nsmadia didn eo t fh ooe I tf h u h etn ahvrd e e pe upisnoedl iiotcifac atcelu dl atunorna l mbaanckyg roocucansdios ntso, ccuullttuurraall bbaacckkggrounds. If the study of weste rersritonad nasd iong of d i tsr eelaigsieol upsa lifert intin gosf mthoe satrlyt hwirsittotreinar,n oisus noadfl r Weoaefd stythe wern e alalr rtkt, nwiotr wiitsne . stiom tphley wbee f scatap E eup u rse reao rpwse aesinslte eanrrttn a abcnoudul tttu htreir n readers for whohmee, TThhee m Raejolre vqauensctie o f the Advocated African Art Approachbsoignificance hasarertic gafiuonsr, meh soo wft h taahpte p arf b rou oennecsnt itaod vnooep rniaotote n fsuis n o cwaf t etahdse k a naare: If the methodology of cultural mean that the background ctchutielot unmraeels t h rdto cdooobmljoemgcytosnly upheld for African bouft t hpeu rceol y fo wra ietcshotihnnet ettimhc?ep iorD roaculturesntemporary artisretyss Aaitrf reti hc aaorntf necessary for understanding their works? neont C.O . ADEPEGBA/Sltp Id hcoasm Opbuete no f etahreli efro ucrl atsesnifdieedn,c ieosn lyin entoti tyw ahnidc hth ec Aotntetnedmanpto, etc. the third which isr acroyn sAfrican 1ar7t mayP tituted by calionfend s at nilteouttet e badeb psbtryro aidcmutsca egmdeas fy ot rnh oacttu lbateure ri addle inisncttieferiable with culture. The forms in that indcodena sssoi s etimss btohrfae c asedesac pbotonatdthi o wtnhhsei c htr aisd imtioadn rnpairbl elaetan tadiso cnsospn. etBceiumfitc pt ohlirefae fr iyer sxtp werhieicnhc eise up o naive: fo r m s our s sumeneudnceh r fsontroe oetddh eif s The artists in undnoe r a rt h ktheesta e l ioguf their fndihnntgd eotrhfs ettiharne ofirrrom mtsr attdrhiataidto intaiaorlen saoal ubarsrcttresas c tthTeadht u csco,o utuhllded r ea lissoy stbiell tohneliyrH toahwnec eetvsretaord,r istb ioofonthra lw the artists a drinchuoltmu rathl e ts astaprnaed g. dc o tit f th tshi oeonirr e a lef te cu ahlrlo lwtu rAal backgrounds ,of the fmoro duenrdne rwsatayns doinf gl ifter aadrieti onneaeld Aedfr ifcoarn uanrdt,e brn t ofgorrampfrso s ttahn dthineh i ciwca nedsrae ta amr eaa rndeoe .n leWoenhdgieelde T^arntdsa pjTm hacurttsis g t cesrcesh,q oublioartrehs a t wwrahiddoi etriao rcneo avli nearteanrgdee s ptorefed As efirnnit c, athanes cwustletulud rtyahditional and th are all aspects of African cultures that are requirle rde .e o Rfc eotlnihgteie omcuospn oitdreaemrays- cSoopnpt oesmeexpPtpoharena^rdype drA ofrasicccahonp t eoa rtts. For this reas as current even traditional and contempoirrsaa dryiet viAoefnnrai cla aAndf eraqirctua oannt e,a rtth sei mappro afcohr, irnattehreprr etthianng ustnildl erresataunirdeisn gt hbeo tahp ptrraedciitaitoinoanl aanndd uconndtees rm.s tHpaoonwr for daiernv yge pru,ln yid tese xretseftfnaedrntsdi viinetsgn esc^bopo et°h ̂ btaeenncyda uecunselct yus,r oeam.r eeT homef a todtbeej euccoptns otbef empinpugor ers atfry wor arts of the c° n in“ studied as art. Even in cases whuoedrrmiee sd a ti knhs a,b toe asthpp epcceairt, especiaa a rol lfyu fntohirdomesnes t. iiTnfi hatihse i st hnirodt efrmomph aosridse s insa pryro acretsesfeasc trsa tish e l elsy atrhee sumpopdoesbrenlde towon ie s, jfuosrmtifsic aitnio nt.he study of t srrta iltdlh iatthinoe nitraa lne gxAitbrfraleioc rafdonir nmaasrr,yt , w fohrreamgt rsde. tiTtsathibnelgy nu, eisghhlaeessc t anorotf TCcfooh onent escmuliputaosbriorms of paiolristy n ty -A coofrlfoi cntahinael vaAispfurpiarcloa aa, crbth e f obtrehmienysg. mIstu uigss gicee,q studeardall myi sav anoloird t lifetoexrrc alouttushirevere. aAtrost r18rmeigomhditenlyrins c peoAnitfnr tioecfda n Ao Huandbook of Methodology in African Studies western poetry.2in0 dvi tgi seubnayol u Jsea arptno ehtKareysn anmse dawyne,y ll m faoosdr mesursng; geAistf trsi rceianvnfe luapleson ectperasyt ,t ferlroiknmes A VISUAL ARTS METHODOLOGY O h i o m a I f o u n u P o g o s o n TInhet raoimd uocf ttihonAbafrsiicca .t oBoyls trheeq isut eirpremadp e“frov riis su inatovl eaacquaint scholameant the concrete materials rttitsgr aaotdifni tgAio fnraianclda ” pi rrnso and students with the pbero dcaupctaibolnes ooff Abferiincagn sp einrc Aepfrtiicbale a nbdy btyh eA f rvaiicsnaudna btichnoegn tbtehrmoea pdvoeirssautr aysl eaanrrsttesis, toiicsf vwuitshiluiictahal r aiharantsv, els ieencso uwilna r c thoomr er etliog iion s ucs l . sOefn sceosu. rsSeu, cthh eyw moruksst, bmeuaniidnagn eh. eIatv iisl yf onro tth ei osfn arlceyta sutohpnaot l .u tdThehe yet hapere ece utinhlitnaerogigtryraa l opphf aitrcrt aso dboitjfei ocAntfsar,l i cmAanfar yilc ifabene, ffeoonrrt elirifttesa” i nromawtehnne tr. stIahnkaden the case o fnt h wareets lAtigefirronicn and ritual but also on the of western art is the aett doi,t Vesxoaigsteitsslf yhfo arst hiatesp tolbwya ns aiacnr t ,a dwretsshi iracerh e said to be n ostaekde tahnadt aifnso rbe eslieved that ispt elhneaatsisa ula r tan qeo u eaa “xalniits rdyt t Taamnhdibs ittsriiaotdunia tittohionanan l h tAaofs r bicceoa nnud saeirtfituo mln eiendt h atohndeyo lmpoegadyrek. setdr iadnif fseernensec e( Vbeotgwele, en1 9w8 he8is:gt1he4re)nr. 2 0 African A Handbook of Methodology in African Studies hldaiicnffkdieceudrl etdw t ori t lioanorthe g tk iifsna ret vegrowhtbhea n c kmmore complex when we co an oidnd teodr neitv se sleponapssmet. eTonhft i sito hfa annthdde i caasa nssuicdh traditional African art, especially in the early periodpc. a hIdnaes e ru intt hdhaoatus Abfreiecna psteucduyli aorfi ttyh eoifr Acfurlitcuar e( atnod roeqthueirre n aonn -leitsepreactiea l paepopple mic stu rosa)c hth dianet e dca, uits bidsty et dholiysf wrIte osirse kaaerldcsh ot, otg rasuhteha eptrheia n ed the culture. Since Afrait g n idicat n ifcso ortnmhdiasit tiivooennr yta hnneda t murereept hooorftd inotrglao on its mater did not belong to the cividgliiyst iefodon raw ls otAurlfddryisc ciaaol n tcdhuualtct uthirnaegs. apannroddd Autcmhtiieso rniwsc aaw,s ai tssa ats tvuaody naturally fell within the realm of ant i hnorgfo pAEofurlroiocgapyne, TdihsecuyTs hhse.a vies sumeo roef oar ml egstusime f aefos hrw iothhneee ndm otshrteue dm“yaiedntvgha ondecoxeoldot”gi cya ncdu l“tcuirveilsi seadn”d w othreldir. sine rliaorugse antutemnbtieorns wheenth Aodfr ifcoarn thaert sotubdjeyc tos f sAtafrritceadn tahat this paper wi to rtasr rbiveeg ainn tEou rgoapin ll f e tca in huretl d t ing i uwcuroelrt uka ts difficulrn edm ,t hutashtte rhi t n at to o the turn eafso rn ueen, dcfeoorstaprodurucmledd onof the nineteenth century. o drn lthe works quickly concthetyh aebr eo tbheesrt cboe mtiperde hteon tdh Tl he Europeans, how western art experience is viewe e uedidr e frdpo rmtohd awut cisetuhrc inh- wmariottsrh.e . “FFoiore lllldoewswsoi nragk ” frsoimmp ltyh ims eisa ntfhtoser gicomoinp dt.o, rOtthafi nsc coweu aross fea f ciseoalnfdesw ipdooersrkiitn itgoh naw tt hoias bt neagoniwnd bhtoea vsaet sine qua n bu lhdeay dt. o C tioon ntvsiseiqt,u leinvet uwpiothn o nthis devenlgdo puincttion ga pstaurdtiiceus lainr African and study A foreign c uvlitsuurael itnhiet iawtoersst eornf teharicpsa rdiedete mtahi cew aetrrrteai dsbtiitacios pincr aolodlyfu cuatnni fomrnicesannt , asrcth porlaordsu cainndg ecnutlhtuurseias sttos nthine etprocedure as “participant observt daherro soptfao ntlohdgeini spgte so,a ptrhle, especially in amon tion.” And fr to.e myB erectafheuers ree mdt ihtdoe­ ivasan ritnihosru egse ntphtaher mtcse Lnoetfuo A rfyFr rioocnab weinnai ruodsrs several Europtorpuocltoivgeis ttso, nthoetey t , William Fagg nhoante athldteheloer sutsog hsct aumrdraiyen dyo u eta anfnide ladtnhwdeo MAr merican scholars, they visited as the material productions oft ohmfe at hanre. tsTse h opefi e koc. ipnAletto wtshheiess p, oviinsitt,ed and the v it stud iedsa.ta are now important source materials in Ar fpriucba alnirs iho rueeds mvisu wpl o aloa srctly akersst tbheec oPrmaersete,i acriapcsha n O. I. POGOSON/A Visual Arts Methodology 2 1 Although theemr t otob segrovatior into n aths ea smoecitehtoyd wohf igcaht hheer inwgi sdhaetsa troe qsutiuredsy fotor vaoanbltsihedrr ovfapietolidolonwg oiicsra elu hcshatuv eda iseb se peoonsf svAiabfrlreyi,ci naag, pepaxarprteti criiaepnd parcel of that society. earlier so-call ken dot owoe lx wothitdiacet lyh aasc cwepitthesdt oaosd thth n eae c n ets tot eoos w lt b fs iotehfr or vt taihmtiisoe n.ainves pPptigrae r arm o ttii a nac c giinp hsa tnoat tadhlilsa-cetr netchtoieomrnep aiasns dsaing and a the culture; to the i cnleogxsetene nuptirt yoth.x pTpchuriolst puirsr ieamst.eo reImt seoht hass been found to be an ess iamt itthye b ektnwoewelne dAgf orinidcc aen if i ta rhutassse adbn edwe niitt she s ptracaution, The e of a particular cu olbtduliurscehe erids- wiumnepdl elrn-egtfrioaorlu en fodrie ndav ektsnhtoiogwraolteugerstanding of theiod ng hse uondcultufa rtb eorustt anAd etus for its creation and, inhed,e e cienudfl,ot u ing rfrmreica tathin oa ft ihvts material productions. can be sought and got using the rigthhte p rreooacnse odna ais bs u pa urwoeh.u rl yt o I dpaurrctoesv de nirtae it is crea. n qFuire a materi te rom an conditiaolsn eadn. d Cmo n some cas cdee s,a , stt hhisee, awbroituFinti egtlh deaw npodar ksht .aasv nees thihdoaeddrs taoolf w dpaeryposed a t n utdhct aioto nnm hoaarnavyle tbAraefrdeinic afno ucnudl tutor ebs e hcaudlt unroe wgoililn gp rtoov itdhee ceonrvriercotno mionlef ofnortrm tihanatviteo shnta igasating the visual taiortnss o ffo Arf riincfao irnmvaotlvioens aasarnema lpyolsebe,l itgohabets eepdrr voetd,o u ccotpsnr deopufa ctrth eei nsateed rienvqiie bwcorsue tao ttreh deg etwhneoe rrakar.tt e Tt ooq uadseoks t tiqhouinsen,s aytiiooruens sm tahunasdtt rkpenasroetwiacrliecphdaegtrien gtih sf autdl lwiyr ieilnlctly in tuiaatteivlyes. To go about doing this you importance, to reliab tlthyhr ego awen volved th ldeigerha tvth ou eu p i ir n no t nfo t o rt hwhe e f otqor fieldwork. Because the this he is doing fieldwork as a participamnhta iotcibh u op e nio s cb t r ehsqee for virsa twiinoofrokrimnga toionn uired , h aen ids deaersliirer on, due to the proximity of African visseuravl earr. tAs st oI . n is of extreme using hiWtas vhceeu niltn uhdreiec d,a ottehedes teeonn svuuinrr e edtsh eet xhphaodnemrtae a knaett ur stive understand a t stn ihcdiuce p c i a emr nt observati ssebfsuibel aerr etcshheeea rrs cahi iosn ng o mpopfe otthrhtoued n ceoudfl tfutioree ld iwinst bli.e Tnht ias sipse ncotst otof tihme cul or ply ttehur keast approached devoid of its own drawbacks and handicaps. Participant aorte .c tT hwisi thmine thtohde method involves a set of procedures, which have evolved b ,ts hewerev mlalt eiebasicallot nhnoo uy frados g m i has 2tdsh 2 ueesr tievaxeinp aseibrmiielpintlycy,e sfrr A eoolmif H a v and b atirlhii bo etoy u ok esaa oef Mnrdlay rl eyt hroedsoelaorgcyh in A vfaielil ers f.r iMcaann Sytu odife sthese procedures translated into the final research oddui tteypx uoptef, rttihheeen cadecasat. daT ethmheaiyct wnisor iwgtae t-ehunepsr.uerde atnhde TAbimet h e fpothoriers Pre-Fieldwork Stage t apsnrtoat gcieese wdthiene g sd hteaotl elt rhrmee vifniieeawltdi o tthnoo usoen things that require to be carried out ttdhheiefsi ndteihs ect ihcpeol innpcere,o pbtthlieeom nr eassttieacag. recH hwaevhri ensrgee e bkit f ditseh reet xarpkeees ceataenrdyc h tr heiasnett eayrroecuhst . .d FYeitroesurt mamninadey v acenardlyl tksoen aorfwcilhlle indaggn edf oi nr e hanrilsei gadhsi tsewcnihp upo ecome conversant with the basics of this the researcher muselti,rn eoe f.f n s loopholes and gaps wh uT rhtiehn order to make a concour esrree ,sl iebgaehr tcs hureefrfqi cuthiierunesst lpyte ocr uobsneev set hrh iitcsr hibd huisetci oihpnol ipneteos, rhdeiimssceiaprlcinh,e .h eW mheunst hthee nh aesn dleoacvaoteudr tsou creha da n area that h sreao nwwtn iws. To do to deep and wide to ac hqiteuhsa hintiost rseetxulp aessce tleft dhw eti tohl ip bthedy. In addrirtoaibor yesn ta , tsh teeheea r occfsuh kno hl otuusrt wled leda g oelof. t gHheee irpner , tohdtahutec ao e rvre isoau.f aTtlh heias r tissationships and connections that art so rfhetesee nwa rricsehhfeeerrsr etidos tbshueebg jienrecsst .et oaT rwchhirseit re w bhiulilsi l drbsee s ueaap r chaha .nb Iditb ywl ioocg kmr aaipnyht oye xnioseft .a rrBebalyes veaadrn eota nsm haaisnt edlri bicarrlaosr syso -wnch oetrhckke, vsrepavreienoadul isns ome time seeking circums outamldnp taiiallsal otmi oban for the future when he Consgiw daoenrrdk etrhresew acinrad sitnhge fi et ewriiasels .f oTrh teh ee xrpeseeraiernchceesr toof vtheantt umreods t inotfo t . hites riveolarteyi oconafsr hvtiih eeld rehsaevaer chsehro wwnh that it could be quite very strong p with Owo only t oo wdihsic based on groOuwnod sc oonf niceocntioognnrsag. psI hniynd,i etmeiadol,l syGt aioltlfto rtnihb euis t Bendeo nwt loeo v studying Benin, products of Owo artists (Gillon, 1984:212). This is iinn o Ber and concludbfenin possessed e vthearty Ocwloos eilsy ar eYloarteudb at oto wIfne, atbhoeu tf o1u0n0t akimn- hneoardth wofe stth seop r oitthneez oevsfi etahwree tfhtahacett whpaahpveeerr e b iesve entrh yed iisnmceopevoder rtfeaodnr. t aAm ltla hcnooirfnoesusitdgahetr ieopdnr,es p thaoerfa pYtioooinrnu;t b oiann eat hrtithsis f Be Yorasttie ccw ta nuibn aiio a ldln r onoiet nfnrdo fi tthehs mis eissr under O. I. POGOSON/A Visual Arts Methodology 23farto mthF iov -avrailouues nsoour contaisnr sbdteaetgttaeei rlsa esof frfwi ctcae teihe ksn.e for granted any formlel chayso, wathts ,e t whpehr oaodtstuh caetnri odsnt aogfe a cohfe information gathered wlesasy ltikoe olyrg taon fioserg aent do rp orempiatr aen fyor fie s. Su thingld twha owtr khh.ea ndTs hp iorse f cc kthh- Hea s ptl riisost j,eo cfwtte,h niis c ahad vgmiosuoesddt bIsnterdfoereed , fiethldewreo riks no gainsaying the need for wavdiaoeyuq,s utlayht eeb ereepsnree paprlaacher is po . This section is, therefore, not cast in any con rnacnrtieeotdne. wpbaeil iulncturt tbose rIf eohso. f analv Whea hrrat this means is that preparations have to go beyond the 18c/a2u2s°e, aa ty te symuecpa daryi s nfeoodrt iatno tr oeg sore eatarhlcelhyre emr piore personal things. For example, it from the tropichse. rpTaehtrueiroreed swa thhie n c ht eism c r etphaer eJods w airteha tohfi cNki gceloritah iinng t.h Te hliast eirs wmhateerrei atlos asntady einq utihpem feienltd tr, heaa amtl syooou unt h poeen rmasitodurerere e bdda rsvoiepcr spy r tcoeo plaadsr afltooirow na a isrn e bsteeeratmwrcseh eeonrf timnhude setpr,e esnienda erancdhtd eirat sio mnpu oststos ipbmrleea pkwairnhegi l efao dr tas of mine conthudelquat d s e ft nroienveeed y,t oteo t cbt. eaF kiaens a allcloyon magnf, dt haeb tyield. There ov pee a of possible problems and ensure multiple bparcekp-aurpast iotonfso,r et,r otuhbel o err-tseahsbeolaeo an ensure a hitchrt-c fhrfeoe ldlr, r rtfiheeseled rawersoL ceh rak ri scp heherirgi oihndl y.t hFdeien fpaieelllnydd,. eitn ti so nim tphoer tparnetp atora mtioenn tfioorn atnhda t ththee cqoumafloitryt oo eff tmdoepwiu lg e lsit n endt oemtn tae s ossnua myth ete hatontg a re tboo uspt ehnids dtaiam ts stemua ragariatc c tjhha hec erk o rse f in t a wboirhl iahttya vig. What s e to find creativ te o to be achieved in the field is that he will definitely come across ibps erme icnoonsnto cviemaivtpievoder tiaadnnedta sic sra etbahotauitvt e hh. eoH wies wpreromerpkaa irinne dfto hfceou rfs itesheldids dsoetnapg eheni. dsT sgh goisra eilas. ttIlyhn edo enpe ohdino, eitn hs eot hlqueut iaofilneitslyd t.o oAf hbthiotecv heoe usat lcalo,n mdhe eb olmof cuhksisst trbhuaelce kbsw easantr ddo sfa hst oiss ueacnbhsilu ittrhe research w well and how adequately he has In the visual aryet.s t, htahte oren cie e rin m thuest fibte ewld wh, eihlrilein tgh earned a rree andoy htoa rbde ans a great need fso ro bpjheocttiovgersa aprhes aacnhdie ndvde o dfva etsort opcunerletm uraisers eipoae no.w pIhlnee roaerr deem ar avtenory ss ecr aetlosee btahericisnh geu rspsu haohl tahovger apprhoebdle, mwsit, h boerc wauitsheo ui this is urdle several creative solntu ttihtoheniissr h2a1a 4 m4v)o en fboge uetnhnde t aHiken Ain Handbta uesxap-e Ftduhileea nnp oaoskt. oIfti ntoo mn M c a e tphaodology in African Studies camera in a aadrrsy, rAtaidlcoeunplaerg obcac a(sPieoable to pho g with h rnism ow nhaai lle Pc dooomlainrmigou dfni eilicdnawsttiooarnnkt, ma3m5amkeliminog r acittae ms t thdoedgitioerairr afap n to his irvhset r hsiaison nds. u eem as though H b3oj5ewcmtesm, wcahmicehr ah. eW giatvhe thtoe tPhoelmar oiind , ohrdee rw atos spereokd ubcyt soufb btloet hm ecaamnse rtahse! tthenpehSreom mp viucetsrue, rdteo htahetet a hiaPndo h lpaisrr oeoibdj elcatsivt e,a hned utsheedr ethbey lteon gtathke o fa photograph of him. is e ot explaining the purposeYs eiaotn,n h eaornf o rttesead neehhdee rfso rurcrb e h tj eesrcesn htes a d heeat r pbchheoef vo reto r t hep erametft eewrmraepsd tti nhtgoe tsroeuwsbpjneoscnftdos. l ktTo or co went to the visual arts rrtuehlseye , aprt mehcmunity head who in tucheureleri a airsli styon oon fel ietmhdeist sttoiot u thaatkainodnl ih rnneg fexplained t ghreaspeh ttoo tthhee mobasstqaucleersa dthesa,t hhea vme uas tg dreeavti cpe owteanytsia la ntode dmviisedraeunops sinupdcicsht uhirsiemssu seoeslf;f .f eeWastchihve anml stu hosert ootbhseeWrr vhtihniloge r anc aysr itrsuyitaiuntiations could a t othf es urremseoaurnc go no uotr , fiinelddewedor, rkjui ssient lwEivshiineeng, Kaymwouao rnaag r eSth tateat eplk,e ioninpg l e1t htoi.n gSp eetvoheperlsaeel, wocofa nstf hicdeo entnofcrweo nnstoeffod l kbw . information I was.o ith tTsheh iass isdaietnuso amtiinoa lno where I had to deal with two 9 8f3ac/t8io4n, sI thhoew l otoc aul ssec thhoeo ld-atetaa cthehkearitn aIg n.h dAa dtc thoh ouet she ensrid t uotaoft iogne tr etqhuei rerdig hmt e htios tograyin atnhde tUenadcheresrt aannddi ntgh ethe ur c h bta cihn epdr iefrs otth mpe rbdooavtyihd, efmdac yut idsoeinsfscu uli snis nitoshinegs ht otwsw ittnho. pdskilsaetuwosreitbdei dldi tatyht aisn.i egTvshe fi osa lious crncahlo tp potroliie tisscats y s eatshvpaeedtc iaamdllveyi cftreho efm roe tmmhe point of views of the evolve a basis for srii demveiden, gibn ua tnth dpe a shsesalienncdgtil niangllg w inohffo adrta mttoaa tuciso bntah rgeramatsh scement oollected.o rIue dlwd at hns ro f e. ao tb u uhslgea ihnv g teoa TThhetphlaein s nii sF aite tlhdwork Stage workn-ipnfolgar nmt, ha eat itso tnah gthe reaf evo ewr hbheeisne ntw heom rsearcher is raak ed. seeI arcdviste adiand creativity. Apart fiom followit s h e ttoth rh epe i s in thr fosirctseatge de es tf wta io ng with the pg e i ltae ldi.m proper, to gather hn cAl pirnlemimceaedl n etwf fiiatclhile nthhe and adapting ctioys rsineitqfuouaritmrioeandns tbtshy. a tWw chaaynil Oy . I.eo iefin ld P a O dtthh GO vee b SeOstN r/eAs uVlitssu afol Ar rts Methodology 25 humble while expressing ich eifs ie ooldnp ,i nciito misp oar tymo the com dvis ueanrb trl ees aearch, some emphasis is be willinmgu tnoi tayb. sHoerb s haollu tldh apt lahcee gheoitmns.s s Healnef disn hi ntohtueelr dpa ncthtdian tgr e twlhaeitt ihor nemsseheamiprcbsh eerwsri toihsf wtahnoedr kfic.e rlIodts siss-o c ahadesck his material when he gets to otahslsieto io nbnee xo trf e saat daleyga etn oeo rsf iaetnhvdee wvreaisglela arbrieec hsf eaorc ef mdt hu v sitsto a bsbtlere i vatebo letco ht eoc ka dyjuosur worwe itfhie ledm ceorngdenitrcieoymn ssai.t iunM t ovto a reer c yho kao, nraggnaindng isp eslaidtn u regularly when in quick decisions that will aid him in ften than n ianot tio,t hntesh. e f Faricenesa ellaoyrf,c htthheeer ptahdlaevnrae nfoocfer e w,a ontrhdke . rIrete csiosen aedrvictehinoe nrp omysousuisbrt lefr oetcmh traieot-n fwos chauanstdi ny gsoo uo hnge he tmis iunos bttj heacect tif viaeenl dad n cmdo authkldee tbheee ndW,i chstioal teet osc aosrfar tyyhe field. uasi. nA ftl eaxlilb ltei,m aens dduring this stage, abo ing willing to adjust studuyt otwf osu wche eak ,s la,l ritv out fieldwork in Es supervisor visited gr ieyn igcn ogal lnteodc tfiiionnntde oraaf cfstocingme in the fieldcu ulps i ewo inats h h eotahwrel itesort oamn entioned. I had const tures. But it w tetae sms cnpuotl pta tu usnrtetyislli smftoiycr eaInnbdcleeo emt iotu htead and pointed out what later be thed p, parstash n edt lheep t ahbceak saleagsri gnof my stylistic study cetsi cteh eo fo vther e8g 0 n0umber of works ie poso tfgs troatnhdeau tas tcesu tluspcdthuyor eoas n l n vodof lvtthehede iinmb ages, thatfoofr Etshiee Nsuia hgandypseeerrsiv ai.s u Ipste aor ud c k Ia ngwoeawss. ttahhe resear sed to ths eaB t settnuhcdehe nrf ceheesr, wpahiidle fionr tthheis f iperlda.c tTichee. sItt to visit researcher te issre easgreocaihnrecgrh eairsb ioniun t t hthehi esf iedfilaedtl.da T , hcbois u edwneaansbt ,lm eidne awtnhhte a tstou wpeanesrs vutirhseoe nrn otkotn oovwnislinyt rpoebrseteasaeinrnc chmee arx oitfmo tuhameg r reseeus puoelts. ut more importantly, that the re-direct. Perhaps reinnrtvr ions Ino ra didni titohne, afsie llection in the best manner to situation could be called, dweuwicll i ndggoir e“afc itleoiolndnwgs I l dht haeavnte a abthllreees a fdbyo tshh oswuepde ravbisoovre, thork and e aalnsdo egnasinu rian glo bt eottfe rc ornefsiedaerncche anthda tr ehseu lt wsw. ialTly su h rteo p seetnruavequird i eb i es eioldn ”,c oansd itthioe nfso lniinnt g r febusetetutaerrerc hfireeerls decw rmmaeyr endeavours. ao orucrldhk 2 6 A Handbook of Methodology in African Studies TByhwthiet t eh ePost-Fieldwork Stage who hd aeasnl li trhiemec er etqhuei rreess etoa rbcehgeirn ctohme ewsr iotue-tu opf otrh is writindg w afh etenhrdees hoisef oawrll i laal cdwairdsiseteemr btiace tcriooemnse,e ahsr ecv heh. raTys h itme edr oefcifeoulrmde,, e htnhetea stqihouoneu sldportant. For exaptimao follow the tradio rbnte . o Taf hrhmios ewidtiopnle ,o iff t hhe s e, itanstitution for which he is writing. He could just as well be writing for tttooh h jaeortu etrfhnoerarele , o r, indeed review tfahorere thspee rceifs , ieeaad book, but the most important thing is to realise da taac qguaathinetr itn hogep tasiontundds ettnhh r cashtt yeclreo stu olo dcf obpners eausvletan iwtlaiinbtg your work. It is advisable, supervisor. There could teb sewi soi tthwh ertriht esini tgtuo, aothlisoe n assn hlde h . itBse ucsthu nspiienqrvisor or an editor that will tend to condition the structure of htthhoaeut l wda rroibtseee cuteea sltk hiteno g a cimowp h while in thieteh er wf e iehi tiildhs s of tcthhrioi shs siss- ctsahugepece.k r vs stage is mS iosamotere,r itahe resethe wriltliesb rbarroyu agwrhcoth rieknr fishould work out a - uppla. nW tiot ha tphper ohaeclph hHies pmhuostto gmraapkhes fraereq use-hunaptr ,p r teahfneed rre ecnslceeeaa rsro cmhale stroh seh nfoeiueclledds. s baSeri nyd ans to his field noteciseli gt dhe advisable, to r. aenndt mienna isdnuo riaeni mgt h saoot.f PPhhoototgoragprhasp ahrey maonsdt etshseen tViaisual Artswag rogaropkohsds thadraeest ctmrhiee arnets et l in any visual arts study. The photo­ aFnrede -whhaintde odrr apcwtoiloionnug rsc aoor cuphlresent in a more graphic and visible form the are strictly not allow epadrri.en det rss uhbfaefdi c uess,t euidtd iiteso d e.i xllUpuensctlritkaeetde other disciplines where good photographs, the e Axapltleshcoot auatgcihocn emp itsaa nbtyhle ar te isnthe aecr arcs tethhsaet agrotos db eqiunagl istytu bdliaecdk. care of his photography. He is required to be abehseer aswr achhreeer reu hnpiamhbole to take golse teo ltgfo rt aatpakkhsod, sharepes tasatnuuddg appropriatphotyhoitgn.r ga.Ip Ihtm iissu sfnto e or p t e tmsh icitsu rreeas take to teach the baospmihcea tpshi s soeton illustrahinog htthhearaett batograp hctayh steaic t atesthpchee cntiasq buioelifst yto hfe tp oh arottats that he is out of consistent practice. You musn tl e bcheta unarcdeh.l eieG voyeoodud r a psc hqaomutoiecgrk oklgyer aaasp hityg owaorildel rpohloetso egarcahp hosf tuhned seert tvianrgysi nogf tchoen dcaitions to be able to imbibe ra at phahen sds i cmotampkleee mera play. ldeenpse Lnaednt sdm oefon rp o O. I. POGOSON etxihnpeto orsiiugnt here that /tAh eV iwsuhal Arts Methodology 27 ment (see a short dishcgut the right amoun otle o ifd eliag hotf otank itnhge as ugbojoedct piinc tuthree Samo, oTiut hniest oath f frtueimnec etb ioaosnni cto hfpe ab saasimloanno cuoinnntg e otqhfu eit pirmmigeeh.n tt B qluautt ecrh oono)s iins ge qtuhael lryi gimhtp oerqtuanipt­. tish eli koep ethraet ieoyne dwehscr image that t ileib tehdre t saa bpooefvr ettuh areer e ci a htme errigah tt ls ha eatnn tsyi tosyeu e oscf.a lnig huts ef otro tphee rfroigrhmt spTqohuseaistreieo ncfa rynao mbueer swauchbhijiceehcvt e idsin mbtyhe eap noftrs aittmoio eng iua hnliedk elee nnthsse u armne dot hutahthte . iatW pisei trhitn u trhgeoe. oTldeh nefso lcyeuonsus. rdaimonngoe u unntthtil you are satisfied with the ni gd et hyeo us uabnjedct properly within the are wor keoisfn egl,i gohtnht e ya o wvue ewrayti hllb errrie gqhcuoti nrdeditions turning the focusing sufficient natural light so, first oa ayf n, adyll o,f o s hrw ahrilopl wnne sloosw no gf.g uItfhi, def eos ru ybeoxjueac mto. pnHl ea,w vyhionaugt pleixigcphtout srseeu . cyhoM uaersa sfaiul mfla sfohr. Ntoeoxt u l oynogu swoi y ocua nd oim naogti nree qtuhiaret tahneyr ea rwtiiflilc ibael asmrea ullseirn gth hee raep, erarentdu fr-ei2n 2 o fpa-esptneoirpntusg,r. etT hwhe ltl hahalitsg oyh oeruer a dltihosee n taohta tg eyto ua nd oo vneort- enxepeods etdo iasn dal l cao nfsutnacntti opnr aocft igceet. ti e Inng ttehrem sb aosiifl rcl e tb foer me, ooren dae sbpirreiagrbthulter ew dt hanaynu s maunbc hef rh - s3a,s. 5 tw.h Ieet p3r5imntRmeer gs astirhndagitnl eag r elteh nrees p curatemafbleelrxea in(tSo pL rRtia)nk teicn atgom r eeo srpekraiinrncgth inp pgrhi, noectniopsgluerrase p ohtfsh .tahte ycoaum uersae vthheiger hspalythi olpittroyog faeransspdih oyrnu amgl gatewrdkinenet ,ls estn.h seT ycha ihmsa evcreame as. e ttrhoae field, I would Sinc erbe etpcause of its adpvoirctea boilnit ya, pnhoowt obger abpohusg htht awt icthan n buem tearkoeuns. oSpotmio enb aoelcf oitthmeemes sev heleace the very tor yee nnsthuracync oecsfe s ttfhuhele. bSTuLlky quhRae’lsyi t i annt include a wide varietyyc aoon do wlzenses from wide-angle lenses to telephoto lenses and combination ff dfr oieeolnlmA dpa sls.y .Tohereart tfhreor m apre to hw al e e s sr o flash tilal ttcaacmh umnietns tws imthe aamnta ztion gm iankteen sthitey acnadm erarna guess ears- pscreaornsc nefdeorurs r reeshc.a ovrAed lisneogm, aecmrtgioeordne stcroee encreeasn, tstluyhc,e hr e are now very portable camcor­Although the hardware to ufsuer thae rd d a is s giigim iftetapa s l ll t icf ivyca algmso eaorndad amera as np oibacsnteudrr veid scan c n no gmm ea acti rp,k uitnt o heg n er. c28 A Handbook of Maaondmovatphnuettare r, is still out of reach eitnh otdeorlmogsy ionf A cfroicsat,n tShteudyi ehsave the especial pgscroaaonmrnlmye deli gtte ho ero ofr uemaneuverability. For example, if for one reason or picture sto i nntaoonw a st -eoacfro-cgmhoeporud t-cefoar.nc unTso htp eingco tu urbseai,n ctgkh et op othe field and re-shoot a photography haasac cvbeaepicltoaabmblelee leflosersv eteel.nd hiWoaunitsch.i ntgh eps aeinc ytu o r r eroce fes q ,un t ahlity pictut imep opnsrsouivmbeiel irtu roepu oscn a np trhboee­ ies, field CFiontfoorn oaobll cl psyee, u rrvait s ioneti insing ic milnup dtoehr etmanresearch in the area faiye tk olid t un o g wnotc hshuoer ene that os egt hatatoht e tyhrere is no ststoiunudg y a,ir nemf ofaarkmminialgti raiaorintj a dw. acke e Tqituhhae tt thek peer yocedure tion, and being very organised. psr tetahptiean rgoasf­ ...........................................Section II. Linguistics T H E O R Y A N D P R A C T IC E O E YIELD IN VESTIG ATIO N IN LIN G U ISTIC S A .U . IW A R A Introduction: Problems and Prospects o f Field nRBeeecfoesresears ee awrec hta ciknle Afiferldic raesearch methodology in linguistics proper, it is Stahgaeahmianr. rs caThrhyei rsts o saa, doe issu bspue yca a word orealluys ee nficeolud rn rtetewsre oa inrac bhAo, fuprtia ctraht,ie c augeneral problems that field Fosrt. one things, emnta nceyr tsatuind epnittsf awllsh ot heant gt nlhader ltyro ei snse uAagrfcgrhiecesatr, ssmoouluustthti o gonufs a thrtdoe twohfie tih nsoatuduted qaeudnaett.q eu Balitber alirbyr arerys age in fie ut we knoo rwuera ctdehisna gto snu. soTefhffeuisrl , pforiero lbtdhl eerm ep someoaarry ldr ae rriessee aarsc ha rdeos uslot rslieubsbreasaerryqc,u hew innitt hha naananldy steiosx tpaeonnidsive literature review on th ceh sabudebignjeignc tsh aoinbf i ttt hhoeef wfoirt hdWoauhttaa tac dohelalqepucpateitonens p varenerpdya no tef tvtehanel u irsae ttsihoeanatr. cshtuedr to relevant observations for the objective of their stuardanyta;i olwynsh iisen,r *etbaeusrt m eaxsl soof e wsnhittas gperienchreop u oet n tidon egttheshows, e ttrh mefiiiren lpid not hat renrsgoe caeerxdca on hucerte llyy rss w32acanhrdoe furtealltkyue the ti Am Hea ntdob odoekf ionf eM ecthleoadrollyog yth ine African Studies problem, rcnrd ietwibqiuthe tah esire nrsees eaorfc ha cphliaenv esmpeenndt p. tuhTrepimior sete i msopefe wnthte elildr e infwi ntohirnekmarkedly imp g fiatenhldde kanndow Twh ahisso twpedo t ione ftsf raootrivntesgs. fiite ldw irtehs eoarthcher sa,n da nleda drse vtoie wfeiwnge r rdeilsaatpepdo irnetsmeaerncths atqh uqee usettiisomtnioe nre awqnuidt htb aemtaeor sth eem rpesheaasis, because many research students do not answered in thi raemts, oben rmeey pt ihrnaicenae y definitld orch question. A proper research question ioo nerden , po ortbeos s s e siprbvrlaoebd answeearch lueoc fe ai nntfh r. yo er k m O ina tahednt siow rwne iris?ne , oAwr dhreyer s setpaoeinvolves the stur c n hids^ noof orTbessheeeravrcahb lies idnefeomrmeadt itoon h. aTvhee traekfoenre p, lwaciteh. out observable informatio dbney, tloehban plvaseceler le .ov a a f tvi ioimnngp, lfitochation is that undertaking field research means more observaWttiihotenh oinuafnto e rr t hmi re insas antd matn incge , dteh d evaluse anottriao tln h ae sek c roaemnsdema gruconhiinetyrg whtoah set hrteeo tfhbieerli ndrge. s Fehoairmr cpshea ilrsft ittcaoipk aitnhnget brpeeoscpeauaulrsacethi oeirnn , tuhasenu daA llfsyroi c ahenans j cooymns toe mnxdta, ype ssbypece hre formaci omialolplgyai icrianeld s.r ueTb-orientation, accurate standi a higher l deegdruecea toiofn h- Sisat hhiasa nraa n tr heAeaf lr danger endeav prestige and ig ceasn,o ectrihaaell fitnihevelde s ertyi ngogau triov intso.