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INDIGENOUS DANCE BEYOND MOVEMENT: A SEMIOTIC 

METAPHOR OF IDUU AKPO DANCE PERFORMANCE. 
 

Akas, Nicholas Chielotam 

Theatre Arts Department, Nnamdi Azikiwe University, Nigeria 

Email