- awO-vviinse rltothhoeek trtcuhosimst marneuqdnu ifitrry. esearch. The vil iend Tshhe es of the educlaatgeedr mreasye alrocohkee mrig, enbnoutr a i pan n s to t d uf dytehonand eu t p , ecrcoho tmheamm refore, must customer from whom you wi t he is a wilyp psr uaonwmitkiyswe au rnydoder but and slippe urinyr tFshoieeml the truth until you b dhe turiemmsaeesna,r caohsbp sreeecsqts uiovirfee asdl lhe su e fiimer ceoldi l mlilt eyn oaotnr deax pptrpaaetciaetr n tchtoee whole truth and nothing Bur wtoo grke,t wath itchhe istr u , tbhaes c owofm etlhel eao smn teah teot ef his kind. whe of primordial im kpre.o erTntha, inascn eids. ritnhesosie gnaer sch he(1982: 1) captuse e srt ahtaess ttoh autn “dfeier rlsedts a rtnehdse e haeirsscs heon wicsne a o lfe tahren irnegsearcher’s responsibility persdpeeroc’stf i vtvhei.ee wp eoopfl e thhee iss itsutuatdiyoinn g.w Hh eial ecm tioumnsats inean nsddiet uaaacvttoiivuoinrt ietions waosbh twiaciehnl l t ahanes fundOinnge, mesopreec aiarlelay ofof rp ethrsei sltoewntl difficulty in field i tnavineisntigg athioisn ino utsider’s y-rated humanistic specialisationAs frbiecain igs A. U. IWARA/Theor psotrfufoedjreeecndtt winsihl lto hhueal dvI,en tsaht ientureetgefao.t riOevbv y iaonuds Plyra, citnicaed oefq Fuiealdt eIn fvienstaignactiiaoln seutcp. port for3 3a csceloocuturhrs;ee h, eb besefho orreue ldael mipsltbaiacnr khiiinns gp ,e tiamilpoarc th iosn ctohaet qaucacloitryd ionfg f iteol dt hrees esiazrec ho. fT hhies aalcscoo minm otderamtios n and feed hroiosng ramme with an eye on the funds he can disposal. He c ing eafxa pcfiieelicltdtiae tsti roiinpns. , rTunhroea tl rceoisnreclayur mchisnet ra ntmecreumss, st, buootff itenhqsauttai pnomcf eeh niisnt fctohorel l eaaongfn uoetths ebi net etthocheo niaonmldoubgsiittciraoialu lsigs eaoddr gmetast chhe hicsa nc onhdaviteio na tw hitihs speech sounds. faierleda ionfv ethstei gpartoiodnu catrioe nt,a ktreann wsfomor risgldsri aownnth eeadrn,e d e ssropepechceiipasttlilioycan, t feoodrf AwWrinaitn ehtatere t s o sthto i sob fi f entg F htirono i edwldse uwictth hi R oo a n esear m , falueynt cnutoiso c tnhuar t beln i n Lin f daomeufiirnl iaiattri gtoeu wnni t isti toihof n tl cs h inneo gswuui bsttjo linguistics. We lsatnudgLuyi anoggfeu istics, ics itself, in the syntactic,6l amannogdsu tal i syg n e em,f i2rt so ammn do tdhiener np paahrctoicnceuepltatiacr,t 3it ohn,1 is primari elcyt -tmh antic7 points of view. Wpeh hsoacnti eetnmhtiiiscf i,mc4 esmatunodsr,y pi eao ttsfe chrie.unmtiafinc tochfa lta nlinguguagisetsic sfr ocomn coenrne s oirt smelof rwei tohr tahlel sotfu dy of any language hn o oelrof fgegicrcota,u li,5 these perspectives and theiprs doolirnra rowFll raries. sty glisusoti,s outmipc atnh ise xdheafuinition, iti cse xaspn. adTn hddeies dcf roouanl s rmt t si i eeo vrse ast l n aob ist lfye is clear that it is virtually impossible to we will do no more thansy lionfg uthiset icv asrtiuoduys haarveea,s ino ft hfiee llda srt efsieftayr cyhe airns ifmrepqouretnatnlyt duonmdearitnask wenh.ere fie i os nmadse narsetipcooencg tnshi toeiofr enth ewa siturheb sjtethrcietc. teiInndtroduction of T ld research in linguistics is cu vrrnieeuwnmt lobyfe mrth oiosstf, loaintngpshyde u c hrs ihisme most ob btirpcaslne’ .w Thheirse vl iitonhugesu sipsultbace to begin is what may be described as ‘pure be thoeloorgeyt;ic chiatesl8 s o boojref cats pcihsp ollial iacjen s cttu-mdya titse dr iiss taken to be language itself, pure comparative or historical.1e1d rg,s9uh aidpge,e s csarunicpdht i la tanisng cutive in that it does not include ve oraa ngptehr erasolcpornoipelot. igvTyeh ,1eo0 ra opsrp oricoti oamlcohag yym aboyer 34 shcisietonIrntyi f,i ccion en nstorda efsaatrv, Ali nHandbook of Methodology in African Studies cultures an oaus ri g.t uFcioosrnt iccien rssnttasun dtchyee , muitsa emy oabfy el ib nleig nulkiinsektdiec d we wvitihidt ehother branches of lciansgeu, iswtiec fiaedrle dh riisents oearainroctghhrr.aopphoylo agnicda lt hlein egxupisrteiscssi,o nw hoifc hhu mis a n an ac net thihnor uop fertitlhgehe o tls.o tgIuny and aread ytfh ooisrf ldaincecsgocu Lriiisnbtegic usia,s ntiic rding t n so s tfuadry a sm ita yco naclseorn sb ela nlginukaeg linguistic fieodl ds i atruecacseotiauornnct,h s ftooocr iw atlh hciecla hs wsm,a ayansg ye i, snst uew de huwisceiht hinl a snsoogccuiioaegtloyeg ayfn odri nms eses kovsca irtooy­ lhinugmuAainsntd ib cseli,n ginu isstoi c fasrt uad x, etc sy may dents . aTrhei sa titsr aacntoetdh.er area of lreeaarlintiyn. gP spyhrcaohvcoieo-sluisnr. gauInti sdt iistc hse it aa nilms c oo o tp n acbceetr nolinked wi d s the ana thly spiss yochf oslpoegeyc hin f oprsmysc haos­ reseAarsc hw.e indicated befor her e alpsrf woldaitnuhgc tuliavanegg eu aoarnge eat haeoc fqi nultiisenirgtpiuorinest taaictn iodfn ite hlodef rrmeeosseenaaorrlccithhh iciisn f ineliolndtg, uatoins dtis calsiyn. gTtuh ea, to u monolithic either. It is thhiese t iscur trhe aealim in specifying these areas of field methodology to be employed. bmjee y t hpaoordieno tlt ohigesy tochananltyn olliten gbgieut iimsetxaipctsee c tiaesr de natoso t boeaf ct of research that determines the MfMoreestramt th theuoglda od ieo sfl oo o frgo y lco, ogy in Lr gnaavst ehrcetoinncge iiivngengdou rahinsecrteei c, i niFs analysis and evaluat to in ekolntd o awR lceeodsmgeepa,l erbtcueht prarothgerra ma mseet oorf frcieoesllledea ctrtoce hda,n iaonntchdlue rdt,h inaegn dml riioinnnggethu iois dsd, t aiucta. This is so because data collection for In linguistics, th ol lo trigemys aettaoer lcybh,e . tBhuues tep dtrh iemd inaffraeytru orfbero jeomcft tivhoeen eidn ar taealsl e tfoair ebcldhe mneloiectn imttaautriitotuyna ,b llieyni nteugxic tdliuoesntiev, r e rema from one r ,e n procedur eesse aorrc hs ttroapteicg iteos aanreo thgeenr.erally involved: ibndue tdo rb bastyeh rtevhrae tc inooamnt.up rTleehm eosefe nt htpaerr ryoe,c setedhauer rcdehse sgaurerbeej, e ocoftf c coomuprslee­, EaInsl kitichniegto arbyti,il ionthngeu agla tihneforrinmga notfs dtaot a trbayn sellaicteit awtioornd isl isat ss ismupchle apsr otcheasts ooff Swadesh, sAen. Ute. IWARA/Theory and Practice of Field Investigation etc. 35deliinitsghcueoirus tr sse. The npcreesc iosre twexotrsd, so roafl tohre w irniftoternm, awnhtsi cahr ea reth peanr tt roafn as clroinbgeedr, rHees emIanru cshp ciramancuntloitcate nc, eooiptue siwsly i taho rmt huseu cfbhlos wemq ooufre enn atlctyuo rmfarlpo clmiocn avtaee drrs eabctoiuorsndin.eeds stape, if the reliabilittey r ao mlfs outh seet neidnstefaoabrvmloisuahrn tast o ga onaodsdc edwretocariidknei n og nr atphpeiorr tn twuhmeit hbc eotrhm. epD i .n fFoirrmst,a ntthse. (1969 ab initio etence and Sspeake: rsx io) f itnhfeo rvmasr iouuss tEhakto ihde B haandtu tloa avid Crabb fcaatiaul tteiso onwmahreyitc ihmm eehase su trwoe sa srb eecscotaugundsiyesie ni ng.do rigI te rneiosg naigsmusepamgoerbtsla eno tfa Otwgoh oojtaale ‘academy’ of otherwise, which they regularly make iuinss t nesarpt euadrkaiselt rissnp cheteaiocvhne. sb kienee nCt rhkoensssoe w Rpnivr eteor­ ptol aoySn ieenc ootnhf edt lhqyr,u eatehl ietcy ac toaelfgi bothrreeie sdo.a f tHtah eo brtese , phonetic or flaanvoguuraegde bwyi tBhloo ain ucth aannyd p Hreavriroisu,s et hmata iys aebcdeh.le oTrn yghp iomtolos etghlifce a hltalyysp, eah eom fma jraoeyrs ebraoerllceoh netogr tdLraeapbnoesnvcr d(i p1st9oio7len2l y:1w on his technical s a researcher approaching a target under the infl0iut4eh, nofcuoeto trnoeoff etreBe l4no)cc ehr kktnowledge of it, in which case, eciolol sut hnaests ama l eisantngoiurnyigs tos ft ooo fn trethy J eot ohw ndoo rS dtasr . h peIhn ohdnaesee ttdio tra eet who c,, wobbah nicshc riibs en oMt oenngtoirli , once spent many months trying to tacsjkeelcdet, i vtwhiteiylsl e o ednva eywrs h hdioc eahlny tshinuis r pth‘rtiihs manner. The attempt ended in failure, any case, it is difficeuldmlt awtnoad ts eedrte, seisnoingrc:y e oittfh eiisg qnuuonerslaitknioecnley,s’ ttahhsaa ttL atlihbneog vua irpsgtusut m hitae,vn ewt atoosf iknn osuwOcrlhe dtahg epe r rooefcs etehd uepp raa rtehleira btlhea tne ssth faollro twh ek vnaolwidlaetdigoen. oAfn dda itna Gacleqausiroen t(h1e9 61 a sk) ilae urd c r vth eaie . srreg eimayls of snte gltahmni sbg euc aaosgefe ti.hs Wet hhtayatp tt ehP ewik rhee os( e1ha9ar4csh 7ae)cr, qmNuiuidrseatd a( 1da9d w4it9oio)r nkarec a innlldgy ibSsae pf entation and allophonic grouping and of eoovrgiedn eiasntitnte gim nc pottnhindeg itb ipoehsntoende iOr.r, thirdly, the res eoaf v tiatchr eita rnaStn.sIs.,L cmr. iiprntiimona. l Tphaeir ss rcher may beep aonr tisn daingde uatchncede swcso oomrfk mt huoistf a Batipoopansr oteaasncthds fcaacste ohfe b ceainng caanll iunpdoigne nhoisu sin stpueitaikoenr1 2d otoes d noo pt hino ninteosteuiclsf tgsrupaaenrasakcnertirpe, etii nos nuw.c hcTeihcshes 3at6 phonetic A Handbook o f Methodology in African Studies wcaotueWdld hb nyaot P t iaakl t dle v rtaanohncids sc a o rtiphteirosn t; oo ennes umreu satc caucqraucirye a nthde v taelicdhintyic. al skills advo­ nucrnoutt cilii nahsl eips toh iaensitt h fhueerllr th tema tte otathnaels irgiesns oetraharat a realistic know nce of the targ meet tlhaondgoulaoggey, obfu te ilitc witaotuioldn tohfe t hree ldevaatan th eq uise ess teiisoe nkthi le sn.a gt d tghee olifn ctghhueeir s ltaa mbnagunusdat goen ualnl dpehr ocnoentiscid terraantsicornip. tTiohne tahpep rroigphrti aktien bdu tto bhoatnhd tlhee Tt rhaend hheesi req ajour e bec hsmteirous. n satsn kden ltiohcwi b et i e fully inhngof owdr a aw mttoaa nams are t kmu hs uti o f the nature ssn ti onetaf ocorhnm blyae n botesf IdItnu ritseu niiotnwi ongrammati fcifaeallsidthy io ronersa ecboalrerrc ehtoc, t neaexnspdsl ointito p ihncotituei tioinnt uaitsi vae mdeatthChomThskisy .i sI ta wmaest hhoed owlhoog iccaoln rteenvodleudt a iotnhnoa,l to wgehivcieacrhly aiisnn agdleiygnseies o .daosl oegvicidael npcreo coef­ sgdureafpfmiecnimedna ttm iccooarml.e1 p3 eaAtnesdn cgmee inne hraist ilanguag nroaullsy astpteriabkuetre dh ato correctness of their th ve gram s opinion soon inevitableyoo rreeime soe rnag nedtdh ,oe aifr n em itnoat urknow intthe itidveev edloap ueitdiv, elliyn wguhiastts i s coarm ise notot d ta as Evidence of the iwsnoitltuuhit tiaioo nsn o.w luTatshio eing nkinoin radensd oaorsfd eeiranectdhu istliiconangleu itosof Ci rgh rdoaimmvesmrkgyae tnhitca adpl oittsoyi t ci(oo1nm9s6e. 1 Cu)op. nt was bent fqliucitcs of increased, and grammaticality itself b ebcea mciet ead baosn But t on efe ovolilfdo ewconincnetge nhstitiseo anodw khlinys teahvmeidbreeign wucoea usi stsn, eo ily The resuls fla bomencega ero ra gdrei ement as to what sentences were well-form eads, tfr me a hoamt tthheeyir oarwlet n i sol antnlhyga uta dgl p ii fnrfoegbrueliesnmtts, . nmoawrk epdr or unmarked, and intuitive comprehension of their osewcsu and proceed etsoe ndte fuenn-dc htehcekmab lbey eaxsas What is alarming abounst slaitnhngigs u adgrammaticality according to mertphtileneigsr tcqhouene ssoitdnioelynr ser dea lrepevr aosnphter rus ogtugore cdee v oeofnff ebdvyoi dutehbnet c es g leiu e nvc s geh ul o oirpn mdtuiaeitlneist citiitv c n e t gi s s. dhthat it is no longer eilxlecgeistsimivea tues aen odf uinntwuiotirotnh ya ensdc aopf et hfero cmo. n Tscheerepi otd uoasfn twgheoer r ikids iasttiolh aoa. wAnn dla nlegguiat, beecctat umthseais y w sleohamedne igmwea toh aa taes datnat begins A. U. IWARA/Theory and Practicewnohtiicohn tooinf sfrpaigrment into un-pattemed idi oosfy Fnieclrda Isniveess,t itghaeti ovne retyc . Saussuri3a7n linguisticsl aa loinsigThhtefurel faonrsed w endg uCe, seah lkothn hoaosw mt ihstek t yogeneral possessionuoldu gnho,t ibn de iatn rhy ee jco t eo he f crmyte,e dsi n itrtosu toutia t in oivsft osotpf the speech community, alone lead to the same sense of right and e wh rae a onv .n1id4 cde, is defeated, ng,e intnhc aept r iasisc tvitachleeu aiutb lclteaim aandnnanotd gporoalli t feorf e itdnroatlunoisgtciivrciea a lt liiocnongn ucoiesftr inicn tffouireit lidtvh eresearch. What is needed now is that the procedupr tedi aostnha.o . uITnlhd e tbhreee umssheeo e u dlrdea dtabu ecs thiaoo nuc loodnf sbe accompanied byantime, intuitiveee rnervsoiur in phonetic an aaly smise d with circumspectiodsne .nocne aws haa tm eist haoddmoliosgs taihbnolde­ical fOOiebbloglsid se rervercal as v otebia aosrn t ecr ihovis a s n tititohunea ttiihonintro.d Ittpw riosocedure foppaarrttiicciippaantet s oabctservation common ively in t. heIn s p peteaycrpthei csai:p catp nfa rpr gathering linguistic data in a his linguistic data, whereas in the nrto rtiaccitpiacnet too bcsaetrevgaotrioisne amnedt hnoodno­­ wtaiksees, uan bdaecrk o sbesaetr vaantido nin toob tirnutseirvael o cty aanldlo n mo-pb waserhtriivccaihpt iahonent , inottbehsnee drsvr eatostie oganra,ct hhheeerr nporo dmInuo crtehed e ocaornymd, p tthlhiece a oftbleosdwe rt vhoaaft nino at ws the group, peer or other­ simply h nt uorfa tl conversactoinotnr.ol the level of language afterI nt hep rasaspc etteiocc ehd, oet vhheenirste fprhaoormen ehst hiies ecv moet hrteah nesrsp cetrewipcoht i oapncrt o etcoiet dhouebrrt aeissni. m lTiunhlgetua inrseetisoceu adsralcytha e oirrs ssliuintcughau tiaisostn icl o itmcsaeetlitfohodological p agnetic tape recorder. of questions, .t niSm ooimrn gep, laoicnf ectmhenee r nomtc oerde ruaof tr loe bche v w oionhusictsrh ac iodnnetssrt ivroen froobmstive, and idnitsecruvsiesiwon, watioonrptdsi cirn.1e eltarhtveea ttiiono tnfe arcvatsioe rwsa lftirhnieeg nuldiassnt, ic interview fo g and delivery issue in gtouhrae ag ste t hutodhmya toe fbo orl rad miinnastr 5 In a so rdininag ay n tchpeee,io rtp hry langucl eeh iresaglueds.r e eearF noo. cnher may be lookr Ce oxthahemer pesnlterc,e ene itas,r rsaaortmg iuneigivet ou sni mgto elw t cfiioto­ insiders may be more fragmentary, and/or less well-formed than thsdo astn hr tpolaldc et ow iotuhtosuidt eirnsv. oNlvoi nsge rbioouths tsytpuedsy ooff ina tesrpleoeccuht ocros.m Tmhuen iintyte rcvaine wtak o eeees 3 psh 8 sterou A H rafnolgrdem raasl nscoae lt ihnoocful utghdhee an dnbook of Methodology in African Studies Saussure, has also ttioh oe particular, the researcnh d tyi v oimdnulayay l fasmily members and friends, but also absence on the group ebsree msscuioosnnts sic.d bpeee raemkdeo. rrsIen, difficult to approach. The through the various constraints o aflibra their langage, according to how p H tihse s tetr at hteepg aiyrm tiipcnia pcaatl nlo t ft hohibisss ervation, in solutio interview situation a pinsr det sooe bnbscreeer avoker loabnsgeurvaan etogesi ple sp oinnth caaost n a eh apekr owhetext facoedrdo lup nrt sethey are not being observeding ufiotsort ioct bhtthiase ionrpinya gro arad caocnxua rlaydtseeifs i.dnaet a min . e tTthhhoeed sovtluaodrgiyioc uoaslf fTCiehonclusionvIdnaadrt ledi e ftiia, yn rst point it v oeisfs timngoaettt iho wone n is w caonnt cteor nmeda,k eis, tahsa tfa dr eassp imt eed it is betetdecore lsosigfa ircytah lef oyar p dpaorllo anliconhtge,u si isnttos ottrohd e e eu tg th sheae o t h dfeaorcliton gtghy a oitn linguistic complementary principle. Data from a varietye ro ft odt hisbet einnscaetmf iste f wmlien eghtuhavioset iac amnestwheordss , top rohpaerrdly liinngteuripstriect erd, should b from esearch quee sutisoends . toA sc onScvheragtozeum roacnen s r iaa tdnhsde. Sdactertsaiivuistsy (b1e9n7e3a: ght infor t 1h4 )w nd Trmehdea tisioenncfoo.”nrmd aptioo hpniu,c th aitan, ndfy ie lftdoe rc rhenpsierqoaurcece hm isa y“ mboer eu sleikde faonr ugmainbirnegll at hoef ltahnesgeu amgee thfoodr oltohgei cafiilnr stpt r iost cimethat despite sses of t deu retes,n dm onsot tt lhineg ufiasctts twhha ht inthkeinyg araeb aowuta ret hoisf lpsauanbrgtciuocanugslaecri. o puTrshocedure, but t o are approaching a re-written m aenyky nm otwaimkleeed stg hebe yi ort hre twahta s oyrt ht to alose aesw irhb eos ltt o k tihnsedyyss toecafmatically follow any (1972:98) put it, f incdoimnges afw ndi,el lv inicm etsoh setoter themt. sgeAolismk te elatyti m thbe Laboeevs wmWroiotrhn the pleasure of being theout aeb gt,o huwatth iitic.sh kins otwhen caobnovuetr sae loa ffni rgtshute a ggcoeue,m s tuhthleae t mivcoeer rtpea riwinntecy i pcolaefn :b efitinnhdeg mSotreu tdah eonndetosw los hglioincugaluld ip,s rttiohcce erfdeieuflordre e et, ovn eaondt owbpeht .eanfr atihde tyo aarpep nrooat chsu are n eowf tlhaen geuxaagcet The th A. U. IWARA/Theory and Practice of Field Investigation etc. 39 pmstrueodtvheeon tdtoso looo igurydneg hiasestl n f d bttaho s fai i tc nu a al onlndl yep roas itne is ra t to be made here is about wenvrdeo rnsbgey. p Trshoceice esndctuiiefrinect iifnmic ew mthheioctdhhoo lo owngehy a.i st Strcresearch tahnad d is the yiceiannrgtei fftuiocl pIatna ryis t ocuonnnscientone ese chlisaeesn, tfsii ifnoicau lsla ynsince n, d e oa a b reoj cvehnec ent fl oydr, wialh enorgprol heaer r vloe eu isns lyo ticular pursuit as one does. A ntsdh eto nfa eia’lse dw otor kp. rTovoe boen erisgehlft wmreoanngs. isnetlrf-ocdriutciciinsgm s awfeilglu sa aleradds , troe liaa bciolintyti tneusetsd arntehdfis ms seikg ivnne dst hteiosdf rinemsteeprtoehnsostd ibionill oiotgyni ceta’osl hthaellrmefaorrke oexf ptheect escdi eton tiimficb iabteti twuidthe, parnodfi tw fohric in chhr em i sot shfs ee-n cstht ueocdfke sno, tnw erhe’ssi cemha reactrhheeo rtds, ield research. h ies Section III Perform ance an d Literary Stu d ies i DANCE STUDIES Pe g g y H a r p e r The Institute of African Studies, recognising t fimnoartomjo dsr .aanrct ea fnodr mass aann di nttheeg rcaull tpuart of life in Afr hicea p, oiss iitnioitni aotifn dga rnecsee aarsc ha wpohliictIinhc atlah reae n fdae rnms oeecxniapt lr oecfsh saciounnlgt eusor afl rtal and sociological significance of these rapidly, in some context to th atecrc roamn to record the immense amoun aptdoi stpitaionny inwgh iicnhd uresftlreicatlsi stahteio ne,c odnaonmceics, tNhiigse nrieae dp raes in ree nbtesi nag ftoarkmenid abbyl er epco rorodgf i ot noafl ewxtainysc tioofn .l iTfeh ea ruer gcehnatn ngeinedg ceremsoynnicehsr oannids efdes tsiovuanlsd .o fT wh hich dai rnmagma dtmeareni.a cleT hceu rfriernstt lys teapvsa iltaob lme eein nce is a c t witho cPcraosjieocnt s uanndde rs itghnei fidciarnecceitsi oownf odorakfn Ficsre a pnaancridts orSef epp nt etrrfaolr fmeaatnucree, , aonnd fitlhme Film thec o llectoefd f oarmnd inf ilAlefrdi caant dthaen cien sist ibtuetien.g Rseets euaplra eh .ct eeed Ford Founh d:i ncItononf otmermxettauhtai d olo anfta ids c ootnonsf is analysis 44 A Handbook of Methodology in African Studies ATov hedreatn Ofcuecncasiexpressio unctssi uooanrll oy nfu and Signi way of life. T haimne dp llfsiicelsivt e srreaevlf elesrcuatlbi multiplicity os ffiudinciacatriyno ncens of tfhusen scoitmiofu D strunlst ance variety of occasions on the dancoef isf upnecrtfioornmse dis.c t auwnreehousofte inco hf r ltymeh , ewith a main, flae ycs tobecedi eetixynp laitnchidet P231.. r . inc reee i xxlppi pgrre a eioss lu sO, rviteu 4. economssiiioocnn o oor f r t Functions 5. expression offo a p al o poar tcteerrne moof nsoiaclial organisation 67.. reedcurceaattiioonnaall h cicsultipotiracytai loo hnr iamelryatrhcohlyo goyr organisation. 8. entertainment DMstroaetnnivgcatthei of rnao smm aRgyoe dblsei o grci osompuirpisutsl :s Riuvsieut uora to appease the saull ypl p eroresrcue adCsiievnegr: easnmo elincoittenirnyg aid, protection or Propitiato ry: tfoa vcoeulerbs rraetcee aiv seudc.pceesrsnfautlu ernatl epropwrise p er so. rise. Jubilant: r give thanks for tNPhuoer tpe:seculroaistrue paolu fr fporoavsmeere awwll ceremony occasions on whichho, rictkhh. e aTdrhaeen ricnee d aiinscd a totefhdtee nbs yiga tn hicefoi cmsaenbtcitniena got ifoi nnth weo hfd iacsnhac,c erae nwdd i tahtnhinde SUtsaet uasn odf dsiagnnciefi cpaenrcfoer mofe r in s ois performed. winhteicnht . may enact an actmiviatgyi c ciety and role with aon-dm ismimetuiclt aancetioouns, inor t hsey mcublt.ly signify oalinc igmesptluicriet Dance as an Expression of the Pattern of Social Organi­ sation within a Community P* urpotsoe :differentiate roles of individuals, sexes or groups within the society * P. HARPER/Dance Studies 45iaffirm attribgenxrdopiurvepisd, sueioa.gnl . oaor u n fg* institutiona tretoshu eand attitudes proper to social position of the to goals witlhisine ad tg heee p x gpirdroeeusnpstiiotny oafn sdo cciaolh geosiaolns aonfd aa ppparrotpicruialtaer msoeacinasl community. Occascioenlesb or f perfor* mfuonreera alg,t eieontnce .roaf m aa snpcel socieac : li fpicu orpccoasseio, ne .ogf. social sigunity. to entert naiifnic avnisciet,o ers.g .t ow ecdodminmg­, D** ancestexrpsers eass slse aawn Exleadershipdae yarsns hdai p npind rat ession emnrden aainnl tsoe ro o rdnfe am f rl P, aoeir onlit.dgte.a rwi inwcairn aitglh rio io Onrr’ r s ad d eseofer danccnieedtsiyng the existing Notetahlle iorc rcealsaitoends founn cwtihonicsh. a particular dance may be performed and Economic or Occupational Dances P* urpomtt se ooe fnuatscsei l wimtaitithme aewctioccrk by rhythmic execution of actual working move­eaxt pwroesrsk , loectca.l ec o omrnepo-eamnnyaim,c teem.nge.t n.tyt peo fo fw worokr km poevrefomrmenetds , irno led aonfc seesx etos Occasio * aftaor n s amc efionlergbm ro arot efh ucesnelteaibnsroga.ntaiol nc aatl ean dmaorr eo gf erneelraatel dle voeclc. upations such as aRbeslatrtaiocnt sttyol isoatcicounp. ational prototype varies from realistic im itation to 46 A Handbook of Methodology in African Studies D P ** ance as Expr urpovtsoie toc tccoeelebrate e evsesnitos nin ohfis Mtoryitchalo olro mgyy tohorl oHgiicsatlo orryal tradition, e.g. * tfcaoor nmrte r ile ieb in-neugn sr iant e atcoct ew pgaarres, atd te peeevdresion odtfss h weoiro pmermfournmi thyu nwtehros’sf to heeiscn o inlni vofiomnundie forebegiac rm sa e nmg dances, or impcti vcommunity. ments from past occupational dances inll iicv o iie r tt ydy.ly , bbeyxy ip nlchicluuitndlytini ngag sm ipresent performanoa n cvn da expressing contemporary activities. ees­ D* antcoe as EducatPurpokseson oawssliemdiglea,t e antteiw ion in Traditional Soc tu dmese,m ebmerost iionntso aa nsdo cgieotayl sb ya ieety * to pp druocpartiiantge tthoe mth iant * stfrotoa cnieeddtm a y tu .cate children in traditional patterns of behaviour and sboe caiereditnu rd yh cea- sat ecof ec .egap cotendd nuoctr ma g, teac.hd otploer soccpoeennrtv s sn .dd wecyo nu ar tdhruien ng c ts tphem of theidgnueirrfiiinocgda ns ccoeou f dan rotifsn hiftiei gaetirospr tiolrin o f dt yp rianentpo ev iaadtiunlg pare d child t * twahsa ear f ncmotala entt hrroooldl e sao nfa dnk edde rpiseicnsipgpo lyinnoseui bnigli tmiees. are for * danc necesinstruerc etui,so eandn. dt oin rceuilncfaotricneg epdautrciaottiiocn nsaa trptyiht yuisdnie caso.lclyc ufipta, toiof nteaal cshkinilgls thaenmd * to teach historical and mythologicaall terxapdeitriioenn.ce and intensify oral D* anwcehe athse rE enntteerrtatainmN* oteiafn doathnecre icsa stepgeocriifnyic magellinyvt e eisnt deve cre aa tperdi mfoarr ye notre srutabisnimdieanryt fourn ecvtioolnve. d from ** wzparhtoiefo lno pomf ceunltt doaf nlcoecsa ld ut erar tevoae slm ofniasssc for change, e.g. urbanisation, * influetehsnescireo ddn abanly c ooert hiasem rc eaottmhenupirec.t gitriovuep os ra n iiolointniae-rcsyo, maeccptoeivntiiottimyveeitc.c .need, seculari­nd cultures: in what manner? P. HARPER/Dance Studies 47 D* ancipsea tr htaiecs u dlRaarne cgcerr ooeupapet?ni oton all members of the community or restricted to a N* oteroefl tahteio cno omf mthue style and movements to the established dance forms folloHwaivnign rge leastteadb ldis ni ahtae ty d . s htohuel do cbcea rseioconr daendd: significance of the dance, the G-- enerPPaaol - Matl B iitnte aircc ana k n lo g ofrd r o ss uonc - System of rgueablins idaiisdla ioatirrogyna e.nciosation in the community.-- FCauclttuorrsa lo pf ossoictigioailon u nomic activities. cohsf a btnhegleie e ifansnd. div tidheuiarl caanuds eosf. the sexes in the society. S-- p ecifEicth Bnaicc kggr- ro ouupnindg. --- TD PCooro uvnitnrcye. , state or area. - VFii ilstrictrwlsatng aend other languages spoken by performers. CGNueanlttueurrraal SettingDance alPl: :e rfor­ aganreco hgoirtcaecpcathsuiiorcena,l , topographical, climmance: larger commudinnrae lsi tsss,i tcuorawatfintos n, r.eigtch. t or a tiacn, element in a N- oter:elation between dance motifs and natural and cultural environment. Specific Setting Character of shrine, marked square, palace compound, etc performing area: 4D8esc A Handbook of Methodology in African Studies TDpiameDut r reae frooiprf tmpioeinnrfg oo rafm reaan: ce: size, shape, outstanding physical elements. Circut:miosnt:ances in relation to other activities: A(ac)c ompanimentIoPnlfsa styreeuldfm- abecnyct omaml:u psaicniiamnse npaths: omdtiosagtnriniapcputh lsfar,t oomr sdkeatnc aerophones ed and/ choeerrs sw ifao nprodns/ bsoiybr ldiena. sntcreurms.ents Type of instruments: nicdouirmodpboperh oonf es each Manner in which each instmLruoemcmaelb h tnyr opanenes nta hm eoelpdshones Musicians: oanf tsmheexem, dbaaegnrecs,e ronsf ucemonsbsteeumrm be(les oo ilrno d rro dine erls struments. apste lianoysnee dmt.ob lee)a cho rogathneisra taionnd toof (b) V——o c al: songs, chants, words or vocal sounds.——— pro str en eeexlx sat, ve imded by dstai o ble. ognfe s,s honinupgm sto,b aenrc, edrs, musicians, cdhaannctreser ssos.r owf opredrsfo wrm specific individuals or (c) ith er tsr. anslations. BFmPo oeuro dftyso icrs p spectaim teaa r nem cdus,ptors b sisynion gd,: a hncaenrds, classppppeecicnitfgaic,t obirnosdd iiyvn i sdglauepnaplesri,n aegl.n, seetmc. ble, or Music — TTrmhe aempe recording if possible. If not:meytt po lorhidcmi coi crp gpaaatntteitseranrtni on constant or changing, DANCE MOVEMENT SEQUENCE OF PHRASES DANCE FORM 50 — newlyA d Heasnigdnboeodk: of Mcreetahodology in Afrfeovro alvt ieson of an in icdainv iSdtuudaile.s —— imonrsuntsariumcmael nentst sw: orn wcoaofr rrnire ida pde fcriofimc etvraednitt.ional costume. — mora onbipjeucltast icoanr roiefd : adnoc ed aotnu s a apsl ,a prt of costume, costume or cloth significra cwnercoser anhr iasaptsoh dreiercncaoal,rl iaats.iyomn?bolic signific- dpuerrfiong ?add to or discard garments: Idsa nthcee us rmance: moev oefm geanrtm? ents or cloth an integral and important part of — masks: sdsiygmnibfioc— faces or/a oes si laizsnemc, e,w. eight or the wearing of mask pboatdtieersn pedainndte d or s aigffneicftic manocvee?m ent of dancers?: cNIfh oeotcbeks:what a ewrrevh eerret hgieasrr dade rdfeo sarsse oihgrin sce osrts atnnuedmwaerl ydi ss aworfro idvrneecd se pninecc yi.afi ccaollmy mtou pnlietya seh eh ismh oaunldd oR oestlepa ewtcithoaetntohsreshr iw pthh eobr eec toiween Performers and Specta' r'erentiated and snf lsuat iisdtpu. etec ifainc paeurdfioernmcein g- gorro wuph eatnhde ra tdoerfisned group IVnv hwehthaet rm sapnecnteart:o rssi npgairntigc, ipate in performance. these roles are iWanllfhooewrtmhee dra pnacritnicgi,p ahtaionnd spectatdao lr tsao ni nds p gseepcnoifenircta ailn clapping. n iesdo if. uv oisrdm uaall sa,n dg rcoounptsro ollre d, P. HARPER/Dance Studies 51 Audience Appreciatnaiososo nsct :eieas lst hmceoe nncsrti idteria oaesthetic conoesfr itdaheteiro n adn tas wn, hich spectators base their ioncse., T—ra inNoinrog t perw o feo h fw Drmeht a he n det chre erarsancel :l.p emrfeomrmbeerrss aorfe csopmecmifuicnaitllyy trained as dancers — toPhcrecoiufrep samstiiaooinnna. lo cocru paamtiaotne uarn ds tsaotuusrc: e oi.e., w , hseetxh eorr age f income, or ad apnaci gnrgo uips rt-time ——Trainin— m g:eans or techniques: formal or informal. —— i sastg atus and etaketer anati niwnin hpgirc eha x ppeerrifeonrmcee how much tipm arerea gitsui olsanpr e fonf oresaf ttr acu eoramecht in dpar n m ao er or instructor. — aids to performance: ritual, mcce eft n i cdeo ce de aci?cc ndac setirroasn in?liifneg .or only under­ same. ine, stimulant. Effect of Sbeyl ewcthioonm ?o f perf—or meocruns:— aesl ttw hoehrt aiscto ccbriaaitlse isrsio:a c idfeoatryn ?dcea naceb ialibty; membership of <9r mers? (compare with that of aiulidtyie anmceo)n. g perfor­ mTRhoeevc eofmorf rm di fournmct iosnhe onaut nopgfa tatae nrdndasn Acaenn dai sl hyassubiiittses do f Dance Form organised nslodd acbsoe nt otre ebxcetouradl ecdo oft ot hiets pfaurnticctuiolanr acnudlt urroeo. teWdh einn tthhee interItp rise tiamtipoenr aatnivde a tnh aaalvyta stiihlsa . nbTdleiht eitoo n rcseo chnoatrevdmee dpb oemeranar tyne oritaeld tthheenn t. n heee dres sutolt abnet acoccmepssriebhlee ntsoiv et her ewpirdoed urcatnieog nree cooofrf dsi a ptnhegec i sahldiosautnsl dcwe p hroio nvdid feu ture scholars for aspect of dance study. (As an integral part nos ef trweir amns acwcuhriacthe aanrde economic life, dance in Africa is not only of interest ttoou ratkhl ,e i nsdcoalcunidaclee s aannandd t5h2ea A Handbook of Methodology in African Studiesaeacxvctaeeil tsarsbeib leisl pitemyc.eiatlhisotd.) oAft pmreeseetinntg, ptrhoef esrseioqthesen stirvaenlysc ru ispDetadion ncinse aEnrueor totaoptoieo nraesnl, idaf noAtr mmupes roinoc af nu aisrlyelymm*b eomnltiascd eto rfaf inlmac ciusr atchye best to be trusted as a recording technique in Ap fretoirc saor enwcaol radn dd acnu sclcetru.i rption, here a vast aHamlo owfauecntv aaenrrde, ttmhraaisnt esrcsiratiapl gtoieof, ngswr enhaeete nvdariety needs to be recorded in field conditions. t o Arostf ddmauuncstctie o onab sv oiafo uktshinleye tboicer i gsini dnta ao n tlh cbee rsetfuedrireesd art, in esm espaatamerraeiba ltly e rabmso are being initiated in Africa, only be comprehensively and adequs bp aoacssk to as near an exact repro­ audio-visual medium. Film is accessiubanlteed l stiiobn l eat.hu erA no rtyo rsecchooarllda rea iedcg x cio ancmatl pmreaptreordiaulc tainon an in d accde scsoiubnlet roiensly, wtoh ethreoases cao nnovteartsiaonnt, wasi tah cthoem ppalertxi csuylsma rib nto eldcici tfa ef nerirmmesne tnlangua o tf,gif e cladane, inss afbrnaosamel Tydh tt hi erc apl rwesoernkt nino tAaftrioicna sbyestceamusse** tahree afussruthme hnique. these foeer msaucslc.t e Ffprotoram nec xetah moef p stlhteue, d tcyhu elot ufm rEoauls trc oocpnoecmaempnt osd nao n prc teui onansnsud i otiantbs lwed eharisicv haa ttbivhaeessyis a afnorder fgsotearomfmf se ltionrifec s Adfaersnicidga nn s apdnaacdne csa er ew inhu ich reflect th f time and space implicit in common to all performersn wswuhhiiticalhbe lett hhfeeo r techniques of notation use remain open to personal interpretatiorh ree yctEohrumdr ionpogef aontrh eao nbmasleoysvssieinomgn e tnwhto itsihes apInwadraetriecedu , loaitrf istyle. Those recording and nsp awtiiatlh ind estihgen laimndit sd yonfa mthiec questions thst ehe sebs aescniuctli taauls rstauolm eipmmtippollnoicsya otaif o trnhesec ofoor afd nitnahglysing dance should be keenly rms e ot ef tcaehncnahilnqyisuqiesu .ewsh itchhe yc oenmtinpulooyu.*s*ly* ** * iInm tphliee sfi eal dte acn hednv ioac livdaeandn c cbaepable o f handling the technical problems o f film ing LSaimbapnleort antioonBotehneers hc hnoorteatotalitooigonens rssd .uevsienl yo s pRpeuedcd ioabllyifs LtR atbuo adhnoa linfn d BEleeu ncreoospnhet e innnot .wth ew 1o9r3k0ins.g in London. * * * Iestux tfiefsinc dieceondnt vraeencidvoa rabddlee that g anm uecxhi sthe same premises have been evolved by adp tmeda tfeorria ul sise ainvta iAnilfgarb iclfeao ,r fmobru tso ttufh disny o.ctaant ioonn lym baey d ebcei deradd wichaellny ianuttohW ebnhetere possib P. HARPER/Dance Studies 5 3 deleterioiicnu gss. e ttotAi nntg h ewa ler httierfriacedi aittlhi oesnyea ppl eaArrffarotiricomann t hdoeaf nfufcuennsc ctstihoioonul performance particularly in rni tf uo daar bweh fiiclmh ethde iyn ctahmeie contexts. nl da nform can be r sdiemvpeIllnoe p tt hmeer omavsbe msweenhncitce h o obpfs reaor vvfiaidltmeio nac faosmru bethjreaec, tpibvaaerst iimccu eleamlreo msrcyeh noctlhsa erc.c akn d bcee rneomteodn iianl grap and serve to wfsoohru itch h thhe i e cri nte ss t Aub cfhdar n ysice iaqd.u Ieots ni s m tnahoyet be of dance thasrstou sauud b gmy s h teorod a uf ct tt dh eaadnt cfterho imsfo frotmhrems followingAfrica, but ra tihonef raN ntihgaaelytr Di aae, nscaGrlhyiptatinciv aeg uaainnddde fDaisre sstac rssitppetepicv iiean t ethrme sd airnedc tgiornap ohfic t hilleu sdtervaetiloonp sis mhaevnet it i si sa atdeenqtautaivtee satnadg et hweh etereclh itsnheiedq ugjaerorsg uoenmnd pwalnoodyre kdc mo mmusputls ebtx e lsayimd bfoorls t bcoeofe uanl d kn eecpcoet ssary techniqhe study on faf utd saaen sciisems iupnel esA lfae uvt eeal. raderetcviosertlsdo interested in t rica In eptdhe de a fsnoudrb gsseetnqueudreiae h nld is work. A wide t u asbnee afiolnyr sAei fsrc itochmae.p dr berhea enkngesepi vote f o dfpoaernnmc est o m oaaflt le araicaal dneemedicss t oa nbde fromD tahnec ep oiisn ta no f avrite wo fo ance material is view neadly soibsj eccatniv ebley ehennutemariaglsny babrnoedda ikesisnp gain ce th.s epTmahc eed wf athnhidec dow h atnhcee baansaicly smt.aterial is the movement of mduorvaetimon of the dance, etle nm teiinnmtto e .o tfhT ehtiierm eca onmiasl ypesoxinsp eronefts sdeealden mcine movements which he tempo or relative speed a et n ttwhs eho icfo hvt eimrtahelel, tmmo ouvsthceeum lae ebnninttssd aatrhree performed, and the metric and rhythmic patterns emotionmar lo evmfefoomrtite e v nw att h mpiecorio h vf oegrmimveeensd tt htweo idtyhthn eaa m aicsccp qoeumcaifpliicat yn yuoisrn egd roammf uasetinicce. rtegTxyht uesroeer tttehhreem pssue rrofffoa trchmee e odrf.e tshigen p aonnr d o sfps tpahtreiian ldg ads nefclrieno. emTa htiteoh neu soecf o otnhfc ese ppdatacuneac lie s imrnetocevonegtminoiensne tda noidnn erform wemitphTh hdaesifsifsee, raebnnadts i cctuh elet luerremesseu nltttoisn gaa inreg parreesae, not r inth raollu gdha nthcien gair surrounding different analytical approach nr. eelxatteionnts whihpi cbhe tcwaene nn etchees sei lteabmtuee t nat thsr,ae d dimicffaaelirlnys 54 A Handbook of Methodology in African Studies pdaytntaeTmrhneisc .p *urisnec iopfa lm eomvpemhaesnist irnh yththem dsa nrcaeth setry leths asntu odnie dsp taot idaal tme iosv oenm ethnet pnBaeytx ttec Aronnnstd rc aaosrnte c pemiovooesrdt i niEn ut htreeor pmdeesav neo lfo dmpamonvceeenm t foeonfr tmk ifnsr oetmeimc orpnhheya tshsipsmees c.igfieco pmoestirtiioc n stpoa tthiael P. HARPER/Dance Studies 55 AtIni.a considering dance movements as perhcocynotshm mpessa.tnaibmliesnht tbhya tm edtarnicc ep amtteorvnesm wenh rtifsco hr amfroeeA metric p r dm bi not uhtneimd b ea,t soiin si ttfihoaerl oambdsudesirtiivcvaael­ consists of a seqautteenrcne iosf ecoqmuaplolys esdp aocef db peautlss esa,nd in its simplest form or is the sum of different numbers of time units e. • • + • • • • 2 + 3 • • + • • • • 2 + 4 • • • + • • • + • • 3 + 3 + 2 V • • • • • • 9 +7 Tsshhhiiefftts eoo ffpThe w w ateetieiggrhhntst firanor met h oeof ntdeean fn ocestabtime rhythm in moeotrv ’teso b liosdhye metric beats while leaving othemr tseh nuet o :d t haeet.r g.t. hteh eo usttsaemt poinf gt hoef odnane cfeo obty oar fsotrremssinesg aw rhhi i ychth mprico gprhersass et oin ate rpmosinn oat s fc cvo deif e sn vtceeudllom psoien dualised aa mst b ioto yovn ace fmoor centing erm n tra,e pepo.a gst c .ete e rrtntha uionsf XX •• • X •• X9 *+ 7 • met•r ic b+e atX ( X =• accented r rdae udpraeinntigcti evt eho efrt hepn hythmic beat) different rhyyteht hrhfmaos a bam. r. mTahnisc s eimc aoryrh yrtthehmemraeiic n mp chaoryna ssbteea nwath oiccrhh da inesvg reeel optpoe a itane dcc ootmom ppfolleermxtei tlyay XX •• X• X• •X X• X• •• XX •• XX ** srtheyatdhym metric beats T56he use o A Handbook of MVisualfi soefdf- bmeoavt eomf seynnt crohpyatht eetdh ordhoylotghym in iAs fcriocmanm Stound.i es Breath rhythm, rpinha m yrwtthihcu sl amrlay bemic ho ft hyteh i enm sod b ova ansenegmc. e ds oena n: t cisc oumsepda ntoie adc cbeyn st otnhge Motor rhythm, wpgraharivtciihcu dlaerp epnadrst oonf tthhee cbhoandgye of weight in d in which case a orrehr anc p yetrh e te ty prov mrs’isss tmimnoga v idetemhse ethe beat potential and the contriatcivtieo n by-o daryel s notf orcreocsenu slitsots of giving in to, causing a movemleea“nbsee atosf” f gravity. Motor return to the origina a fr bosameste dto hfe omnuu ssec of part of the body; thetl pmaocoscvietenimotn e fnointl l oiaswn r eiesdpo elbaay tlhe eas wtoh sitcrhe sds etrhiev ea cfcreonmts of the rhy tteedd Emotional rhythms, egmiveo trioisnea lt om eoxptirveastsioivtneh ego efe sbttubhr eea n tdh mflioc wpa ttern. repetitive rhythmic pattern. ppeerrffoorrmmee ord f aatsnh dea bpeer fsoTimrhmep alenv ciaseual movement rhythm and musical rhythm of a dance p1o. intsW shheotuhld n u dbn eid tceirl etoc tf oorrm s eatn ionr gaa ncioc mwphloelxe , ctohuonutgehrp tohien tr.e lTahtieo nfsohlliopw minagy rchoyinthcimdee.r wIthe a rified in defining the nature of this relationship. or in termsfi toshfo t, m a hwo ussheiec toahfl etrha ectc hmoemu spaiacccnaeil mnrthesy nttoh provide rhythmic phrase, e.g. fm t hoen am b so evaeat m tseoin nbtg elear ht ybbtaahssmiics wa ipthhrase of music2. If t hae v isaucacloismedp am aol vrehmytehnmt phrase X• X» X• X• •X X• *• XX «XX • X• • wwwhhheeictthhh eerre aotchnhee y ii nncsotm nim strruubmmin eeenn ttt oi cspo mroofbd ines several musical rhythms, and whether the moevnemt pernotv irde u hyse ce t hqamu daalo murnhiniyfaited is pernfhotm oiocrv lerall rmedes aigidnni nif p rgic a atrtelanh er ticyoet n in nh motor; 3. Wrthesheu eldttho. emr inthaen td arhyth Pm. H, AtRhPeE Rb/aDcakngcreo Sutunddie srhythm, or the “overa5ll7” 4. Wsrehchytetihothmnesir c t hstahoteu f rocilel no cwoerr dst ihvinee rasge rp oreurpf osimultaneously n hyth irsmm siicnu gbp -adetnitvesirednmesdb. lein tfoo lltowwo thore msaomree ptrhheeyr ftcohormmmsep rlaesr,xe i ftoyuu ors indu iavhl idual performer combines several rhythms be noted - for exf a ambrope is i nd amnocest md dleirl:ayr rehlyy thomb oasvsen erment: two si acvnineddg .,t hTtehh rmee eur seailcraaet m li ou u rns l hs teahdneoythi pmb ysb u esst shkw bo oilelee dy ulndd In t r u m e n t R h y th m M o v e m e n t P hys ica l Drum rx » x * x » x » fohoytt hrhmythm tsehcifht n iq u e Sekere pelvic rhythm cfooontt toof twheight from one abdormacitniao en ol m a thnedr.usc lreesl ease of Gong xA .B• .Ax « • *x arm movement E caxutesing prleevaeclhnsion e flovircw raorcdk t. o full tAeol.bw Foaowrl of a dl josow iune rdm b ayt shoulder B. arm helpdtp baertri n flexion of aletv Ae la. M c ndo Bve bmye wnsrth ghoienusgt hand iastc cldenert ed 5. Wvinisshaterttuihomenre. nWtth he musical rhythm is constant m oorv emalelonwt. s for impro­ sdstuaapnypcseo w rtmiitnhog vt ehin eastghtareiunrm stteh neta s i mfsoptlerlaoodvwyis atthriheo ynti mhismp ripcoe vrifbsoaartcmikoegndr. o uWbnyh dea t hloeerar d ittnhhgee 6. Wtemhepther the me i enrnei t follows the improvised rhythm or leads it, or o dinu rdianngc teh e tgi uaplle arrrfh opyratmhttmaenr (ncse )o ofd fte htvhee elbo dapca kningc reoc. ouAmnndpd l meinxu iwstyich .aotr walatye?r in Tanemd piso usually deiss ctrhibe erda taes afta wsth, incohr mmaolv eomr selnotws fionl lroewla teiaocnh toot htheer X X ••• •• X• 5 8 normal waAlk Hinandbook of Methodology in African Studiesttsooe eemaa cw-hsla oolwkt)h. eSrbo,u get ,. pg.a cae doafn tchee mpearyf osrtamret rs th at . aB ubtr itsekm sppie ceadn (bine rreellaattiiovne lcseernritigeetsrh isoo nfo mffo otriv mmeeme aeus abuty ri enmi ndecernsetca rssihbinoingug ld tth hbiese, tsemtmaatpkeode . otThfh eteh eot irmdigaein ncrahel y tthohepm eb naiinsn igac tempo of the whonnltiest smc. ooTnvhseeismstese nrohtf ysate hcqmoumes nbmciena,a yit niob tenh aiontf d teheqepu esanal dmoeren dtr hifofef rtehnet ppcaarn be performed at differenof otttpheeor rndtsia oninnca eAlr f rlteiocn amgntoh dt iaoonnfc aeel asecexhrp vrteei mstso te ptionur eonmpi without changin avinto.d k Tea hst eht her isme piose ttoeitsrit vaimeb lairsghhiy gyt hthmtmhiecs overall tempo of the performance is often subject to changen.eadt itohne pTBt h .e per rhhaeytt tehermnn the dyenir mfgoyar myo barne ‘ceseft fuoodrfit e’ adc oimnn ottevenertmm soe nfo ttf h taehs e an integral part of a ca mpaicttse rnarse p rgerseeanttleyd vbayr itehde danm cdand oe y hv naae armvmee e i h cni agt q.h ulIaynl idtAy cleare fvr o iei r c mcloamp htahrreha ycvthed soter m oicf exprAe srsaiopnid. staccato body rhythm is performed with quick,e ddieafc iystin huaatl itoe,f bar sahtbrupt movements wcrocy e dot n yhr gmdtih w n igos rt pow eterhfieight in eo g a r h“mtw eo heed f ai vg thhwieci thrhh ymat hacmyo inbct era oheavy or light according to the movement. So the dyhy tnm”a oomfv ieacmc coeernn tt ,e ofm clclaeeydnt. A slow sustainer the c srauellvs tfeoarirsn ete hidne mpa oolsivgitehimv d movement t,e e wnuets eigw hohtfl ietchshes, fort content of a movement is tmoeixm anifest i f ptehre eis nsm etose vr nlemi ebms o epo d nrf il te .ms ye oantccoteir o onersn aetbrhgsreyon, ucwgehi to htfh aae n du easldeib dmeerdaa dteeel ecomofn ewtnreto ilog ihfn t‘ f,t lohswpe a’f clwue ihdaiincthdy Time: mMusooevvs eemmoree nntt“ tmaaknay be sustained or sudden. Sustained efforttsgihimvoerest. sSapu aqdnud ioecfnk t edms ”oa v metimmoveeen resuspeed andmt raee nsctio s ltstinse n s nco g isr a in ouftisigonhnt aso af sgalao iwlnos ntg st pismepedess of urgencyea on a noodff ime r a Weight: pMoosviteivmee nuts em oafy bboe . d fyir mw eoirg hgte nintl ei.t sFeilrfm o rm ionv ermeleantito mn atkoe sa na ex P. HARPER/Danee Studies 59 wthah e nee tae vbrnal object resuldig h yot d-mlyo oswsv eemmigohevnte t serelaxation gmciaveninn ntgisn agat i owinne. aakG esmntrtolen gm movoevmemenetn tn eagriadt eas mMoovveemmeenntt. t sensation, may be diregctiv oer flaelxteibrn eoa.vgtee. m rhefinytth amnsd oaf ltiegnhsti oonr Space-flow: idne lsibpearcaet ealty wmhaidche tito le rm and gentle the energy of the mo wsvteaomrpds and halt . eDdi raetc ta mspoevcei-f imc epnoti nist mwFlheoxivciebhml eet hnmeto svmeenomsvaeetnmito ensn.tat rtiss se dnwitr ieftlhcot wead ,dc eeanfitnrietse oimn pthaec tp sooi ntth taot winhdiicrhe ctin uduselg eosf’ sinp ascpe acaen dwa nitadh ppalneiat im nd enrts p ouorlu stiv cere uatsees a linear ment sensation. e xrpeasunlsti ivonefg eminnoe rvageny­ bine ecvToehmreyb dtinharyeed te e trboma gssii.vc* ee fefiogrhtt ebleamsice netfsf oorft tqimuael,i twieesi gwhht iachn dc asnp abcee -dfleoswcr imbeady1. Awdy rnimnaogmivniecgm qmeunoatvl ietmyma eoynr tie nafdfsou rilntg eww hirniic nhtgi imnisge ,s ouwusttea iaign hleatd r,ga enh deha evsaypv,a yci new degirtiev ccing a As an expressive movement wringing has the character of sttrlo:o tnhga. 2. Alrro esi e gsmui scotaaltv n iln ep cmreee sntsotu rmoeusa.tye r prmovemegn itn a sa nin e tfafoprrpetsi nis etssures, wgh aioc rfh i neicgso eqn oor mthisee sinu ffwering of inner psycho­ nervous but controlled expressioru noi.cnk a, lsitgahbtl ea enidgh dt,i rsepcat:c e aa dnadb tbiimnge 3. sTsmlhoewo o,e tdhlei, rmestecrnta, ti lgiighnht tsa ud rdyfnaabacmbe,ing m su iwc: hai cghol viadesim nagen n mte oxmpvreaemysbseeinv rfraecvete, mase wh o rivnsee mcd ic hg igviivnegs aa 4. Tpserhreees nswiene gcigo mhntto rovoefl lmead eg nlditdy namic aressing a eas m ina yt qb ent has a heue a saluilttsyet.areinde dgi veifnfogr ta ohfe apvuys,h idnigre act ,h selaovwy RLaubdaonl fm Lya baanna’lsy ttihceaol rwyo orkf mis ogvreematelyn ti nefflfuoernt.c eAds bay fhoirsm theirn sktiundge. nt o f Rudolf 60 object A Handbook of Methodo5. Atol tmeroinv. geThis dynamic gives a co longcye inn tArfaritceadn, Sdtuedliiebserate expression tdsatirrrogenecttg, ,w q mutehaigtghic nek t. fo sropcreressive e e.p du o 6. If the punching m ocAh n vsea cfh mraan ain egpx rpmerscter toeo si stv nseigvm eem nmotv oeavmse meinne tn htw ittihtliilns g ge ifvhe movement. a e paa ent is made indirect and impuflosirvte rghtiiveceausvla yar, tmchauno atdt nv ieen dmgine reertnh c gt tr y.oi atun gdcho inmlvoepnyagsc tegdra tshse wreitshu lta i sm aa stclahseht rather 7. If a slashing moveme natn isi mmpaudlsei veli,g hutn diti rerecst i.en dgA smu soaevn e omef xespntrrte esanssgi vtihne fuimlnicpdkuiirnlesgciv teedd,u snqteu riovcfkof,u salni geshsustr fomarc oeevx. ecEimtxeepmnt: a fl8. If a flicking movement becomes susrteeansistn.ievde l iyc kingu ltms oivne mane nitn daisr eicnt ma osvuesmtaeinnet dw, hiicnhd ihreacst ,a vimagpuuel sdivree,a mli-glihkte odmry istonl vao iws iat ism cohvaenmgeedn ti ntoof Definbiteio uns eodf inth aen e offcocrutp acotinotneanlt coonf ttehxt. emmice ntht:a t ac anf lhoaatridnlgy sitates data on the following initial cones idmeoravteiomnesn: t of a dance neces­ ((21)) pAIser trhfoerrme aan pcree?dominant epchriean nctgihpeea role fe ftsfwourobt s idiary ef fffoorrtts w whihchic hg ivceosn atnra osvt esratrllo nchgalyr ac(tiemr ptloy itnhge ((34)) AcInor nea ttrnha esertniens gsee movreb rlcea o(lcr dh tayhnnrgee component elements) or merge into the ously? Does thel o dspeoel ryfa a reme loiaf one element)? within the dynamic paotltrle mrd cta eqnducalities onan? ce ? Ie fr asso ll,ou iwsne f tehquawfohrea tins l importance: strongly (5) tInh ew shpaatt iwala ayn ddo rehsy tthhem dicy npaamtteicr ncso?ntent of tw admaivyei d ueafflo rimt psrimovuisltaatinoen­ (6) that of the accompanying music? he m dooveesm tehnist rreellaattee ttoo pcm Deoones the individual performer use one overall effort in his body Thaistt vtereremndse nirnet laodtrief ftdeoro erenhs ty htpheam rmtisca akonefd hssiipmsa utbilaotald type of analysis of the dynamic npyea?o ttuesrH nousws oe doof stheveesera ld yenffaomrtisc, enables the observer to recognise and defi nceo mthp f m eo enfefnorts o voement?t chfa rmacotveerm oefn at ptaenarrdmt iscs.ut alaEterf foomrft o vement or Ps. eHrAieRsP EoR/Dance Studies 61 or educationamcl iondndits ecanispt lwirneeefllsle ,c atss etxhper fe psmesrionfvements in precise and simple minitmo ethtiec cehnaarcatmcteern to. fT ah isso sctiauentdydy ,o btrhe iiennrdge ogr mtheerisr’ stoecmiapl erroalme,e notc,c ucphaatriaocntearl wtoh itchhe uimndpelircliite se mhuotmioanna l moor veumnceonnts i fvotcii he ordueu , cpernotvriadl,e sk ivnaeltuica belele minesnigth itns implTichaet iosnpsa.tial delineation of utilitaarpiaanr sat l,p fspryoacmrht iocliuotlsga ircplayul rwemiltyoh t ifrvoeargtmaiorandl dppeerarsficogtricmael rso ra npds yscpholog movement springs from sealekme enan pitnas rtate rrferm ousmn o cfot ehrcnhe t yasttscih oicmrasl necessity. In dance as an art there is, for surrounding culture; booucuti sa i, c dll a ya , od kyinnea nrrco eor ti tmici cd ealnigdh st piant itahl em corveaetmioenn to ff o aetuldlao ilw nf sut hnfoec rtei oivmne raiygtd ipnaeyar tmfiovoremv ees-x. tmeTnh prea tittfseo ronw onr elaboration of such movements. esnito no rfa mtnhadel C Sb .t patial design in dance consists of three-dimensional patterns created mth hyer o tphueegr hfmo trhomevi enamgir e ansrute raor.of utnhdei ndga nthceerirs boond itehse wsiuthrfianc eth oe f pthhyes icgarlo ulinmdi tsa nodf freaeylT ybh ee aignsr oteuirnmd sp loafn a ofrr efleo oforr pma titerAlternativel n w n hoicnh t hpee rsfuorrfmaceer so ifm thper opveirsfeo ramnidn gm aorveea mfalnoadok rer epepaxetttteeintrisn ynv , d e w iivth id ini tca uals w ive orp h k ee eriscofno n r tthmreoma it dhfoinr ma ofg rao udpe or in solo performance. Floor patterns may baienc i c tuieors.* ne a Iol econrfd d etahitnehc epeed br f i insc iatusees ugtaehlolym seitmripcalell yin d deefisniegdn fid er acetnst iofife gdr obuyp dai rekcetyio. nT: hme odvieamgreanmt fosryhw o fo aud rilamrdd g in orrga egm pasre erufaos. rin- gm esrysm mboalys poro sriitgiohnt,. clockwise or counter cl-ockwise and ess e ibvnaetc ikatlwh eeax rcdehssa,s nteogn etl eiaoftlf dIna nccoen.trast to the complexities of floor pattern o f contemporary theatrical 1 M U l c i U i ----- * 41rootloo o f m o m n t ------ l im it o f perform ing mro* (b) bmoreeropfviogeemrainetee andrtl efbctiuaivrrcecnkf ig . I . l ientIin gm toeto s P. HARPER/Dance Studies 63 Aasunctrdiro onmu npoatterns: are the shaposition dtvoien mtgh een snptesa xcteo o.f r Dthaen cebros pd eysm aaannyd d mdlioemvsbieg sn fs created by the positions ocaf speo tshiteio nsps awtiaitlh isnh atphee s t lhioemf imttsho evo efm mtoheevn etbmsa mesincat y fao bnremd rio mo fm to heo nep ercfloeramrleyr dienf intehde weaicthhi np ethrfeo rgmivaennc est yolfe tbhuet dnaont cnee. cTeshsea ruilsye coofr rae s cpaooc pfc rteohnveti esdded thromndminogn f a onpcrhro e esa.yti I htcmi uongn htsh aew sillaelrt tibeeesr Apmafortitvceearmnn ewdnati tnhpciaent tfetohrrnem wlsi.mh iIictnsh toahflil sow h dancer or invaluable as a recording techna icqpo s afrotric uimlapr rostvyilsea tiiso nt yipni ctaelr mfosr oaf ntohu-edm ysbnpeaarmt ioaiclf 1. InI nt hter asdtuitdioyn oafl adctainocne ptahtteerr unnets.e xtht et hfoe llsoywncinhgro snhisoeudl ds boue nndo tceadm: era is wsbtsho ahdnicyceouhl dp *ot in bhseeit idowanhn icccaeh e is considnr s tb hreee itnubdronidc yered: aa ttem drae bygy ub lsaeir u hsiumpne a lltede ll r y svttha a character icrlkso. ufiTgghhuiorseu sbt. a tTsh iishse t iceo dwra po hnroec spetule eto re birt ivtorodoey TLHeoegras d — neck The figuArerm ms o ——— ksehlnboeouew,l d,a enwrksr,li esb,t a,f cohkoa,t n,p teoay be further simplified wdh, lvef iss hips, buttocks in the field. en in wgeorrsking under pressure h A btreuand: upr aigshict -p ofasciteio fno.rward ahramnds k::s u : aienlr pbri mfor gwpha tondtr arolalfwe bln ow dbiytah,c kpg arfolrmuomns d f.sahcoinugld feorr wbeanrdt - 45° lower lfeegest:: ppKaanrreaaellsllee rll eflaacxiendg -fo srlwigahrtdly f ibremnlty. on the ground. Both legs supporting weight of body rest on ground. 62da. 4 nceT mhearye mmoavye Ab H bee amndtwo broeee o kth oaf Men twon, to tnheo dolohreed oera gryl foy in dAefrfiicnaend S tbuadsieicsur such position ps.osition and the Nnbeeoncte:itnyp k cliitcn,a lcTeohgnest iapnnoudsii ntfgieo entth sp eia nrl iatnlhleee lso ewf dittihhagrams (the back straight, the head and The oevl eoarfta lmla absnoliydg yhf otp roomsrsi t aioocfun t deaa nnpdce e e l vt iihn b ce ac A affe k nre , gitc t l af hi. erTm hklney e pbelas relaxed and slightly sensation of moving into the eaarctcho morp oafen ayt ioncwlgo asmred oas a vc ckteh dm on the nedm ece ay be u ongntrf oigduievnned epa rsrtiugh ta r eklr h)f ata coreer. wttorhi etehsr eet o e taherestc h. This is in sharp con ianteiotinc the dance isas pppeea rtitfaohlre m afceocdrec.ne t oifs gorna v triatanys tau tnpodr mi gthahnte ybg sortodyuylen swd o hsfi ucErhuf arccooepn eotainnn uwdoahuniscclhey d3tr.i aangoAn aldlya ncoerr imn ovspeso ninmov ta tneenotuiosn ailmlyp rfoovriwsaatridosn, boavcekr wtahred s,g rsoiduenwd aybsy, mestxaatney se fbmeere rndinding tnsion e sgs ohboofcd ryi fibs p , e brdoo gdarsye smwseieoidgnihu otm rf ,r sodtmeepe spo. nWthe o er ifthohio gtrh et goina tr hdree tlaoot tihsopenra ttiiona l tphleeerv feuolrp msrtieignphgst rooanfi tsloien ggtsh tehb erb iwnaglelising g e l.egg. omfe adsi uam n oernmtaaill sw tahlke , sdaemepe idnevgorlevee s osft rfolenxgi ofnh le xaionnd AfricDaann dcea nsctee.ps o tf t fhrteoh me b fotehdeeyt .g crloousnerd utos utahlley wgriothu nadn eaxntde ndheigdh k nineveo, lev.egs. narrTohwe ind arneclaet isotnem pta ohy aa san loso be D ereepco gstneips ping is a common feature of etc., depending on the umsrema nmayla wdvaear liokaifnn ttgism ,s etede. pga.. s wsamlka, ll or large, wide or sbprirninggs inagn: element of excitement to ae , dsapnaccee aann sddt a emmnpea,r ygs ylic. doJenu, smjiusptm inpog,f bca... fffrrrooommm bbootthh ffeeeett ttoo boonteh f ofeoett:: jduomupbl eo rh loep ed.. ffrro ap Jumps o m mm ooonnneee fffoooooottt tttooo btahnoeot htsh afeemre etf: ofooto:t: jslueinapgl e hop concTe ay b mp. transfunerrtnrrasin tegms aowyn e e imb heighgho tv iuns fgre d our om p a i lsnoo t woa thfdoeepne for oma e ti r n odorifn ogpv reoorg ntr heesw seihoaenrtt hhei.fr mthaed e dawnhcer to another, or as part of ilea pipnre orwfgorhreimcsshei vdteh pattern by P. HARPER/Dance Studies 65 180°, or qu oean rft reoornn ettu oornrf stb h9o pthre fceeedti. nTgu ornr sf omllaoyw bineg r eac osgtenpis ewdh aesn right in relation to the cee0 nt°to.r raTsluo br rnoesdv yoa rlavexe imss . athdreo uegithh ear ftuol lt h3e6 0le°f, h futahlllfe yttuu rrannress waltheircAnhca rttobatic progressions include “cartwheel” turns in wh ti cohr htoa nthdes gstrroauiTgnhhdet, h eve i wrktniuteohes sof ejmuetma yip nai nlttgeh retnu arttnreas n, wesfittechr. etnhce of weight, or movement in A p, r poaangtrgteuesrlsaniro ,o nof rop cfru orsgvtreeepdss.s ioancc ienndtiincagt ee feet in direct contact with the pdaatntceer nb. uilds into an action ph t dh by the ground plan may be A dance may be performed rwasieth ionu tt e erm rsh yotfh msteicp sp fhorramsiinngg oaf stthepe 4st. andGinesgt,u srietsting, kneeling or a progression of steps - in a obef tehxet ebnosdioyn ws aeorifge m hatoc vtaienomdn sea nortefs tph lyei nligm pbos switihoinch. do not involve the head and neck. oef rtfhoer mtreudn kb ya nadr/mosr oinr calu ‘dfree em’ ltehge asnudp pcoarnt -su wccrAeiss tsg i-ev sefti unargceet iromsn. asy c ovements of The directions oaf otnhsei svta roifo uas spinargtlse oafc ati olinm obf, ea. gl.i mshbo uorld ear s-e reielbs oowf jpoliannte i nfo rw thhiec ha rtmhe: mnodv leemveelns t oof raigrmin aatneds: leeg.g .g, ecsotunrseid aerrei nrge ltahtiev ev etrot itchael MH AD e iegedhgep i:ru sm : aabt osvheo ushldoeurl dleevre llevel weigIhn tp. hsytsuircea l ma bye bloew p esrhfoorumlder levelterms gestures deepde nind purpeopna arnatdi omna fyo br et hdee stcrraibnesdfe arse:nce of ((ba) t5. ) Af alhneexd roto rg h he eisyotpnue aaatdin,o dna r emoxfst e aon jr-extensior oint(s) re creates san ilo e don gf s o.elitnhf jaonindt sre sulting roeea trieolna troeedf s muplaotrivntesgm oi tna ttion of the trunk, neck particular point in space. A number of gestureefns t th h feer flexion, extension sion build up a spatial action pattern in terms opfe gro bfmoord moyn.estureeed, tfioon r amsnuoicntchgee sar­ 6 sgguee 6 cssttcuuerrseesi vppeaa ttgtern. A IHandbook of Methodology in African Studies direction "arteee rscntlu ere f ethneta iclsh aanng ea couft ed iarencgtlieo no fa tm tohvee mfineanlt , ptohien tr eosfu eltainchg wdgrieraiedgcuhtiato l noc, hrs aonc hgfoaern mog iasr layn dgueflianre do r agnedo mmeatyr icb ea nstdr etshsee dp boiyn tas poafu cshe,a nugsee ooff isnp awtihali cpho tshitei omn owvf ei nd giirn et chtdei oyannca ccmerneictas,t eisna s a t hrweoe usll as a definitive change of and may vary fromehmi cdhena ints c mehrea nyt ocpe a dsfaas throu ngpdhaet, idar lag tpehhsetruarsnr cemro wrei tdhiifnf icau ldtr a tnot ehe aponaf t moc ed eefnip tneaerseu nv s e oeo m ra estnhta.p A r no e tahcec ednatns coef mp mble. , tTtahhteee gestuArneg pualattre o havrrnn asin sed.m reo gnu tntshd. eend gdeespteunred poantt ethrnes rmhyatyh mbeo -cdoymnbaimneicd pina tcteormnps leoxf ep6ae. rrtiphGh oeensrt yuw rohefis c thmh eath yle io mdrbiagsni nciean te in the torsmfroamke tgheen elirm spa obu is pe crefo romr etdho e oyar n mtdh aefyl og webse to uuortrewi emanrtaday t tebodew iadnritrdoes c ttthhedee tmchoaen yffi unilemld ps toarsneetd c h s as no iun fs t e ehc oioos w f aetrxhdtees n the body centrenomic pdeuersdseo lniobafsl , ksopinra ecttehi ce . isndp In eaws cigege nnw eral a dancer may soloist hich oit fh mintoh vethe mem eornavntesgm eea nroetf 7av. ailaPbele makesc loesxet etnos ivthee obr odeyco. nIonm tihce ussaem eo f wthaey acno menmsoemn bslpe acoer pmauttsecrlenssr ccou fosrs ivteh eb deaantsc em. part of thaeru tbshionedygy ma aryh yrtehsmu aliytc fbmroeom vs ep, e.g. in one or btmh aetei anclotl ynb teeraaxtcptrieosns e-d r eblyea sstep or gesture rishoyltahtemdi cm pohveramseinngt s ooff tbhuet tomckosv eomro etbhnr teshoul e of a group of patterns. afsotrsm, d etetocr .sb Teo hrse eistne u abp e pianet slav iapcc acrreotnicctku ,t lhainer featuPreer coufs msivaen yb doadnyc ebse aints Aifnr icaa .great variet iyn go fp feorrcmusss iavree ma ofvaemmileianrt 8n.i attye rbTnehs e s aimnacdut litpoaentre cnpuoasutstsiev repn a mrtoosf v oeafm adenance includeslocated in a different part of the bno itdn ypd.a ivTttihederunyas lm. dAaa lnls ctteehprr’ es pem attoytevpreenmss e,o nfg tea, scetuy form a balanced utnaioic r tn e pa>n * h bresde°nortmm, isin na otaef sawunib thsai cdotiianoreny opproh srbaiotsitoeh,n ooofr r tohflneo ew oittnhygep re f raoocmft io antcht iepo andt ticeptraanttstee sre nno tfim rtehal yyy e l Pscehoaoduilndg bpea ttveirenw. eTdh ea so vae r . aHlAl RPER/Dance Stusin galcet ioenn tiptayt tewrn di eosith fa lal dpaanrtcse ro’s 67 f mthoev emboednyt ip9ne. ntrIib rtfeorrmn uting e m sthe si vmeunl tiaf nin relative repose. the armse orm,f aoaync tebi oepn ai,mt trephr eynot,hus use of more than one acrov mee.dg ,a. ntthhdoe du sygtnheap tm hpeiac tr twheyrhnteh,r memaiacs yat hnbeed tfioornm paalltyte cronn sbtya nat moonfo ev tedhmaen ecnaetrr m pm harmays obev.e eHmeenncte remain gdeysntuarme ipc aptatettrenr nosf overall style of the the acti stressed by the mov emam oceovnemtm boeifnn tath,t ieoe n.sgt oofnof rfpmoartatlelyrn sc ounssetda nsti mfuolrt anae osupselyc ifbiyc prhaytttehrmnsic, wphhriales et hoen gae bsteuarte t op abtetae .e pth aen dbm/ao saircn tdrhh eiy mpthpemrrcoiuvcs isspaihvtreioa mnse ow mvietahmy et hbee the overall visual rhythmic phrasetr .nb amsiasy b nuot tc oaicncceindte twheit hs tirte isns etse romf st h noetf ma1c0ot.it oi(fn ao,) fr The dance matempo orthh yteth hempreeirc f moarnamdy adbneyc ne y a.a mTchoicins s pisatt teorfn sa, wbahsiicch pish rraespee, aitne dt earsm tsh eo sf t mar ole h e wpmehorivfcoehrm mecaannstec e a tt hlteeh aedc litinemgrm axti now atiailol npb o kpiehdra saec cmelaeyr abteio pne roffo rtmemedp oa t dau croinngs tathnet possibly returning to the initial teo f n ftot hlleoo wfd eacndoc nebc yeo nrat r darution or climax of (b) A sim empo of the perform erdianungcc teit.ohne doaf ntceem: pino pdtheeerv cbody, edeveeulloossppimevdee p.bgly.e inpt hhaer a sstaeedp od pfa mtteorvne.m Tehnits mpaatyte rbne mesatya btlhisehne bde inex otene part of danc - beat patte nded and and ec ommopvlneetxm iitenyn tco ofm mmapyol e rixntiistoy nc eonof tfrt herede loaintre igodit nhmaelr o bvpaeasmritcse nsottsfe, e.g. gesture or established. This may bevs ertaemrptee naatts e udan astsiilm thapenle b eapxshtiercna msdeeo dtai nfm doo pdtv h eep e mva ebtelto od neptr n yi. pn o h S ro b tyh f the dance. rIarnas enth giie ea acadsdei titvhee p rtoracnesition f s (c) The pattsesr wnsh iocfh r omma yo dneep phrase to another is dependent on ans aabnrdu pcto mtrapnlestietiloyn amlteary et hdaep ptoolry i fgtoion eanld p ohnra ssueb otlfe mgroavdeimenetns of movement. patterns (if all these are in ru msste e)ap ,o ngre ewstot u praehn r aaansbed.r upIpenrt ts pmataiya lb ete arbmrsu ptthley pnaottt earffneicntge do rf eomnaei no rc otwnsot aonft .these spatial action elem cuaeslntsetivsr aewt imohnoil veie ntmh oethsneet 6 8 and Atybpriucpalt ,o fs ud A Handbook of M dandceens wori thc ocmleparle ettheo dology in African Studiesly de mSsouombvteel emc aestnertas nroseirtq iuoginrr iandgdu eaapln e naadtdhidnleigtti iocn oo nr t frivaninretsdui tosispooan tsit aelac rhpena titqreeuraend soi lofy f p mreerocfvooegmniesnatb ilne common in dances which have a oflfau imdr oeolrrae t iimvceoplmyro pvslielsixeg dh mt oavletemr rmanc form ieannt itsospn a tairo e ae .f tpeerrmfWosr,h mebatunht often requiring additive orec ers uothf the rhythmo-d ay nhaemighict epnaettde rnpsr eocfis tihoen daanndc e.skill in thel psohanto taue lrcdnh ibanneg g. eeOs troa wfb deldi vise t shn ransi hetue adlwh i s iaets thi o tna cfrleoamr lyo ndee fipnherda sed etmo aarcnaottihoenr oisf tgirmaidnuga, lliyt csohm d aneg eo fo ft haecsteio nel epmaetetrne trthsn.e motr owavnhesemittiheonentr rrtehhsyeut lthtsrm afrn, ostmietmi on depends principally entails a change of the stIthfe eptn,h eigt e tsmrtauunrsseti tbiooern cptleaarrkciefuis ap copo, dynamic or spatial combination of two or three of these aspects of spseasdit v l iaa maesc bemt i onatiooin te nr mofs aollf oar (d) In some fo l des viwgenhm.eethnet r otrh ias trohefe cmo rgoenpvieestmaibteilonent sopefaq taut eecrnoncn e rsm toasnf tdo pafh ndrcaanfrom phraess ep c heo rra ats henesur. emT mbheear y oe to phrase ress ebq fe u paehrultin gnc oc aems epmsl buin a eastyee ictlordqua in ennnssis tto oaf cccooonnntrasting phrases. The sequ cieti oonf andtt rreaassstattiibnnlggis hppehhdrr.aasseess .c oTnhtea inneudm ibne earn cdaean ndmc ean ysae tuqcruoeem nocbefi n stehh eor ueclpdoe nbtsietti avdneet finaanneddd scereqaut(eeen ) cthe e Aoff o srdpmae ncocifefi ct phdhear nadscaeens c seea.q ftAueerlt neocrnen eam tiovarey l ysb eeivt e performed repeatedly to aoorrrei g iutnesauml apslleoyq umeoanfr ckeet. hdTransitio rmala yp egrivfoer mwaanyc etso oa f ntehwe rmhoyvthemmeon-dt.ynamic pe ab tytm ear unsshsi,ca narspl blyea tdwcecefoiemnne pdca lnecarly differentiated sequences If the dance con tempo and/or hi masnpeganetti ainl a dnthedes i grtnhh yeot hf mtvhi, semu daelalionsedcdey ttdhhaeenn cs eei.t q ushouldplanningA ea nnccdeo sn be e p srrtaeacmnttia sstianisb tlcsi osohnfes a d a nwuhmetbheerr otfh ec lenaurmlyb deirf fearnedn taiarrteadn gseemqueenntc eosf e‘nnocremmael’n ta orrf atnhgee pmeesrinfnotg rr apnrigoetram tnoet n pfto errn feoecaremcshsa inptacetere fsoa nrmdde alaninbce of the particular r mofa nsceeq. uAelntecrens atwivilell yb ael tesreat b eyer fationsao t lirt e nee and rtahthteieo a nrc ca rooafm r etmfngh u ee­ l ­ m P. HARPER/Dance Studies 69 ufdaimr eenctt ivoef fdsed r aonmc e thsee qlueeandcinegs mmuasyi cidaenp, esnod tohnat aw irthecino gan isparbalcet icmedu saicnadl atInhr erta h iliar rang nd isaa cnccogemcaes rerdens it nth ege otinof i basic sequences, the arrangement may be altered or A formal faoorflr lpaohnw ttiha ett immediate demands of the particular performance. normally found in rgsaeos ihevese is menwatir t n orha o finn rmg tehamlel eysn ttak a cont o efn sbeyq uthene cleesa d(ianngd mpuossisciibalny atnhde trainAe dd aanncde lemda byy b auni clodiau ltt osd taaann ccdeliisnm gpa edxr refaoqsrutmiennce) thaancer g series to hf ed a‘dnicceta steesq.u’ ences is aanndd rdeypneatmitiivce, ainn d in co .e*md pblye xait yte aomf aocrt iognro, urph ytthhamt iics ipmneotrotfo,o rr mae xepsrte atrotiee nac opef o fo oif i nr n tr mrcreata ho yancft n eh s ind e .m ni coch faa over nrcad erall t ocn atcecert.in otT ehme In dances nr aptia pstotu,e brojneron bosc it r tdoivef mete ainny v ringb roreilmnv ain constant performers may move into a state on, eg mso ret hneetn tdienar nitnhcgee cbSotrimimngmu leantnhctees m oerp nertri tfuooarf mlt hpeerre s dpaairnnactteoi.o nP aep rrfiosortrma tt oow fhp iedcrehfeo prb mutairlnadnc ecte om oaary fcpalocimsilsiaetaxst siothne. usually controlled by followers or assisteear nst soi.nf ap ostsastees soiof np osbseefsosrioen eat hroeer o1r1 .c hanFgaicniagl, enxapturerassliisotnics oorf fdoramncaelrisse dsh. ould be noted - whether constant ta1hc2ot.i uognh Physical contact bebeen ob pcsaleotrtsveeern of the dan twcee emn opveermfoernmt eirss raasr ea ni ni nttreagdriatli opnaarl t doafn tchee, popevlarecfroetrodmn aeatsn .a c Pecshl idpym. haPysical contact b, asincxa h lyp scoical contacd in oimnntit maincet t tiihcse e od teb ai t vsn w i oca e uet e, ntoi mfmteeensm bers of sly necewpsoi-ti hns taherudyml y a dance team has nactments of everydayino a rsnoodum sd eoe rlai cbsraeotribaraticetailcyl pd1ei3sr.t foorrtmiIote nrs sho.oru ladc rboeb antioct etdec hwnhiqetuheesr, the action patterns rienlcaltand how these are acquu i id oen sphhipyss.red by itchael oaTsnh tieist m cmaptoaeryga orbryey of Dance lends itsand contrasti n tghr eemaatdartiilecyra ilao lrs.gitaunaitsieodn e aalfnn tddo attalhlioelowartsre idcfo artl o dt himsep epleartye staehnnedt adeteniomtnea rnotadfi snv amoreife ndat 7140. A Handbook of Methodology in African Studiesmedxdiea t fvfs e knsd I noo rrs oemleae danceelopment lbaoobfro armtaeto et hfeo ramctsi ocno sptautmteer,n csl oo erences between v tehmceoe sntfuutmes of wei tfgh th hoteyr dpmaanraactepe,rh ioearrl snt ahleiina wh iiseb aiutrssin edgt hoteof pienvrtaeocr tyidtcheaesys eom f oatvhsepem edcetansnt. cse Ao lifsntoe nsi m .l lypT lhec eod sroteubsmsse ewrdvh eirpc ehsr hfmooraumyld a gninvcoeet efau nrtdthh ee trhp eio nspssirigbiohlert idnr eesIxst.t eisn dapinpga rtehnet mthoavt etm dmaankcee am doevleibmeeranttes uasse oafn trealdaibtioornaatilo dnr esosf isnptaecrew omvaeyn bine pdeifrffeor ho eungtsh ntheec efsosramrya lt oe letmhee ndtas iloyf wtimeaer iennge rogfy s auncdh tuohrnr deeeav eellceoompmeedbn,it nsba uteitxo intsht remnoatfin acteere artew d. oTf hoere mstauidnye m epmuprphoassiess ,m tahye yb ea rpel aicnesde poanr aobnley bfien atlaiktye no nf odt etfoi nliotoiosn ei ns igahnt eoqfu atahnl llyeey m i dnba eanntelac ts grne a ctfe with eoddr m ewqs h uioin tlhli b eAr fi third relatively integration between t e in ru imctha. ei Cnian rwteeh rseichshtos u alodllf malsoovA etnmhyee nmrte.alarktieodn sfhoirpm hboee ft fwotrhemeen a cl modmuasnpicocena le enlseto mupneandrt,t ss v. sehrTobhuaell dt nebaxettu nraeon tdeo dfb aotnhddey iec d nus a tl n tta ce huberl ei s rsseh.* hould be no lea dtWi oahnne don f t htfhoeer mf ofu teandlc ;t oiora nls soaty nldiisn tfrilceu learnteecsdee smc obfnrlaotnemxc teu oattloh efaroc tthtorerarsd ihforms of ramn do fc oan nteunmt bsehro uolfd d baen caettse amnpatleydse. d then tai osstn ubsd eieeonsr * Peggy Harper, ‘Dance in a Changing Society1* , African Art/Arts d’Afrique Vol. 1, No. 1. FIELDW ORK EXPERIENCE AND TEIE DOCUMENTATION, MEDIATION AND ANALYSIS OT DRAMATISED CULTURE Taprrheoe b clnehamatnusre andinforms th geain roegu ttw i but intensely fcuhone etrhxe twetnhitteh aotlfi m fimdaem oef na e tnayl p fr e fiaee sldwol.c dip Heiits rtko ctorv aeitsni n rfoicra lr,e s‘leianrgcherst uistictgoh raa tin ts m rueennsdeteiaorrlncyheidn ’go1 f asAnufdbr -iccbuaenlht uaSrvteiuo duthireaastl AfricaTnh Ae rto lhdi stsocrieyn, tRifoicy Seiber, in a 1992 interview: . Obnye rtahteh edr ocyuerns oroyf feerxvopimdeec ntyecodeu. tr[o 1 eh9va9ivd2ee: na c vehi yeypwoo utwh eabssui sitl tha anytdo yutohr uehn y ggpooot toyhuoetus iras n. edNv ilodoweonk c wfeoe, r atanhrdee iIamnd view 51] schdporolesaserss of the implic problems hti ohpnr;e etfh ieedl diss eticinnv of false conoscnct ea stiitsoisgnua etwsio. hnTi chhae n tdhfi irsds te kriiisnv det dho ef r escspouhnlettrsemporary attitude presently contend, theid o fuiirsss ntth eiesss mhinies dttohiureim c’aa ldo, uf tlaht nela eslayerscniosinn; gda’ n e, d tothhfi sea utphtahpoerr process. ity w linguisticAi rasd n 1i dss httah iilnel third behavioural. hlel 72 bheisctooTmrhyere is a A Handbook of Methodology in African Studies of visue ao ulf noairqnaudl etsreandsiet ioinn w(ohri cohr a ctoumrem) uthnaitni etsh aatn odf cwurltiuttreens twraitdhit iao nlo hnagveer ttwhreonu tgpiehot shts heceses n faatcu psreoyru frroecrsemesa aorncfc hi hig e n forermseaatricohn. aBnudt dwatea , mesupset ciraelmly eimn btheer ftiheladt wwoordof trhdes or prin taeldipl ihlteay h tdoe g‘arfefiere morsf’ , ionbrt yea lcltechceetn utmaulae rtaeer roionbgcidtters. Hit saetri eovnnact, ieoe nvoe fni n t ahrer owgrainttceen, liint ertar written bet often their own arrogutausttri)oe n h raaotshf ebtrrh oetu hgaahuntt hwionirtdihiav h iodewrutanol ,l iyds.oe acBise utatin esdt h waer itteihout die magisterial art landscapes of the li t ‘Ia’ ph facts communally (and characterised the to etnhoimngesn aal nsdhm iftpto o orttfha eteim ontpe hraroisfti oswr yirn i tattnehnde tachlmaaiotm np gto osk tit-nhcdeor leopdnro igaprle misrwty ihnm oo d hlf .e ‘ Toehtnatte rapurtihsoer ioal Tas f co ilso nthiael isamss e-rt ivtheen eisnst ethllaetc thuaasl newI fp, obwy etrh et oa ftohreeo guaopui tnahgno,d rw n ahlawetriaosy’n saa slmi toiaepnspi.ofessetde dto ours. This is the reason r e af as neo-colonialism even (erela)tsievaer ctho int htahte sfiheilfdt baencdoa nmpdeo frsieritms tse atrhcahte tre, xtthu ‘captured’ world in the sense of hiaoe n m oafp ppino gw eaenl r s.t thrate out Teo hfw gies have giv ea o drolepdsp iiogsrn tcauhtneaidntyg en a in ntdgo a co sper n totc te lTeehms nsetei ose nxo. pr apnSotswued eyro-ient is a whfp n o g a llteah yew in nsdta nwcersi tiinn sgtu hbejh emactvo.ed Heerbnree wc otohmreledn . isp otwhee rp-sohianrti nof applies himself like a textifd.i eeTl dhw isio nrw,l dof ortlrdo , iwntosh taibcnohcr erto,h wea nr eApsfherariraccashene oro fr o ErPd awccraiitfi gc sSapnaeidde ct(he1 ic circuml sl 9 tiaan 7nng 9dt” ) i aw “ lw ishr iaict hitn eg“xt that incorporates speaking a bnd writing, readinrdg ipnetreprlpelxaeys mofa nimtyy e,a d bibuurmt ,a cnceo i l lriaait phrt esrt hates inevitable not the separation between conceited with scientific snfa tc ttrhsee st h eeui drni sdnjoueincnecgst isoaAnru yr boinerttawe een a text and its few interesting instances of hawarthc ahartee r nRwooh ymo oSmrieea byteh rrpewtlhauyircn”h [pd. a1zz7l0e]. This establishing hypothesis before evidence is well iral lnu hsjtaarc s and Wobber’s d k t iood ’ theirated eliannnt itMfei erddnes s. kaAss an iTnhd Psywrong eigrmeeen aaornue cs h aollalsoging onfr g yius iaongl aAefricom wt eo’d ao.ccasions wh allory 1975, 1982, p. 6]. We irndavslel nutkssn’e odaw iw nr tooeons e gt na bianlnitse herepndrt hetcuaostniiaotsentx,i ctso lre [aiAnrcnfheerersb oeaf well that language often, ieRnnotcegarepprsr Aul Dat. Letmeraesls A Y,d c IuWlOLA/Fieldwork Experience and The Documentation, etc. 73 that languagete hhzea r taeun rader seE dastnwidlal rkwdno oSrtaltdiyds ,i, s aspunaedrsa wpwhhere we get field guides and first, that ofs at wdiov ianpeplya roerndatliyn ecdo ninflsitcittui enr gac sacinnhngao rIatb cantfe frHoirsadtzi cmtso:, grleomssi nodv eurs. tmsaigbennleitf, yleionxggiisc tmainl,eg ar anatisino gnpsau lra, eni ncchteoolnrlitegidnib glieen,n scapyne,d c tisfh teiaoctonic u n ,i utsdte,, n rta cha ahsna ctae nnogs ing f [ianAns , rtnii inmsmtruu­­ T 1956: 80; Said, 1979: 170]. tauldtieozn, wscpo hleeoe as nc r nih eaal historo l aiscnmodn ,w ceArpifttr iiii cnaocgna l n a psoof ( io innrs te,u pnh‘tellinat o grr waabne’ ols v ryc e ririm,b ebids )that of inscribing or writing. Thi ric tahltaaentd g.b uIeatf gotehrsue s ttemhneed a enntsot ethrmpaart iisnthet earionef wmanra intetyme nAp if(rroiicrci asinnt s plcaorniibngetu dao)gf.e vsi ewwh,e rise brye s s, spfporeonemscihb a le a ssft ooirnc hhtahesrete icnr etrllyaa ttihsveeepr attrohanatanel itffrryoo mmof rine atshToehn e cfo orarpb utohsve eo afp what is said pcopuialntrute rnhetas saw bfsiatehrn- rcveeaa soct hft irmnagud sitiimicoanpl/sli dcoaanti (oonr intoned) is what is tItr aisd,i toiof ce nc ooufr sleea, runnidnegr satnadn draebcloeu tnhtaint gw bhye rreo tthe;e rwfe f hoisel ksn omitfua wptiioecn a pnaodnn ddd easrcn octreheses. eaasrve ew nce oilflm aomsn ildtyte ecadlsa mmtoae memory, there almost always e rxaei s rthisci hsat oapnriedcr afelo xrrtmeecnaostriivvdees iinsno stttehasen rcweefhso irceoh f natoboton udanli ttfohfirocydu sal tpopfr oach to oral renditions, chants and recitals, d in aide memoirs which are largely intuitive. It kmneolowdleicd gne oatensd. bIofu nlcadonau nt to tolgriu htaeeesgr nam poe of icin eterate the sometimes intrusive musical of vibrancy and elasticity withinsu ss lit tt ooaf our en,ed nt bjects as well as the numerous be an asset in the documentations aonwdnh cpeaunpn sisut cfioplhde. lambtaeus setwd r oeortlandi ns,m au inhsidicgiahcle sle avnoedlf cbbueolctthou mrienesd isfgoeerrnious impediments for p rM oufc hk naosw thleids gfea,c tiot r mcaany above, whic hot hAuesc hapesrb iwev iedlelolg ceau sm offoe rnreteissg enisa rvrce ehsr seo‘aenrncsth ryes"re.s e.T kTihnhigse itcsoa skerne, olaawltrene attdooy tuchniotdesode Hnsoue m cpobumebrlp ished a long abstruse trea etriys ep ebrtinentoleft eIglyb om pisruovnedrebrss tmooods t aosf two htircahans, esildta ttoeun : them as ‘penis’. . . rn‘f aernud i ato’n uaitnl,y shoiesn eoh fao daf 74 I A Handbook of Methodology in African Studiestashlnirpdos u tc guhilst interestin. In uthhreies maaneuadtlyhiusom gts tohoritatfa vlnaeoteiven bgruee eathat missenga erc caahul ognohne u between 1890 and 1970, Terence Rat . niOdnte hrtehsrteaw nsidsaeimn bge riknllieinaednd t nhoistt ocroiame conclusions which would seem to affirmn tgdheaarnt ctceha em dferie almtdoa rainth eE ora fs cultu researchsett ra Amrftrlaii rncaasl tceonmdment ng Wuhn io eit uys ,u nledgeisln we rera s attuivd od ey . cIo qmumoteen htsi mo:n the cultural inclinations of tdhee wbcolaanrcs,k cw-iwoeuh sminteae syrs ew latehtlielo fd ne’slip gslhourtc ehc toahm eb erldaieciefk st ’oi mfb eae iwnafget epr utbeen cul ll-de th veoe nrloa pvtoaeg dillustrate [Ranger,t u1r9a7l5ly: o7r6 r]ie.nbteyl ledcistpulaalylye de,m oars cfuelealt eudr ubnand eAr fcroic e l oap s nn osoil i ft hithe aliscamadl In theB sthu atm we bese yeo c raeadtunng hma hr:ednl yo fd tehney t oawdmnsir ation for the survival capacity of dSastea aitlfei nm“tghe nwestiset h oc foh ltiosh ni‘ssi auklbsind are oft [Ibid: 76], of scalpel-happj eymc tusrs eats nesdua rbo ebnj erci incapable of doing for themsecljvehecestr fttehs with the arrogance of a researcher is the riddled with contradictions! ”a d ’e oomifn ssget luvdeys . tToh teh eim vpierwes sainodn sgcivruetni niys somonu sst ohmoenteimstelys aucnkwnoitwti n Cdo nosveeqrfo-ugree nnttehlyrea, mltihs aewt isohanamst .e Htahoseswyee rtviaeorrne, w e culture Issuems oorfe pr oaacipnipatr li osap ntrhdiaa cttle atlhsyse, oo nlregdlyge f atlhl aitn etov esnu cshch oerlarrosr si nodfi gperneosuusm tpot iothne. The real alontd owf en,i naes treeesnetahr, chaenrds , sd c oo o mf ingtirnosl can often be secondary or ancillary. Ecritu ltahcaetd with assumptions and neao rttrw oagec otfu t ahmlelya ay pp gopisavratus of research, study, re, and defective as scholarship in thean nttriceuete hw ,s hecniecsn seetu stsrh.y e T eihltlehu nsroioh ee g snur altop fhi spi eotshw aaetrr eas this, theya hbaovveeen gceosntmadteee rmtso e aninstsfslu umwenpoctuieol dnm s asaneneydm w artitttoei trus aor r efa e nt hldaec tkeirnmg .i nIn h supmitiel iotyf The engagemae“ssn ptee daukceart”e odr, iannfdor pmoasnset swsihnog ma amy ehaasvuer ed vea b eeoscf o pw l rhetischehaa tr pcohersetcrrrsai.tyo rial the “owf riter” oovuerrs ttduehe dsyig” ndaetvioonid a os fs wchiolll,a sros ualn odr rae sderairvcihnegr sp o rminacyip cloen. smItt ie wtt h e uate r n and control e“ m ereo nolbytjh eaacntt shows not attitude Dof. LAYIWOLVFie/dworfc Experience and The Documentation, etc. 75e(1ven an ant tia-csutelt uarned. of outlook but may be an overriding sub-culture; thineen 9s8Mi8oo)n r fe recently, two former students of Roy Sieber, Sidney Kasfir ansldtpa enadrc te t,o ar ondmde fauC s’oher ontlheisleti uiwcs’ iodAre dnineintpegba (1996), h hoisnteo rwiaonusld think tha erdi would be gtc tothmae snc gsiplinary stuplteeunmdt yeon oft fai rnayrd ti davvyide o ufa iAnl fdpriieccraastnpe deAc rttti vhheaasts. nFthooert cdcouenlpttueinnredusie.n Instead, tension continues to gene ibnray t tebh oet bhien tatwnerethperrnoe ptasoctlihooognlia srotssf wdhiiossctuoilpdril ainbnaes g t cooo nn tciwonnhiricher uicefe c h nt of the wtrate o nd istchipel insetsu dtyh eyo fp riancsttiicteu.t iAonnst hrwophoillsotg isatrst hcoannvde regxe ry, multi-di om ed ewcnosenilolt nionanul ef potrohmiens t. s Ttouhfd eyvr ieeo wifs , cnuaolg trdueroeeuisnb gtf rtohomnat mtah uemt ufuiaelltllidy­ ’thmaatyviotehn ’b eaths pn ewt methods. en rtieeh nehc aebv aeos ifso fcftu W oelrnt eu rmesu scta, no fg course, remember that only a first­ Adepegbaa:t was spun ar oshuuancdhd imEnk istohiine ut aeprantee against such misinterpre­ anradps rtEe. tjaaQrtuigoiatnme. Afmr ecaqasuskeesn itanlsy ,p roepicrnaetlj lueidsd i tchbeeys Fskoirn ac olovnegre tdi mmea bske fowraes thaesc kerintadi noefd s ktoin bues ethda at so tfh aen c oavneirm for skin cover was always said to be that o f a hum an being, usaeld, t t fh hee or wpraosv indoint ge vtheen msuah um an and animg sgkes swteidth hum an al form bs y atnhde tfa acttt rtihbutehat thaet t sh. eA nmya sseconskin m igkhst ahr de a t vi h en o uboghtht em been The tarluly p cloayrveedd t oin tcoo nmcaesakl sp aonssdi bfilgeu crreasc iknin Agf roicf at h(ep .w 6e)t. w ood tradition­ wevheantt uthatlehlyy ilhsi ketlehp a ttho i isnh feionarfrmo! raAmnnatysn trisne stteoha era csfhcireeirlbd ei n as raseme aeera cgtheo r o thtfo ee xtell researchers oToffh eho issitr eoonnwsyinv oeid f this b otic i peoasw aenre.d i Innpg r otthhdeau tcs tat, hmaene rdve esreeintau,r rcPnnisee rrt roleo hsVies proce es r dgceoesrnk t hrwoaildt h or vteehcr sd steehades tmwexiitllll. wsintohsrta eo ridllusion e ed an Michi nenceTeh esl ve t e F h w aref ouoy ch uleirkre trustees of an indigenous institution confessed that once controcrlaeluem ieous reselte tntoht iahoten a“eirnd a(rVcehregres d, selected et, avloelirregys r ,w a 1ssoci kt9h 6 i5nth)c.eis ipvoei nqt uteosot iwons, taniseiedt ya tnhde rperdoidsutrcitbiuotnee ldol fa add hey tell them ciucsomcrobdurirnastgee ditso b ayat 76 mdceaarnttgeaerinira sln,i tutyom” cbo(e A Han 1pr of pr dobcoeodku orfe Mse, thwohdoolsoeg yr ionl Ae friisc atno Satuvdeierst its powers and pimnoufwosrtem rb aepnalart yii nnin m tt 9he7 ew9 r:i ethl2a 1tci6ho)an. n Tbceeh tewesveee enwnt isl“, to evade its ponderous, awesome thinks of the hien dr etsheaatr cthhi sf iiesl du,n doer r lvs cetohrbrueas continue to be a perpetual business is alw the ‘s dlui tbbyjy”e catthn edo fs“ itsmetxuptdlueya ’ lfiaptcyet”r . pthBeaututt atwhlleey kupunnrofopwuolsneedd egodef waecsoa inadvestigatpeyecsmi atliolcy b(ari oner) as a poacher, an uncs a dkoi ugdero swtmionin;e .n t oT ahasi ns arelayssseseau rmacnhp edrtit oitfnoie dvi intruder whose gator ers an sa,d n dceparloitasaecin hfleoyr,r s nthaoest loneteshisteehr s , physiciaunlsd, mofitdewn ivimesp, oasned a eirvse no fc ovnirtual e tractoerpb aedrirntaygf tguse ntndso erirs s cttouhndatitre odwl sie.n Hparonew t‘ea ntghrdee netom d ehona twv’e; e t haolevl srtushp. eTe rhtiooerity, of investi­ the superiority/inferiority relationship in circu emsrucsbotsamtnaecn o iclmse poarnfe dws shhioiecn h its hh eea oIDfto hseoes,r whthoiiswse indsovu opwlvpeeo astenhdde wetmoh opb odewe e tsh eo ft ernessieoanr cohf tenerremmuetvi rnnatel s,o ft ogTht bhej eep casturiavbmeje ecatte nardns ?dr oesbujeltcst- oorfi estnutdedy?? TpEehcrervriaets uivisre eai bnasflnouldeunt ecAleyu otnhno ocdruoiluttypurpose of study. The writerub’srt eipn agar nttidch ueil tasmr iisnstieolnle cof odfo caunmthernotpaotlio tua ogni sotsf danandc oe theethrsn ocgornasptahnyt lwy ifl loe rnxapogtei rnbigee n tdche le tihannn taohlgyers aisspt hufydo yra ast nhdea as‘dtnuivddi nineees’w inf oi drthemaeas mt aonoddn ways of representing them in the ie fcf e‘ofrineetlnedtx’ tff rooorfm aA nftrchiicoeasnnet rhdeaoanmldmi n aionnf c evt.ah leIun e psth,o ese e trhmnn eperiod. As has been recorded earlier, there is no for who ts-ceoml oothoagnnrtiaa dpls h ysoc fri sa fmiae bldslep hinefovrere stosifgp aaitnciefol nu.ea npHowever, in the Who ha ics of John Frow: ‘Who spea pckers o?fp oWrri ahtaoino nsup peapankedsr Spaploreweaaekdriy?n’ sme[ n1 ? ch9o W o9 v6 ho:oed1i se voice c6be]y? Who sies lcilsatiemn etdo tboe? pWohwoesrele svso iwceo riks ss paos kae nr uosvee ro?f cmhaakneg eth gea s m fooefrat enOnin thgas.e . rTsLh”i nisd[ 1ase9 t9A 2olc:f oqf5uf -e3isn2t] io hnwesr h hieecshlps sa Frow to push the point down interpretatio Tnth hiesa nvisda, notmfa gceeoa unprisonesg,i taio tpon hs irlooefsl aow sy pthhre ooics n s ase “The lp sae xatikhosam t Po rtive geograp hr mo sbeelem wihcai acleh n k isnat gtoosfies nd siodpfe avaciteei.ow n Ta Dl . sLinh etrp AYaVhee c A e ! ri. O se pF LoA/Fieldraerlss eiotn tis w iomrkp Exathtieo n iomos p fs eirbielenc et oa ntdr aTp fuatcat n hsec Deoncdumentation, etc. 77 sub-structures of value formation butts iw oanen dc aomnf eaiavdnoeiinn tgoi ntyie’s a priorjust concentrate on the hegemonic references. It di sth no saean intel clearnf dot rh anctlo a il epcotuinatl oCnone duitniodne rwgoitehs pae rpfaerctti coublajerc tciovnitdyi t(ioorn e, vite nis si w umbpjeocstsiivbitley )t. oI fd ae srcersiebau ssn alensadss toshpru ewsa krbiitene grs poreerap wkreirnsigeti nntgs a human conditi e that rather t hfraonm oa fo hpr oimsi.t iToa hnpe ao orfne ,ss it rch rticeuucl toi sno dfa almost clar ghrroiysu pfei lneodv eiarnttgiain that he r cuoslnt ua; rraeen . adIlf w miat a eiysr otimon, pbtoheshesnaib lflwe owork and t et f,o aasttai inn spite y rese of for i ss are ‘Timhep ocsotnootr rtsah’ deci lcaetitimhon taohe objectivity or the truth that scholarship aspires and communities whnini rdgcrhg a eprhs, stand in a degree of ls ttt ewod e ‘sa y tha pabecoatvuke’a t ow we purvey.llryo ‘uvwlerdni tdsee ’ heoman tboe hbael atmhabti vwaelef of chos r necsee atro en peoch oeurplerss ocElfta yismologically, therefore, we cannot reall thesmoem pteor o rbpeeop subittuieotd nc sai dnae cabrsoe. s bsT ehtthtoeeur gg dhrie dts hcienri bmaeradgt utaemsr sei n yln t f t te bire r sp urtaeh plu st haonrds aasss uwmep toioftnesn. aton ytr absolutism; but the real dangers are quitoef vdiesgibr taeeuers sri baaltneh d translators doub le that estrht uatdht iaewnse w apkituinht mkdneavokiws ul ine th lee dnpg age aend object ew r s aomcnalitiecultuqerutehi sooid iv tsuis , to ity nrow. e f s h ar Teai hc ae foih r c ofsr h cics e ea trensn cmnot so. It also becomes clear that as dn mecoe ust begin to fashio etnshstoaindruy o ebf eteocta husnhsoeag rrwpaeepn h s ntt yah ne . ne d wf rt ohtnoeto irlesirs ska noodff pCnOaen on treufo c rrcma l e on uaf n ssciaeof,e nperfoltyhr mearasesn uicsme aeint s teahldfa.d t for the dirunning concurrently: First, Tetdhh eelrareey eairsr eob, fat siclliupsliinone goef noerraalt eadn dby dtrhaem vaetriyc tpbhueert floaersvm eilem ro pfoo ras nethadel y tsfhiiesel odwr yhre icsfohera artch recall hree rnebaryr, aftoiuorn lwevheilcsh o fe imtheearn tinhge pafefrefcotrivmee laye ppears a r. Finr alolyf , etmhebreel liissh hmteh eenc rtri teiwac ss aiomsr pparrniomavliaysrsaytt. i toeTnxh tfi.or Sdr econd, thehic the perfor rme eirs icrurletsupreacl tmivee aonfin pge arsc etphteio gnr. imIta cise aonn tehln eho a h is fbanjcecece tdiv oesft taemtnee awinof a masnkhi tn, uthericgih t itvehe ea t tiose xtht at but wnhgiechnd cies h art e nss 78 mfoifratmeyn m adseestunhmyo A deao nlaolgyis Hisandboes , otnh et ohke opf aM aannadl yr ett hoofd othloeg yr eins Aefarrican Studies and orientations which are ultismt, awteho is a‘onudt sbi cdehege’i rno. fW ttohere there are no maso stcivhaotliaorns.h iAp autho t. tKhniso w rshi poleind pgt,e n tehiethr aeubthyo rityer thbleye camoumitsheleosa rad, nirn eigsd eebaourltco h wea hdcioacphnt t hemxe tpe oaufnr vpinelaygyss aefvteerr ahllo pthee two haodlvea bnacsei st hoef atrsuseid sutouudsy f aienldd ruensdeearrsctha nadnidn g grhe eo yrf aconurdl tr uear aeppresentatd otehlria tiion. tc c aiasnl, AFRICANIST FIELD RESEARCH AND T H E REALM OF V A LLE DELE LAYIWOLA 6 wtIhno aortd:pse noinf gB tahribsa praa pHere,r nits itse inne cSemssiathry otno pthreed iccoanteti nitg ewnicthie sth eo ff avmalouues, To[1thh9ee8 r8p r:r3eivm8i]la.eignisn gt heo fk ethye m soevlfe tahnrdo udgehfi ntihneg poabtjhecotliovgei soinf ga xoiofl othgey Ttporh eibsve io oaubnsli qeeumsesea rryeg, fienI rgre ence to both polarisation and hybridity would seem wvaaretll ulh eia ssit sob rbyiao tnmhseb. atIerndn etsh po dfi esr srseidbi ltioty t ihne ttheen sfiieolnd b b oeft wAfereicna nainstth rreospeoalrocghis. tIsn atnhde wThheic hre rseupltr eisse ntht atth ewio sena eybsa mre st eet ahwye,e eiIn nhope to demonstrate that the realm of such that we stand the r ifsitekol rdn t e bpb roedstiswsciplut diibevieelni itnrg ie ary na eis and tpurroel ifoefr aktnioonw of losing gridpne ta aisnn d ap nehdra crvempaltouuneay l j uowrdiig oleefd migdeee naatsss. tshaemoeIrf i hewso euo stfea hwkoeol,dm f oaonrf c entation iisunt lstptuaernrasclpe se, pctehceu lraetcioenn.t advancement of gende thr-inla dtehe tives as a realm of value, in itself, thenn 8s 0 Apbceeh rocae lawprtsaiohyni po of fpr vraolb aHandbook 0/ Methodology in African Studies mtoa ssacyu ltinhaet an u a dce evtrhitsaei etb inilyng tthhhaees i nwtgeoerrnplddr eeirtfa. twiWoen e s oafyc aan d raamlsoa oars asun mae that the equiv feminine within their re rtwork can disparailteienst . oCcceurtra, initnhly ec,n u’ ilfwt uwer eitc hacinann n tbohe e l eosintahgmeerre t hatehlm aht iogtfhh ovta&ylpu ewe .o orIrtk isits s h ppaoovspes uitblhaleer vinailmuIei t wajuibldll egl.iekme etno tisl luosrt raastsee sthsmis ewnits. The pos tshaioblku soefh oal du noiffo rcmul turreea lmsu cohf rheopuusbesli ch; athde oefrtae no, f f1o9r7 i9n-s8t3it uptoiolinttihac li aa rnpesra.a sBcotenifcsoa, rle ipliotiinest ionf this era,N vialue are o reggeiroian’as l smec f eo t dn en id lafaounrdegiguernaogcueen sw deoadrs titnhh English a stations, if not eeimnn ssephlrvaientte , rtehde when the er broadcast in major local lingua franc undercurrent was lost tost emadna dnm yie,n dbsiiuastt. eadT hsopene cfb sa. The myth of ta tecwitn hgoi le ‘maculafir n ecalx us idnamee oepdt rh itleoi y nn alba rnuognauidfaocgraemsst rcLeoagmgioopsnl e. amTnehdno tuOegdg uwn itsht ates. The e ogc csuermreido tiinc mdeemdaian. deTd th the ‘uppish he ‘peh a ttihnhocel luoAsghiioosinrni gos pfo efat hkae vt’e hneAi nhdogo rmiY iolnaraunnbgtua Yagboerro uabsduac bal-asgntr gohuuapadg eo,t fo t hthbeeey bmimriodaagwdinicfaeinsdtg. Hiose f nta com ir mother tongue in the broadcast Lagos and Ogouc ent, hwgea h psilcaehmx lecaunlgture w n heorteh ecro’ mwpoeutild vo ti onth cearneb(nyo tg)e nbeer attreu lay sccohuoldo lsn. oAt ftbeer abllr, oathdetceyaw staa ryeb efi ueluladmg eea risea apnsod?p usNplaoer c toarnnuedm w coohufi lcdah u isdsa ieynn otcth esasit n icnAe h ttohhreei pfroalmitIiencw sa o o cause it has no orthography studied in would befr fi ke t m l hodefw vaostoa r rl ekuasu e . ist,i atwbulaheti icofhon ro, iffn o a p tfrho eirn oliti mtswtaaotn call ilocienn, y g giuf i ei sw nfel unteicr w eenrteia l electoraotpiotino ntaosn amds esdunimstisoe a tae enme idun inif otn aatbioor he What lang nv me? awonfi tcloos h uty in th?ne tra t I hxeta ,s uofiare glhdei somtof erpydl iauiynm? h iwill be eithertpheecnt boefc soomcieos-lin Wsg uou clearci hstt loidhci acs a te - ro ese, thsfea olya a nr“politic” or “just convenient” value is fundamental to our choice and ,rc et cgher d othi u nac age tate lxoltyf wsooer cllwi aool nuc lltadhs eh ec odmplexity being able to explai spe well on have priority over otnh etrhse. choices that we make; tahned a okwninhlygy , p s str hooer political ucbh rl eecmahl omiisc eionsf D. LAYIYJOLA/Africamst baneafolWyreshe, sap t my point advocates is simpl yFi etlhda Rte sweaer cmh, uestct., more than ev8e1r pltahrnee gjuuadanigcaeely oaufys faigegrleed,a ter attention to the classifications we make in our geographiscs aeolsv aenra dnt h w dwe o h rickh. Wis e cmapuasbtl, ei no ff aicntf,l ipctai fie plsdtr aoctcoeenmsdseiitnniotgsn swo. feI n im nwfaohkraemt. waTthaioye ynr gea tvitsea nlautnie o injnu nd oa wnde mdaare to tdavgk i tetamhbelee nsoffrfo tmer l t asn at no rbiigtaoisvr ieei dnf Jeaointhdhn es roF rrotor owau n l rto ehrci oswrtodrrsiti ctoeanln ,ot hrs iusc oninsg c seoupr tudaelc llianikmse idn,- breetcwiteeedn osro ucrhcaens twedh?i cWh harae st vpMaroolurceee dbuirsro easfdo lrbymu, tet hdoi,s f wttrhoaeun lsdimn sb cec iannc ta:nalysis not only of norms and fcdoeisrrtmtrifiaibctuiaottniioosnn o ofo fv fla itlveuarela,u cidyni;g ffo efrs i et tthiut te nbe ud tm ioannadl srtjieactteesd;c h baoynf i tesrtg uuctlautreeds ; agmhees, bfmoyru clttlh theo rip f o asslti,cr uatghinhe wsohciicahl by ibtyy ignoegfn datenhrde, Wvchaerei ra cboelrre t;aa raince, and so on [1996:135]. or gende wrg-re lyo c spuea cpnannci fnoiocf t o tc lacilam dimensions to the rsseitstuuedaar im that v ytic othhnea.r t of smT wwhhateitl alat l nuweeco eujuslsdda gments are not relational orreer, acnedrt ati b hnri e elly ‘uni y,i nbatere vels e l a rsal’ evmcateru iaoin f lu o s r pa rng on oorpta ehd eree re trsi e scesala a ns r ods ­ f oexiste i W onfft eeruteh n snh c tiec en . vwi e proc condintieosvn esan n o ud l np e dpe n err cece;r eju e sdpsio ccleiutwpthioicnh; ilcteu, a thtc lro asnl homimftasit cea rdniadolms dfironomamtiin otanhte iaiornn phe d ; e acsuterltuiiaogr contexts: that that it becomes the pronouneycne w metehrneet y go afet hamnee rriengdde. i vTiwhdeuit ahtlor, uuwtth h,i r lgoelgefly;e csotiitfnu sgae tilfotihnshes oaafnvfeiyrr m reesva eltmhna ttoh wfe vhnaaoltut iweo.ne sOr becvad csho munewtimitteins,g liys panroticdeodtuer e tio io s toth iasd opmti stmhateae ugisos lrayi s, fawcetu ualn, doemrensitsicmieantte ctahneo np otwhaetr ios f avbaoluvee tphraotc ecsus ltuanred ise xaclhwaanygse ,r ewl a n hwt aiioa g crn e hn e ami d ln e gasan nto df f aoiC c sfl t s r aenseda rrechco rdinsf. oTrhmea toionnly saannde treerlamtiionnoslo ogfie pso swuecrh. aIts isg etnhdise rr,e lca ltaaisorsen, sp hooispf tupo iafforni o wc raade s paencdt Mofa rccoums m(1u9n8ic6a:t1i5ve) fbuel l thoaf tl atnhde mpionseisti,o onf toefn gfeanr uminoer es cshuoflfaurssihnligap r t hbo lrlr y t ehlbetween suaecno mw aittei s attr,h eei ntccka..t eTIges more pth ob ecr jeiscetsd re acfniae rloidon biinys ly us 8araen 2 nvadel yahsla ezsaa tra dntou A Hand dh ets h esw arimuthlee sth book o f M toeimf per oagsr e esthso dootheyf l ohgy in African Studies Let us go unto othe o isbtfoursyc.a tSeo cviaalr yfoinrgm actaiotengso treiensd toof abevlotegengrtnesda t ainvdedo wvwanal uyebs sy o info veaex rrp-altta krnowledi ionenixnaalg m sitph gleee s p, rrodtua ea ulicstiinogn . that there are always psirtoucaetsios nosf alo goik like ends hieno rtihseinmgs et tewinoodnre. ld; alternative perceptions of the contempora lves r nBacteihesesidr eatshn, adwn e m sdeaoek ininnoggt twhpaeanmrtt itcaous l baear ionnvloyIl vnine td h:t eh ef irfosr vrmeyn e ohxfpi settrhoireyn coer otrf aAdfritiicoann. lHiteerraet uI rseh; atleln gdievnec tiweso c uternioduesnlyc ioevse irnt cultu Things Fall ApIt sayrsa lt hdaotm coatil nonn otiravileeisls, m tt e aoh r de n (oteixda 1velp u 9 nlta 5 oh .8 o)Tr ha cenrrdee a taerse at wcuo ltnuor va(el1 ls9s c6eo4nf) . Chinua Achebe in its oAwrrow of God thearvme sb, een org aannicdi sta rme ovdaelilds wftoh rce ortmhebeeiy rt noco world as a way a or owcminvmi lpiusuneri tpAioefrssi ecgsar. neIswn b ifuo at swtshhearettr ienthbgey ri tea. ftcohureletiur- crlaov i las n ealud si ne t u,d tvos aylosutteeh meersx cchoaarmneg meco- on their own another. This is why, in ust nhsa oolr dfasiyrnat fi rs aatstes em dths efrwreoi tmihs mwwuhittiuhcahinl rthease onther words, character, Okonkwo, goes all out witth mnoavcehlo, athned smtyalejo rp p yde cctaa fnrhe r h oannvoeet whdioistm ho iwgrne afta vaorutirs. trTyh eb ya uptuhtotirn, ga se misp htoa sbise aenxdp eectxeadg,g eprre patriarchal intern at sieonnrt seo junthd iicsce irahtlea riinno iybnae m eassx nan agagalgiss tte errdo t a tn rsaieoydms ts tfie icm oa.fts s t o Ohf f h ceo just for the sakeme i sa unp irnuos dreti, vrOaidykueodanl, knwaesiot ,h eaasr dateo pmeeplate replicating an proceed to eat it all up wiothf inasl h aol apwbeiornuigor d, aongfer ietcwdu to p sr oasuo wnnd,h ocaale n mncooomtu npmtoausisnnii btoyly,f nnreoomtn ead iilnsaspc lkatehyda t thi nei t w nwheceaersse swaa irtsyhe aslfel-sns.useff iocfi ernetc,t istueldfe-c. H eltnuotwrya-elf voepurrr,o htwhoeeus rsss u. baTtnlhdea tpt ohwieninltl psirtoubaAatcibohinlei btieem s epoaefnr fthorms an artistic feat in c arteeartiningg cao mlamrugenrit-yth awnh-elirfee isldaobemaoe ut ro m tehamachtp iipnrreicosid s tu mtaona anliy llasustrate uce ccomplis ah mseimntp. leB utp oifi nwt e owre rne ottoio snu bjoenc t tthhee wgrhoautp sp owinotu lodf ctohmea nepd d rtohbeiso yttsah meen m wwphleoi cymhe ding?ho twI f a psikon udwnivhether it is the same foruonmd itnhge dvaidr iothues yd iasrtrainvte com dmiedud given utn aihil t ats it e or fstr oowmne re thehe p fooduoivnte,d rs r eade et y Deinaavcmoh l vdpeiddn t’th eg rtoowta lco . lLdA YaNnNdO uLnA/Africanist Field Research, etc. 83 loewftn-ove participatio peercr uosolfi nathr esr tdeaaayly i?sa msT httoeh asettno, arayb anple po efh titimshien gve?ax rcIihfo aiunnsdg peeer odhv atinnhe communal feast insult of modem cinematic tes ci shi sna ofnleooagwty o tafo sto hb eoo ribnnvteei ololueusct,t dc escwh sh,a ikhowannceohst c rbo leov by the traeva netrge s dt hiitdes itatobs sttrraanctsifoenr si nrtaoth ae rmo ar the loc th daenr nin fbillman. dO en esty of hasue ntxipoortnee sdas s t wwinohd oiinlgesestn.a onTuchesis s I ogobff otse unec xhap perxpepse mea prlisinr igacusis ismat i,rc ih see fttfhoereci tcs, aywlm hdbiecovhlii ccie su srinee a ocliifsr epcdua rmitns­ wbleoagdsisy lt ahoteifv aean ftfceiearstnt ooorovsne, raw rtehen the ancest srrieaoslns is. Christophe Kambaji [1994:72] Their periodical apphe eat rhaaefn facsieur,ps rteohmfe etrhe ebfo orldiev boionndsgy . in Things Fall Apart.y, in IToghfis alb Egwugw weo a Eylagsw w ufuagn u ga lwld u oj, ufa trh sisr epit r hTeedh elfi ovfirirn sgat jppuredergfgoenrsam ntaot n wuciettt.h er Um tgteeraerances on such occasion are, ther truuadl enacned. addressedne Utiinn^ggo.s w Itut olius l ictthuigusaston: mts aroyn, ibno tahd jsuiddeicsa. t eiOfoonnr e, t,f hosarpt ethoctecac ceaussltiaoeren m,a naednd Egwugwu TtUhhzee s Uzowulu’s body, I salute you (p. 81) orweftuoalrtueu ,s w aodhfdo ar eniss s aenasc ehmsimterra eal ss m‘pbioorridtt aypl urbatse fhoirme on a diffehowA h soimrriilfaierd i nsshtaen cwea os ccwuhres nw hen E these aw Okonkktwwhoeer fi s tnhhaoartn r aaattse sh‘ setpori erriseton bmt pe edspeisrtiatsl the . frHome, remarks: wit hp e riinhegiss’t .egsus nC.h iSehloe This sI icmapnnlyo tm yeeat find the mouth with which to tell the story (p. 44) rushtnaegntroces of the casuaarlm icvmails aittdoicerav, li ceea nss in iswc th ide aletl nsath.ven s e pAisus zsztKillilan mtgo boia nhj io thrhreai fsiEe ndog btloiss ehdr evlseacdnr,ig be the circum­ ‘catch up’, as it were,a p werrietfsheec astrluycc hhea rcsceptable in the cultura utlah gicseo , nwbteuilxtlt .t hbAee wltehigeti hsp laottihnivete iir s- tbooewof onwr eesl lty hsmete aimdnet r tuohsfa ioto ntr hgoe irtiuen a wttiheorene s f giierfle daa,nt dwp roweu-hilendnd ubtesht ereyiax lpa resiocstceei.e dtB ieutost bunaldaeInnrcs ettdahn;e d a,n ovel tha anisation - juridical, cultural and manodre sceotn tcea f market forces lectimvmepelyl a sttiivxa ecyk elseac ersna a lranitoee wrt, h-fAaatnc hgise a bnsedt r cpivorilenosgne inattolsi stmled urbanity aat . hkmaet o irnies, n8a4scent w A Handbook of Methodology in African Studies rothefea G lmofod r, moiffe r iot hnn loyco floorn itahlaistm r. A valu eas ofenw, i sc rait imcso aren d arcecsoemarpclhieshrse dfe ealr ttwhaotr kA rtrhoawn stcwyuslottu efrmaacls e cswa phoiiftc athl ev einjlu. AdBfgureitcm, feonrt . ouWr hparte swene t cpaunr psoasye si, s ththata ti st hine ivtsaelulfe thoef tdheemand a un he sa ir understainq dauriene mawneh an a olcl oeSi tnuadies would, for a while, be ruled by the belongs. The othe ysis . noTdfh epc oafmrirtispatl leliytse tchilnoa st tehtdhe emvraesle ualveree s s iynasdnteidgm eosn fotfeuonsr itsh autnI tli iski set h nOeo ktgiocrneoakubwple ot o rg. That is the group to which Things fa ll Apart ment is that of a cin w itshh eimc hloa rtAtee rre clectirowwo rokf c, more interdisciplinary, and dabble in the mundoiannn seve erprvyoa ltimitviacesn, yol respe Gthcotadst. btFheierl somtn, gaOisnk. ocnhkawraoc’tse rt, eEmzpeeurlua,­ mtheiemma pnaes r;r aohmlee e tncoot pmtloab yitn.h eeBs u cttlh eEerzg eryou olleuf , toahf e b efig th eminsd odraear yyo fop rao nlwi tiihncetarrloe vvfieegrrut r preru elwestshi gobe y w oooftfhueerldrs wnfroootmr lda ltsth.o eTg ehttreha egirrico nrfeyast ist a new orde a r o kl ing and priest. He leans more in intriguing tragic iiers o onthfy a.h te Otrhokieoss n.s keTwehmoe in dbg uo tpr drwaeogr. He affirms that olonvley dif umfeldarte intsamcke e d s his fatheiso t he besrlaetnhsd an t oaotn ths eao vfwe bohouitmldh wecuvoeltunilvtdau tme eitest vtahleu easli. eHne t rwaoduitlido nt awmieth i tt, hief nseamede bkei,n tdo opfr oruvteh ale m fd assen t twratesleso.. her influe uHHldee wlcaoecmklc moom nacellunei . y t yaO c n a vtehse iont hteor hthaantd , pErezsesuulrue, nfroobmle athn f a totnaadnl du wnidmeeimgrhset daintahdteei n gfiin eofllfdu tehonefc ecp orgecsnosimutiroiennsg. frBfour edo mocau ltcosuiudltaest,ii dnintruding irony that a man who would mt hwisi thuinnd. oIi egn ,g owifs o uhhliidss uofndoing from the inside t is a sad all evgaTilhaunee c aaefnsod.r eBcguuotlit nuogrna eiln fcsaatcapn . ti tccaeals nc nr esveervale hboowth c womorplldesx wanodu lvda rsiuecdc tuhme ba ntaol ytshies othra cu an tI wt lthiusir cahal brsueybnsudteialmdnst l hyoa rs cd leweasittrhoiyn os ti tbbse e;k it. g eesapinescaiaidll:y tuhnadt eirs vthacaitl leavteinrgy, puonlietviceanl irtesl aotwionn vtoa ltihdeit yr eaasl mm oufc hv aarlu s etrh eianvt i toatthlhiese rnfuetl that which builds as well as coothmeirn gin tmruding cultures and a r cu illennium will be prtetidtiucdeae teistd s uletrulefr ethos rfm African stud aloien toou u gsihtt. n how m ctIohtnuse tinue chet hmroue i restg s to e ininanfc fei r f its otw i hmo ts nef docum D. LAYIWOLA/Africanist Field Research, etc. 85 aaresls powr ehese ennttaattiioonn asi to phpaoss eodr gtoa nmisiesdre pfroer identitalylv . ea Fsto or t oraipnnessnt-a tunepxcte tu,o a dlt reuspteeu ndmdieoinsd gew lsoi tnoh f s emtnhuteal ttii-ovdanil suacenip d ocfo nfjaeccttsu raens.d I t twruilel ssttuuddiieess , ihsi setiotrhye, rp loolcitaictesd, ainnt hsruocpho lvoagryyi ontuhgte , eco nfi sceaool cdursifiminc tsar csyi n a ligon naiert ys i, soi nwitnen, r -Atuefnrxiitqcuauanel aathnnedd fweunthugaritne ewiet irlsilhn bogeu. lWdth hseua rtbu ttlehenesd no sifsu icttshh amftie epltdrhsoo tadesao nplo hfgyiyes?lid cOs c, m nleditd efiricature, cultural in being located in as many fields as we can nafeilnl eodd,f A nifner eiac, raptn.h Aasnrtumdd afieocysr fboarsmtWaartedio ismne, us tsihtt by removin its strengths is done farther aanfti oemtl duf octrhhga enot f g aaAtn fi rtsiec vfaeo nn c u sssttu.rdoinegs erre sfa but the same home e cat the da otan lyse pnrto vfriodme raaw h doamtaeh -wgormhoiwels nti t ‘srmeelsafe.r akTrehchee rriss rokchr b iiensi, n tgph uetr hpraeotar tl‘wmedo lroyk,f e vrsna’lo uawet tbshaeal ute txaoarfy ’ abroad can then process One sid m gtione neworkers at both or either endse mudus itni neb eca o iflnlua ttbuhorere a cteoisonsnsat yab.n ettH wkoenweoenwv et hor t ,. o oWfn tehh eeat hbsecidra lienth gie s fasreocstmourelt t hwciainlnlg bbteoe leoisthine e two categorie Tgrh esri ogslhiettsu oaatfr itoeh nei mportant and each stan fd sw hina t ththee motohretsar lo isfd asdcnohgionelrga raossf. wttohh eib lAsetf raeitcn ajtonhyiesi ntscg u otthtnie potlthahece erAs ifnrai nct haanel lj-itgismaew parrermaniugemm eonnt .the responsibility of acognaicnlu: sion, would ns gesu epemdp gotoer tc oooffn rt contin fihersemeira trchco ehlnt itself. They will be expected e leooabrg suedreavsta aat ibgoranot ahodef .r JiTonhhgin si ,n Fb rytoh wwe aoaynr ceoeaf sIdnpo eeocsrt idnveoert) , tmoi etm anbo evtceho emb ereeysio nnnsdtea cttehesmes opno switionality itself, together wa elrinmyt itotaith thoef t ions of snrooemdtieeo fninn orenelat o f- tprheo ievps iisrteni m soo (which the e ntniaotla ntp ieoornf­ direcothnliyec hetx hipta rtde efsopslielvonewd rsse. lwTathhioee nnc rtruoec agiai msl oaecrsiga uol mcf ovemanlmtu heu enarriete,y i dt( epste.a1ec5mh4se) dt. of rmome, ias Once this is achieved, a more centralised focus should begin to emerge for the benefit of the field itself. It also means that a more meaningful economy of value would most certainly emerge with greater clarity across the field as a whole. Section IV _______________ H istoriography TECHNIQUES LOR COLLCCTI NO ORAL DATA IN ALRICAN CULTURE HISTORY ItOhnnete rc oooductionhistorimfa ntph lheea xsm paar jomocrye rstasks befoapproached. He coisauedlsd o thfl aicmth ilate rnedn ehhliuss mttoharrinao nussog hciis ew that himself to a tsyhp itceohc o iifht f isi s hp eerlneptsieenrngpt r tisoste a etcexa.p nTla hbinc time, space andee wtsoitoouration. He could take a country, continent and even the whole edsevevebe kld a nar p ttase ls lasc his a t cheean ttwnd p u subj rc irtiheisen. c tTa. h Hteew ihcnoiskutlloed r iofaofnc uacnsr hoesisys e-wf eoorrrti kli ssoteunsd syii gdanenaif si ceavanentnd te vpserpnoatmns nothitneagst cceuonluvtilurdro,e n mhtiehsnetotraerlyf oooburleled, m esnt. aaHlbkil set o“th hist ry e i-sc oinntteermesptoerda riyn mthaen t”o ttoa luitnyd oefr smtaannd. Opanset bthye worhiigcihn ailt disis , ckeinptc o.r yE, alcehg aolo fh ft ihsteposroeyl ,it tymicpeaedls i coahfl i hshtiiosstrtooyrr, yy, heinacstonomic history, oliwnen .t oF owrh eicxha mit pilse ,relate ellectu politdic baly hthiset ovriyr t suhtear oso nfg at lht iehe sisn twaomirty,strong tie r Section V M usicology TH EO RY AND PRACTICE O r H ELD INVESTIGATION IN ETHNO-MIJSICOLOGY Tsgerhcoiosu nnpdr etose entthantioo-nm uiss icino lotwgyo, iptsa rdtes.f inTihtieo nf irasntd peaarrtl ydT a iscctuivsistieess twhhe ilbea tchke­ pmetoahsinintoi hdoe p-mnr art uet soa d ic roe i objectiva s elon csuegdv s y sees its the ii rsnain v l godelevev fi nfe ei steim nldiet mi ethods.rgaaltln on iyot s varying n a wcocifet hpm tuetdshi cea asccorda fsia e al ddpi. inBg u aesthetic and cultural phenomenon in terms shocyfipsil ttio. inbdyi vaidnuda l’lsa rdgies­, csyuslttuermaal tcico nsttuexdty” o(fH tohoed v, a1ri9e5ty7 ;o.1f 9m7u0s)i.c (Isn) ,o sthtyelr c e sw o orir tdms na el,s ep“lhsfa yvachinnodgl oiagnsi c aiittlss, ppsoehcriicfeo treymn. celra,v eo ro arn l oinstrumental repertory found in a pa sur tsitiic cuianllav rroo lgvleeesso gotrfha ea­ inneteedrIet sdtto ei vnes ltaohlvpeae “gdee x in c atlhee, anmi ong an ethnic group in a region or even a threatened by theo ttheicen” c rpmoeauo nspeilcteeasel notcfh ut lhtceue rnwetsuo rrylod f as a reschment of modem o cnot emtchhmen u uoon lnti loet o g ieh fs athe gry; nhtdhe, naatc n odww etinhrgee e, the n1e4e2 A Handbook of Maconldled c attnoina clgyo sallines.cd t T bahrniisdn gdiimneposit in a enth oadroclhoigvye i nf oAfrican Studies and analytical investiggpa ltbiieoascn k.g oIfnoindr ged eopuot sittoio tnh r eitn h feaie nsl adak re of documentation taos phecimts , oafs a nsu emthmnaor-imseuds icboylo gNiectatll es(dt1u, d9Sy6a:4 c:fh ies6l d2() 1 a9n“6Fd2i e)d ledr fcoehrci ovtgehn efio srpe dur retpfheoers eetn wcooef aag nataphlaerrtiincug laorf rheucomradnin gcsu altnudr et hwe hfirst-hand experience sw koowfr okmr kud. seAinccoacltording mus ile deskwork includes transcr ielpsitf eito hinne, ktcoon noccw yicsloeisldo ggaeins tad b oistuh te a m drawollect and bringur esbsice a ianackrnc gh osfc hcoo ern here is on how to eddx aewtcahu otoe nm lnclusions.” Therefore, the ethno- a way that would enhance our kt aurm sutw snihceo csfeoes samrialyinhe g o nowprleodcegsers scientif a iicom ua tn itasol ytsthoise . fsOieeueldkr psqhruaaeclsltt iiceoennsds iegnae varom puaarn rtteio c tuodl aofri e tllohdicwsa olber yka .mraoisnign ga panardt icau looarff fgimeroludus piicn ovafe nspdtei goamptliueo.s niWc ianel rfreocmoTr dhaienn ygfi rposatn r tqiaucuuedslaitoiro /nhv iusimsu:a alWn ehcqauutl tipuis fieldw nswering some relevant contexts. Thus, fieldwork in ethmrneoe -namtn udo f ol ormcka?ut siIoitcn ai s the gathering and setxupdeyr.i eTnhcies rweqituhi rethse s ppeecoiapll et rawinhion gp rthodatu scwieci lola lonegndya bui ln invd oailttvsae ssa otdc iiforie-rccsutt -lhtfuaiernladdl monulsyEi ctaaorl l ycm oaillect reliable data but als se the music under those withnotevureti satmlisgu aastniicodan lp se brwafcoekrrmger aocnuacnrerdsi e otd mfhr oat a kwei llh sigtahn dflie dt hethlei etty er sertes ecooaf rrtcdimhineegr. not mathematics, physiology, psychology anomdu te stbuhycnh on ldooignsy-cs,i pptoelic nmieaseli nsattssio, npt hhaya fst s ios,f T ics, taohsr hp eese werosecevt eso nof fco mo em upspeico sp ew. available ari usleco interested in scientific investigation of the various necessarilwyt higtehorii nnc gut hltt hun r aesos fpe con. itthche, smouunsidc, (as)c oousf titchse, isrc aolew, nrh ybtahcmkg, rinosutnrudm weintth, a"acrtmivicthieasir. "I winivlle slitkigoea tttohio enc fTifniheeelsdi r. o Tifn htvhiseesitri giamtimons were based on materials first example is the casei. teoW ft wthhioec h eB x ackmhianpd oella rlCaeocst efe draiicsatete environment without occasion of their tour of Berlin in the 1880o stlo.a IinIl ildvu isttymr awotseat s t hroiesff eprtohreiend t .te oTa rhaleys wmsteuosdmtyee,r nntC onauroslt aeStxitcouintme mdpufe1rn,i tn tgch reteh aetie ndpv eebrsyfto itgrhmaet aopnre,c reft.o rrIamnascn n rac d ine ia b ae nnf edf do o rrtfht co herto e c scotarapt later formed tshomen p tuoarrnea tttihhvegs intoee basis of the M. A. OMIBIYI-OBIDIKE/77ieory and Practice of Field, etc. 1 4 3 amvBsae e ll l loaskdtuuyldyiidt awtea sa a tI nn odf hnoed ti a Bwneehlril”ca h ( 1C8ow8oa6lsa) 2 Ip.n uOdbifla icnsoh sontproasnsible u erds script e, gi nsth ewa nhe fifcoahrr tt ieccmoleup lhdtia tnsleoisdte bd“e L sifeocdaolelepr raodnoedfr, wptrhahonanst cohrgairbsae pbrh.e eTanhn edr e ssceioncrocdene tiioot nwr.e apTsl ahnyios w t wphaats wdaosn be eipnrgio pr ertfoo rtmheed inand thered, there was vention boyf Tonh et hinev aenstailgyastios ro wf rmotaetd e example is o sntshoiab tol eto htfeh rde onac ltttoeor rrnaela ctdoivirseds eoarpntaedtn ipeoldna ytb oba satehcdke pnpaohrwytsi cibcuaellaclory m soaeni l dmo afp ntehdreas toponerao hrype ia frl l oe s found in an archive in rd w isthhsoeer steea ttmhionunos -iwmc iusthhseioc uowtlao ssge iitsntti vn thegse th iUegran tifitoneogdt3 .S otInta thtehases. cbuyl tunInroa l c to go to the field officersnt, -eser omnst eoxft sA. frican lmlyu stioc carry out field investigation in their Tcuhreiio p rs iitnyt ettroh ecialist foreign en e nsgotesln owugiiesnrtees acdnoesdni drmeit iistoosnio tohnlouagsriiyae,ss ta-sc twi-vh itoEiseuesr oiwnpteeerareen s dt otrrmaandingeear stfe,r doc mom loamnineiralyel tCdheorpneosasetieqtn ueiendn talbyry,c hives sam salvage African music from obliteration. context and mmtehaoens tti nocfofr re p tah lseisn goe dfe nmbytehsee peuarrcpl ur ostheyo i saf c eci eh aumnrdegne ntd ta onnfce ecm efsoosdrity ld studies weremer s t ow choilclehc tw aenrde locations in Euro of taking away n dtotoen cehd niofofuelort egnoyt.f rcta e hed c epe o stqei ruod an e ets d ae rlya o ly nd n do ctacru aemptivco peresd. fionQgru sm itbeeor te accumulation of sources both written and the researcher’s ieteinentsev diwr. ohAnifcmrhiec ha a rno n e n um smt rtuia bpeers nt. Thcstuiecsdo, l aooing fyd them wernv eddsetisivgcesal otwipoeenrdse e a tns ful o o ata l rcp o ehraoa fp l miss leeornluyg ceaon­ no tsi ndtdoe mndoeupn n--Aspfreicciaanliss t- f owrehio instead of the old breed of Afrisocicas nit biosyon i. Al. TfWrhiciesa nnn oe gswne eitnnrtethenrudes siatmss ats, we now have scholars - African and m musicians an trrdka ensdsc chetohnleda r rsmi seeinr e o tfch oerleilres cetoaiwrocnnh foocurn l taAurrcfrehi icvaoannl mcuuulsic and are “instsuiidcreaerl ”c( vuDelatrruskurwe asb”l eo p“wtpo oh sbaervdien a cream of “insiders” who study their os a“,o u1ts9i9d3e:r2” )i. gt o o Ntuehtte tin their writings the essentials of thn ethn l o“o-(um1t9us7isd6iec:or1sl4o” )gw ydh, iohs ocauwrsees vifneogrr ,e nitghonete erdiss stthuoae tt wehiner of o. t. : h.e rth ien siingshitdse rc’asn p boein gt aoinf evdie fwro mpr otdhue cveise wceprotainint oinf stihgeh to, uwtshiidlee 144 a A Handbook of Methodology in African Studiesspenheaeslyst. He from hbutino tonhmse eafrnoeor enths tte,h rwaetfho tirhleee is ctiohn ceso imdinepsria dmreaart iyvs eene osst tteahvneed ntpr eoneionst.ti cTemh. eiTg hhtwet ooo ucbtossenidrtvreier­ rheiss eoIanwr cnah eclrao tubener tinrwygr. iatTinnh guo suN,t sefoitdtrle m irn( p 1tso9 lim ta 8tn3 en hc)ee ,b tarroyu.c ua ltYuogrrheut boiafn aitnnhe issuhcoimmspealtfr an outsider while researching the music ooNtfhi geherirs ie ea tH h owf ananuiilcsl a gc ro African colonisat o orn usIpigd beinor tt1rh9ae8d c3ito:i2ou6nn3 ioi)ot. n ss va W in rythh ce inail gte a ctwchorere d accorwr in d e g inctho t g e os e tries, sim gtnoi hs eimp e toh“piatl tei s tohiennrltyeo thtahreee cosvaianmrcieeid tienensa ctieoo nfo ”f m B(uNrsitish linguistics and cultural divisions witeihcttianll, t iain y nd p vhoailsno tgoaywg, ternal men c onteoocbvoieulirn x t ts ytar il faoorrfie tuiigesens eianrn sdmt uusdos iycfioanlrg ts htt rhauelcrteuardeys bpalasceed aonn ifnudnicgteioy from the insider’s sta n ne aalits man, icnu ltculorsee thprroouxgimh itlyiwv iwhnihgc ehtr oecgboeynt hstteharen. ytTl yhu enbrcreoifnong nsm dpupesooiicnp tloe. f A oonftohtehre re tfhancitco rg riso uthpes cclaonsneor tt ob et hreeg tarraddeidti oanss a no fo auntsoitdheerr. ethnic r sgecr,io ouaupns liyn dimigbe nidbeie f fe in the samooef r ni a ng ceo ca oncuuonlttthrueyrr ei’sss rneeseedTa rhincihs A lsfercads to untry and ihcoal aart ?t htAihsne asnecsownedr qtou etshtiiso nq:u eWsthioon c aisn imbep laic ifti eilnd -owuorr kpeerc uolria ar Wsccohhlloaetlca troAlryfsr iscbtauu dtn ieere present time. Nketia (1993:5) noted that: wcrheaatt ivthey collecs ed, sser eaasretc hatrehcrihss e rpwse hrwoio hdwo iilcnla nhc oesmre history' at for culture and developemb itenhneet , cimeodlpl relecic tainot only contem ucat ntioigon n wsa intodhf s(Ntukdeiteis i,pta y , Ao 1rf9r oair9rc ya for 3:n5ps).r.'ion sbc lfheuomllla scr olyimn imnthvaeneisdrt igopafa ttrihotienc umilanartto e rfiitearllasdd tihtoieof yn Aaclfo rlialcenacndt manuaslTiychtoiucloas,lg ysg tiwuvdaeysn fdroooummr itnhpaeet cepudel irabsryp- efcsotirtiveuieag tnoioef nrts h eiin Anthoenr-es peisc ianliesetds t nter - ofo rt rtahien inAtefrnisciavne cpoelrlescotnionneirl aon-w efric d snte bd om ad otchu wisnih caceolr elblbeaycc tkiAogrnfro iuacnanndd fr1oe9rg7mio2sn: 2ao7l f4 o)m r ouinsn itcetahrle- t eeorxnrpiert oehsrasiainol dnc,s o anfnrtdoem xat tarhenead s secetohsnsn speciali mtiicne necnto tnoatle uxcmentatif etxo,i nstttieirnxegt n os(an ts Nt i kooefn a nd writintai a gal ll s,, and formulaMti. oAn. OoMf IrBeIlYiaI-bOlBeI DtIhKeEo/r7i7eise ooryn atnhde P trhacetoicree otifc Faiel ld, etc. 1 45 pmeurssIoifcn ow lboeog myre o taunnr tndh ebt oro otthuhegerh thq and. basis of African pmforrue scirlcue.d seeIa nr ncofhan c-wti,n odrBikgl on hi uuse ps mtiinon raaecnkeisn ga nd a pa (1 9f6uo7sri:ec1ia8gl i n r se etci d rcu e ) ws ul ht luaarrre lc ieuar on, we believe that a Ugandan music specified the qualificatioefnrnso mfdo ltlttuahrkoeiu nwgghi l li ntbhteeis r beesdtso t eisnsu inttehodet matrnaadnk sitnchrgisi b irinnecgclude “a knowledge of the language a irsn cdtuh scosusinletg u troer e ebsfeef aicrinicehvno clivyne tidno tqhueailrTi fhbiceiarrttehifo ona o nrmdd uings, and adequate experience in the techniques of can can us pbiceb” r.l ienHagreinn tcg oi nhn acavl uwed eteehdke ” t.fhirastt “qAulal liUficgaatniodnan asn, db yth vei rsteuceo nodf wluivnhid erbset a re, from the foregoing, three categories of personnel who peronso gnh aibnvo netrara d nnb itneheed laanrgeu adgies ceorfn tihbeleir: etth h en icf irms aeennndv iberrxoopnuomgsehednt tu tpoo uintths iaedn e m Igutbhsoeici, r U oorfh tut arewnhs;ei ci;rf tchthe es eicnobo oorr oHimnasputasaat onr dnci iodget e s na retehsa Y orto w rhuuo hgbs oe ttrhaed itthiiornd tahrreo uthgohs ee xwphosou rhea vteo geadiunceadt enclave; and ha ssfoporen cntiheaell i scidioneugnr stiinef ieAdfr iacraen rmepurseisce rnetperde saemnto iotnhnge. oTkunhroe wstthluerddeegene tc sao tfwe tghhooer irepesag rioticul sTft ehproee ardr­ fpmroousm their pr AFS 702: Theory and Practice of Field Investigations. se Afrissciecasansl e mdda ustsaoi m evei okunso wmluesdigcea l otfr afiiening a tt hteh ec autnegdoerryg roafd uspaetecand ialelivsetsl, whahvoe, isnpteoc iathlies inggr oicnu. p oT tho echef a ro nnt ohdneo-r s s discippt pweecoci aialinescl ia lsisbtte ld seg do wo a ranine r das k l,y tran aotrfie ci narvl sescstrutiipdgtiaieotson ro san n aadrne yanepresented by s uaa a lsb lpyl seu si thcm st o e of such s odef ccoonllceA cntaoisot nhAe aFS 702 eived arns drae lderovecamunom toe natcaqtuioir ut who could be helped with a course village, and an ethnitc t eeq nulcoelscatavitoein ne . iss:o mWeh emree aiss utrhee ofife lpdr?o fIitc iwenacsy oirnig indaaltlay eecuvtheltnnu prim on outside one’s environment — a remote field orc-amol uuelns itivicviorelo onpgeople residd be ominceea’nls t.o aHwcotniw vei et.y w Ithi nehrvaeos l gvareolrdue pasdi nyov fe bnseoteinng-literate, pre-literate or one could collect data on ae nvpveairrr,t oitcnhumilsa eran tstt.it tuuTddhyee. hIfnaie sfl n aotoiwbosn ec rhvaoenudgt setiddh eaa tn doe natrehl’eys could be a field or even the University of Ibadan adcca tmc, optuhuleds cabiste yl o aonnfg yI wbaash detahrnee l1ioso 46 n cbear tioinoatnde neord,fs f aetnros m A Handbook o f Methodology in African Studies Iett hisn inc ogwro puoss inv p odirb eloex aettesetnridgiasal tsbe eroyerol endvdoa cnaut m steeotn , tts.h tTea nhpduaasrr, ticular subject or theme in Africa or outsidte h tAeor f rdeiocta h.fnieicld gwroourkp si nin o onnee’s’ s ocw dthoinus ee nvd c tir oly“l npace, graiem pt o n, oiattihmv f fieldw eeor” n cvgoi ulolnan ogte re’krys. tbIhnea attr hianirsge second part, we s II actual fi eirnled pm reeixnspeden rttiheeedn ctiehn r atenheid sc ac htlaealgsl discuss the procedure for fieldwork firstP, rlei-bfriealrdyw orreks eias rfcuhr thaenrdp soucsbot so-f.r iieIetl dsi nwovofo rplkve.erss opnrnee-fli eplrde vpiroeupsalrya itdioennst,i ftiehde poreafs rsettaiucrudchlya . re qpuriopbmleemnt .m Auns tethno-mu -ndstiiacvcoidtl eadn idn totw two,o mseattse orifa pl rnepeaerdast ioannsd: wstourdy, fo first define t k wourTlmdh uibsla emt eee xatheninss stihvhyeap;t o ththheae tsm iissu ,s itcn o cvh hooeg oispstre ow bhhlieos m itso apinnitcde, rdseeesllteiencdet ianht iess ohalivsre ianarg eo aaf iwonrod ueaplndt hgi nost teounnds yifv ofer an extended period. oIenrrd inoegtrh aeto rw wdidoeert edarsrm, ine whether the intensive studyo , rr eDas aesrahkrowcrhta pwe(hr1ii9oc9dh3. :i3Inn)v ocolovnpenisne ecast iostnmh aawtll i tha eraae aga ennrdee,q rtuahli ersirnuergfvo eraeyn,, moetfuh tsnhiiceco gmlorugoisusiptc sa lws tchaunoltd ussrp eae nds one or tw the choice of an extensive study in a widboeef tgttheerao tgc rhraeapsnehcaiecr c ooh f ylaeeraaerrasn , iinn a small . ar. eaa nw iteht hfneow- wThoer krse soena rtchhe wseolrekceterd t htoepni ca cwqhuiacihn trse alharitemea stweoli ftt h thgin am nt ohorene s eaa bmwoehu ott imamllea -pksehpsaa snae”ns. pefoneroambpllueel attohenede r feiosnret eaenrxcdihsse trint odg evitneisrfiomt,rmation on with relevant published the area. Library research is v einrtyhe eiwimrh pehonirs tto rthy,e amhneud s pi iatn its fobre spt utbol caoarclt aiclp urclaaocrnt idhceiytspi ooonthfs ,e tshtioes wmmhuuissciihcc maannaddy pdcrauonsvtcoiedm ea sbc taoicvfki tgtiherose, ppehooptole. One ma go on field trip in After the initial library r graphs of m y u lished works on the of contact with the researuecnhsde a lironccfhao trtimhoena tniioenxn t oosrntda et fhisniecd t oewpveiocnr.dtss aanpdp lsieod otno, qcoumesmtiounnsi tya rwishinogs e frmomus icth oisn ea ries : reHsoewar cdhoinesg on gere gitsoa itnhg eae iennst traeybn lor collecting? Hoti irnsyth.o m Tethhneet w does one M. A. OMIBIpmeermf obgrmearien ro srf ataphnpedo grktr eowy iit YhI -OBIDIKE/r/ieOfy and Practice of Field, etc. 147 wofo umldy ssttiulld heanvtse two nfo hugopo wwthah mromesmea nbmtesur-rsse icso efia srtchhe acommunity, the musicians, festival music which holdrnso tueegvdhe r ttyoh feic vpoenr oyd cubecesineartss sgos fi ssbttueacdnoitemsd?i noEgrven if on rines heiasr chho minetto recorde oa wcacnne phetaexdcd del., u O i so snn eea th ive mwcoa rnsot ugusiacac bt h l unep h eitrsos father wder o sncto uwldleyhc.o t hcio is a respected to go a letter of introductiAon naonfto hlriemnrk aw thiaoimyn . ouThn from somebfo ped ewc hirtiehes fet ihanre c thpheeero c pomlemu wmsth uoan ritpryae nrbfgeoefr ore he stablishing c for a tohre omr gaanbi y in authority o ntot atchte i sp ebrys oonb, tpameino itpnhlgee ippmerorpsfleoesnmsaieol n sotauatitto ionno i.n neI charnfaiel lldif ee.xpn ’es rietinh gitese nortefi ogtanhr ed apIna drwt iiclurl ellaqirku eem satuigsnaigci anl tradition, informing The first experiennccee s wwahsi chg aoincecudr riend atht ed if ffteoorr e rneptc eosrumtanigts esmsi oyno fo wmfonyr danodcu Im heandting Idoma music. It was a general surv1e9y6 0tsy pew hoef nr esI eawrcahs htm Orciisep h ,i c a Dom oIn mw eapasos y t hoeefn Itpdrryoi vmtiolae gtthehe r oof a prior meeting with thea umnodr, e feodr leasnsd a pge uxgtehn ta tvhearty wgohoedn aI swsoecnita tfeo rot rfta hhdeii stai. ocTntuhaails l r ugfialeevlrde, npapeecrpfeoosirsnmatreeydd. Ttphheeeoi rep xmlep uesraiiecn ndbc oeta rurorevasindt geoedfd t wheit htr aadlli titohnea ln erucelesrs.a rI yw acos mlofdogrte. d Hine nanodt cost me anything exce hpw taindocumentation. fso rhc oitgnhhteelyx in tb teeasrn vewifeiecwlilas la with musicians who The seco materials pu sa rnocduh tas suoecfd c ecfsoosnrf utrele xacton wrdd hdienindg This happen wroefis ttihhd eew nEthd oaomt Ct h eundltd ui nrea xtlph Geerr io1eu9n7pc0.e s T whwaehs eg a complete contrast to the first one. impe Ie htiamde ,d fioscru as speedr form nro auI npac tehte aamdn pdcto eIm dh eat odt o d mIolecetu- Imwfeei,t nhwt htthe music Edo my intention. He informed m heeere l oeI afw daaensr Sbgooeto, wdoe Cnoudplitnpugor raculturaen bottlhu nGoirft oyu usf lp fiaenstda owthheicrh g wroouuplsd whooludl di np eBrefonrinm Caitnyd wphreesreen tth ea wtoe wreh nme ratehn emy eagmcrtobuueaprls s d oaarnt edd ooI cfd utimhde en nofittea steitnoavn, i.sI aTaghrere iravene ydw iaamst a mutual agreement was not available anoondf ttIh hhee a Edgdr tooou Cneuxdlpst ulaorifan la mGscryho iounoptle wnintei pediment to r Beteh lneoi cnva.e tIne dwu.e e Tna on to the maht mn n e s dy p n tl rteea la xa hidgeert h net. tor h1 4cgorim 8 omu ipinn g a antuodt htohr A Handbook of Methodology in African Studies e irnetaecrtvioienw, si t swtbeieta i tlny et, hxaetn tdkhn itnohwgis l weldeagds e a tono fd oBiusetcbnuusrsions among members of the letter from thehc a lemtahede e irmm oupfso isctshiaiebn lseg roatoun pdd otth hea ien n sytm rouensci coharold witnr people have been different. epxepreforiremnecers ga. dPoitrei rohcnoa. npWsd uiwtchti thtah nisya ScotantedT'u.h ceItt i nitnghv iroadnlv eaednth dsn eovlgaersnat pdehixfifcpe ersretinuence hap would have been team leader. I covered documentd tyag troioofun pt hsoe p eInkeadle rceocmenmtulyn had to gain entry through a well respect efod I fk mianelevm embsteiurgs aiotcfoa rtl hs i, twieehasic lhein wIO itwnhda oas wcoofh moth mewu arnsei tsaylso a colleague at the university. Two promin teern actdo immtieommnu. bnWeirtesy pkconralolyewearngs.u tAeo f tw e,a hrHocihg ht eCahmiesf s cahnodse s oa date when we physically visited the of Ikale cutlehtrue r ta is ehnec eians it“toisraosln , v wiosefi t ,tr hedecu m e rs e ivion itglred” aditional rulers in company of the and carry out wtihnhe i ocghrod -wearhe e tooafd fm efrraeokdme d torhuiner k csiun suttesonedtdii oafnnossr mldeidea gleiencat bitchlaeel inpd rotochbuel eaomnudsr , wIi nere then free to choose our research assistants team went backm a etrotns t tatra cvdheiotsistoieng a aotnifoo tnthhsee rca on“msdo mnd uoonfc iutthym eae ssn omtialyt”i owanshs. ois Btwaenactsa utkosn eloe waod­f ticsho evomepre.y r Taitmhioep noe roxtpfa nethrt ieef onprce e ht eiwoop n letar sa o o d fv r iet th giroy en arml ursuilcearls troand imtioanttse rosf othf er eIlkeavlaen. cEea ctho ncaence sbsea reilxye ocubtteadin ipne rtamh isesu sciaocrenes asf r rfuooanml u pdf ei ewwldahr oedsxin ep gem raiuensndicc e si.s u Acbc efeiisenslgdf uwdl.oo rcTkuhemurs em,n ttuehsdet pdeartesAo fnits e wrf ihxhoea dvis i nfaogbr l eets httoae b hlaiesclhtpue iadnl cefosietnaltdbawlci tshthhei insrg e sorenealera cthdio olneossc awttihitorhno tubhgeehf o preaeo pcaol esnt. tuadcyt nraedeceeoqdrusd aitntoeg mmaanakdtee rdaioa slcseu cmofoenrnd t ahsteiisot nopfe prsroenp toaa w lrr ka i n t tihtoo n the reseaeedscs o,a mnfdimn atehnn rcch location, and a ships. and developing good ecs e ee,, itnehqcelu researcher In recent times the field has been polluted by forheuigmn a uindp emr: eeglnaettt itoifnongr­ wTwhohirosk c hwoamsit hep owlsiteittdlhe grants and so offer so much mwithout giving a a sm mgoraenlael tya .pm rIoto ubisnle tmn too tsoloh nologwcea ral pprpoersseescia resea brolcenh eetryos t dowo hf iaoenl dgy o ar seoscnis r tcfaiheneiation. Sometimeso, rsdoiml trdss ng. e­ wrthehesei lraeer scaehta roacts M hhseei .s At . OMrr matniumts IBmrYaTk-eO BsIDoImKEe/ 7d7ieemojya nandds Pwrahctiicceh ofa Friee ldn, oettc . negotia1b4l9e HaOstesh eessrsh ottihumeld es si tewuxaehtreiconis seet s b getoh coeadyr ewjfuuadli tgn mfooter nt owt phinrao tevovofekfere r iiasn gfoe fefsleairnteigsd. In such cases Another way n oi tfa nipsdr nopmootso sntiiebnclgye smgsaoarokyde tphhaeuy mrmeasenen atrr iecnhl aektriino sndh .fo oaucf tledox rpyl orietwataiornd.. babeiinligty atbo ship i bs et harboleu gtho vbthiasissiit cea dtsr aNai ln epi netgor f oosrfp maena k seo tmthhneeo local language of the research location and friends wnige ereers iasse enmattiaaenld y. p art o-mof fut hstihec eomilro ugtsirsiact.i. nOTinuhgris. foAurs eefiodgrn et oicg onflol ercamogl ulepeasa gratu deoo fpw tthehdoe Yianrotirsimuenba atie n l autnhnegd uemargsintead. nsd Aoib yTilehiateyrys tawog eors,e p besrateuenzneded i nbtoy mhiys opfrfoicfen ic iwenhceyr ei ns otmhee pfalmayi ltiahre amnuds ifca cbieliftoartee sfg gto a thhine n gpd te ood ptishlepe.e k the flF ieualrdnt hyme rasmu lasonprgiecuiaogne thwaot ulmd ige use of participaknets ot,hb eslee aurrvnnafitanimogn il tioma rs phirnto gmh aaonvtdee rdeactoaTr cdhoienl lgen cetmion. e btheocodmxt pre o ef sorieIns. recenta ycehainrse psa,r aatuiodnio daenadls vwisiuthal reeqsueaiprmche netq, uaipnmd etnhte irs uacchc eass­ altho uiEnnutarrooffp ue , pdou g chae ndrde. el to reel rdabletH.h oeIw Uwe.voSeu. rld otairgptiaetba rlle er cecoacrosdsriedntigtne gi sr, eabcseo srders are used for fieldwork, accessible, fieldworke,d r fso srua gtu gsoe, usttrh etlh ecavote sl tu snahtnoild ot pfmpoora simnedtue sntoiac n.a Also recently in portable battery operated recorders. In tu hlddei geictaoarnll tyir ne1uc9eo cnread limongga, yh bmaesca obkmeee einst wbexreetreaenk s-ituohsnreough of cass to work with part of thsed, ,e bqasututicephrmy e ranect-c ecethste re a arseorgsreie cso rdaesr s mwichreonp hroenele 60s before thearsrc, hmeric ruospedh otno et-askta snt,od shr eeaeanldd pt ashpoo enf oerrset,c ho re to the field. In recw daeebrrcenle es mftrimoi es, with the use of cassette recorde e fielcmdrwo tpohhreok n,e eqasun imoptmohseetrn ot ifmf othpr eorsreetca oancrtdc eisnsesgto , rowiefh s t cameras to record the visual aspect oic arhsr, whicef qfu e nieiclpadmp ot weou lohrne gatelhwre an yaesuc edhsiaosva ear ysip.n-built filming of field experience was done and this thnretk n. a Ifrnoe r tmshteeild l p paaasnrtd,t eAvcipdta eorotf strimainpilnifgie do ft haen riegtohunros- mofu shicaonldolgiinsgt. aN ocwinaedmaaytsi c vcidaemoe rrae caor ac ndd ina goll f tual -htthhaees e1x5 0 A Handbook of Methodopdreoptadeirulsice enp cees that go with it. Video re lcoogry dinin Agfr iicsa lne sSstu edxiepsensive, easier to tmah uem stus esbriecv aiacl ar ntiandis ntpirnurgem steeorn vtfei, e. Still photography is used to capture special what shobueslled otobf eht hapenh dsoloeto- itltdhs e espxelp aeeyqriniueginp cmpeoe ssniuttc iophne ar, ssa oan artist in performance, fie cgarlalepdh epdr oafensds iofinlmalse dw nd . hnToa l lshimy o s rama oytn ehn . ae onr At fields t hutanhnda tee worker sh rmsetvpaelnordyy mbmaua oltdttue w elrdi o ria r el k sfso e . r r Asmh sh fto eup o rl ad u ar l lt d obfe tahbel et rtaoi noipnegr atoe fb motehm sbtiellr sa st pre-test themli nt chtleou deeeqn usbuilpramen keth nvati tdh etahove ety ab paeereesn ibanlsa sgceokmo naod bnfl d v et h iwdiseh oitc elcameras. It test his own ability to operate them, as well as bdec coodmn, edt hifteai ar sfeisslm. Os tahnedr ftihresmt-h. aTnhde enxepxetr isetnacgee oisf athcteu aml uvsisicita lt ol ifteh eo ff iethlde tpoe ogaptlhe eirn d on tahmteai li feaoarr r wcuhsietehr, raersee tTaorh cbeher e lu oascreaedt ?inon. The tsherleocutgedh rinegla tdedat ad isocnip ltihnoee ssf tanda qrude pstrioocne dtuhreens iisn: eWthhnaot -pmruosciecdouloreg yo fro rm ceotlhleocdts­ baonlbidsseh sr ovc aoftoridrotinah l aarnreedl a utpsioae isedul dcah.n dTa sht hehe isgsete onarreyer,; a lfi onlftkieelrolvdri methods applied in other so that they would grnitvsihciippa twioitnh. tThhee pfeieoldw e, ethnolo ple oetrowk eisnre/gcr uaernseed a g tar yc ,hec hosemor cbmiainl sir cooupasett cie ri oaetns n tcoae­f tHahneids s wphao ion but alsar uyt,li dchi pebecome fao bec aobtmeincegos m inae stph mee iihrli iamdra iwrleyil tiahacb ttlihev eiit nipefeos or-mp lmeation rather than lie to him. data even outside th aaer tpisacpirpet aconiffti c tho besmtsue dravyne, dr. p hhHeoe iusts hiarcboalule g anhno dlt i nvoing with them mances in their actual context. This is called t oisg raabplhe taon r o dne n clyo -m rtdou smoibcusaseli.r cvIanel wfehstiicvha lsthe film perfor­ , relrigeisoeuasr chceelre brreactoiorndss, esutcc.h, ase vtehnetysA cotoucfca ulliritf y Recording during kwesihnseidcn hco eif orfe tchord eo na st hec esrpeomt.o nTihes, e o is audiencess ,u ksdnuuoarwll icync gas spiieso cnin.a olIltny c- aaannra,r alhynotgiwceaedlv. ebTru,h tfuo sri sm w athhiamet ebfdao slliaost w ocsf a apinst uring the Rqeuceosrtdioinngs abouintl get dhgese pasebuclbieaj leplycet o poalrfe r asatnnugdde ydin dinisv iitpduauartatiloiscn uaslr aer w aashske enwd eoplple irnftoerrmvieerwInterviews, rinefllautDeeundrc iqen ugre esistnpitooennrssv in en-ended eiesw fg reosnemses riiaonln.fosr, mthae researcher should not inte rarus other nts. He should listen to them aps t thneoyr talk M. A. OMIBIYI-OBIDIKE/Theory and Practice of Field, etc. 151issnpotneecgriv as,ib eoiwnu st tartnhudem ir music, material culture and soal intervi Focus Group Discussion sessions. cAianla loyrtgiacanli sraeticoonr ddinugri nogf bmdeuu rusinisceg d eiv ndetnuetrrsvi,n iet eyewpne taolf epnesrefmorbmlee rasn, ds inpgeerfrosr, mdearnsc, ecros,u ledt cb. e Qduoenseti odnusr ionng nextA qsu weset ihoanv iges w m suse,ss irsceiaopln eser vtwoernhyti,sl e p ienprformers, instruments could be raised linguistic and cu ,nl tWoutrheaadl t d edilvasietsawio ahnreser ietn o abtrhet eircieripc ooarnrditg eiodnbservation method could made to collect music and music (-a1r e9pl8aa9rtet)id,c ustilrnaarc de ?a Al fcruicltaunr aml ucsoinc tveaxrtsy. wTihthe hdasiassttoaoc rioyan tfe rdvo omcw aeilat, hcih n smettruhusnmiicce ngstrhaoolu upal.dn T dh uotsh, f country, efforts erro mfo lkt itions and eth nsohgorualdp hbice Tdihfefe resnotc isoo-ncugl ttuyrpaels aanndd theciors mlyroilcboseg sichacool ullledvc abtle hloder ete c. ioclU hanncdicalectteeivr li ltyive bso acisanel tdi mmangle, theoretical d and classi aufitseeidlcy., accompanimelements, styles of performanceu easn da ttthaecihre din sttrou mtehnetmal, m adcln us aadns s isicfoaic la icersf, otiroat nhnsn , et srt n hue tcmsh eshd ionusnltd nirq to bsu u, ld ee cotofh bepeilr a eyxidnamll igs,tr i umenta t niybepudets io aonnf, de ndasenesamilgybnsl ed. Information on collected. Such informationelic sttaessd, .t htBheieiorig rr paoopsrhigitcaioannli s daiattioa eo panerdf orcmonanstcreu cntoiormn, mshuosuiclda l besi teulaictiitoends., Ftuhretihr earmbiolirtiee, s,c aelednudcaarti oonf an ns munds i tchm e n ssloohccoiauell tdym , urasolislcoei as nbisne, ftceeosrltmlievsca tlesud s eoindn thrinee girum lcauursl ticuand periodic bases, activities aaenntdhd o ddda anoncfce e t reasvtienynlientssg,, ienx tesTnphdeicesid a dltloiys ctahuresrs asiotnungd eyod ,r assilt hucooauntlitdoe nxstas.l l oTfbh eue s acsgoaelml eacntded p. erAflol rmdaatnac es ahso wuledl l baes hbe of musical expression ise onw snu cecxipnecrtileyn cseusm bmofat hrw iashse adat rbteyos Ndkoe tbiae fo(1re9 sea antid nt vhdeeus ntriiagntagition s93:6-7) wheo nnf iahelel dl erw hvoeoe u corl.k ld b u nhtea e ds pTinrhciemlu adforiycnu gds aatonafy w meovyue lnfdite bltdhe ardte rsianewca eracrhc hwero aunldd cboel leocnt omr.u Hsiec awl reovtee:nts, tssacetoliepocent e do( fi nstochlcuei eding • recording onor pffr ootrhmaet eodmb sumesruivcs aitcoi.o f Ans cuacncohdrdingltmieuss)i.c aTl hecu lvtaurriee twy iothf epvaerntitcsu ldare firneed i ferenn de ocucevp ean ytm,s emniny­ genres and the selected items that were performed. trot tthhee 1 5 2 The A Handbook of Methsceolnetcetxetdru eastearch programme w odooulolgdy bine A fbriacsaend Stound ietshe study of saoncdi etnieost inol o npp irctoshb elte hat would allow for particular formal and The research tphreoirg rto mdtesat laiotiyrle . tdh esmtuedsy t oo fb et hien vceuslttiugraete do fi ni ntdhiev ifdiueladl taonpdi csm ruasiisceadl beyv etnhtoss eo Ir a tmsaplkmeecedi f iw . . tco o.tuolpdi cdso cbueminegn tin ovreasl ttigraadteitdio, nosr aubnousot lmiciutseidc Tmasoa tiehnnetsa uoinrceec dats hibat varying scope was gwould be intoeentn wsoierv eetnh we“ shstiuitlduei aettshio"e n al naddtee m ivaenn to research and ing recordings of the repertoire ofr“ id nwodco duuemdl a distinctionividdeu nbaetl a steoixoctniee”nt.i seTisvh cweo olfluoelcrdmti obener wfsotuor udayldr, c sbhieival pu eo;r ienvveonlvts­ texTths e do nc caue m mtheand drueamnjo rbpr uopisled inragt hoefr s uthcha na nfo arr cihmivmee odfia stoeu nanda rlyesciosr dainndg Amfurisciacina ns. ta muTsiecxot luola tniart of the programme. about a culture bagul o gnsut uawdgoeieu sls dinh acaleds o t htione scbelude transcriptions of song the creative proceyst s n aloastno d ob nellacyra gubesere c aiosufsse ea ropefa rcwtr ehoaaftt e mdt eyax tnd used what t concept boyf music. . . ues of hceoym rmevuena si lceradet ivoaenbao leuidnt ftrroamnTs chtrehip eft oiforineegl dao ninadtg athhnaeasl ypasoilssso t- -fi inebldodit chas ttseatdgre uw:c thduaertap lo tosai ntdidoo n*t weixnitt ha nd aatarc hcoivlelectepscrhoobl an laermlys . ual - of data o ddr csaeoncndos ntthidteu atneso innTv-hseeps etficigriaasttl iiosatns, pwand solution tsp ethcte cdaens ko anslpy e ebch cetto o d ihs dofo afnisee lu nbneyd ebdwot y rrhkt o a ekcveeenrtain African musice i ns pee r cyCibodthnaoolui-srmts y e,w b7ho0th the spusico2osle. o Hginiocvwaeles sv oeelocrig,a itigatitl cias tudieohsne tl . ETHNO-MUSICOLOGY AND AN A PP R O A CH TO ITS H ELD RESEARCH O l u y e m i O l a n iy a n s 12 & IoBnnef tomrroey dexplain Io u wdwhi csntac tu i e os nAxsfp rweicrhaieannt ccIeo cnoacsne spaitd eroerf s amenau racshiccce erisp ,at anbdl em ruesseica rscchh molaerth, od to ethno-musicology. When broadly assessed 1 li bkaes etdo imenlau absniocyr a istnointcogie totyhn e is t hefeov cecunostnssce edpp rota,n ci ttia si esn dud mebebyme rae do gfnr n m, otohtsieot sneysss. tpeSemci aolfl ym auss iict mrealkaitneoup o g s ‘music.’ ecessarf yp te uoo cdphel efn.i noteBi outnth se b bwerfooinrrdge WIn hana ta ttiesm dMpetsu ctrsoi bigceis?v eM au sgiec naeral definition of music, the Collins English Dictio(n1a) ry aesnp eacrita lfloyr mto nceosnsi s ofs : tdinegfi noitfe sepqitucehn coersg aonfi sseodu nmdesl oidni ctaimllye, 1 5 4 (2) ohsura crthrma o An iHcaanlldybook of Methodology in African Studies (3) ' the sadoniut nioarnt. fo , rrmh ycthhamraiccatellryi satnicd o afc ac opradritnicgu tloar t opneeo pcloel, ocuurl.ture ((45)) winstrumeniaonruyist t se(enCq ooulr d tsps .rsio produced especially by singing or musicalence Though, the dleinfisn, n 1toe9fd ition7 s m9ouunsdics, spuecrhc eaisv ead s caosr ep loera ssient go fo pr ahrtasr.mon­ eabmoburta cminugs,i ca na cectohrndoin-mg utosico :q970). btheeh awvoiorludr. .’ MSauny scho lo ch a belhaarsv i hotauhvree ugboiectlaeiled f o vasyebsrotvveieme w co owfu oeldua lcdhb eco lafv ritiehfwye etshdoe as described music as an aspect ocf i ce‘hot uine al mcse l -apontf pupthe neoilear qpeuslfe e to the society in ino,gr e c,u olrbt uerh eas raomidro tntroiao dubiste io bnayn q uies setixopnr.e sIsne d swucithh ae lecmaesen,t s manudsi cp acttoeurlnds, discussing culture and society otr ah reat nfysoo rscmeieq tuyce.h naBcrelacteristic of a particular . . . Music, therefore confir imn sm wuhsaic st a cokfi nsgo un(1d9s 7p6e:5rc4e)i vewdh eans and culture, and it adds nothing netw is aatlerse atdhya tp: resent in society ftTahhlilises ncs htianaptteot e trrhe. rlaIette e ssch aovtueeglrdyo rbmieesu ccalhse aftro tA except patterns of sound. h (a) traditional or folk muolsliocw afrtsi c:iann m moduesircn wdhaiyc hA firsi ctah, e mfoucsuics hfoasr ((bc)) aprotp muluasri cm; uasnidc. wwBlhhaiiccckhhi nimsgj’ sat hnseyt aisetestuhmene ona-ttm undoubtedly refers to African traditional music Wwuseheseftur lea ainnsd, ienatvlhsenoso ti-agmsaputeisncic suotaslokicgeoi. lcoTaghl iisrste ssi se caoornncehc e oanfpt rtpharteoe a areas of world music on ethno-musicologist shgtos uthlodef bawreto rimnldtue’ssr iecps otoepfdu Alianfrr i tcmhaen t uc h h sci eohimra researchc; spi nob seen fo uinndte rveesrty. This is why Blacking (1976) states that: study ofa e crwstu oaarnll dd f amocfut stahicne. lE. etd.h gn. eoR -mesworld ooff earch in ethn um stuihcseoi clo daginfyfd e hrmaesnu t ot h-mme usicology has expsic e udpsuoiccwaaetli ro sntyo, s itfce rimse asfo telol ofaw artnhedeve odlwu tooiruolrnd . kinn. ot.wh e­s the implications. of O. OLANIXAN/Etlmo-Musare iats, odfi ssctouvdeyr.ies and develops icaosl oag ym anedth Aond Aapnpdro ancoht, metce.rely an 1 5 5 Black.i n.g . beEltihenveos-m thuasti: hiotir sttchooorudylo.dx pmiounseiceorl conogelyow gc yo wnscaheyrosn ueloddf wbaenit ahlm y“soeirxneog t itcmh”a uonsr i ca“ f oablnkrd”a nmmchuu ssiocic:f movuesrMiacl ul csic is a univseveral kbaiennhndaosv tio obfu ehr u oomnf e prisetsao lp olpwe.h neI nnavosem enon. It is generally believed that . . . Music cannanot b eexhiasvt ioounr . s atMnig eaartrritoi anwms i th(h1aov9ue6t 4 s:thhoew cno nthtraot l thaenrde athree behaviour of people, and sae velervael l koutside th 1e4 )c, oonbtsrerves that:inds of behaviouorl aanrde Apsoafrcrita Ticlh uailsan rmeans that ican trd a sdeoictcoiioenntoyam.l imIct l mtihfuee.sr eiTcf oharese pairnnov coaelrdvtue isrs e m baaansndey d p usician is not to be the sama osnp etchtse obfe hthave iosuorc ieotfy 'as Aittrsfar iioncw aa,n f mocruomsnicaceli aptntrua oianfl i rtbihgeerh W rocesses of train is meso e as those adop itnegd atno cBulaltcukrien gw (h1i9ch7 6i)n viso ltvheadt attvhhioee u t.sr t Wlyanh adidl eoi dpinetefaodtri ominna . tl hTtehr aewisneeis ntag.r eEi svd etirhcytea stpoercdai cebttiyyc eht haines concepts about music. The statement by oeo suxrgbisajtenicnitsg;a taibonendtw teheen kesy sound may be the object; but man is the f huBmlaackni nbge .h raDeveciofoirnudirte.e u lbytjo,e wcuth nadatne irdss timaonbpdjleiinecdtg; hmethruees iics a ticsht iavitna mtitnuhges i crp eirsli anatcnioi pnalssehp iepocstf d Venda aionnfv dbo lves man. Stravinsky is q1936ep:i na8rg3t i)tch.uel asrolyle, pthuer pcoos-eo rodfi ne u somttaeubdslii sc as ation abhse intewgx apa rnwe saosy of showing that music Music is more t een m rindagen rh aiinsn doth wtiinnm geset, h(innGicocl lulmadnuincsgzic,, i“Msr huoysnecert ic, especi sghsamanr”iy s wedah siic anhltly thpec oti ssp aeon hat a inmo fpa nAo rfrtoaircndai,n aisr yli fsee qituseenlfc. eL oetf suounds to enteriods s take for inst ratanicne. rseys-itnemcasr, nagteionnea. lAog1i coaltf h ehhrius tam ofa sne at aspect of music. Within it, awareness osrpye cal snional changts fdeo f tlmhikeue srisceo leic egi.oi o-Seuucsco hnb oa change imphasiseeml iieacnf dao nfpd e lrip ncl pfeoe l udes tiutaiacntadel 1 5 6 A Handbo mtahrueti ssitccir eative, architect oukr aolf, M ettheocdhonlooglyo ign iAcfarilc ans cSituednietsific and other soifttieoInnm sv ci esvr aycl lucoeoss ofprovis melpy l eimdx.ean within his culture. In specific terms, African the re.p Tlichae coaotfmi ompno ealnonedd n tified with its rhythm and meter whicnyt sfo inorm f As pafrerieec cauhns- semodn utgso ic s ati nyglcerle,u adpte u arsdepv eaaennctage in co hm aproe­ r(h1y9t8h6m) owbsheicrvhe sis thcalotsely associated with dance. This is hd wsmohmeyl eoAtdikmyp easab noidnt r. el. at. eds.peech, melody, rhythm and dance are usually inter­ tt ethhnejo A e ye frdican mus he puphseaiolgo by Africa peslsoe,p rwhoyhl eoo, f i ncth,s .e t Thpheeeroe pmfloeur iesni, c t ihss the music created, performed and cosmopolitan mufsouiwcn cnlot ivotehnress amwnuidtsh it ch eaeti rias vrfies African ideals and attributes of a. rtIits tct a icio rsi ut o ail u ncd s d c uacult amldsov a u eea res nspttuph . S reeoatil uc cus t p ho mh m ien u nnodon sm-ics. A effnruialcf aiolnsf nitnooi na-n Alioftrtiativteh irceaartne t traditioe. Mahbnruyotugh a n aclo nmvuensitcio hnaasl mbeeeann sp oafs soerda l otnr an essential sty rhleei sgewhalhryci cihmhe rascg aiannna dtbi vsece h,p ocelrraecraest iivovefe dA, sfirkniicl afutnhl , m ar edfrusi o stoii mon .o Tnhee g aernteisrtas tiaorne AfricFaonr pueso tpole sd e(sCchriebren owffh a1t9 7a9n: 3i0d)e.al African meu sidci f cuf erarcceecfneutpl ,t matnhudast i fciuts l lh aoosff t Afde heaafrst t iiu gornereised n witnao tuion of the familiarity with the ca in genwledhr aicsl hht oetwrhme stfh.e eaB tauusrneeidsq uooefnn- tehtshesi sm opfu rs tradi is, there must be observe that for us to be able to describe Ate ihmce wfrici asv otaiuorlindo. uAbse m mroeudvseeicla lhetadysp. etSosu cbohef taos keredf:ine our sensitivity the following aesthen et, i cmC uhqseuircenastol ifosftn ygsl oe emisnu sootnr d betoer (((321))) WWWhhhayyt ai sirs e at hpceee orptpauliernp mopsioeevc eoed fo tofh rem bmuosruiecsd igc ?owohde?n I play? mgouosdTic hs ebinsaegs ienqdgu oeinsnt itoohnnees ycpauorldstesut ritechk ems pro [Chernoff, 1979:30] drumming in one culture may alnayi dn b oldeot bto m bwsen of ae in i anbn yao snesthoa ectshhse mcru.e nlWttu hroeaf.t tWmhe quer. Referencesha yaat rb m ael iagtyyo obodef e made a O. O LANIYAN/Ethno-M usicology and A n Approach, etc. 157 eagsxo ls oaomdd a topsn liecn pi gn eegrtr form h eoisrr do erfntsie.m nM membee are taeesrrsm oissc i rTasth eoedfy used each African society could tell who a S h 0lCe 0f salt) m° er a3n sg r<° cwotiouth ld d maelsuscosri icbt.ee l lI nwth heYo o qrisuu baa g8osoocdi edtayn cfeorr vibrato ”voeiacneS wShuinchur 0iUs Sm V° U os1t Ces’u itasw p ° bleee t f fov a ro rt icise(tt,e’r se-m Suuch te arlintyis loikf e musicohun the roehnun goooro, (smooth msoanygbs e An“ a rtiste "w ^ho possesse osh uann ya ro Mofd these dlavitnoitoi cnev ooiqfc uema) loidmuereTna fnuissl In Nigeria, ° l° hun 8° ° 0Wcerta "man edx tentth eF uemrtthohnoic linguistic style influen 0cleosh uvno cal teaxst utrhee tcoa sae tiala srijoeannlado reoraeundsd . anTedwh eji o cheuaxlvhaeirb edru, neiaq cushue c mhw usicaitio°n! of thaae yg e ln green. rCeh daenmtinang dfso rfor rendition style With regar style of renditiao arnnt idiss t enmso atsn uknnielclr o mobfmy t mrwesmh isocuhloc h, t hvaesiby raron. r aatro ae idm reuunmsthe gt iiamtayen rw roups 1 hS b ,soa n eidslou idesav etfdeo w toinstrumetha have h onf dsliign hgto ttohhfee rs umk insn toapwle clmeudluigaserica ‘bhsuch as drumming everv ^ d e x p ^ e aster drum i lnae n adpn.e ’ oepnInlse e smoinmb leem ceuavsseiecns wcsoohumelnde tdericughmenni q-au , es^ta ntecde dth amt assotmere ddrru ch listeners. Salawu Ayankunle an old the owd oOon rtehee r oo tmheor ihlua\n dm ummemamneeirnr sga n‘thdha anotd nhsee’ aoprfoe s msseaysi dsinformants in Oyo a b i l i i ^ f '3 , a drummer whose ‘han e dst’o ia sb sseka ii‘lsdfou tflot ’p bolaen y rittnhifgef oabf pithahtbeyl eao roft fa nnru3 Alm.^f rpi lacks a skilful playing technique. Performance - utot ilcisrein tclgatu nad lmel tu~h seiis c ciaaonnmo. tphAoe srmi tiuimosnpicaoilra tnda enivts i ycreaesrg dawsrtiditcehkdi n foate his music. For this to happen, the at rsh aegs ofsoreadsms iienf g the e x p e rt^ CUltUfe b additi0n t0 Ws musmicuasl icsikainll wmheou rsikts and AIt firs icnan Music in Ethno-musicology^re°veaSTheeG ^ l lmt emtchUeeSs 1srCaeSrl yeo vfta on cdei s^ocufo sristl sd t- hsBetu edryoyoo nttdos othfehthmodH orlogitcnha el eda pt0p rbo0atchh p0top u tltahhrei aet thonf oA-fmriucsainc ology in omusic andr doetrh etor s m ssutcusoidpcy e3 , 11ot(h1f e mstuusdicy haaasrs t, fmianru stihaces 1 58 lecootghninccoeap-lm.t uaMnsuicolog Ay H iasn dcboonocke o fds inco rn Meedt hiosd obloogtyh i na Anfrtihcraon pSotulodgieiscal and musico- Ttcroaenkasetie ddfeo rraa bsil ne s‘mtsao tui san sdt r aenated as a neacseu rteha uiostfoo ltnahted are wooermk pso euoos ht,.u’ Emvitae nn w tbhaesoh uagnviour based on societal Mozart, Haydn, Ch pf leg’rs esaot cimetaaslt hion twfeldues etnetcrhena toa nrtt musers like Bachht,he reHe m iciu sws iacsa. wbgiehvheicanhv performed andel, repertoiaoitru etr haela ser nesdap mo onpsinein ,i ncB oeanenctedhro t voeuhntas ailldnse,d Wtthhaeeg rnceoe r, to mention just a few, p ofa teeaucrhs shtohwro. uNghon -prergoufelassri on naeclxesi rsctt os hualdall .i ncAcorpnepvaleattendance to sa neut sitoehnaconce eriisr l t tine exrtfsoM,rumances.tcruadlntiucsarm tfao osrircs .e isx Iaan all-ission.n m ApfArleifcr, ehmabvrea cbienegn l ethics, noraimcnas n m anusdsoi ccgi eert a iredt wevsee,as c ith lsrt hibe ienyd abnaryye ALofarmgicaa good meaeax n (s1o9ci6e8t)y . aFso neral pattern of lifesn.u trsTe h eoo ff m tiuhnsefi oc,r lmcku alsttouionrneg ttorrbaasdineirteivdoa nal p- eionp lteh’es pineh mus reforermntta ionhncee. sicet-up,riMtiaaugnessi c w iihss o sbueen lwimerveiettthdeo£ -the socieo n tdyt o aon. Ibfn de t rta p hai en e h rinfuocgom r mnaitsen e x dth by tb reoohfua gv p Ahio ro frupicr fae sarnta sincioidpn aatnlhltey- amrutisfHiiccial. Su music have aa tdvhoineprgte e i c,s h a mm roeudmseircn i s enleoctt rroengaicr daendd a sc oamutphuetnetri c.g eUnnelrikaete wd emsteursnic arist imntuesgicr aslo atsha cons pedt c ttth heoe id eetrheadnrk oaa-mlbl luetsh iceco omflaocmgtioucransli tadypi spcaurstsiceidpation and involvement. culture leads to a ftr hetoshureol tu cwguholt ukulnrdeo .rw eAlvee datghl eot hrooe proach fu tmghheu smkicnu a , sfo mar acny notable scholars osiwc.led tohgreep sootrufa dtteyh aeor ft p Aaefnordpic leaan’ns ABuscaucostimea r idci nrgo otot s Moefr rEiatmh dividlelwyd h tienrantoc e atdcw tbiov aidctyiks ttiinon ct nh(eo1 -91m6 usicology The two are blended in the fi 8e48l)d0 s tshataner dt erod1o.8 t9sE0 t’hso.n f oT-ehmtishu nissoi c-romeusicology are take both into considerattto ipo aonrn.tes , utnhieq umeu fsaicsohlioogni ctahla at nsdtr ethsse lgaeo seg r tynh d eenh doa lso ags itherbi ec teahnle. a(1n9d5 E9mt but :h1un-s2oi)-c madlue fsiinincseotslro uegmtyh enwnoat-ssm ouorsfiig caionlllao lgclyyu lcatasu lrltehadel cssotturmadptyaa oroaft fti hvmee amtnruaksdiniictdoio,l onfgrayol .m mK uutnshisect so-cal O. OLANIYAN/Ethno-Musicology and An Approach, etc. 1 59takhrinte dre fo loefd primitive peoples to the civilised nations. The science, irmeapliosarentdad r en ,o pncoa-pwrreiesst eorutn n a acem oonfu glta hret h es(c ein researches on all tribal and folk music and every Kunst, in support of thwe rt isn te crmtausic. The study originallyi dfaeec iotc n fi m s rtec e altte nhstesn ) otoh-fm music. It is o a tut:hseic oploiognye ewrains ^ bensxeocrtlv ueidndes du tfhfwiaceitse tnetthrn g white scholarlsye. bIct‘Ea sise dn oont sourdffeicri efonrtmlys rweahliicshed a rteh aidt ewnteisctaelr wn itmhu -s ioc,r aatf tearn ya lrla, teis, fcsa om ivur irloa pspa reaabnl’ eA mtoe ri-c a. thNoesieth efro uisn dit gteondearya lloy uutnsiddeer stEouordo pthe ise at a, nads wdpihfefoec iraeal ditsh ae higher musical forms of expression of the Asiatic hearernr emc n etesiq o auntia orlnens dearrse t hecmon cdeifrfniceudl,t ttoh egirra spe xftorre muse lwy estreerfnineerds music havoer eian r feco l yrf specialisedomcriebmqlyuo netn.hdayn fte ,h lebt uaets le inmd eeafni ctdisei fnfwecrhieeiscn,ht adbniordte hcs ttitroyinkpe.e sTt hhoeef wearrolitIeet r ioswu tvh e [Ku iotrefy awi mrsieptneosrrest aoonnft igmto nst 1959: 1-2] should be realised before enmu orsreiacmark that Kunst alsor population group has its boawnr nkc o ie unt t yga s p indeod n e western mo eaf tnmhynu orsecisceeanalt rreci uoc issirmce a.w liTrshoedtee ftaahclalt t h is that every trthh theaeyt uashcnhodoub ace iueSlvtdue da tapedienps layu strikes me xpression, and this and the Unr ioitn thentic res ea dceh tS htthnaeote -smst.u uTd umyltb wferriotshm o afa b afrnieooladtdh r eers ecaurlctuhr, et haesr esftorraen, ge. In order to in the study. A sicology were c the researcher sound in isolati ognr,o uthpa to fhi ses, rcaehs o wlaaa rsssy ascntoe nmacr amrrariinnedgde fmoreueetn fitnr o opmfl a dbcieivasiss .liiokne Gofe rlambaonuyr wTsohomer ker ineoagthc tepiror inrn ecsoiepfa lerthcshi. se Orgsnr ointuhfpleu ewontachsee dr etnhtarta toepde ro a gbhayai nnAsdmt eathrniadcta nao tf a a an thnbttehosru tb e s the ogp a roto shteeud d syoa nmo f music earlier. While the logy em iete s rtiogmweden., social eetvhonlmoultuoiocghnic aaln dcfoo dnrmitfefeuxrts .i boInenl ,i tethhvisee d cl aastrongly inthe tstee,r tbheel ieemvep dht haines istchoen cs uetp m, instupedat ydo e oof n music as souf t f c ioned in its the culture na mblaeusissiicc placed so upon structural components of d, t emphasis was placed on part which music played in nd nhitges functions in the society. 1 6 0 A Han mnouwsBased on all that dhbaovoek obfe Menet hsoadidol,o gity hina As frbiceaenn Sftouudinesd out that ethno- Testxhroeut c i ctbouelro aagl cync ioastr odifn aterm eth g dtuoa lt hnea ttuerrem. sT hteh adte feimniptiho ic music. nuDorie-fmf eourfe stnihcteo wlsortguityde yrws aa pnsr dok pnthooesw egnde oadsg an i fr s oi fcaeop sfeh edithno-musicology wouldrmenpc aabrlo aatthrive tt conceeap h mte to fu b d ose eic scocripr tholeov ge tiv fiyree e, loddr.. Ben opterrriiime j sn atmin defintaiecr asyl, anfos etiohm Grmi lomsf. a enA (w19ri0t9er) , dMecalrairuesd Stchhant etihdee rs t(u1d9y5 7is) , ofs tpatreims ittihvaet atnhdrma e pdeeofipnlietiso nos utnthsoai- thno-musicology is the comparative study of all charac­ Rhodes addedd mle o ur ot h sic thaewv ee tohleorgwyi saes, othf en m sbturesoriancd eocnfi vetidhli est ohas ntci-e io Eenuropean music Fasrc no.c e EpaTe tha s hto,e fr t deals Aeef trhiancraoenm , waur nitdh Ntehtet lem (u , Nesciocorortdlhos g Ayom. fW 1so9itc5h 6eo)rf mgIneadnjieoarrn and Europe illard geo a ld, ifftehree ncaep pb arenot awfcohelek n mw uehtsihcichn oa-nmddi usdtsiaincngoculeois.g hyKe osal inndtshk eim’ er s uitdswiecoao, lios gntyoh ta it isc tathhi nnee , all wwtoih tKh eg mrraebpfreharieccnianclg ed. tiHofferenicuhn shta v(e1 9r5e9m) a A e io nlte has ehxdear c eb.e eJana mp nt hsdcholars e Kntout inwosnhte’osd m de iahmrele ihenras sibount tnoo wth eh es tius dmy eins timonoerde (1880/81)ee, rba eJnosdth kn(n2 oE) wllins is well k too fw hihsi cwhr n itpoiawnidn hfoorm haigse .t wAcoc owrodrinkgs M‘Fautshicearl Poitfch Tonometrical Eexthisntion-gm Nuosinc -oHlEaotrghmyn ooan-sim c auS scfiaiceloelsldo (g1oy8f. ’8 k4n)M,owanletldeg e,H hohaoevd o gws. e(s1 t)h Te hde eHsiigstnoartyio onf O inve i bservations on Some and ng ( 1a9s7 1it)s odbejescctr ibthees cshchaos st elac i ur g (,1l at9u tai5rn o 8a ndl . o .hp feh t.) e haneio mart indimcsa etnp of esor intm m. usichaaTtr:ihlye aas( te at hkpnnhooy)ws ilcmeadulg, sepi csoaylbcoohguoistlot gmiiscu asali,c .ar eeGsstielhaberetcrihct rtoharre cy op mmreapsnlee,n xtt,o ee awmshtpeahrtnaes voiesrr. w s. eo.s ctiisee rtonyn .h eth me amyu bseicloaln gs,t uwdhye tohfe cro pnrtiemmitpivoe­ amsu “stMihceoer lorsigtauymd i syf imonfaa ldmlye u ucsopicn bciolnut hdc euoslf t tuthhraeet . m” etuHhseni coso-tlmrooguniscgiaclylo labonegdlyi etihvsee ts oe tthbe defined tcahonamdt ptarhriaeste s mhaa uppsi hat ethno- by people for aeor cdal sountth ibecury l patehro ecp duv laitsluu rtehes.e , Marteutssiutiuclatd le ossfo auhuman behaviole, and although wenn ddc acbnae nslineepofsat rboaetfe tp hr ueor no dapule cpoerpdo lloecge wiscsthe two aesxpceeh aelos, cptst conceptually,O .o OnLeA NisI YnAoNt/ Erdeuailoly-M cuosimcoplolegyte a nwd iAtnh oAuppt rtohaech ,o etthc.e 161 mmis uaoisnnicteaa insOthle of . cIot nist i r, Merriam on treatisrno gus cnehdtoh, lna hnnuudmit ytah nua snb dethh eath vseito uubdrey ht haoavfti oo pnurero fdiltuoscweelssf iminst uoss ic, but the process is against drawaionr-sgm liauk sesi ctrCoilhcotag ryllie nases Stoehfee g desetrmu, daJoyr choanft imoBnula scbikce i htnhagep, eoedtt hcte.o,r .apllr oadgurecee tTahnhed ethno-mu in culture. Seeger theei r ua mnndaulesyrisscit,s a hnoed siicnogl oogfy tween musicology Currently, f tcthohene tsestntr u.t hcBteul arcceuk lmitnuugr setb eoblfeieded. tb vheaess epidne oospntl uetdh wyei hnpoge omopwluens’si c tc hobena csmeedpu ts oiocnf. mhr eexaum teanrdkeedd tt udy of ethnomusicology has, in a way, been tiovnse,i ccm. oAunrstreici ohb auttth emed aainmryea n ootfa abrlet mAfurisciac,n amndu a si pcooploug se dduisctaintigomunie,s nhsdaeablnylec ieni, n ootnrhgeea nwsoatluyod goyyr , atrmhee lar music. It i sotst/heetrh ntoo -mthue ss hiscotouulodldgy i sbotesf history, music theory and music production, to mupseiecnr tfotioerncmh janunosctlo ea g cyfeo, wmm.puossiic­ F mI r iee tahcaetti gvladw e rd eirxtieyar fiosie rlcdkaw inls for trhroierek d Afr p arsoo juo i etn c eai nonf tMheu psriacctical activities of a researcher. This musLic ct. A eatl csmitsyeel e ob afen gddian tt ahw eo irstghtua ndfiyi spatathireot n ff,r ieot ld of research to collect the raw According to Curt Sachs e (lo1df9w t6ho2er: k1m rmaun stsihcc irisin,p ttcihuoelnt ,ur erasene.aalrycshise,r dies sfcarcipedti owni toh states that ethno-musicological res;6 e)at hracesh mqisuo osdtti evdbida esbdiyc inNotfeo t ttlht we( o1 a9kc6tini4vd)i,ts i ehosef. f mrweoucroskirc,d ailfn iegclusd lwtaunordre k. t hTaen fdir sdt-ehsaknwork rmeusesaicrch d ex ca no ni nEvweset igaokar teeA fkoYaron ir numsbtuaas nimc .p eeF iriniee lAndcwfreio croakf: mad eurnesisocetaealsr clihtfehe eri ncg aaan t phcaearrrtirinycgu o lauortf miinntusetsrriuecs,m t Hendatiufafsle,a r emmnutu ssiric, etc. in N ci guiensi cG, hIadnoam aas mNukseitci,a Igdbido. mScuhsoilca, rsE of and functions, etc. ce sceoarch fik mpoesrist iocno uarldnia d. bDep eifrifnfeovrreemnsttai ngaacretee adts,e covhfinz i;mq uuvesosicc, a lut hseoasrt nthoet Dbcoeen mscklauwdseioo rbnke. t Iw—ne ceeunmr rfbieernaldtc werseo strerkaa rnacsnhcd rp idpretoiscokenwd, uoarrneka,. lyTas hisset r aticwntd od tmihsteiig ndhcrtt aiboweni n dmgo naoeyf i1 6plenof tlt 2 o hgtehi sfeti ewlfdioe luodlfwd r oe As eHandbook o f Methodology in African Studies to work with. lWartkhe a rrchato . tTheh eraen twhraos pao ltoimgies tw thoe nc athrrey etohunto. -Tmhues icaonltohgriost­ kmfineaolcdwhwi noaerbk. o Auinst dms itmhuasptilc yt. h ttb hrweinags bparcekv ihooumsley e p mthaotuergihatl foofr tahse amn usaipcp srpoeacciha litsot sMeurisoiuc sslpy.e cTihaleis ftas citn witiaAasll l e hrcesoo llnme ction of raw material with a recording achieve more success if lhylae td ewird o rn a eiog ssig athl itst a nkkened ot whtoe itash sejpu jostb tmo igrhect not necessarily uld deod t hthea fti etlhdew eeoctrth kon hfo imcmouslls oeirccdelf.toi lnotghg iems tma ctueorsuiilacdl. FfBielualdcrk trihnesgeor of a en’ rsau raTmcph e bp. c erH hnique on Fieldwork ro aeoc fah d rhveaolasct aebtdeeen found to be very useful in carrying out iwbnei thhha ivssi opueficrei laodlfw mroerafkenr eiannm cseoo nctigoes ttyt sh an.m eT uhfs uiicnatel ntsriavdei tsiotunds yi no f aa hmoumsoicgaeln toruads itairoena, Wapapcrhosamcha nnis, iMn allmin, e Gwaritfhi a st,ht he ieM sn V i cestw n itoohd nea rk sa oopf fp mrnouascihc aads oapnte das bpye cBt laocfk tinhge tNrkaeintiead, iEn don n tghlea nUd.,S .L Toihse Arnedneorwsonned aasnccdAh ollmleasartn ehyra, so tA oer. Mthb.e yr nJo MnTeerrsar, niasmKvaa, ualfH.f moToahnde,, buoasf ssitush.ceh oapnp aoprtpurnoiatcyh ohfa pvlea cyiinelgd ed enormous su ohcbceseres rsev taehndnd ot h-hmaatuv teshi ceao ffrlooergsduiselttdss mmeunsWitcio,i tnthhe edr eafheparpser nobcaeec ehtn oa domofyp tgeordwe anbt eathcnadoe-mmuics icaonldo grye son a more scientific y the scholars and ianptpimroaaccyh wini tmh yt fhiee ldc urlet benefit to me. I eraherascevhae r ecahxdpeorespr iteaenldrce eat dhiney Amcefurriescimac.no nIoti arcilog iuonlb dss etbarerv taesndaci ders s u e tr a hfeesea r,c cihtlhi toeaver the years. It has been observed that of misconception b aatr cahsi tsesosoo cnia enat ys ,i nmadunesdpi tch ths ceuh nopdleaeorrsps/tlaeren’ssd eisanorgcc ihaoel andng into their own music, certain isfrs sut heoesf ti anrsthet icu rcIunom l atmset ed. punodtsayilit niaognn dt ha ven odcc o ym spoomsitei ono fa ntdh ep eeraforrlimer writers were explicitly music. My dec al music, one of my main this area of riseisoena rncophte, rtbfoeo crtamaukasene ac oenf y tmtehcyihn ncgii tqfiozuere jsaog n rro c a fa e n r Ytechteeoadrsu aob n nfa i qd s utuesd of African nship of the Yd my y aisournudbuap that o n -pnsreaoktaieocrnh f e uhOnaysdo e aarfssfo O t atrhndedeydin rm . Oe LtANIYAN/£th)io-Masicoiogy and An Approach, etc. 163 lived with tghe leao tfe ht hwe eio taphrp tto harent udcnu itlthtyue r oecf.u slTttuuhdrisey .ih ng aartistes in their naturaWal sh eca lolt nvn aitssirr p oimb ec nume ttasen dot f thent thoed m e ym due fieldwork. 1 discussed with them the musical and extra-musircuear li insa gst sheicap tei nr1 mionfa tnthhceee iar rth. oIm oebsserved and p etchtes PhotToh and on o gser a fpophre sra flolw rsmeeraceun lcatearsk aewnnd.e uaretls-ldoigo ipooarur sto iocciccpacaastiseoiodnn si.sn . It hjoeiinr epde rifno rtmhaenirc epse brfootrh­ Ywanoodrru ksb oaema tseoi ewortn, hsIe rao prregalaratnt iefsrdeom rOeS aymore pwcloehr idcsehud r wvoeanys twahuaeds i fooc couannsd,d u ovideo cassettes. played in the context o dfo pnmeersef.e otIrninm goasrn dciener wwtoeh rmiceha rk eeepa mlcahyy e oddfe. stTk cn ta entdhd e i lnaeb nossreeavmteobrraleyl dcaociscnconumostspaeatdino ynaisnlo gon fg it nhwset irtpuham rte ont was hhee cpoamrpt oosfi teions sim f the ma ach musiliacr, app rmoaucshic in( a thpeot hpseut ulapdrhy i mloofus o splayed and retptheher i ctdaerlcu hminm iqapnulidecs at th coe roded. The verbal sic genre) both oioifnn cs the Yr. eoaI r r t d uihvbai r atd uy m ousfs wede re to fuji land baantdaa ok mcoum onko music and saipdcoo ispnitt iGothnha ena nasd ab mep eeminstreltw rfaeopernpm rJaoana s ncc y uhe m a rtte u yo sic in Igboland. I have also been able Equipment available for my uc ahann diqg urMeeaasrt cohaf ,d G2vha0an0nt0aa.giaen idnr usmtu deynisnegm tbhlee (((abc))) AAT. Dhdao.Rnu.db 9lye0 c camasssisneeuttttteee s ‘ ‘ ssharp’ tap se in the field are: (d) A cannon ‘AF 35 M50’ t0caa/nm dteaarrpade -c era-erscesocerotdtreed ret,a rmp, emosdoedle nl unmumbebre rT CGSF 350505.E(e) A video camera Lf afOoienulcd b new o aor rraket,s ory Workd this eadaserpscekhc et rao nhfd ar s lacabrorriaetdo royu t whorganisatio work ast cwanil connected wn itho ft htish ea ersede atahtraec ht rchaoinlglsehcclrytie pcdthi oanilnl e anntg lb ineb ged eaessacsriiebre.d 1a sh aavne e fafliwciaeynst All these require adequate equipment such adhs e:t hefi ea lnidta . hlyasOsi tsth ooe frd toh awec timitvhui tstihieces. ((iii)) aa ggoooodd vcaidseseot tpel apylearyer 164 (iii A Handbook of Methodology in African Studies((viv)) ) a ma msutsr e io trbooncoc trao m Th n nscription computer iTttrh asenh sroceur elidp a tibvoaen il,u aanbndilaeiltryyss teoosfo dtah ntedh aefitqn umdiipunmsgisec naitss mentioned above will make our e(1th0n6o4)-sm uplutus toiscf o aal ocsgruoycs csae ismssofsum lt eor e saaespasprurcmohx psitmhiooanutl bad o wdthehm oalonen tsaotrr tba teaes m twhoiersle lf aasccst i.ea nM stecifiriercni,a cmaes.- hfaanyrpd a ostit hste hsapetr soi,s possible, in a discipline wh sei. cthHh eids e mafleisrt shwto assumption is t dtuhcet sc. oBnytr oslc ioenf tvifaicr iambleetsh, otdh eh e means it dthsh eho uff science, inobjective assesmosrmamne unbltae thoiafo vndi o h usaort g atoaf mgaeatnhneerraed, a labH, oirsa l itssatratheoecrr iao ntnndsa ntah bteoo uagtnr youping of oyn ddi sacsipsulimpt mi pounasr iitc behane; that sii cstu,h laiattrs rgverisoouuultprs owifn hm iceorder to reach ultimate from among the people he is enga egdteahdtn aoi ni-s m sgtusic hon l.owgiyll isb be otahp pal ifciealbdl ea ntdo mit eitsh Holiasdt se trah riserud bt hjeaecsnts eufdum septodti oiannnt aoil sya s ifasi n apinlr astcthuteidc yal.la boo uardtahyeinregd, abnyd t haet lienavset sptiagratt oorf hcoitnhceerrtnoe bde epnr ne todriyc.t aTtehde rbeys uwltsh aotf hthaes Awbemiethen r inac oann,u -amlintbeder i amdtoea rniseloy c inwie tittihehes nfioinen l-d, i.e., that ethno-musicology has been East, and few rA soifa ,s tausd wiese lla sa sw t Nwh estern cultures and most specifically musicological el ole r otfhfo ltkhA emc uaelrrttui crmae,us sAoifcfr ioEcfua ,rt hoOep ceNe. aeTnahriae ar, enS doh auFvtaher nbeetcweHseisesin ty f oldiutirefftreh a esrpa sesscuttu modfpi emtsio u we would be r from socienst iyci sit no t whsaeotsc tiewertnhy i cleu wltfiuilerlilendsg . tetoc hnciaqllu etsheand, perhaps more m uestht noo-f essen broadly, being tiinavlleys ttihgeaa tteesda ma[neM dei nrn riooanvm-el ri1tael9lr6 a4stte: r 3us7cot-u3cri8ee]t .ienso, mfiealtdte r mwethhaot d sorceimetayi niss oFCuoobeert naac rlusion breoestlehiaa bracle n nh ethar rnoodfp oAalfuortgihciaecnanl t imca unisdni vc emtsotu isgbiaec toicoloonng, vicihnailcs. e daT phtphera otaa nhchte has carried approach which makes use of ethnological data involves thle ir mroepusosetlao rghciahcveaerl in studying O. OLANIYAN/£t/i/io-Mu.sico/ogy and An Approach, etc. 165 tsswtoucodi ayml envThis ainpeg a inrdoa nnamdn eadlneytss, cinwrigbh iitnlhege ttmhheeu smmicuu asssiicc ao-tnlyo pogeirc gaaasln aaisp ehpdur mosaoacunhn bdine shvtoarlvuviceotsuu rrhe ii.nm T hhiines osaynfs artleeysmsei.s tphoroof dasc hh aavfefo rbdese nt hfoe urneds etaor cbhee ra vtheer yo upspeofurtl uannitaylytical approach. investiga arMctihaoy of treating the done thoroe th nr i,s t e b ugh blcyua em ncu lcseoiacm as part of the analysis of a cultural and social .t the rblypit ls etatanet yet dhr eeh seweraehr otchlheae trw /noroer ksse intaogr clbeh eer redsso ecnaarenc h inde roa onsryh oaa urglerdao ubopef o Se_ction_ VI .f A nthropology/B elief System s STRATEGICS AND M ETHODS IN ETHNO-MCDICAL EIELD INVESTIGATION Epcorthancncteoicp-met se odfoi cfh inetear latidhsi taiaon ndna ol dni-sswoeeacstern medprovide holistic health and isweet.ei ellIs-t.b eeEinntcgho incmoapl- massystem that lias its own sbpeihraitvuiaolu ra. nTdh ep sbyechhaov-isooucriaall atshpeeocrtise so f oilf l nbilyln ea esddedisc raemls seisdnyigcs taelt mhbese lpisehefyes ski acnatldo, prseerlloafc-tceioasre, choice of healers, role of k sses as well as illness perceivsne s h(dGiipsoe oaadsn eds1 ,9 ci8no7tr-epcr*op2rra2et-te2e 3 lt)ih.f eeT irha creea uivssseitusa ela inetso s ienas ssiuullccnhcee ssasss, f usfealmf-diliagnosis, context is indeed the domain.of ethno-mendodif how y social 1-17). , c aplr orvei l therapeutic In most indigenous medical systems where s detear raccduhirt ei(o Yinnoa dla e cpuelotuprleasl mspeirdiitcuianle ins onmateutrime. esF oro vinersltaapn,c ed, aettah naor-eb outasnuiaclalyl icnbufolotturhmr aapl thiboyensli ice r fs1 9a8n2d: gsoemneethico wre sopurarccetisc awl hiacnhd h aqvuea tnetsiftiaabbllee prboepcearutsiees . itH oiws ecvoenrcernemd al a wyand , therapeu itbtihec r1i7t 0 A H andbook o f M ethodology in African Studiesaicsoc tn usan lecsuc trsiruoech as pbroughtn n.a tblySo tuuhtda iv r be aeys y enro, esamc divination as a the thrhaaepv eeLu astwh prioifrwiiccnea, of Slt ih oc mbaa cultism and some other religious principles. The reason is tich att ecah ndii tls tish iqvauirnei etb yee cfofaricu Lasaceyw oo off fmt hCeeodinri tcasinucetp, eowrrn hmaetrauegraaiscl tcchaoeunrsdeiinftoigor ent she exr epeveveceatneledtsd t otdo u brhein ampg pehetiinsc uc(looEumdswm ianur n e ircd aotoienosln y nwooibtt follow these two distinguish between d 1961: 12 hs7e )r.t vhAees groeasdnesda rwrceihtpehoror utisst pthreaicrWt imcheeaset tmian agcy a psboueia nllta .o tbhsee rlveears t natural an hdism soubpseerrnvaattuiroanl and be able to the symbols and mebtealplehdo rnsa iovfe a ryoit rus aesleus p. ienBr estthhiateivo iucoasus reu nsoluefc shms aa a hg cts ei c oa-s appre wligelilo reciatu a es s pstiorome trees believed to be sacred as s areon d puhrcoaevp rational explanation if it is i np rthope ecralys ei novf ersittiugaalt est dhp.e rrIoanppviieteissat ticignaang­ rfmreoalimtgtie orhusu s e it aisachttseo dwb hyna tvthheea vtp'amrluaocastbittl eiro enmseoerudsr iccaeirnsea tlm hoaerta nnaurter ictioman destr o nnsaidl eprreodp esratcierse.d S uanchd cultuInr alh miiss ednaniositcn ugtshsse iw u ctoenhm i iconaphbi .r Baopiurcota dl n t tosu tbotcrae n as (1966 titeshg eioerfsa psaeu :86 nucdthi ) is cm arceetss o u pf rolb ttsuh tee cvti thod.st tihne eb i writh o es -torhecasitao lu wrahcneadst scdtuealgaisn tcudrriibe, n ancignc Bpeeaolsp study of researcheegrs sc umtlt leuet’r.s e a cLau nlt(du1 r9teh7 e7is : m “4te9ot) h cooodbnsss eiudrsveeerd st htinhe akct ointlhldeesc tooinnf gly wou sts peaccita lisaes d ainn foertmhantoigorna pfhroerm btehcea upr d se a at ictt. a”a yiI of under­ methodologies are quite relevant in collecting data on ceuittlihto nnnv eoorrlvsd,ee drt htinoe haconeladlleth care systems. Also, he is expected to understand th uner oecg-orbnaopcuehnpidct gs(cOaitelion sctiitgsenificance of that “field”omns t dsi. ni nWt htehh eil efil easlbdco ierwantthoiefriricee s e, xapeste harni mporgescribehypotheersnaetpss heaorr d place where rse acusassruurmayl lpyot uioct natrh rds iee aidrtare ai oncan be tuvetes tsebtidy­ tsbcho r oi acnlsli eas c clt huo dloayf m19e9d1ic: a7l 7a-n9t1h)r. oIpno lroegcye nwt htiimche sis, eat hsoncoi-aml secdiiecnincee has sci disc ibpelcinoem. eI na and,F iteiinlnddg e ,e entthhceenr oe-rfmoesreeeda,i cra'ctreedse, arecthh niso -umsa htul e ntion will be focused only on the appropriate edainl mlfyoeica ra thmno aidntsito enrte.hsatti ngc aen be effl investigators, xebrecciaseu sfeo ectiv r iet th ely ins o-g ursaepd in practhicearls, wionrhnieoo S. A. OSUNW n vataartetiivoen . aInt dis aa n d OeLpEa/rStutrraete gfireos man dt hMethods in Ethno-Medical. etc. 171 dcaenities, opportunity for soc becog umusielud au lonlyfp hltehuaens tahenerats lieafrn sidt, idusi sviemirnspe rorsof, p tp ei rairle osiuntstt ienarnead c ̂tciloparnsis ewrsoiothm r etshpeoonrdeteinctasl rmeesethaorcdhse tro bmeu esftf ecatdivoep,t puerffpeocstievfeu l astnrdea rad rtreleyg i tiheiosusa n lt n al remedtieesss. eHs oowf Aevfreirc,a nit -odwrliehedinc. theI nd w.thilils reengaabrlde, thhies rRReeemesse seaaentrarc a tch r ihoe crs htfro arSt etegrfifaten. They eiensc ct gies liauvrdee e t:easksee-notfifa lolyf ath ep rper-ofijeelcdt palnadn iotsf oavcteiroanll bimy ptlhee­ Cl) Htehtaehvinrin osggo raca ipaphlr iecl-i kfaenc ocawonulden dttg.rea doitf iothnes ptlharcoeu agnhd aitvsa iplaebolpel eo mraol sto re swpe(2) Makin r citiatellny (3) aDasnesdtie sprtame gr isnaoidnneagql uthhaeetae ln tphur mdobvuiesion for feeding, accommodation, finance (4) tEinonsu wrihnnetgsr ehw oniwethc e tsphsaear rtryice. usel rairnr agrn efdifee lcrdae lniinbcvreee stooti fg tachoteinoirtna.ct persons and field rather than dislocate thea rpceho pflien’ds icnogrsp owrialtl e een rhoalne cea ndde vremunerxistence. elopmen at­ MTthhaeettr heh odstohf is erdaopsaeasug a tne lo i,co t e tb ffoeiecf vital information on African therapeutic systems pcrreodpiebrl e mientfhororidmtusaa nalc sya dweoqhf uicrahet melaye ddireeossc euaamrnedn ttehde, esp. The practitioners mys etceirayll ys uthrer oausnpdeicntgs ionrt elreeasrtne dt hpee rasrotn tsoi ofw nhh oeo anclialnyrge ttwoo itsththaienyi rwa cahfrreeir e nucdsausna llgye tw iollninlyg tthor oguigvhe Ttihone fr ith reoamso vni switohrisc h some of them often pgr etshcermi,b kinsgrive for,e dshh oapareredr oiotuinhd pe i og iorn fv r foatrilm a mu neeys. a­ (1) tiInto f ociosr mpycaortinigoshnitd eltaor oerd non-members are the following: (2) thremoeudtiseisd werh iiscw hn oo orsd peaa nwtgerous and unethical to give professional An hte ocfotnee hnno wsi cddye.irs iplls o c tos o e m bd mt ere noa it chivee a lis onro e ur imt sw iotfh opunscientire t pdaue rfic. rati eogna rodf (137)2 The infoArm Haatnidobno omk aoyf Mbeet houdsoeldo gyfo irn Anferigcaatni vSet udoire sreasons. non-beneficial laciofblrlae Srciitneicnse,g a iertc thhisin vode-ismf faiecult to get all ethno-medical information from the aonff dothr dleis sp tetehnoeipn lrgee stbeoea irwncgh nddi ccaol mopr uettehrsn,o p-baorttiacnipicaanl t ionbfosremrvaattiioonn. isT hree lemvaentht oidn aacrets o (bBjeecctkse arn h easrtt uapdnei eoodpp,l epo obsrasteuyr,n viaitnyng do tfah psiknairgntsig c dipqiruaetecisnttlgyio nianss ttohhnee yds yahmialypb polielfinec wionbessltela rnavcse e s,h mpolewaln adtsn b dae rhGeae vbeierot ut1er9rs6 ti7dh:ea nt1 t0ai9rfie;e dbMe abtrtyet yro reb axspnerdevr iAinetngk cianendsdo tn ht,ao n1u 9cih8mi3na:gg1i )nt. heeTheling dm. F roaesr pabnaotdtiae wnniatcsta.c lh gOinabrs t gd ele hrne ivvesa tphtireoainrc t oittdieoocnhuenrr isq( Kupafaru 1997:7-16). It is also important to Since traditio neavanel dnm ttser.dadiciitnioen a erl e pcclaainrnei c sbt hefe oirru screoedmll eectdotii oevsn i saointf dlhi vdeeri absgapnle ocssiemh oetphnses, tatohs pe has two parts, e etcphth)n yoas-inmcdae ld thiacesa pls epriritual, (non-empirical) aspe cvti,z :o bthsee rpvhatyisoinc ails (rteelsetvaabnlet maorbersnievtrisnv agat iroaetn seematl spouir p ce search because even in tict aof traditional medicine h em pahyy sbiec arl eslceiveanncte, s ewxpheerrie­ rseysmpboonlds enatnsd dom entoaetp n alna bdrle esosu bltstse rv(Peedi l s1ys9t8e2m: a1ti5c8al)l.y Pfaorrt ictihpea npt uorpr odseir eoctf Th hors of groeurpe s awreh iaclhs o anso mobwes aeinrnvts eitrgo n hrbe researchifieitcu aiannlstte rahvneiedawl erin tetor prperto vbiodde y msiegannsi.n gSso mtoe rinevolved in participant-obsemrvuasttio nw. atFcih ed abo rst. ht, Thbtheeerh ea u rv t eai osr t eue he a rrst i wr pchaoem rivate r otecncaghn n sil bqo iv euc e iea s as .l w psee hcooop gljneu’isss teb doe blmiseeefsrmv, eabstet riet uvoedf nmWa e tthss e a angsdr o tvhuaeplyu. eShsea.cpopnedn, whei thcaonu tb en eac ensosna-rpilayr tsihcaiprainngt meatbheiltnihtoy h on- d tiicle boootlfo t go pbyo ae l ri tiinc ipdanicancl agin nfnr aaentpatl- iobservation may be regarded as a viable ethno- to complement diroeorcrtti. i a ccdaotelelqeduc tion, it has been observed toabtisoenr,v aiant (eOttel n ioyr a nv bipanjo 1986:139). Be (eMrwoavsui danend dun qe1uc9ee9ss5st:ai or3ny) n. aeitrh chanauots- meit eladaes can b cickses aiuln tghe seolder emliedthAtiosnidgd eu sifnerdfoo mrinm pathatireot nibc eiphiasa nvtit-ohouebr saelir nvstcaeitreivonincee wst escuthecnchihq nausieq seu,t eha. nnooT-thmhieser d ipmdonepetuh floaodrr S. A. OSUNWOLE/Strategies and Methods in Ethno-Medical. etc. 1 73 wbinvolves direct conversation between the interviewer and interviewee tidd ith a view to getting information on various aspects oee lcaiefuroisnr s grae n an pcdat dhs oapmvreae cr toeices. It also rticipatofs prthyoe nt esbceehsh nfarivqoi emonu arrbessl tephsoa tnth dmee reseaues (Oyeneyingethsa tnd hdi rracevhceet lrb to excha Okuyen weonlha im c1hi9s c oanfn gp ebe evo euprsle’s A close conversation reveals individual feelings, mood, senti9inm1t:ee rn6pt2sr-e 7at beeaddl rtitoe suepcnohcn ooduner napgte erisss ohreciprocity. Where the interviewer observes that t 6nh)de. astnrda Itdneigtreyer cvitniee dwh itsso wi ighly mnnataley rl ivbvi eeoswp a ptnoedsce hbdne ilqtioeu fest.h, eh en actaunr ea doofp ts oam me oqreu essutisotanisn athbalet icansat securovanilfeleywr eisnn camers, e formal when the questionnaires are structured are engaged iena,r mhaerodewtsie novgresgr, a, nsleiesmsesdi n asgtrrrsou ucaptnusd ra etcd u plwrtueh-raearnl r actnehgreeeymd oaonrceice ascs. ions such It has been tkohebets -espralvaleec deo sft htohare t aitrlh openr gob detshutec t tsirm.oaed t ow hdeiarleo gthuee pwriathc otIn i ntdfthi oouren cmteeradsl m is wcdcoo uhnn reisdisaddr nuegl t e twvheeitrihry .b loeIdits yui src eae nah soburs, since there will be a few or no clients to he huavsca tnestdoa mgdeeu orsifnp gger coitauhlpe ieepr r eatoacs tiiintlyito ernreevaricesh’w em dae. seGmtrinaogluls p.a niBndut eth rovomineeow gsfe uncnaodnua sam lgserono tubapel gdcrriseocduuipbs.sl eiIo non p whether he qiniusta erview is that a practitioner who thinks that only be autthihniesino rntie cgl eabaruddte , rai cto cries l gintiiveeis an a kecnyeg s isnh dis ip ptable taofr ooyr tmhf so erro sutohtnseap lio nkoteepnrivn iiceoawnn e ord rot omt hiiadntea ntoe the is not often possible to get every perseaornn tpa lrw aihcntofiostierom nineafrtoisor mnas a nwteioeenldl .e wdAil tfli fnytho eat reseuitdghugeecres ttdhe det oht ehaaal te mrwsa honrea rgtehe eatibhr leec l igelernts t lsoup fr oo, mit effecTthivee irnetseprovnieswes mfruosmt ttaarkgee tpveledal c h trihsor uolgauhrgg hge r osaaunmpd p inlcitnoemgrv piielnew xso, .r idItt e irms hutoes tr egbbeeyt ticnhotene trrpviribeauwcttitioners a respondents. ment at ieobrn.o tIwht hisipc ehpr e rret inpesnycthologicea lliyn par ecponardeudc ivtoe atmothe out dialo sgpuhee rwe itwhh ethree iEntdhinvoid-muaeld sickailll sp raarcets iocrneesca olf glona c nofor turdmis hece hooesm interviewee fm tmhoeus ntilniytt yein r vlteirevawe lt sow ib(lel medakuec attoe dd eovne lothpe­ around individuals who speicsieadli.s eS uinc hp spyrcahcitaitcreys,d baitroieon n M eaals al ous onocdfitueet 1-setting, niem sc 9 a ew 9n5ht:3terrener ). adel 1 Tban 74 eh dec ocsnhtridulduc-cthuteeredalt Ah ,H andbook o f M ethodology in African Studies Questionn oaaitfr itdnhivesde i ivpniration, sale of traditional ingredients and occuaredo usfeyasnls ooionrn yp msreoorfuveess ssw ioaisnt haa l iglneotveoerdlvs if.eawctsor for interview ltiss mto. saareti ownr. iItnte tnh, et hviee wla totef rP eairl e( 1o9r8a2ll:y 9a7d)m, inistered throu. gWhh dilier etchte cfoonrmveerr­ Qseoaunseiaslyltli ybo ent sho plans. rb cosauengr hvbe edq ,u aees.skgte.i dob nepnlieaerifsrseo ,an naadlbl yov uainltu emasna, nminyet emthrovinrieigewss , waonhrdi c ifmhu tpcuearrne­ rthesepyQo unaedrese tniuotsns enodan ierb eebscy aa uroens eeg e(tnOheeyr earnlleeysy ebeae rlacinehvdee rOd dktoou be more economical when mobneee tnihn ododbserved that the use of questionnair enesso liann o 1te9 li9hc1ait:v ine6 g3 t)oi.n fBionurttme iratv tihieoawns hptiehoaynlseeirrcssa isgt,oe nbgoeiucvase u psaerua tcohtfei cnleatsicc k i sin ofnfoot as effective as other ethno-semantic question,l lsy c wlpierilnel stsre enmto. raS iinbn eculeine asvonemsrwse r cqmoumaetsmitoiinotmn wse nahrte en o nnto htte ho efint etpnear ravtni esowwf eetrrhsee d a prbery a ntchtoiet­ wfqaurlseitest teinoinn afnonrdm paots edre aires. iotTenhd,i so srao tamtrieteu sderene ste pmtoh udrro inbugy participatory techniques, such medical information is precious naandnaedtn g thms faiejmoldrai ytay g of them when they are through imp e sc afrnonmot th en breee f tufsa.s ceAt stideeffectthiova et f l r rom giving be quoted on y te rtagudartinht ieortnehadel tlaihrteeer asptoremosf,e etsliiskmieoe e rsona nst. c ceMurtolaheir t l sii cnmt i enano fo srm. Iant ifoanc t,t hseoym gei vper aacbtiotuiotn tehresi rd op rnaoctti cweas ntth atot tneacthunreiq uoefs ’toq uaecshtiieovnilelni t aenfr dath teae r ecpo rguauncittdietreipodan rbetryss , ecdtahoni cnnsoo tot fr oeinformed sources of perspective of data coarlielreseucstl.t iso nRo efi ssq eumaersocthsitoe rnhsni gaihhrleay v tefea cvhtono fa tedn ao druo npwdtr eirtesint aniques. The iantensrd d th ured by the pirvdaie terhctw ee tbiootnhe ’s answQ rs eaurse . saTtniho oinsb steercvhenris. Be qauned ias pnaornti-cdipisacnritm. inatory and sees the researcheir­ tiYshe easr.s ekbBeydu tpt ohr oesd csua ucaisrneeg oufs uthaelliyr rrigid, preferably requiring either Yes or No prove the aecyaff nwicnahocet m yt ha e de aro nphiof ti n sagh im liegesidsd iiatcynin smew oiessr tsp . oqFtueoenrs tte iooxrna smn obptel,e come ambiguous, sY erse omr eNdoie sa nsowr ert haep , if rparpoeauchthiec w ia sh r li p iiltke ractiti ue atllrysy .t ino o gnTs a etr heoy practitionSe. rAs. OarSeU NnWotOeLdE /fSotrr attegies and Methods in Ethno-Medical. etc. 175ftahe generaqrnuodems tivtohanelun eain ls a adnoedfq untaohcte ie thsr ee osspec hifeicir isrshueetso rw ires. In fact, fpq souunecsdhtei noqntusn easuitriseousn icsh,, iltrehe epg eiavtition and emphasis on sentiments, meanings of symbolic forma sl clyaa nnndao ffate ticntitgt u idtnhefesoi,r rm beaaltniiesofwsn. Apart therapeutic practices. There are multi-causal fa cctetixoopnrrsse soasfs sdtohicseie aatfsee ,e der mlsin ogotsdo, hnmeauamllteeipr sloe. f I rnae mthseiinsd giseliest u fpaoltrai onant si es wainthd magaelnatr itah oart hcayupseerste , mnseionnta. lb inte giislne gi r ariuelsmleeevdna nto as well asIt is also unretna tlliyos tafiocs krt oac up rdriianfcfgetirteionnt ecra ttegories ask f o give th oef rQeuqeusitrieodn.naire should be duinsaomrdbeirg uoor uas hweahleerre wshpoe ct o irfre d atisthsee asic in fanl ela s suormmaiaelmt io cefhon n t th asie s s. ianriet iaMslp oessttheir vactliai f vgqiceua, eltlshyt eiodyne ansriagei nraeessds usamenepdmt i aotdnoms piwnreihs-itecemh pt their answers where they ceunlcteu rsahlloyud-pladat itobteenr nableyldo wrbeeesdeli aetrfocs h ga uniindds etpr turhamece tfinoctresms. r eIltda t iest or h betest hypotheses. At the , utlhaeti ornes ecom roeeafb rhyc h es is eu hrgyhy’sg p eofsitethpothel eddses e eet shx apatfe treiinrs. ­ D iId a nnof m ta A otrhamiisn d n atoii alysis noted thao sfn csu ssion, the t dtfuraodtamy cbtohuletl e cacrs aau twhoary practices are oftentimetseu ddu en odrnea ltica do ocf eoaslr lernicvotietn dga pfrapotr mocaultural be re chd data analysis as a overzealous nature of respondaebnlet s.i n Msoosmlite ef so r fe as tnhtphd eie b cfi l tin e se dld aign. ednI top usuhsr opuholesdaeful sometimes u because of tlhbthee cmcoaennas neeirvnveganst i vgaeinv nwahs e practitioners are fallacies whicdeh ssinw esnue megpiiinvngign, gg ineincnofeonrra-m lissaaitstitoieonnn tst, ot shrpaeets ceuaarlraect hicveaerp,s a. ebSgloeo mcoeefn tcoroifcm thpaelnemdx tphreorveIindfo er s htoeur eut,h maed, ontpehcte erasens yais lpd r nebotea tmsioinentgsilc.e u Slroueucshsela yrs ctahant aemlmyesetents are full of facts and dologies already disr coyur seast ehcdon moi-nbm ieneladicticiiotainln goin frf roeerqlmeuviaratei hodon bd. y A tth hareet sreceaasrnec ahraecdrh eeqsrhu. oauteldly, they should normally be complemented by panrdtti ceinitphfoantroom-rsayct iaieopnnpt.ir foHicao cmwheeestvh.eor­, ANTHROPOLOGICAL H ELD METHOD: A R ESEAR CH ER ’S AO .OP. PADREKOOLAACH 14 AIhnunmtthraronod pbouctionactual faceltio,n ggaysn tcbhaernco apbuoesl eod gebroad implications of iit fined a ss otpscr ioasvel ied ske sat o disint ans cwipelrisn eto first-hand with a humanistic interee rusatcn tdiinoe nrst. tan o Sda f o vihncaiu friemi neiatttiesyn e o cnfurara eqt u iuoresses i ttyaion andbs .ot huInet sgsocrieceianettteiiref isc. apaEppvrpeernco iaatcthhioo nut go ha gnadmt haeanrcy c eindpformation tudies at humanities study man, it is signifiitcsaacninpctel i tnoeo snf h .e itTrh hec ius ldtuuivlreteir msaiatnytde lyoth f ele hauudsmse atonof Aaspnnedtch kiranol opwwollaoeygd ygo eifs o, uft hnheduremerst of the sciences and the With the above intrfaoondr a u e ne, dcx i tai ng ios dtnei ,v o neo tcr ues.rhere s e fs puebcjiesore,e tcht ”tt eh (atCht rais pape atnp “oaer rfi ,c nhtRehs.rH oi.np, foo1lro9mg9ya3 ti:is3o )na. papolporgoiacachl fiaenldd meextpheordise nwceit hi np arstoiccuialla r aenmd phcauslitsu rbanl octahunest ehsrr eoosnpe oaarlnoctghhiecrrao’sl­ studies. In O. O. ADEKOLA/Anthropological Field Method, etc. 177poNrfi agtcewtriiosae . dm Toahsmet t hopinso gps tutuhldaery ,Y, theoreticd toihalrv e ui fnb r raaa et sioeanr cshyesrt ewmosr k(eIfda m ona nad c omparative Yanrin-tite)s*tu days elaborated presently. beawboalrakw oa daonpdte dM uinsl imth isA lfsatsu diyn wIbialld abne, TiInnhsteteirteuostrti oeinnts i tchwal Fanthropologiceaa lso rrtei rhgaseien m asb e r ceahgn w huma iwn d noeirnvgko l uotifo nAanryt hdrevoeplooplmoegnyt oRf emsaena arncdh his t(oD aerxwpnil na,ii nn1s 8ttih5tue9t )i.eo vnNosol utawtbioiltynh, oMp o fa o rrkwrtg sioc ofautnhl ae rs(r1 e o 8f ceoimarelp hcfoaultural anthropology. Early, trends. Hence, they were taggedrl d“u nsoil7ciin7ee)t aieal sn csduis s Tsed in oytnelor othne th evolutiorm ns(i1 h st8os7 e f u1 e)m vaao” eavnodlt nlut u etmfiaopmnt ieoldyf of an tionary noef edIen t wd ho rorir onld pfeoorrl od smt gy” . “fathers personally gao oca itelatheeiotri n be osn roainfoat ts e o tnphlreports of others whor mhaao yesi rso ne vdoileuirti oonary theories, these early scholars world. These include repdotir othn ib s a ldien . fro etx Hhpoeewm t wfeniev lseorc, iemtieasn yb uto fa lstoh eomn adsi dm annoyt odfufeic etors r aacniadl eaxnpdl ocrlaesr'ss.' dSisocmriem ionfa ttih rien oen , rbreaipadose dcre,s s, b uminti svrsaaiotrher reliedr tasn, dh tohwe epvre inorau, rsiae parte-conrsec, e iuevnd s uoocnaf relia tit t boh hee ed idealnes aeanrdl yBn yaotions o the pra ntchtthropo fl othgoisstes cwoellreec ttoerrms. edA r“iasrinmg- cfhroaimr asnutchhr ofipeoldlo greisptos”r.ts, many tsbheeeeesnne tmoi nabfd eice ee snt hdoa fto fts htoehusere c ne‘iasn remotfe- centh century, there was a reaction against therefore oeg rrtmeowoa t istohenlae tc ttahinvaetth irnpo rptooh dheaaitria r c huanoseitchder obopyfo dtlohagetiasse ta sna’ nda tnhtdhr aoctp roitthliocegiysi smstses l ewhcaetevrdee eidnna dttahe ea ovlnoau tert hnteoi n sewttuo mo ed log erlynd t ohts hoaecnride c tieuealstr ulyra tinesd their own hypotheses. Opinions anthropologists started collectine gts dt sa should gather much more reliable instance, scholars like Rivers (1w 9d0e pntahratt freoamch hias nothwrno.p oCloognisset qusehnotullyd, sInoduitahnesa sot fA Nsoiar,t hw Ahmilee rFircaan. zM Baolianso w(1 a s9k6 t2i) tai e wtohno rcnkeoendntu -wraiemesst, etrhne stohceine twieesstern T 9) . For mraonbnreiarn, dA fIrsilcaannd eirnsd iogfe neoausst erann thNreowpo lG(o1u 9din2id9e a)h aiisln s foi ew o thld n eow g o gists are now r Pkeae rthkde a ammTooodacific. Innngg s th mbarkin g ltioh o kenee f e1t78 A H andbooAfhrincToahg iorsra proehusitecsa isdrtceuh dtehiree’ss cefooxnr k o f M ethodology in pt eipnrreioenpntec. er uisn wdeorrsttha n Adfirnicremg a no Studarkifn vga r iieoson.u sF iseoldc ieintiveess tiin­ rpgce ati ber sneeee- oranercc ohwr d^eiss d utnseed intering on fieexldctsew sousras kery a da d bdfyitmoo r iton gh n i scs eo tno firthm n adopted. These are berlieencsgte ea erac thiloietrne. rary data collected. Field sociologists up till today. It is wortdhu yas reedoa fs Saenvder alv ar rbeoymr gaarrnoktu hp leissd eoaatfri pochn moeft hothdes breelliigeivoeuds , tcou lbtue rathl ea nbde spth miloestohpohdi cfaol rl ivaens ionf- de ropolo sppetchif ics tputehdoaypt loeffie egloisptlse haanvde 1889). s e( dcGowindoodrmekn icsis,, TPmreplahteeenr t f.ti e aOldrrations for- the Fieldrtheese raerhsceheae if, in most rr gi’eisn ldsa cloloyfp, itcher is rece os cowe aaasenf wr s finc sht, is a remote looer ak d kw .t eaTns h tto Ibea o k fbeienel dttho o eb adan anfde rce aastenioayn outside one’s environ­ Ibadan for th r eitsse a r ewr cchenhvhe rrb’iroe se n di e sn.e ngpv eicrniotdneiment, but potent and co The dnc ghh oeoirncee t hboeyf Yitmhoarmtu ibIgbara asdnuatbsn - gis eg earn evts eereaarscohn ws. aTs hne ofti rsatc criedaesnotna la dbvuat nwceads fboar stehde ochn osicoem ies Yass from oruumbae dc uthltautrr etoh. uep s,a rlwyl hdwoe analksreesl yto hpfe o flpoifucelu,a st peodafr ttcihictiuys l which is home to many being studied andF picnooapmlulpyla,a triiteo dins aoorbfe sItebhraevd emadno tsihts a pta odtpheuq arly people from other According to Okpewho (1989:2), “Fieldwoe s uttuawdteoyl .y d Firvueirpntrhaeteisroemnn otsaryteis,v teeitm oissf sgotofu acdlo you”.fr sAtehf,te e trhr eatshnee a iprncrvhoe psdtoeisgtaaeltr ifmoon and lar among the p rin tehdis, tfhideiasldt aww rociortekllr eh catdi r deoc knib ne d eeiendn e datpo r s meepp e mea acnbrieaf idrc n k eoople. research. This is in harmony with the general advise by scholaa a nrmdeao t rhoee,f saat nucydo irmeesms esuahrnociuht er who intends to embark on f on the much of theyl d pw rdohobe lrseeom hpser e owffe orcauoblmdly m fieunen lh i aist ihmommee ied laidanwtdeo wcrko in anthropo rlso gtihcaatl unencheesaslatrhyy baencda uusen frmieanndyl yr essietuaarctihoencrass t ioosonum tswieditteihm ethhsise oimnufmlodru mnnoiattny et osn.r c Towuhinitsht eiinrs Twhoerrkesf owreit,h iitn i sa u csoumallmy umnoitrye wcohmosfoe rtlaanblgeu aagned ehaes iuenri fr iw ndfha emnthemderstai nlaida rsre s s e ace l nu valertcsuh rein d caenr. spe O. O. ADEKOLA/Anthropological Field Method, etc. 179scstateurer a dpy k y . iho nui H gmt o . sa we eHerlf e v ssd e hee ra,e rpiouc f llh dy w it lieno b a trh ec rnke i onlmnao n e ta g s o‘u fno malrgye aingdna’ world in the way his informants do.e t haen d tco obrmye hmfaouvri noaiutnyry, oiadf nethtahellr yop,p ehooelpo lsgehi shoteu ltidos rceolnactAee dps tcudhaiosliclsar embarkin lan iep lhinise thoapsi c toag n ddo ong esato mafi eec lldep arrre eliismdeea guage but a inrcahr y inp laannnth lsroo ptohliongky o f the t ing. He ha osr toa sopics which are too wide may pose insuteoxmtsAe mornea syet haberec httooepor iicns a orarfl sofowo c etuxosp gebicveteefo drr eetl oiag broeliena dgfin rmdai onougfns ttaahe study area. Some attention across and beyond the culture in tstooo mwtehh eica hv tba tilleha ebp lereon bdal.nedm rse, lwevhainlet thtieemm ieps, taehnde tishnhadoti ughleedn ehb aeos fvk etnhroyew ccnao rmaelflmu unity and has live fdi eh letdh .ie sr Hreeein s emfaourrcs tha i fnolgoc.nu Igsf ht—hise tm oinraityce arnl-e rbveealarct kibogenr osa ucacnnedsd.s itbhHleee timoh aphs o l troi nm ruhecaishl i seoevf athlhiusaa tpt iemoonop.s lte ’Hos efc utshlhteuo rusaolldu lrincfeeo sta nb—de oevffeincAi a ral emsdeaoatecruuchrm er may also ort of the various facets of that cultur ernetsse artcoh ebr srg ooaa dnfeud im nr t jh .oheurirs n toah lirosertasizd o asnso mwaene dlal v ataiosla bavlnaeyl ir derapetoeler tvsat hno ef acre t rnsidtei catahrclelhysee r rp’esra oidnv vebedys ttitogh abistei o rrneessle.e vaIrancn htt ehmris a bcteearfsoiear,l esa fenomur mbthabreek rfii nnogaf lp owunbr ilttihceea-u tipfoi.enlsd wwoerrk ee rreellaattAsomeiioo nnnosst hsaeenrr dvremark of m efdr ieans drs aa bpmlpeoa ryst teabugere oinifs tahtsoiss i slfotiaeonlkd for rapport. In some cases, tinufnliuteienst iatol pyie nritsneofronarscm t( acfhnreitesef l,y to wmit ehc oamtnhmde uptnheiiotsy cwea.f oforSkrod. meTdhee yo fo mfteyn frinietnrodds ple. u acnedd the Lriagshtlty ,t oao lsse rfiooru sf iereldsewaororcbkha.e ,rT hheasse t oi necnlus udlereea d O pte cca me gherna,ts e s , ht iceo. )ni sallnotew -ee ryer, ea tloeearf dhoeeprlpsp .oorr­ vmreisosuesata lrb cmahseairct e worifha alosl l cltiahkneens teoa tpe aeqf ufroieprcmdo retdnhetis r quipped with into fieldwork (Okpewho, 1989:9i sia). s n a dp ovridtaebol et acpaesss,e tctaem rbooks, audio­ cassette recorder is highly essential ,i nTs ihfmiiespl dlsywi,g onnriokfti.e qs Tuthahleai fti eeecdroa r,t ode etvrce . anntTudhr eea mobestehrovdast ionu saendd tihne seth sish alfli ebled wdiosrcku ssaerde beinlotwer.views anbd at hsiepc a urrtesiesce ipaorafc nhat 1 8 0 A H andbook o f M ethodology in African Studies AIpntoap rfeit ee olrdfviewsn-ewn hdoiser dkf ieearl ndid se xmepxepreiectedisco nc de intervuireawgeerd hofrpoems tionv iecmeorallilenly . t Tos ht do some interviewing during the early outside his knowledge. In cgfta cvto refusfc et utihnreete dr. viniTethweers isnhfoourmlda noa nt , luthaeb lrei gihntf oartmtvitaiuwtidoeenr ’ so cfo qam ufie rsmnsghti aoolunly b uplsd i e nn ield reseia f oq tu tibhteee lscehufoltt uutlrode tbohere tboce oleimenfmtse. ur nTa field with no pre-conceived notion or bias. ra crIhte eairss wednuatryeisnr sgo tfth hitees cccooumultrumsreue n ojuift ity members or practitioners to teach him their yhh ie.su nmfideoelst common analost as it drs wosctoiuardkliy,s etahss e ii tfsc ohomew mwn u geryne i itsay tnshoeacwti a-tblhioseer snf i hebiladmbw yion, r aker con children. tnhde sIobothaud dIanun ct thaeindsd r weeseaght from niwtvh rcphr,i essttrsu catunrde dp, ruanctsittriuoncteurrse do er primordiaeilr lold-niensitf. ioersOm tlhiekeder tSrreaalndegvitoaio,n ntO aiblniasftotasr,lm a,ea fat inoId oral interviews were spefnca i aoalnlny dt hw eYo sraunbnthe interviews, open-ended and informal inte rOvsiue shi jpnepc-dte trwes erionef toaudpnoeinpti-teeesnd d. teoTd h eiisxn ptgeraervvsesie wmthiyen igrr e msvpieeotwhnods dena cntesd r,tt hamein olfyrr eeyeoidveelodrme, d, wnc ioanungrd as gcYhee emadnoudjlae .so pin all the subject foc the adoption of w petohrree­ M(1a9l2iTn9yo)p wtichsakoliu pgohur uasl rich information on with the appr to th edin. terviewing method was adopted by Malinowski jtuedchicniaoll oogryg aannd t is aetp hirsei a dttieed c hnnoitq orco ue i gtion aotrei gfirnoaml uhsiem. .H Lei kceo nodthuecrtse db einfotererv hieiwms, pqruoebstaibolnyn ianirfoe rmtaoilo , n nso, mfaikcm eoyilr yg ainanfniosdra mtkioainnnst, hsr ieplfsio,g cieoutnsi nagn d on sthat is, he did not go abo magi uc,c hp oltiotipciacls anads Mofa ltinhoeiwr sksio’sc iiom-cmuletduirhaaitsle lgiiofneaf,lo rwamnaasd n ttose vgean-tht ueartl hliye cu .t TTahproopsbleyr iinningat des rtvainIesdwlaasrn ddwieserersde. pTabohuleosngedy a gnionca ell sao tfeh riin nyftoe raamrt sa.w tOihonante w wohefa rtteh hetseoe t ebthremecomemd et h n fotrom aatbisotnra octn afrllo mas pethctiss worhieicnht autipohno lidns adniteh sroocpioeltoyg ays haa sc obmepenle xa nw ehes omw mea a“ssj okare lhethotoelinms”te icos fo isrnoi ecaniantlat htliirofoen­. tbheeh ainvtieoru-rr.e laItni onas hnipust sahmelol,n gi tt hseh voaurlido usb ea sp le. stepachtta R ess e dio lsaf toceundl tutuonr edt heairsns dtha onslis diat Malinowodsci t kniia i ’g c sl significant conOtr. iOb.u AtDioEnK OtLoA /fAienltdhwrooproklo gtieccahl Fniieqldu eMse thino da, etc. 181beneedneF diqe ulidnitw eM onraokyt e fow1r9o 9rtht5he. y Mc (uSoresrete nEotv f arns-Pritchard, 1982). nthropology has bkabieneodnu to foof tuhsnendros w apbnradal cl tiinssatienmrgvp iileninw gteh dem aie metshyeo adrrch started inr eaa. c e esponFuwrrthtaheienr de ermbc nyot som rw nwh Neernoev eodmber 1991 and temple where devotees and other traditionael p,r oteuhlieng dico,e nisnhe c t e o r d v awi ere lv sainhs de rr ia s b nehk y ae a oddr ta hahtr o ld tiesOa j cawa- hes’b eriaer, e, wIb Ifaainnt eare eod k vda l eun y, a nc tweuda nsn us worshippers Within this period, aa l t o uv aimsli etae nadndwide s.w total nud /Ho tereeh o pree i c o,r c mpaf Ila s ba incoaye nal d sao nof f ctongrea hrreees aibd awe gnatibaacslea odneasl c irmni beIebedati.d nagwos Inns wweasre binatsei criavnli lew accomplished. this gap is thIaybt a edddua. en Ttthhoa en t wheid ef agc mat pb tehirna tot hft eh2 e6twr5 babalawos and 112 alfas ibna braelcaewnot times . Hence, soa mlifsae n. odAtiv ngionetenhreser raw rlleya sa eoo nump np wrtohevareetd b ce aoe rnxsf c abe o mee f daritentsrgpilboyun tdmeedon rttoes ong Muslims th Yanrin-tite OIb eaidrOa woryo -nf Ytdhoee ks s2cerube6 cn5rt e, dwyh ainled 7s2o meta sbuabb-aglarowuops. i(notAre i sr m2 e v7ri s refus ee.2gw%aer)dd ,s m 1 e9hd3o t o(e onrreg s7ap2goe.8nd%d inigrated from )ot o ct lmhaeiym practice did ther pienadtre ttsro v oihefwe t hso.ef wY3a0hn o(r oin-tite,they dmr iadigb rsoaou 8t 22 5(%or) awboeuret 7fr5o%m) the Muslim divinerst ebde cfaruosme ootfh tehre Yhoir gou c htb laim hape ors u epd pubal-r tgtosr obouefp Yisno dtroigenes of Ibation denus ibtIyab laawdnhadni.c hcT lh a deparanc twishinilge profession more lucrative in the city. amima ddeeidv itnthheeraisrt PTThhaiesr tbhieceslitpp sa ant Observation hraesulsmaoxcaeinad t geardno d pt poroachwit brea kt ob afrireiledrws oarnkd i sm tahkreo utg upsch oo mrre mssoeucanireactlhi.e siPn ia nra tntihcthieprirao npvtao rlooiobgusyes rasv hhnae dt oc ii poaantmr tmithe o csiepatraptdhh n ieal contexo t tird oe o ni s bti h serva s notoroor mu t stg iaouhl n dllyy . y tha idatno. ti tnh grdo atpthoaisl is collected by actually staying with the socie ttsy. Twhhise riembpyl iaens imntaeyHr aseec teisknt ga o, ngadi ssrt esmliekaaerk cehase nr d isortbeucsdeti revose brtsh eerb vyca otmiloivnmisnu gn oint a first-hand basis. By to w bietcho mthee ma founll -tai mdea imly ebmabsiesr. oInf tshoema y sme i o o ncn atgsh eest ,hp etrh opciety beinegp e e r sroteusp seelean rsediedcah .ne odrf 182 A H andbook o f M ethodology in African Studies hwmeoidrsk Mt iasol ifwn toowski’s most signifi actuallyhr etm hiyno dvoeifgd re enamonuadsr klpi. veHeode c awnats c tohnet rf studying. Malinowski points po liuen t (ttihh.eea. ,t mtih iibresu ttT iaronontb htrroioa anpndotl hoIsrgloispto tloo gliivcae l ifni etlhde­ one can discover the multitudes of ordtii dnissa tr oyon fhl yt hbey ctohmis amtneudcnehirnt)yi q becauseabits and behaviuohuee rtswh aaos ltoihffee a ad mnadialy round t body an ndty’ spt hwiceao ltr boefh alivfei which he terms “the imponderability of actualf see kingof am s torciiveitayl,, bthueots nfeoe r a ort d ehf aocyuo, rn”mv ea(rMnsnaaetliiron nooswf satakmki,i n1g9 2fo2o).d Isosru etas kliinkge tchaer er oouf ttinhee that d e anthropethnogartaap choelrle icntesidg hthtsr oiimungtpoho trphtaaern t o eti c l mfi oopgraiotm sntiots t rooynfi ngd gaf trtaioe ngds noabl saenrvda .te ixMo a pna i r nlia nanod rappnwr uosn elatio akcdih,e rrgst nasn dminagy sociePtayr.ticipant observation as a means of gatherinegs sdivaet aa shpae eicivttese sr oattfhe eas shtheisrlytoo,u rigyth i isnt i maa ner tehwsreioatphrc ohwlo igtdeieccalhyln idrqeiufsfeee arwirnchhgi .c thIht e hoharases t bibceaeele nnf r aaudmsaeed by res se aar clhoenrgs wr1e9iqt8hu0 ivr).eamrioeunsts v ioefw sso coina lt haen dn actuulrteu roafl saonctiahlr orepaolliotyg is(Htsa raanld pw teaoldsr okt sos. omciCeooelontg viteshtres­ epaorinliFet rroo amunt dtt hhteah te e txuhpseee crioelnce ambos and Heald, tthha lec rot ugnha tupreer soannadl omboasf egdrniviv t iioonnfa ttiohofen d ctaeutxratr set hnartr oeru engshoet a orsrcuher, it is pertinent to occasions, I had to presentatut idmoeny. soeTlffh cetoer repeformarocetn, iiteidosan teaarn aflf iicnd ie tenrtv ifeowr ad isstcuuds s w aesr ritaeu callaisel.s noOt . nTc ohslielsev c yst eeoddf taqogu reeesnetiadob ntle eral I havose . me a daSisloscmou se sskt iw both thehadm hetahste,' thohopew was as observers of the practitpy ed io ocr v no ivenietu r rs ners and sn ,i idtnyeer i in ose tnhd eom sc r o rntehfaiedl ecdnliivteiiannlte sor rc neporetrra sitonhn esaierl. acrlciheinntgs rftehitseut aipvlrsito icienes s. soeTrsh. isO cmcaesthod indeed ee voerf atlh oeicrc apseiorinosd itco rpiaturatilcsi paantde manadt ionally, 1 jo iolant.e rF uarstkdheeedrr mstoeo arlerac, yhI imnsogym qheutaienmsd ipnsae vdoen td way for better understanding of clients. teios nws a htsceohmme dein tp htihee ecpier worship and funeral In outline, participant observationf roonm t hbeo tpha rt rso coefs sfeirss to-fh adnivdi niantfioorn­ studying a foreign culture helps him to gain entryt h eo fd aivniners a into t haen tchurlo npdo lothture ag e nis ir dt develop r O. O. ADEKOLA/Anthropological Field Method, etc. 1 83iannctrheFraionspeaodlll o agpciops-otosr pti enwr aiotttihoh neir t s oasmf peecmbers. This increased rapport pays off in loimf ditaattaio cnosyl ,l eapcsasterotdcici aidptueardni ntw go ibtihns teeir covtmas tmioofun hn piistr yof iveoildr group members with the person being in nrvteierwvise.w I d research. present an idea s t. cTahnee s a flisarons t h imleimlppoi ttraotta inoovtn e crirsco ostmhs-aect h tetwhcoek pfelmoatibnteatr roirnuagst ss ootfch iieat ,l c ltoieosr r me vdi re tmo ep waicevtdou irdaeb oouf t a particularunity. it, often to p uetv ehnimt soer lfi nosrt itouthtieorns mina ya osuf cthh ea si nmtearrvriieawge. aaAnlildtsio ef,su tnthheearrat mentioning the fact which he felt might taken for granted by a peel aIn coree ftr teahent is m v ooa ccracisuaenr, csept eawprtsiit chii ptahne ti doebrson beniniegs itnhtaetr vairenew wsetedal.nl dka asnIr leois rev ndw is dea dtaion c nco uc thias n evdce aan antnst participant observation is valuable in the authentication of facts. sree, mDSutoarrienn ghd eatahrvedi liasteedreliable key r stage of his research work, the fieldworker will rely itgsoe tmftiilnol grien, etlihikte l yidn oefotnr mstrauticotunr oedn isnetleercvteiedw tso pwicitahl warheaats . hHe eh tahse lreeafronree db etog inbes ienafrolry ely t m satnatgse’ hsm,e ra itti aoni l sdw iorrniet may ct th eetvlny e arebcoovred- erial in hies n f porrbemes emno mrt entioned outlines. At this point, he later write it down as soon as one icso hrwee itihdn itpealr ovtmiaepaweti -cro er information he e a, lbounte .commit it cn oionrtdt oet rom. eDrmeucoroirrnydg, attnhh i dee s banyt hmTraohnpeyo st commu log andardised questionnaire was not put to much use by nmaeirnet sfocnh a ri teyd n o i uft cohallecr ou fi wpss eohe lldiod w cg orkers hbists. On uen itmil btaining i nycf oathnrme baaetn itoshntr potohpreot lao1ng9ti5 s0rte.s a Tashonend sifttoa rins dthsatirisld l iisns eotdth eeq muteypsploteiyo ed large, heterogeneous society. a tfirsotimca llay rteapbru of elsaetendta tiisv ea sgaomodp lein sotfr nua­­ nea madnauttcha rI ft htsheue c ehn fdaie lqodufw etohstrei ofn iropologist ofte ield s uresseeda, rhcho wpeevreiord, tahsi sa mchaeyc h of a hurry nkt eohr a rsuh wsahsit hic nto hllwee cisttohec dio.h lios giqOsutn eeiss ttiaohrg mku omosnet ntohtf eten be done pologist’s point is that a great deal of qualitative innaftno atrhimreea .lt aioTtt ewqruh iaiscl hiitn a tttiohvoee needs to be done before a questionnaire is prepared and adnhm eg ianatihsntetehrrirneodg­ i1n8 4order to A H andbook o f M ethodology m A fiican Studiestaahtstesi utusmodpceit eiotthyn a kut nnoodnweer wssthhuoicduhyl .d a Treehn ithe most meaningful questions to ask in ableH taov sinugb m t(aiHkt aetrnha alaat lmlt htbeho ess taaubndodyv stHe rlee antlds credence to the anthropologist’s information and shed more lig ehh atp sro,e hde field with a minimum of prior divination systems amo nni cn,u 1rns9oi8o n0sms:5 ai1nl1l -mm 5ye1 af5ise)u.lrde ,r epsreoavricdhe,d 1 nweaws thYhaaesn rsaiylnss-otde tmheisg.hlighted the symbolic an gtdh etph hoei rlOiogsyinoop a-hn iYcdao plr ruvobaclaeu seossfe siNn oihgfee Irrfeaian .at niIdnt Use o f Tape-Recorder, Cameras and Films or VTfiheiledd e.t aoIpt- eTi-sr aeucpoerdssuch as etechnica l maiydstshe ufsu,s l r nios ta otnelcyh nfoicra li these two, cameeraldes g aehrnea dvcesa , mbpeeeoranest r nyat,ie drf vouilesked by the anthropologist on the anthropologists believe, an f(afro rm toark wtiasnl geb spu, ht looatclosao for recording texts translation of a culture into t e utilised. glrI fa,m pahusss )im ca,a nndeyt cfwi. lmeOsstt.eh rOenrf pcauiodltt euinnr tetisha,li lsty hj ovebna l, uopaf bhtrloeat noisgnlr aatthpioihsns . r eiFlgl eeussentialilrms rec ogtansiks abolfe taon tmhreompboelorsg yo fi so ththeer tcoo npvuety iinngto t hwe oermdso. tiUonnfaol rttounnea toea msrtdsr,.a atiTnndg msuocrhe rceucletunrtelys, avride eaon t aepffeesc, taivree mexopreen, smivoes ta nadn ththe film f a soc ropolog imstask liancgk ptlhryoe, c eefixslspm iheset yya, nawrdeh ifceilhsmp m eecaiya lolyf tveery use can b n be dif ffuicl uilnt ftihlmrosu. gThh tihse nportowviisthiosntas nfdroinmg ,e smtaobrleis haendth ecrruotliptsuoerl o en time cqounispuagle ieasdgtsee ndac rtioee se.nfof mmecewit n niuvg t se . layFr uerr ing eft vciho e lmer rrdy s­ Network Analysis Network analysis takes account of the fact that the anthropologist is not equipped to research the social structure of a large, heterogeneous urban centre. Rather, the approach here is to focus on the social net­ works among friends, kinsmen and workmates in the urban situation, and try to determine the ways in which these networks influence the beaviour of their members. The social network approach has been put to the greatest use in Central African urban centres by a group of anthropologists known as the “Manchester School" - they are men like A .L. Epstein (1967), Mitchel and Bruce Kapferer (1966). It is O. O. ADEKOLA/Anthropologicalpmroordeu cliink gen loryet eworthy that anthropologists F iedlod iMnegt huodrb, eatnc. research 1a8r5e peomaf rpttshl.o eyT hruierssb eiasa sttuool tbsme s aetakxbepl eecu itsnee d q, ougfai vnsetoincial surveys which are capable of of his field renrs cehca eracnshtsr iehs.et a wnEtvisle ln tao l mtahdoomu ta gtthhiv ee tl hatereg rmeu-srs bctaahlnae n ha etnhtteehrirroo grpeuonrlaoolug csis otnu anmttuearrey­ uionsft ienhrgivs itehfwiee iltdniwgm.oer-hko pneoruioredd ctoonodlsu cotfi snti gna lirwsetaesyre asq rbuchee sstopinoe nnhndiasiin rgoe swa nals a irnog ne aspect participant observation and ept hpeero sroctiinotaynl, Problems Besetting Fieldworker and Some AoSnnu tthgrgcom o eposltoegidst s prachmtieco efnise lpdorr. o bTslih S eaosneld up rtooithobelnr sresearch scholars usually encounter problems faiuetldh ehnoticate th emem iiln aufrs ur ems may be simp ormeaslaleytai rofacnhc e cdow lolberyck tsse cdhm. oalWay lre s r oewrs thc ooo mne pmhleboxaw.r k F tooor n v idnalisivtdanchile some people outsiinadtaeet e io , onar btohanese an the e mIto efi tsat lddh/ eot hrm ep orvsoiteo waf,u tothhtahte rtsh eh art isphysical and t old te npasceiuoduos-lsyc iteon tthifeic coorn vhiacst ionno stchiaetn itti fiics tphoatte nsccyh o aulannrdfso rrientul itnahbaitsile if tiyt ehhneat tisc p siacrhnitodul aarlre swl iaoabrrellde syw.eta yts of communicating with be as a result of the e clodof m otphf lese txua rdnty a otaufr rede i vvoeinrf yat thfioe o p ewn .r. r esI oTtve h e aires c s s hae clie spaor n n o tsbiafldicallyd teh mteos n othtee flooinngeais nltec iiaandl st hctoeo m faimenlitments invol may research is an enodtt ahaneregr lweudsh uifacohlrle yms vreto du.t inPero ibnl enmastu rc huge Another significant problema'oy f ieisdv eethanse . bfea cmt otr eoe n bcferocomanuptislneeg xt .h aenH seaonnlcutethi, roofnipe tlodo­ isanenvcdro elpvt rewomcaeeydnsu ta rwes studied are shrouded in secr hecayt pmroosbta bolfy t hdeu ep rtoa ctthiceeisr sacnhthoSlraoormpso eal onagdni sl nadyit mha cettnhiv.ei tsipesir iotuf aplr aand the mundane worlds of men. Such informant antdth rsmotpuigodhlyoti gncigco anals efdqieeulld ctitioners often einwnqtoulyre knb tem cgoaamyn egb eum nr pisose great problems to conflicts with rival groups. If a field researicwghh kittyt i. nbeFg olysr instance, an suspicion, sometimes, such fieldwork may be jettiseorn emde. e etese mnw baristoh il peosdul iccinhe 1 8 6 lhoaosk T aah bdes ^uis A H jrrsdue ent htoa frt a es n sle d iogcmir bo oeeuc ok sytr aopf aMrett, htohdeo lopgroy binle Amfr ifcaacni nSgt uad iersesearcher who trhideiicru rleel itghioeiurs iknndoigwelneodugse a bfdaaiicttkhiog nrooar ulirsnetdns dooer be. Thus, Bertschfrt e(tnh1 e l 9a i espfsr uaamrcetei t eitonhnoaertrm so onus. It may A traditional person does not trust others, e8s6p:e3c9ia7l)ly sitfa ttheesy imteh pacoto;mteenst toof fgsrtooriamnng g beeyond the immediate circle of friends or kin gr ocuopmse; tlporuaotdk isht iifo irnnsa lat hree too pbpeo ssiutsep edcitred,msel ect inono t adreea lta lwsoit hd iofpfiecnullyt . bRecealautsieo nas The aborovme fpt heienris ro tvnh eliarc kpso sthiteio anb ialintdy ttoo eimmpaagtihnies e hwowith tohteh ewrso, rtldo panardt itcou leaqrluyi pin h tihmseus bfeimi asnsitoang e mpoaiknets. . i.t lefl dw iothf annetchersospaorlyo gtoiimcoalpls e.s rtNautodive sfoi s pologist should be adequately prepared before hti eeos ,sn eltyo r tbaheni syv, etrrhyee s ceaaaunrcher, trip ts in for a rese ttaihorrucohs­ fcieerld . eFmwuoornrthkiee srw mahroeirc ehs, o miitne vtniomelveeeds s qtuhtoiet e brdeeas neegamrecrphoheuarss’.s i sMepdya rettxihcpaieptr aietsinoocmnese w itintyh p erssiot umoaelf btkh anebo awdlawere linev wdinog and a few Muot eerr.e sa Tdshayew irto m mcoeo o- as s liman diinvtirnuedrse rc ownhfiorm hsa tdh isc oamssee rttoio n‘s. teSaol’ mteh eoirf ludiigsvehifntu erl resif nrefwoshhrmom aeatnritoesn am. nSudoc odhp eamrnadot rere. e seTpnholniisgs hentsoe nttowe diqt huasentsadtin odanirsne g s,h retohawederyed tatohr eas tu stpohmpeleyy rseosceieFateryce hloienrr ga. ogTf loneline smgsi fest os.emveetnim sehso wpoesde sh possypcithaoliltoyg ibcayl opfrfoebrilnemg ss otom ea pBcoounlto sgtgairsnattd louyr a flaolny rh, is iyo utohpti s so bfp ecrcooambuse it is not always eaher schlomelmaur n mwitiyal lyw dfhaiisccaehp tpoheneae rp .dr ooO seycsc tnaoso iftoi ton in quickly into a be r blem of rabileglyiinn, gaa lflnyr u basnetrltoahtnreogd.­ poprrf ootvbh ealeubscleyt a pfnortro t r bpo trhees pfaocntd t htoa tq mueesmtiobnerss o or fr ethfues eg rtoou pt ed to be leermirgsisod n waoli rll r ecbaoesn ossneusrr.v maWtoiivutehn tepinda .t itehTnehciere pbaeenohd asp l lpk b ee e ar i wbs neogvu ets rttauhndecimeed,s may more friendly and accommodating. aviourh om haayd b eea emrllvoieessrt ingfuMl orrees eiamrpcho retaffnotrlty. , Floarn ginusatgaen cbea, rtrhieer laisn gouftaegne ionfi mdiicvainl attoio na m coeame as cann­ O. be observed in IOfa. AliDteErKaOrIyA /cAonrtphurosp oislo gteiccahl nFiiecladl M, estyhmodb, oelticc. and arch1a8ic7. Also, most of the Ifa texts are full of poetic renditions and symbolic expressions which are sometimes difficult to interpret or decipher. In this cas osordmeIern tpoth e r emi , s- ra apek rese caeor trai cru aerllacirah*be rlree shteraaasrn csthola wteioomnrpk ol, oft yth hete h reien sfseoearrrmvcihacen hst sa’od sf u tiobn mtmeirsapskrieoe ntuesrs.s in csoomllee othe e of re-tracnteswdla etrf r eerdo n m ew ipna ded inlnyos t ctexts of Iftaaokblillneeg ctlMye du tsrIlafiam a pcodoeirvmpunscribeinds se. , rSs a to n ramw d nee c s r oeA mraapbcliqecmu idreienvdti nathelated into Yoartniuod mn wba u tse it aexndt hs. Tcohmespea it riso d anerxteet srn puwrmeetereer nsd . woMnite to E eh a btnyh n wech goIlfmiash p before anrous but not iilnes, div uetrthee inn tap tion mouarnontbdalb a etp ly merxo s stf i se n b. s gTs ihtohene aitr contents for necessary le. eing fl ra aAcnersdal abbtiicyo tntr haoenf s trlhaetseoe Arasrr caahbneidrc Comments and Suggestions for Contemporary ADsternchasap t rtae hitcge ri eot pologiststersh.,e aTcnhhtaehn rngoaipntouglr oeegm oicpfahdistiInt citsi voeb hvaiollumsa rthka tto tmhea f lai esrliedss eirnae racnht hsrtoilpl orleotgaiicnasl cmounccehr nosf aitnsd ‘ irnetsimeaartcen’ pdooelosg insot t whhaov e ist o stfuacdey inmga n an yn oththroespre oadlrioscgchii spitnl i nraeensste.harrocphoinlog ghyi ss tiollw rne mcuailtnusr ea ilhaneni tgiaaulla rsgeueas,d pyhi cei oshinsas r aeonsf t“htinhese ic doeemr a”y faoonfrd et ihgseno pdcrouoelbtsul ernmeo. st Hthhea avtae lbreeasdety tkhne oawnst htrhoe­ ocoffmerm tuhne itsya.m Bey raenwd m a rladrsg teo, ttmhheeo utuinity to w ionsndea igol efn aponaud e l to ovrst i lc-twaihpo is ntahun h rgt o h tohtb es pesame dpolo rrovcaetisos e nee rcgoremee, atnhde the fRoergeaigrnd ianngt hthroe ppoalortgiicsitp. ant observation technique agsis ta na sa s it d odoefs nthoet tbheitsw e ltern oaetsi otno wshtihus idc is ryhei enngm hionirsveo lnvaetmureanlt aanndd edetachment asilystehaer cahn otfhwirnnod psinooglcosieg tiwyst. i tsChit osng bvreaeacr skae cteraly co n,o d mib ta fpirslo iimsnh etthdhe e research community, certain which the indigenous jaetncttethimvrioptypts.o batyor ertlToghie a se h coeo fr addne ttahanrcdoh pmaonelaonlgty isisnet re problems t haavree , toh ofawceev. eArt, a very practical level, there are often sensitive areas in a community, such as chieftaincy or boundary issues, which form part of the data of 1 8 8 pncoeomrt mmfeauenlne indttey t mes Aoc Hiaal ndr r beolaotki oonfs M. etThhoed olfoogrye iing nA fraicnatnh rSotpudoileosgist is not a umopnaslyy. Tfeehveiedl eignnrdceieag eremendbo eufrrso moanf tithnhrceol upcdooilmnoggmi ssut nity he studies and therefore will In either case ttlhy atte mfavpoteudrs ehitihs eorw ton u cicosh data*in his records and write­ situation. pa vrsteu roc fhu t pha e sp ucecorhmm mamnauetnneirtt iyam’ls,e vmoireb wperrpe, osaiennntdt. Tathteit Tuahdneear leois g iyst o, a al ,s ot hai sm is the evidence of distorting the reality of the p ganosthsirbolpeo. loTghiisst p rta a oot itn di , mut uicsade o trhaee s rceuhcboitlrlded a isbosofu uteth aatots sbsooec cisaieottecydia tlwihsaiettdh . i stTh hais detachment. merely because the iinen dtaiigsin e nato humasno raient tihdsr ifoffoipcrou lltothg eios ntf oecr aefniognrn o tta h ese poiobnijdnecitg toievfne to huaisss tpohbraostfe erhsvese iroa.n lraPelar pedvayir ot“kuicnsilpoyaw, nhst”e hhias n d h tehlrpo pboulto gfiesetl, pre-Icfo tnhcee iivneddi gaesnsouums patniootnhbsrs oe sr obvceeiree.nty a. Hlaey mhaasn, pina rftaiccitp, abnepo t e no bas epravretri,c inpoatn at rhiids phaimrtsiceilpf aonft t hoibss, ehrev aitsi oinn dbaaubnt og louegrt i sohtfi sd oseosc ineotyt satnrdiv es utob sbeeq uaewnatlrye torf halso i y t ios hhaosw Iesnvo emsru,e m bg,e r teahawet aAaredfr vioacfan nstao gmaenest hporovoteperon lttoihag n iitnsots ehsritstui nidngyt iednrigvs iteohwrists io.onws nn octo monmlyu innittoy NtIto i gshesortuiuadlndy iananlgst oh hrboisep onoloowtgenids t stch owamth moth uhen aAivtfeyr e i l dcooarnn p fo esa itrfeai ofnicetih lglsrno ipnrohelseoergaeirsnctt h ieledtwy. orNko n itna bthliees r . hHise p nUeonxtai tmreeps osthsd lSr o eiitsc uiotl e dn,od.f Jaorhe nVIn iOcdtgeoberdu Uchethere shou, l wda h bose neddrimud hwiho did his research with the Navajo Indians t aatneds o wloogrisldts soschioeutileds it nhi enrrecerg n fe s a oa rt osdhree wadnt with American schoolchildren. understanding and toleran tco uaennplaaydc thherr osotptahoneldor’igsny gc uhalatnsud r elostno. lg pree am oan g leNaigdeinriga ’sr eo eran tleh niicnN gigrioenur ciaeaccre n ha emadno tnihsgr otpthasing suh a cohe t ps. ­ ARABIC DATA AND FIELD INVESTIGATION: T H E EXPERIENCE OE AJlM ONH,I IG. AE. RIAN SCH O LAR 15 IAhntrasar sai bnbi oce eduction otinhs etorr napnea sromtsfi ttotheed mfroamjo r laare the Arabs. Ap gen negruaatigoens toth groeungehra twi contact of Nigerianafsr tt hwferi otwhm o Arelrdaa.br lT ych uterl taoudrreieg icnoanl taspcte,a k ohenirc sihn oANf firtghiecear inlaa ncaugs ultwauegrleel tIahsnlead m scc urailnptud to the corpus of Arabic tex the main significant Manytur eure.s eAastn ttdhh pea trh imAearaadrb yoi csf otsuherercsveee doli ft EeIirs ts reala t mnu w riehs i tctehhx rtasor ueis g fhtuh llet h ogefli orr ricieohxu plsio tQseuruarret’u artno. e faon oted in the variety of literacy , praed rdms employed by religious and political leaders during the eighteenth esolsl mit iiniigicnosi n u sa e st rn taedtea nip nvth dre o pc coaergntudidraaencstd rpaioe, nsh diisentn ocNiic literareitc gaaeln rtdiauresr. .d Ti ential mine of information on Afr eiacAt rihles es l ectsti e, includehv peesose,e tbrsoyoo, uka rsn g c da on vernmental and an history and ceusl a d wcpoiandmsetp irthaulnetegts e oture. aon nf 1 9 0 A H andbook o f M ethodology in African Studies fcdioeesldc Irwdeally, dues to research problems revolved round the process of prellteLac itboieorskn , thooeft' htpherreow cbiesasess ikca nsd oaaw ttanr ipaas field investigation. Henige (1982:23) cher tatinhvaeg tua andgdoe e absn aarnlroyietti rc uaonlf tdseetnur dsptioaesns an.rdt itteh eaffair which involves preparation, constrained to embark on studeides sa aw spher irio uosr gtahnriesaatt itoon r einsetoa rcwhi.d Aer r einsetearr­­ icCnoo untrshseeeq oulfae nnthtgleuyiage. Written sources in ao rsteAi crduaalbatiarc alaarrene g munaaogitne l yam nd aoyecx ucbmeepe tnsitoeelnfd­. w(1r9it6Ate3sn: 1 ro7irg- 4ho2trl)ay r, somtbuasdneireyvs e re, availabediv sebenay rifc htheresy avolity are c iden ttrhael steo tmheamte.rials during the Thohwis ptoa pseoru, rtchel,e is one of the moRfua jmorrem ldeevel,ta enFrtmr ainsnorauinsr,t cseI o. fAm rneadstee arBriaaclhlsl a,f ienawes,hi beWitlhit.eCyr.. wcaalisrtorh y iinnthgtee onirud te cdao rll rfeoecrfto ioresearth en,e. maiM maosnr dea tt ihmeex papomrrotinabnilnetmgly s, t htaehs a nta taurree ooftfe nA raasbsioc cdiaata, Arabic ch varies from discipline to ted writingsd,a mtaa iinn lNyto img eearxnipau.as cnTrdhip et psma, sabtt oeterhxia pilnes retieexnxatcm eai nniden d o f dtaiie he m nr selcd ii pli micnirdn neet,h tohdeo ploagpye r oivfgieelsmntio gauanstd ioA nsroa mbo oiincs f oasthpeerc t colaf stshiec afli ellidte irnavteusrtei.g atBioensi.des, oral interview forms an essentiael NmIna aNjtoiurg ere o f ArUnlike drpiaart,ia np tretihdna te adb bicoo Dksa atnad manuscripts in Arabic form part of the tpahvreeamsilea,r bvlateth ioiinsn ainf a s tcl iatoenfrttayet nun ruaemt trbinae crtA wrtahibteh ic a, ttAernatbioinc mof field invesctor gave an imp anuscripts a trieg atoonrlsy. iKnacdluudnea ; ASroekwoat omH oSatunasytee c efHonrit srteRoser syoe fa Bmrucahrje o eart u cfsei twiet sop ienot ple having access to Studies, Usmanu Dan Fodiyo Univaeaurns,d it SyHo, kisoSttoookr hNieciiagrle rDicaoo. cllueTmchteeio ncntea ntitan; Centre for Islamoren d is, MKNaauntsioeo c as Ke,u n al AnAmnhsem thaan rddcu h Di iv kMBeeo elnslou, mUKenanivdtesur,n sJaiot, a Library, Unysiv,. eZO n rast dh ertsh e oto as well as the Arabic Documentation, Institute rioitayf, AUofn fa rive Ne BaIbars ti daiayt oyenn r a , o l UCnoivmermsiitsys iloibnr afroyr, Ibadan. rican Stu oadf niMedsa ,i tdhUueng uiCvreein ratsrsite yw feoolrlf A pro JIMOH, I. A ./Arabic Dgxa-ancTFielci Investigation, etc. 191ubcaussuleka loalytf ktthehpe sp e tA e Ka crmatibvoienc gcr eothslleeea crrtaciohner afford the re re c ionsl ltetahcntedisosen sct oei nntb rmeenase.n fyiAt orifam bthimce emcnesanentlruyes scf rraiospm tiss tathhreee roebpsotIasnci tloetrshi eeo sf tsoeon see naansrsceohthcei rasDt eikgder ew aLitti bhor Aaprpyo, rtUunniivteyr soitfy moifn iImbaizdianng. Trihgeo ucres ntarneds banotdh tahe Centrfe u Atfhrowarb eAiscrt aernt the mbaicn upDsaocrcrtu ipmot rsfae . b ntTh ic tahe e dscaeot aua nrceto rltylhe, ectiotion, Institu ttKheee n nr . oenf eAatfhrre iDc aitknwe o S Limbraajoryr iLFnardaginovcsi eda,u nPadla tudies, the early s I swUchnoo;i vlwaerrss itfyro omf ISboakdoatno. , TJohse, mBaonrnuosc, rIibpatsd awne, reO ycoo,l lected fromris (Ma Ijebu-Ode, tUhneiyv ecroslilteyc tcoehfdo lars hhwimlehu'ood t,dh oe1nr9sa6 tw4e:de r9te8o ; c toOhldlee ucUltaenrdiuv ,ef rro1sm9it8y 7 inL: si3btir2ta1urt-yi3 o3tnh2ae)l . mlSiboartmaerreiie aosls f AWF.rH.aEb. .NiEcl. - MmKaeasnnrsuid,s ac Idbuardianng tchoen tcroibuurtseed o fi mthmeeirn rseeslye atroc ht htoeu rbsu ioldr instgu duieps oaft tthhee sameT htiem Aer aabs itcK rlehip,a tlHisl .MFc.oaClhl. emc(t‘uAiobnd at the university. The h eco llilbercatrioyn m oofdv ,eI bL uaAldla. ahMn) uuSknmoisvihtehyr,s aitBnyd. G liH. Martid to its present buibl.drKai.nr gyBs isd nsnc, holars include, on 17th November, 1954, while the Centre for Arabic toa fnr J. fiticse O i.d . Hunwick, was aAinraabuigcu rmaatendu sicnr i1p9t6s 3a t( AIbboaydaadne Docum llaybe nooutpatet nitoehnde pionrh iogctiaonscaeolssp , wphhoertoe coap ipeasr taincudl amr icmroafnilum ,c sas 19 cn.r i I 7 ptb 3 ei:s t 1 ecn 3 xloa 3 ists ) tess .w ifiboeordtt hhiy n attoso mothreringeietni ofno rtmhas:t cmlaotiptgeyhr al and are its thi.s also aT v yae, mit eirse mdiuslpelaicdaintigo nt o ocf otnhcelu doeri gwinitahl obuet cvaeursiefi ctahteio np, htohtaotc otphey vfuarr hi tihaenrt fcaocpaill isil be eto seat tt exnp copied from another original produceoeesfd lt ahin thseee s pstaa th arma e reason wh sket eo m f raaecnscueesascrsrcioihpn yt , innpu rmomdobusectr ers in edite cas isnd. g bA eys svu adscihi uldfa b fcebhri l y eipnt hao manuyt s dtooiffcf oesrpecopyi ie nst criptsus tcashs, willt Ahbepe a smrhta ofjwroornm bc ietthlioeesw.- •abound in the priv a biunl kN oigf eArriaa,b itch edroec uamree natlss olo cmataendy ino f mthanemy Cwenhtirceof hs o Tde f ptheAenr dacibonuigcnhese inclu try. dmoena:n uthsec ri te possession of islamic scholars in different parts rpetsse asrecrhvee r’dsi ffleevreenl t opf ulripteorsaecsy inin r eAsreaabrcich laacntgivuitaigees., 1 92 A H andbook o f M ethodology in African Studies AEdppar roret iisteionWpohsesd archer ir cueuc lar mableeo dnf oebr y o mnduaifsyfce wrriepannt.tt Ictnoo pteyhmiissbt saw rokis fe o,tn f the copi a pt rloedaucing an edited version of a editing. Therseufcohr ea, n heisde ist ocoro lmltaoitt isos, nuor h mt eh sihes s ore asu m smet, three different versions adoption of the variant which is gramlamd m ac a to yair a cimr aneducdts c. rreiIptn tdw iatiriloel ntn heienend tehbdee. rasuocclueun, rdah.t oew Tahenvisde rpw, eiirsll f etchdtae tef idnaiintti eoleny omf athkee poss primarily at the archetypal copy o manu isbclrei p ally and structurally handwriting of the f aua thpoarr.t icQuduliatiitroe n ma cananunum sacbrlesirpo to bfwe tt.hm eAa h n p reoxdcuepcttiioonn toof tahne wElo-Mrkass rio n( 19m6a8nuscript editing. They are M . sc ihcohldHis ka eiers st s t hw oal(r evitley19t e pnfrr64 o o )i,d n mu cteahnde Qangdu nA.I. F.H. biyi L(a1w9a7l7 )-,(7 1Y99:.A 834. 3)Q-. 5u5aO;d t1hri9e r9(s01 -9i9n71c8:l )u1,d -ae4s 2 K)w..Ael. l Baas loSg.Uun. B(a1l9o9g0u)n a(n1d9 7I8.A)., TTTan rans hraiysn oestflhfaoet lirarot ln toiso c o loavlf n e soA rtr hfaoeb rpiecri gomnbl aelnamnu gsocufr aligapnets gh uaiansg ebm eboeasnrt r tihceare s ifenos ca iip noptfro em cEaianntgyinl rigse htshe, eaor iof Arabic source-materials. Besides, it creates room for large readersh rvicpah le nrtso. oadfeff rosiruvdecs hv iottrtaahl nesrso lresearchers, especial ues M.G. Hasan (ua1rt9icoe8ns6 )fir noacmnlud ds ueA ctFhh. e sA tsuhtdumi ldeyesi tfhoors teh ewirh oow anr e and studies on manuscript editing alsedos o(c1fo 9sn8cth3ao-i8nla9 r:st h 5l ri eknseoe Hta r.lcIit.h eO raarteea sin. AErxabic, to9-68 amples Atintloetdh:e r t“yDpiivcealr geexnamce eir E )n. glNislaahtg uutrrnaaljlnuys , (la1at9lilo8 tn6hs)e,. editing, translation p laoen fi ds o tphaienn waioloynrs kisi no fo tcfhU emS ahlara wyFka rhou fk c IUMstlaahlmmum”a nf-a - sbbh.ei in(F1go9 d8tioh9’e)s Najmu ‘l-ikhwan yahtadun bi-hi bi-idhn Allah f i ‘umuri’ z-zaman. AAQrusai a Basic Sourcvaritboeiu cs a d aantsuapm egcbetesnr e rooaffl ly es-eMrvea t dissertations, theses Asuarncahdb i csj otu aeds irmaenp isaur i l smhcaravirpeyt sas olarurces for many researches. ANrigaebricia .m Sainmuislcarri pstusr voef yN oigfe sruiuacnrhn swal articles esb aodstyhh obcohrok w lasr sa th tahse b Ueenn iv w een enirt shiincarrtiin c a rlaroninedgdy of Ib oeussta ed out a(doJuaimnts oi yodsn, 1998: 10-15). ohn e, Mo JIMOH, I. A ./Arabic Data and Field Investigation, etc. 193peaxnrci musemanAuarsra cy rf eosorov uenrroc,e t t. hmeDarakebriipc t oisde to n inimsg oa uledeareconss et(r 1 r indication th uo9cf8t A3t-ri8rae9b :i ch6 i9smt-oa8rt7e at langua y)r ,i oafolfs r Iielnoitsrht gaeenr cbin-Oae a fsf, r mrai eagrk eeinss e nuroastle an a War. T hooerf co(1anr8er6 ioe9df- 1 ito8su9 pt1 r)bi my b ayO t.wOM.eu nhAtadyme-tkmhoraleade -(lai1nt9he9- T8ph)r,aa inasine. -sAorSnaigmb iiccloa mmrlyap,no usinesdc r aif portr e ccEoemnnitsr Aliyu written by Ja'Yaarry asos-uSrac de(sicq hi noi sis cpeoi ntebe yoo fl flo anguage barrier. The manu tsicsttruuitpdetsy, Qur’an f i cilm ar-raml o(Yf aInfTar.hine-rTei tei)s , wnoh icgha iwnsaasy binagse dt hoen ftahce tt hst rei nA rtahbei c scteiexntsc eo no fs at thadatit ioan ahli gshix teleevne lc aon gneodon-msc uatntcinyg) (odu) iianons ts egratif Httahaneucisrea, o , bnFo uethlxainstis abnedt wYeo f cultural mainly Hausa and er nuF buAalr,a anabsi i hcin aa vmned ab nmoyr aronotwyh eeNrd i Agmefrroiircaean nt h lalaannng guau afagifgetehss .es uaFccohhr tlaihgnaegt,u ctishatnei cfrvoomca budliarericets bfororrmo wAinragb ica.n dT haisd alpartagtei obno rrraotwheinr g tohraing infartoemd bHeatuwseae nin fb oaerf mfsiunegirtsgy e.b sTetelhodins, ghi sot owb eeKvcwaeura, s fe while the latter is a S mparoscnuoluinnes aanndd faelsmoi in i amily of lan ninest h. teh eLc ihksiaemrwaiilcsatere g ,i r utiyaAs gtrbi e ace s. T b tiowcf e h nde e an e m oAnirtlyicifferean b a mes oti l iffc af innagniutdy­ Ftaenucdlha nnmiic. oanTl thhtes were directly copied and used by both Hausa a dtaiannydgs fIarnlos otmh eaA bsroaaumbniec e rwbmoistr hroosuwucti hna,g nasys w mereet rgerse ater in the field of poetry whed v einin ,Y socrourbeas omafs o adsdhiufoilctwaentr aian ot dne d(r chaUynmmes were directly cby thed asbrto uJrdarihoew,s 1eod9f,7 5As-cr7ha6bo:li ac3 r8 or-ep4 ieadll AGbbuadbaamkroesi wor ( 19(8139:7 85:- 182)2.3-225); Balogun, N .O .A . (1984: 10)s ali 9kd)es. vaalwluaAeysrs”a ba( iBcq,au rtiotcokol ,d inh, atnesr .db-c.e:h eanvn iiigine)f. lauenced nd sources whose expressions aTmrheoi sn ingi s tbheyev t locaidd he local languages as “th l iefnfleatr neignnu ta ttgheeers r iatsvouarciielhas b oalesf cwHurl e ati ruteut srea i an sl , Fulani, Kasknunucocrewi snsao nd Yoruotherwise and their thear ssN ciaagtjambut weterrsiiatt b taoQ, utbhiutiset pawo nhinuictm.h bA enare written in Arabic script i. inscription on Arabic wrtniet innc ugisrnr eAnrcayYb owicru hsbic r cah o tohdf eewrp ritciyttispn igcitsas l o nef axjimahad leaderript. Similar examme ppvlleea sliu se at lhsinoe s Hausa language abound In the of scholars. One example is Y1 9 4 A H antroarnuTsblhaaet e sdt oirniteos Awraobv debno orko uonf Md ethodology in A frican Studies difficultie ic (Ogunbiy t knowledgesex iisnot few nthoceerks eion fgl o ccoaanjal molrai nuigsnui hi,Ae 1 ra9tob7ri5cto) .issoeu rwhich were compiled and ng such mat in Fula ,p bouetm w wash ilcahte rw tarsa nwslraittteedn i anbgtyeo s SH. haAaunysk aih nb s ectreaisan,l cseh, ouiwsn leaev sessir xo, tnype-os sheeavsse nss-oolmimneee cajami rBEenoqtguhlii rsvehes.r sitTohhneis s e aexrxpep eilrn Arabic script. Working on cyU satuhnc mha nadnoon cbyu.m mFoueudnsit todrarenifgisnilnaitateolllryy. msMuaubnkjeuocssthc-rymi,p a1tt t9e6irn6 :h 1aq-du ateiinssetsi otonhf,e srcfeohauosrloa nrss w chihno yla Firunsl aa, orfHe saeusa, Arabic as well as help to build up a m3 o6tr)oe.. Tcwohohisre krlei mnotin tp aitictiot un(rE enl -ooMtfw athsitrehi ,sr etA haidgra e chlh e ycieonducted on the African peoples (Herbek, 1981: 131). In, additiloingndio,i nuligsn , n a,s t ueHcghrui ntdywo cicuinkm atnhde u(Hseufnuwl fiocrk ,t h1e9 7s0tu: d5y1 )o nd social li .f the historical development of Afgruicisatns lfainndg ut fah eeen mots gesf TsSSoc honh u eo tlha rcehr csoi inacteg a ofno principfhalabi (1976)y rleale A s vree rlsabicof e oaffire cslhtu Ddtoyad inp tica is a difficult reveals that on.v ecesQt uitghiatiesti ohanu n rdublmye bsiesc rh t o o aolsfak rs stt uhsdauitec sho fctaaesrn r Aiebhdem soeautds vercome, die primaryt brassignm “reeeaesdnei ancrgac ent on hrar siien d wp eorloul gt aa sr etasekainrcgh cotogpniics ainsc et oo ff oarlml retlhaet edh asbtiut dioefs etxhtaetn shiavde aD7r2oe-c 7uc7om)n, etfanoitrna eitnidos tnian,n t rheoesn s c”ot hfpreioe mstoUniveristy pic. A resea onofe fwsletters. rcShiemri lsahro puiledc easl soo ce, there is a lRi seIts beoaafdrcahn .B uInll etvionl uomf tehse 1C8e/n1t f r lieearn about 1980 and 1990 in the Departme 9 n ff(oo1rr9 mA90ara-t9ibo1inc: tlUihsneti voeDfr edspoitacyrt toomrfa eItbneat tdhoaenfs .e RsIne/ lMivgo.ipoluhnmisl ,e d iU2ss0ne n c(to1 mopf leAtreadb idco catonrda teIs dlaimesiecs bSetutwdeieesn, seuffbosret q rta wuielnl tslayv, ef ohrimm tphaer tp oosf stihe resiveear 9ts9iiot2n-94: 104-107), there is also a his examiners supply him wi rche yrs ’ sob fe“ LtIwi een 1986 and 1993 in his thesis or study which can lbtehlae d see tmroio btuahsre r farasecs-tmws oetrnhkt lto etrhrianatt. u mrAela l yR teahvreiisseeew s.c”h ooTuuhldlids, tatedA ftgeero ag rsatpuhdiyc aollny ,w mhiachn yA roafb itch ed aitsal aamrei a cr esqcui tni horg h le edo ff haars tah ils inse br to teehse ee snau rpdcpehll.y in locaimlitiy­ no JIMOHAofr aramb sicatu llmdyy as tedrve as re , sIo. Au .r/cAer apbeicr sDoantas aanndd F itehlde yIn averset igcaotniotna,c ettecd. for rel 195 be sourced.eertiaelrsm oinne ssu, cinh mstousdty c. asHees,n wceh, etrhee rteolepic as well as the s ecvoapnet amnadjo Fprrr oesmsceh roavl aaprteiso rnsao nondfa lAi mreaaxbmpiecsr imienna cnIebu asdcdruairnpi ntsfg o orafm Ipebrdao djte vcatn ot nA r“atbhiec adcaqtau iasritei otno wfeinehvledinr oi nanv mpeasertnitgtic aoutifloa trnh .me Iata nuwuthassoc,rr i.hp otF wcoaern vine ahne amuathjoorr sthairpg”e tin i n1 9t9h4e bHyis thsoen s, tSuhdayy iks hS hcAabykdhu lA-Khamriamd (Rdu.n ros,t t aobnbecs efei,rs vhoeendde toohufa ttt hfrteho emsrc eht haer ei minmsteadnicaetes Icmopaymin go fa Ibad fa1c9i9 B5e Clloll the .E o.)f, Owkheo- Awraes (tdoh. lea1nr9 st7 hc1eo vCCe.hErie.e)d.f ttShhaeela fhaaumudtihdlyoe.re ’nsO n a efno olramfn tedr, ’sg Aenraebroicu mslya nmusacdreip tasv iani ltahbele p rtiov amtee c ofloler ctpihono too­f caanmd s fam e etott lleigdh tin Ai sp Baao ilkyhe works that could not be directly acquired from Salahuddeen Apao obrin a g;i.si O(an1ne8 9oe0fl- e1tg9hy5e 0cc ohCma.Enp.n)o eslwesd h toho rmno uigghrhias twefdrhi iefcnrhod m,t h SeS howakyookrthok ntoa tutThrhee eo infm tseaonimnd eefd ad cotpo kook writtcrua gmtih,e ainntt swc a ehnni c whihb ine t h1ae9t 8tt4ex bt yo ft hthe el aetlteegry’s fsoornm, sA alh paajir tK. hidr wThitehsout an ch we e incluyd ee fcfoomrtp eobrssyoi tnitoh new sh waors i tmeenriscg ohtmto rriebb euo tnerledys iwtdoir nittght eisinn paofnaidnr ats is th make du ent d eir evcetrlyy vaadrdiroeusss edfo trhmast. thIte yi sc ouolndl yb ef rsoomur cethdo. sieu mt,o elweghyo p mloirc acstouesr w cr heo sfwp ot ahnyed epwnlocaecr keissn,. mdeissctAariskp etDnio,a nvmsid Henige (1982: 42) obser orks were in Arabic. T ihoscef o cniemcretpaiovinret das nooccrie a ol uontfo- orofmr-adsa oter. oTt vheed, published ethnographic cpaenrsnoonta blieti eosv ienr -tehme pmhaasjois his re dci. tiIens of Nl icgoeamr isamt uau r n ivsic ittaartuli oeinn o fofi nrwm rtahittitisoe nnd ismroeaucyrtic obenes Maiga 1998, carir raienddm aoSiuhntal.yy kABhr eaMfoburiceh, atomhnem tfahiedelu dt’wtwhoo-Tr kph,ea rnasi damly-o Kninagvf aownlvhging some islamic was lol ntahleit ieresl ewvh oaimn, t b aobrteiho gDr. Tahere sourorcfae pdKh aaincnao irl, literature, d studied. All these moant erials assert that both scholars are still hale and hearty. It was only the field at Kano during an oral communication with a scholar at Bayero Univbeerfosirtey , mKyano, that I first learnlatter scholar had passed on since May 2a9rr, iv1a9l8 a9t wthhei leu ntihvee rfesodirt myt heoarnt htahde died only a couple of weeks the 196 os8c rhaJul A H andboo lo liyanr,t se r1(v9Jiae9mw8, i iusc, o en1sts9re9a8ry). kto o f M ethodology in African Studies The familiarity of Th thise pimoipnrte fsusriothne rI hcaodrr oebaorlriaetre sa btohuet fathcet tthwaot wMofha tilhlaeem g trrYeaaactkkeiusnbtg ub ednAoehwfimt n n st t h a iea l Arraaer fsocehra ivfriiestld w iinthv etshteig matiobi ate nr.ials under Iris care is one tIosl alminikc Lmeeg alu pS tuwdies,a Kd anDou. ck acdwhaeatr,a .c tahTneh expect during field investigation materials already It was or iigsd iinreaexclpltyeo rrtt hisooeuf gwAhmat sti ond uri sepSqlcuaheyosetod lh ibmoyf woclrai trthhi feitchirae t icpolornos epo noa ssteshdoe i tcihos nsutsheueslt erradei ssiaedtd e nhincoes of those authors of the Arabic made ava crieasteeas.r cIhm tmopedici,a t methleye Mwbeoafrloakrmse eYtihtaheke fieldwork for more oral interv he was highly d uerb lifugroh wmtea dst h aaenicrdq uaruaetianhdtoeirldys tt1hh9ar9ot 8ut)hg. ehIy n hc f ialiaecbwt,l e m otanon ytmhee iaslsl ureesl etvhaantt amrea tecerinatls and as well granted me in th im, and w ral to my study (Dukawa, Aet c oKuunroturumyld wi nhMoeatr rebk e hofA ie rtfo c htabu h in e cw mer , simd b ioiln ae t Kesuruirabuls 1 got from the Legal School Library materials was also enjoyedao. rk sIe xaws smweiqe ulml eaansrt klmye photocopied, were so rare Nigerian authors, which, to a largpeea rset xisitene ntortof, tof,a nomon-i elgi duced ar oarftp tir influencoi lrs et yd e w abrieggem so sldt .markers rtheek incdhloeidc em m aionthdy i tfhiwceao trAikorsna b oiincf AtoroalbsO.i cnF eos oro uf tyoh fei n Atmerraaejbositrc apnwrdoo brtlkhesrm ewsof selected scholars. All these sources the form otrfh cCee asM rli isdB drtholeec kEelaacstk aon o lmannfd ’s b na mfstoiecrn e b fliaiogcghertda opbnhy i tcrhaeels etaoanprdcich bowifb orlreioksgeerrasar pch.orthwest Africa such a tool exisuhtssii cniangl cNKclle iageansssn r smme iatah,r kaD aictkohe doLfiis bttheark for Arraianbrg uciesnht reitss ohfo AGldreiasncbghisci c hte der Arabischen Literatur. In series." Each tide is ciyca, taUmlnoaignvuueesrdcsri twiyp ittsoh f itIshb ea dfdrooacmnu, mftoehrno tsianet siotoanfn choeat,hs ethirtses. gsApetne cetirfhaiecl acaatctcteaemlsospgiotu,n e adn ndAu mroafbb eiccro . umrAsaelnt huthosecur giohpn,t sly there 8 apr2at the eur , e foixth celrawssimsea rkkn 8o2w/nth ea ss er“8ia2l AKreanbsidca lme ainnu s1c9ri5p5t-s5 s8o lweliyth a v1a5i0la bA leroa nabeti ,c t htmoe alpi n nbr i uo ivndedurescixet ya c alcirbadrtsaa rloyog, fu teha elol f fittrhhseet leaanrtrttareinre gsbe ewdin egrsee t rhmiaeal lhdyee a aidcco rary was made by W.E.N. ni ntghr.ed ianlgp htaob ehtoicwal othredye r wo sef crtrehi pec tasa.ut atThlohogeru ’sew dno,a rmkb euisst , ntthhoeet The ArabiJcIM mOaHn, uI.s Acr./iAprtas baict Dtahtea Canedn Ftrieel do Ifn vAerstaigbaitcion, etc. 197 mtnhcaei e twc arll Uoyfn aivceqrusiir Documentation at manuosgiclurmeip ta cr teey d comaft aaInblouagdsucarenidp atsrs eeo rfio anIlbl yam dwiacnirt ohaf uilttmhhe o wrpsihtrheip fi.t xhT ehC eAe xDmc/ea.pn tuTisohcnerr ipeo tfs i sto hneoomf tphiele dc enbt a t4h2e5 cAte intslitemrse i’lsoa fr tahtetesem pmta wte yrr ei’asOl smc ohalarle vceBt ieaolpnlop. eIan(rn e.addd .)di ni twitohhnei, c thaw neadnleytyssc evrsio bloeufsm aeebsao cuohtf his work, heR egsaevaer cah lBulletin.AAKuraadthbuoincr and N as earlier made by C .E .J. Whitting in 1943. In the Iba ad.m aMna onUsutns actruiprets ofii nsst u otbhfjee nc tiJn-omtsya -tnMtienure.s etTuithmlee sr,e s icvoepriseisty o Lf itbhrea rmy a(tDerrisa. lsA rairfe a anl ds aoAn ihsd o awnLiountggha:e rrd N waHomarkell tof work, La available on micr hoLafibitl rmlai rsaytst, AAtark saitbn irce vDioewcuemd etnhtea tipounb l(ic4a(1ti oann bu Hakima, 1965). D.M. mraanbuigcs carcniopdltl se rciest- icJoMlna s/sAoiff.iM cJaSot isfo onlM locuwasr drini e 2R):e s8ea7r-c9h1 )B. ulBleatsined oofn t hte Centre for A more comprehensive liste eoduf m db out by Z.I. Oseni in ty,h etth hAee r saecbrliiacas ls mnmauanmrukbs ecrarsilpl.ottst h1e9 8i7n voenn tothrey sOc’hFoalhaerys (i1s 98co5n-1ta9i8n eodf Nto each As indicated ear7lei)ed.r , ilna nag uwagoer kb arerdieitre dco nbsyt itJu.tOes. aH munaj woric lkim aitn idg erRia.Sn. riane successful field investigation, especially when the research take ast ipolna cteo ncgoao m nrr a mti vh nde dero iffer nssft m i snN.g i eegnT eo tr f w i agt.eh oTeg hfreiar spstch eeicnmaelb wacraurslat suthsrmaet e fonroft mmI ryetshceoalftr, daoe fdY toihnreu abr afei semeldaar ntc rhiinpe r H.t oaT uthhsiaes Hisniattueuarsptair oebntae rwws h hiictishh msoisemt eipnnlsy Hi bmaleue saadn rslea, sn“s1gi nudgao g pen.ro otM msypp reteeadgku Hlmaaryu rseinhen as.p f”o oIrnnms etah nwitss a tsy,t poe be Ba ojif pEraorlnCyu losntscueiadlyt b iei osnr e es clhoa o oft med ne e i ntoeis v linguisticaow that n it stoah amble.me ee sp sotcihhnaott lliys hthaen dpicraopbped, the services l aarrse oefmtebne dfadiel dlte omi nr eAaarlsaissboeic cit ahltiete edcr oartwureit ohf p cajamiaaspr opinef uatnhceiya tion of such cajami names because they transliterated the rmcet. cacAunbr rdaeurn rmlt l a acu s hhs a iaifrr e t purely Arabic names. This made someabg. eF hsueyucndhi ion hltaa eer vl.ledi tieg Tbibheleee n. rld withTe asarukgely u a littnr aghn afos n rd rienernstatdakenenslation anrceded with t , stcuodmy m hoeof nat phnpeiarrom awcof die autehs oh r kionsf Tazyin al-waraqaot ro’sf l1 9 8 ApRirfaeoj pa(enprd. n 9tai0mm) eesas n Rb Hyandbook oda M. Hisket ft M (e1t9h6od3o);l otghye irne A afrriec awno Srtdusd itersansliterated as wbFyua lsaM nc.ioA pn. rsAoidlp-eeHrrea ndjj a a jsJi u aknudl lJao me k (opl.5o). wSihm in bh aaisnid dra e’a vnaien awds saoocfcc itao ircidlhai nralgyrl,ey t htinre fact the common Fulani (2): 40-47). To ov htee owfo trhke E a mwnsiorlar odtef dBG aoaibds iar“ a (a psd. 5ess9ue) which Al-Hajj, there is a n (Research Bulletin, 1 gr9gte”6 s5its,e da1 psoruorncoeus ncdoanttiaoinn . and i eedreecdno tmiffoeicr a stfuiioecnlhd oprfre ossebualcerhmc hs , toa s asrcigehrttalyin obthsee rvceodrr ebcyt cajami namnes tnher preaesnse an,i tnIeC dA AM - cTraditional Music and Dance” Paprer Methodology of Data Collectio far ultural Dimensions of African Music Institute of African Studies, Unive t Di c,a tOnhe c tMoSbueesmr 13-14, 1993. Sachs, Curt, Tnrsh ietay nH odaf g IuPbreao:d cMaens. ,s iicinongla ogical Research and r/Workshop on the The Wellsprings of Music, NIbijahdoiafnnf , . 1O199r6a82l9 ..Traditions, ACkhpaaLbpBlackiinmo t gti, e ,t eS r Jd. E,1. .I b 2 11a99d68a76n:: ,F Nouignedraiati.on of Nigerian Traditional_____U__n iv1e9r7s3it:y “PFrieeslsd.wVoenrkd ai nC hAiflrdirceann’s MSuosnigc,s”. Johanne Msbuusricg.: SpWeicttwruamte rBsroaonkds __________3____/21139.76: R 981: H“Mowak Minugs iAcratli sisti cM PPapon.p ?9u L-l1aor4n .dMouns: icF:a btheer eavniew of Ethnology, VolumeGoda lF oafb Terr.ue Folk.” Popular Music 1, Folk or Popular? 212 CCohlelimLnoson,f fd, onJ.:M . Notes and References Th EubaG, lAas. gW1o9.w 7:14 9:W 7 e91 U:9 n7i9v'eArfrsiictayn o f RChhyicthamgo Parneds sA. frican Sensibility. Chicago and illiaCmol lCinosl liDnsic Stioonnsa r&y Coof. Lthted . E HoodA,r t.M” . 197“T1:h e Pot,e”n 3t,i ai.l of African Trad itNi nognlaisl hM Luasincg ausa gae .C oLnotnedmopnl atainvde CompBanlayc.k OrpheusKunst, J . 1959: The Ethno-musicologist. ew-York: McGraw-hill Book Hague MartEintuhns o-musicology - A study of its nature, its problems, methods Merrainamd , reAp.rPe.s e1nt9a6t4ivN: ei jhpeorfsf.onalities to which is added a bibliography. The NettlUP, rnBeis.v sersitNketia, J.H1 o9.Kf6 G4 y: Press. The Anthropology of Music. Evanston: Northwestern . l1e9Tn7hc5oeo:e r.y and Method in Ethno-musicology. NewNzewi, Meki, 1977: T“he Music of Africa. London ; VBiecltfoars tG: olQlaun -cYork: The Free (Unpubli Master Musicians and the Music of ‘EssOmib‘Miygib-Oab’ iEdnsikhseeem d1 b9Pl9ehs2.D : o. fT hNegswisa).. Igbo society.” ee z en Ltd.,”’ s ‘UUknoimve’ rasintdy OlanVCiyooalnuntme, meC pI.oIO,r .pa pry.1 29A874f-r4 iT4ch.aen PMroucseiscs. ”o f Education and the Search for Identity in : African Musicology: Current Trends. (Unpublished Ph. The Composition and Performance Techniques of Dundun-Sekere Mu V__i_d_a_D_l,_ is, cTo1uu9nr9jsi6e : o1f“9 Yi9tos6r :Tu eb Dsa. i cT Dhoeufs South-Western Nigeria. Belfast: Queen’s University xt,” nids)u.n Drumming for thJournal of Arts and Ideas. Veo lH. 1u.n 7te9r-s9 2(. ilu-ode), A Nigerian Associati“oTnhe EPCeornfoferrmeannccee, UAnmivoenrgs itY yoo orfu f bM duucsational Roles and Functions of Folksongs Laa gCoihcsii,al dAnrkse onak naod, fJ uNMniguees r5icita h.E”- 7dPtuhacp a1et9ro 9rp6s.r. eFseirnstte dB iaent ntihael BChaBeaanlto pn tMeric h1s L. Ralp haN 3 eeeltw . (-aYe. do(.re)k d:s (T.1)a 9(v61i6s9t)7o. 7cAk). n Ptuhbrolipcoalogical Approaches to the Study of RMeligion.EdwBarradoc thhNmeorrislb lPaencukb P liu(s1bh9lei6s1h An Int rs,)i npgp .C 5o4.,- 5In9c, .1, 2p7p.. 2 t-i6o,n 4s,9 p-5p0. 8roduction t, 656-1-7255..o Anthropology. New York: BeckIenr, S. Howard and Religion terviewin gM: aAn Ciso mJ.GpGa.e reairsn odBn la ninc hPer im(1it9i6ve7 )S. o“cPieatry. N”M einlt zer B.N. (eds) tBicoisp eawnt YOorbks. ton: Allyenr Hvaartpioenr aanndd pp. 109-119. Symbolic Interaction: A ReadPsychology. ear nind SBoccoianl, KGaofoadrTu hC, eh aGruleilsfo Mrd. P(r1e9s8s7, ). Notes and References 2 1 3 Ethn TOrlaa pp. pdEialtdiizoean b(aeel tdhH) .e I(ab1lia9nd9ga7 nM).. :e “t 19- NAhpAopdRl o2imc0a.etidoinca lo fS yDstems in Africa. London, New York: Martyn Hammersley and AtkisnL”s Soinpn e,T cirPaaditio New York: Tavistock Puballiuisctla C olisnaigce, sp pa. n7d-1 6N.orms in tEhbe enNeigzeerian nal Medicine irk Nigeria, r O. MauPnInrdaduci gtiecPneao. tursic kK nMow. (1995). “Methodolt (oi1og9ny8s ,3 fp)o.p r. E 6th-9n.ography, Principles in OlomDoelvae lAopdme e(n1t 9M9o1n).i leto“Ddge: A Case Sr.o Vinoglu mFiee l3d. RIsessuteeua d2rcy, h.A” uWgiounrs ktI,n” p Cpo.l l3e-c5t.ing and Sharing diing enous Knowledge and Ibadan: Proceedings of Second N(NatISioEnRa)l , pTechnical NTigraeriniainng InsWtioturktesh oopf Soocni al Raensdea rEccho noamndic RPelanning OOnab TaecyenTeenycj ho niOqu. es. search Queehs ntOiiqo.unYen.” ( a 1ipn9. 8767)-. 91“A.a Reassessment of Ethno-archaeological Data Collecting Nigerian Inir neWd esODt kAeufsrinigconaln,a” J. oiPunr. Ona. l (o1f A9r9c1h)a.e o“lTohgey NIon. te16rv, ipepw. 1a3n5-d1 4P5r.inciples of stitute of Social anPdr Eocceoendings of Peil TMraaringianrg WoLondon:e tH o(d1d9 r8k2s)h.o p on Research and Planer and Stoughton, pp. 6o1m-2i0c4 R. ese Saercond National Technical nincgh (NTeISchEnRi)q,u pesp.. 62Ib-7a6d.a n: Yoder P.S. (1982). “IssuSeosc iianl tShceie nScteu dRye sea rof Ecthh nMoemtheoddicsa: l ASny sAtefrmicsa nin HAafrnidcbao,”o ikn. tfrican Health and Healing Srystenrs. Los Angeles: Crossroads Press, pp. 1-17. AClhagaopa,t Je.Er Angeloni, E. 1(4ed.) (1990) Oral Tradition and Oral DDiuasshpkoirna. : P u(Tebhdlei.s)oh riyn( 1ag9n G7dr5 Po)ru apc.tice. Lagos, CBAAC an dH iNstAoOryH AinT .Africa and the Banton, M. (ed.) (1966) Anthropology, Annual Edition. Guildford: The Be AnthropBoatssL,c ohFn., d(Go1.n 9(2,1 T99)a8 v6i)s tock Publication osl.ogical Approaches _______ (1938) Comparing Political Systems. New Yo tor kt:h Jeo hStnu dWyi loefy .Religion. Crapo, R.H. (1A9n9t3hropology and Modern Life. Allen & Unwin.Genera) l An Cthornonpeoclotigy. Boustin, Health._D_a_r_w_O_i_tnh se(, r1Cs8,. 7(35185 Cultural Anthropology: Understandi r)d E9d) ition. cut, The Dus hCkaimn bPruibdlgiseh: inHg n gG rOouurps.elves and EmbPNerree, wss. The Origin of the Species. On Epsteus, C J.AeRr..L s.e&, y : (EP1mr9eb theer , OMri.gEi.n (o19f 9th3e) Species. oward University6n7t)i ce-Hall Inc. Cultural Anthropology, Seventh Edition. Publication. The Craft of Social Anthropology. N.Y.: Tavistock 2Ev1a4n s-Pritch Notes and References HGiadrdaPelaanmus,l.Grea bAto .B s( a1r9d8,9 E) .E. (1982) Social Anthropology. London: Routledge & Kegan Soci Kapferer, B.r , i(tM1a9in.F6, 6. U)H niev“a o Tel lrdohse, gi tyyR. P o.T CMaumpu.t o br(1irai9dl 8gP0er)e: sPso lity Press.lation of Saociology: Themes and Perspectives, MaliPTnoroewwlisnmksiihn, iBapr.s y,(” 1 R9Le2up2soa) rkta ,o Uf naiv e1r9s6it4y oSfo Zciaaml LZStudam.rvbeiya no fM Burnoickiepna l HTilolw Mnsuhniipc:i paAl _____ Argonauts of the WNE__tah tnivoe(g1sr 9oa2pf9 ht)hi ce S ATecxrcouobaurl inaltni fode fI osClfoa unSrdatsvs:ha Bgipre,is in b iaNno rInths-titute of Social Research.estern PacifWic.e sLtoen _______ , (1944) tmainar, rRiaoguet laenddge F. am rdnio lynM .Leilflea nAemsioan: g tAhne MOkopregUwannhiv, oeL,r .HIs.i .t y( 1o8 Scientific Theory of Culture and Other Essays. Chapel Hill porf eOsernatl eTd(1r aa9td8 f 79N7)o )r “tRh eCsaelairfornia Press. the AInntceirentitions, joinnatt cSliyho o ncaianeldty. London Org Wa Dnooirsckeusdmh obepyn totahnte iRo nIen sosetfai trOucrthae l TradiUniversity of Ibadan, Ibadan, Nigeria and the UNESCOa. onDfd a AkDfaro tciounmse.”n tPaatpioenr ROatidtedG, ilfOefe.n -(cBeordeo.:) w I1lnl9i,n9 o4Ai Ss.Ro. c. io(l1og9y5:2 T) heory and Applied. Lagos: Malthouse r iPc. raSenes nsS eLtgutdad.li.es, _R_a_y__, __B(1.C9.5 8) Structure and Function in Primitive Society. (1M9e7t6h)o ds in Social Anthropology. Chicago.Rivers, W.H. African Religions: Symbol. Ritual and Community. TyloNr, eEw.B-J.e r(s1ey: Prentice-Hall Inc.Velsen, J.V. (R18.9 7(5114)9 )0 6) The Todas. London.Primitive Culture: London: Murray.Shona and Ndelebe of Southern Rhodesia. .Forde. ACbho. pyAaajdatyeei, Bran .O1d. 5 T(1ek9e7n3a) . N“.T Thaem Uunnivoe r(seidtys) L, Iibrary and RelAbubHaikstroer, y R The Universityo.fD t.h e( 1F9ir8st3 )T.w “eAnstpy-efcivtse Yoefa rtsh,e bDaidffauns:i oIbna doaf n a tUed ofn IibvFeierslditsy” Pinre Js.sF.. Ade adan, 1948-73: A AdekNoATAIS (Journal ICsollamam, piOac r.SOatt.u ivd(e1ie 9sS9)t,8u 2)d.( Arabic to Yoruba”. In thesis, Institute of o y4A“ f fT ) o.re the ifc xIatu N fna aSal i t geria nuDddi viein na s, t A Uio s nn so ivs c iAamtioonn go tfh eT eYaochruerbsa ooff ANriagbericia :a nAd Ahmad Shalabi (1976). Yanrin-tite in Ibadan”. Unpublished Ph.D. fEodri twiornit, inCga r er iroe:s eMarackhtKearbasay, ftauM ’nt.Aa-Nk./taMuhb.d Pbihyayihla tdhhi asans seirttya otifo Inbsa dan.l- Mawis rriiysaylaahat.annd (PThh.eD .m tehtehsoeds)o, lo9gthy AhmIleabdtai,od A Notes and References 2 1 5 Al-Hajj, Mnan” .F., . 14(1-1978.3-89). “MazjaratuA R (e1s9ea6r5c)h. Bulletin. Centre ’- lf-F o1r itya ( A2)r.a nb: icIn Dtroocduumcteinotna,t iToenx, tU nanivde rTsirtayn os­f Arif, JAor.Sd.a ann Adm Ambua nH: ak R Li ese umzaa a c, r Ach.M B.u l(l1etin, and Co. 9L6t5d). . Descriptive Catalogue o f AUrnaibviec Mss in BaloNigUgunn e,rpu ia’s bKl.iA . Jo(1s Mushed 9P9h0.D) s.e u t“A m Carintd hesi ica Ll uEgdairtdio nH aalnl dL iTbrraanrys,l atKioand uonfa I.dris b. Krshiatyli do’sf BaloAghuanm, Nm masa'il al-aYdoisrsuebrtaa. OtLi.oeAan.r, n(Ue1nr9si8v o4er)f s. Fi“toAyr n sh, kIUannmviev setrifgsiia ttyio qonaf tiIcnbita1od- kathhnie.s aLmin guwisittihc PrCobolmemmse nFtaacriyn.g” Balotghuens,i sS, .UUn. iv(1er9s7it8y) .o A eo f I bcaridt iifgc Inb aLdaanng.uage: Arabic” — a Case Study.” M. Ed. Bartoalqdi,b iVl-.SVh. a(iknh.d c.)U. thman ba. n a.l editi onFoduye of Goifd aRdaow bd . aLle-jiimnaan. Ufini pdh Suhrawardy, H.S. (utrb ikr ba cd m alinssh.e),d LMah.Porh anil DanmTAh oHele Mussulman Culture, e: EDlu-Mkaawsraii,, s B, tooHor.ikO .HY o F.A.c (a8l (/A1 us 9n9/a8 e. 9l3y8-s)8i, s9O.) r. aMuhammad Ath-Thani’s Qasidah can waqcat Offa: Rel sceoamrcmh uBnuilcleattiino,n 1. 4-17. El-MVSahesrreish,e uF. : . HIn.A, nA dAeuletyoeb,i oRg.Ara.,p Hunwick, J.O . and Mukoshy, I.A. (1966). Sifofin Research Bulleti Ph.D., .UHn.,i v(e 19w6i8th) . AIn tCrroidti hcya and Character Study of cUthmftn b. Fadi in n. Gbad^almalo-s^ib, aTd.,G uct 2li (oE1nd),i .tiEonng olifs hD aTn rFaondsliaot’iso Bna yaannd wCujoamb male-hnitjarrayh. Hasaa1nl8-, M4M1a-.r1Gh9.a 0m(81. 9 r.LOsoi.tn yd (oo1fn9 I:7b 8aLd)o.a nng.mThaen GGrroouwpt hL imoitfe dIs. lam Among the Yoruba, HHiesnkiegte, D 86). “Translation o t, M. . (1(19986M24)u.) h. acmAbmdaudll ~alh-M bu. kFt fa rN.ahy an-Nahin badi”’ s BLo.An.d loonn:g Lesosna yy, aUl-nSi Oral Historiography. gman..hvearyskihty Yoaf Icbqaadba nb.. Herbek, I. Tazyin al-waraqat: A Critical Edition wKii-tZhe Erbn(go1l,9 is8Jh1. T).(r ea“dWn.s)rl,ai tttieonn , SNooutrecse as nfdro Imnt rtohdeu Fctifitoene. nItbha Cdeannt Uurnyiv Oernswity Press.HunwCaiclikfo, rJn.Oia. P(r1e9ss. ards”. In 70). “UNHunw(eidck.),, J.O . and O’FahAerya EbSiCc OS oGuernceersa lf oHr isAtforriyc ano f HAfrica, 1, University of Africa Discovers He,r PRa.Sst. London: Oxford UnProgram of African Studies, N.o r(tehdws.e)s t(e1rn9 8U5n-i1v9e8rs7i)t. ii svteorrsyit”y. PrIens sF. age, J.D. Arabic Literature in Ja Africa (A Bulletin of BiJimmoiauhs,, aSI A.c (h 8a(/p17t9e/9r98 8i)n). . a“A Oprrraaoblp iccoo omgrmapuhniical and Bibliographical Information),3 vols. sSecdh obloaorskcha ptipiroo injne. ctth eb yU tnhiev eFrascituy y. l toyf oIbf aAdratsn .t”o Amcacrekp ttehde 2 1 6 Kens5d0atlhe, AWnn.Eiv.Ner. s(a1r9y 5o5f- t5h8e Note ).u nive sr saintyd. References Khalil-Mahmad (1 A Catalogue o f tIhbea dAarna bUicn iMvearnsuitsyc rPirpetsss P. reserved iKhid1 n4 t(h2e) , UCn6ivpeernshity Library, Ibadan, Nigeria. Lawarl , SAa.Ila. h(u1d9d8e4e 9na6g 4eA)n. : “TEhjnea Ar rMabuinck Csgoallaercdt ioLtnd .of Ibadan University”, in Libri, Salahuddeen Ap of Ibadan. ). a“oAk paCaogri.i ktiIaclgaoilr inE(:d eidNti.oa),sn - To(u1fn 9Mm84uo)hb, ai mMTmhoeda edPm eB rPeslrolionn’atsel irtsy. of Shaikh Sard al-kalam Malufimmfaajsahria, cbUaymnaarn aF awruak b a(1yn9a8 9)( A. bDdiv aerl-gSeanlacem o."f MOp.Ain. idoins sienr ttahtei oLna, wU noifv eIsrlsaimty U- nBpeing Editing, Transla OgunNbaijymui, ubll-iIsikhAhew d aP(nh1 .9D7y. 5at)h Ibah tad d, easnis t, ioBna yaenuna b: ro d UAnniavlyi-hi beirsis-isdit yo, fK Sahnaoy. kh ('Uthman b. Fodio’shn Allah fi ‘lunari’z-zaman. _______ (1977-79), al-MQiasatbs a(aashh -asth-aT ah ‘n"obif’ia yhAy.ashm a’ cBanin t scuUlhthifmata n cbin. da al- _____F__ud Yiu’sm bawiyyin,., T(1 a91n92b. Edited Text and Translation 0ih- 9a1l-)g, hMafiilri n wa tadhk ir aTlh-cea qLiliitnm iulas -Ttuerxutq oalf- saPliinhein . IRsleasmea rch Bu OmaIIrn.A t l Be le . r tin, Op al-Albab: as Oseni, Zel.l groue tne(bndi. ydbi.)y),, Shaykh cUthman b. Fudi, Introduced and Translated (by Research Bulletin, 18/19.I. (1987),C aRtaelpoogurte oonf Arabic Manuscripts in the Centre of Arabic D(mocounmoegnratapthio).n, Institute of African Studies. University of Ibadan.OlagPuhn.jDu., thHe.Is.i s,( U1n9i8v6e)r,s i“tyT roafn Isblaati the Arabic Collection of Jos Museum QuadNriiz,a Ym.A a. l-(t1a9cl7im8) ,a “lA-A Craribtiic wala E tddaa onn. with Commentary of Shaykh Adirtiikohnu ohuf Mf i ’ul-h caamlamma adl -BIsellalom’si” . Unpubli- s ahme’ds Raful-ishtibah Rumfmi ’te-tla. cFarlalunqci sb ilIl.a ha nwa bi ahlillah.” unpublished M.Phil thesis, University of Ibadan BusJah d Ballaine, W.C. (1963). Research Methodology in inessjWcUhmitatirn g, C .( New- E19J.7 5(- Yo 1796 rk 4).3 : )“.A H in a “ TR rpe heev rie &w R Un o ofwpri D P nt r u. bAlislihye rAsb. ubakar’s Arabic culture in NNiogretrhiear, n1 N75ig0e-1ri9a6,”0 i,n" Research Bulleedti n,I nILdigenous Arabic Literature of Journal of the Royal Asiatic Society, 4. Index Abstrac Aa“abbsstruarcdt t”i o,p n1as3in, t1i1n gs, 12 CcBihonodepym ipnaet, irc1c 5uc8sa smion, 48 AA ccacCodhmeamupmiaen iiedmree l,a 5 G rande ccoohlleartieonnce, 37chebe, Chi , 118 era, 149 Achimota Conleulneagt,, e 84, 286 , 56 ccCoornlaobtnebim,a lDp moarveaindrt 150 y, a 3Ali5tfyri, c1a3n0 a rt, 11, 13 AAAcddteeuwpaeloigtybye aR, , OeCcmoorroding,African Art, 3, n1ne5ily,i iu2, s01,1 27;1 5m odernity DDdaaatnnacc eceo , in, 5 Delangnel 4lo,e 5 t , Jca tt5aciio 3 qonun, sem,l i5ne2teh;, ’osldtle posf,, 1644 Af 9 AA“AfffAfr r rrri iciccaaannni t Aycru, tl1 Methodology, 19 Desta, Gebre Kristo, 5, 12 anaiiccloaagnn, vm1i4su9us ti4ucre”, 90 dichotomy, 10 An al oalrotgsy, ,2 1 43 ddDioorceuucgmtl field experience, 142 Ar Drewa ales, n-HCtaeantmiroypn,, , 5K1 o4k2a ri, 13 AArrca atmhb hbai riccopn ta o un ldo gIsislatsm, i2c0 s, c7r5ip ts, 12 dundun-sekeri music, 162 “aarrt tf ofiovrrma l e ssxcetrsai,p t1s8, 71, 9118, 91;93 Ecoles des Beaux Arts, 5 Ecriture, 74 Art histolsirf,i ea3”n,, r cs11 h , 19 , 1, 9162 6 , 15 E EElddition, 192 181 EEEstn o Cultural Group, 147 Bach, 158 ethhi Sweai,oo l2an4hwiu, I, bBreanh,i m5,, 151, ,1 13 pian Chu 3 bbaBa b acrbk ala egrr woo,, Au nographic d rachta, , 1942 Beet hmovuesb nicad,y 1mo6mu3si ,i c1, 05;7 s chool, 12 EEtthh1nn5oo8--mm,1ue6ds0iiccoinloeg, y1, 6194 1, 143, 153, BBaBBe ta Bee i laln elcai r kn , iC, U n o2 l go2 linl, ,9 1, 5184 EEuurrooppeeaann mdaondceel,s ,5 25 , Jao hInnd, ia1n5 4o,r c1h5e5s, tr1a6,1 142 E“evxaontsic-P” rciutclhtuarreds, , E2.E., 91 2Fa1 8 A H andbook o f M ethodology in A frican Studiesff“aifeal gstehg, ld ecin W Fieldwroos fn o iolrlfimam, 20 Kennedy, Jean, 13, 18rdksi t aio antntihso,rn o5, p21o 7lo4 (also field greys”e, a1r7c7h ), lLLaaansdgeiupkaoagn, e,D AubkaroirPr, io9elr a, , 159, 01 1, 13 FFoFFol 2k0l , 31, 32, 81ocuucsao Gurilrcto , tuMhpei cmDhisrobenius, Leoe,e s c, u 1ss1i on, 151 “LLeeg aHl adnagtear, ”1, 374 FFrryo,w P, hJiolihpn, ,1 71 6, l28, 107 ,5 2 1, 116 L “Loide1,d4 Pe3r dma ierr eer, B7ellakula Indianer”, func tmiounsaicli, s1m6,3 1 44 M“Maaggniicccooh--ermsetilemigrie oStuicchs aopcortlai”oc, nt1i,c 8e44Fuji 4s, 170 gGGeeansleGluctdu reirree-, kmlsaa L,n d a6, e m5bMn, t6 e ahx6 r ,e t,o r1i4e s, 79 “MMMabayas,r t M D er.Jp.i,e 1ce1s6”, 11 grammaticality, 3 1630, 131, 134 MecEanw ii neMngbs, aFayrnoan, k8, 8 hHaalnf dtreul,t h1s5 8and assumptions, 77 m Method mMeoototrinfisce, nb o 1se lo 1,a Lt g,ay 5 d, 5 1S6ig, n3i4fi, c8a5n,c e1,0 160, 1117 hHHiiegsnhtoi gfrie, David, 117, 190, 195 Mount, Mars uhrael,n 7t, 7 H‘hiusmtoarii doceagllri atdypa hrtaye,,c o99r43d , in11g5s, 142 Mozart, 58n behaviour’, 154 mMMuuusssilicicma, l4 dn8io,v t1ian4tei2or,s n,1 s14, 8716,4 21 53, 155, 158 hhuypmoatnistic specialisations, 32 iIidnfeifo,o lr2em2c hte, s3is6, 103 Nigaenrdia Tne Cchonlloelgoeg yo,f 6Arts, Science I“ninfosirdmeara nnkttns, -o7rwe4s,l ee9da3r observable information, 32 instrumental musg ,c eh1” 2, a19s 7si stants, 147 OOcjoh,i GDo.Jm.Aa. , o11f15 Iic, 157 O 6 d Olnoahbuonl uiy, oA,ina,7 5 oma, 147 i , 11, 13 IInterview Recoivnnotvererysv tciieagwravt iisonengss,s ri1od4nin2sg , ,1 15050 ooOrpraealnl t-hreiansdtdoiteridioo nqg,r ua1ep1s htiyo,n 9s3, 150 Jones, A.M., 1,6 222 OoOryyieginality, 11 Kambaji, Christophe, 83 e laEmkiit,i ,M 1u2r aina, 12 Ppaatrthteifcin Index 2 1 9 perfo ip daenrt, o1b2s4ervation, 21, 181; sSttyulmistpicf, cChaarnl,g e1s4,2 1 2 pP“ ilot crihnmnteeiqrr,vu i1ee4sw,2 s 1, 7927 tsaurrgreeta lliasnmg,u 1a0ge, 36 ppPr os roee-t tof-ic-fi eeP o lldd lootw, no1io” a2 rs l0 cA hfrik, 1o4o cla, n1 2a rts, 3, 4, 15 TTeekmlep, A Proposal Writing, 61 02 tTTrrraaadddiii o, tttiiiooonn fe n4aa8 wll, e5r al vAdaaf 3kr , 5,ln uicecaesn 11, 13 transcriber, 143 ,, 36 a3r t, 3, 20 Rquaensgteiro,nnaires, 21, 174 TTwroiwn eSlel,v Mena rSgeavreent, Researc , 61 2 R plan, hT3, e22r5en, c7e4, , 7841 , 85,179; U“ugnainlidnaena l mevuosliuc,t i1o4n3is ts”, 177 rr e hhyy sntt eohh atmrecb,h o1 to5ok5p, ic1,2 90 6; focus, 118; Vveernbdaal mfourmsics,, 91355 Saussmuriica pna, t3t7e rn, 48 [“vvViildelaergobe acrlai, tmy3”2e aran,d 1 “4t9e xtuality”, 19 sSSsSe eeiega ihmi bbier-rl r, , RCohya, r7le1s, , 7126,1 7 5 -<< V“Visisuuaalils eadrt mofo Avefrmicean”t, 1rh9 ythm, 56 SSl a mnagditlehe i Sli tenenrach, sA t oohr ee maflreetdxis tM(sS,oL 1hR4a) mcame, Barb me dr, a5, ,2173 vWoacganl,e 4r,8 158 sssppoeuaccrtecae, t-5om3 ate alr rioaafl , H F1ien2me0 s Atertin, ,5 79 WWoorYabr k ak shop sch sChoollpe-gtrea oi onofe lds , 1 Tecahr 1tni ostlso,g y10Speed, F , 6 ssttoruncet usrceu rr,l ap5nt0uc irse, s4, 32 5 YYYooarrnuuribbnaa- tscitcievu,i llp1ist7au7tri, 181, 184 d interview, 120 aoln f,o 1r0m s, 10 Trehsee arfcihfteeresn f rowmo rtkhse Ionfs tittuwteel voef rDeeselea rchL afeylilwowola is a sAIbfardicaann hSetrued ieasn, thUonloivgeisrcsdit y aoref African Studie sa.t tUhne iIvnesrtsitu etnei oorf / fonfe atnhto utgoh td isinse mfieinlda tem deitrheocdtsio nins eIbdaitdoarn o iw hl ere he has bee itny thoef / cAaftraicloagnu insgt udfaiectss. , Rather than than a deca fdriec. aSno mNoet eosf hfoirs omtohreer ccoonl lceecpttui oanl a fnr at i h co wi pe av et re, s thea works include:. ijrie vn practice. It is. theremfoework o f P e r f o r m a n c e K ainn dA pfrriaccat,i cseo oufth fi eolfd tihn rvee, sat theory 1999/2000): Rctfyn African e Sahigaation Arts cine/ C 'uh A SA S , ( ape avlissoio ns eeokfs to carry forward r at. hIet Town, 20C rul Understanding Post-C vial Identities: Ireland, fwoirtuhm m oforer ts A hc f ah roican laar ns aNnodt esst,u daesn tas line/ The Pacific fSefer, in Africa passing interest ccoonntetmi npuori an ng culture and itsry lifree. l e v a n c ei t<*■ \ H an dinb o o k otMethodology i \8 ( m ; n n hull ns J!OPuHblNish Ae ZCHSZSIb arsd)a nLi m ited .ayiwola 2002 978- 2188-24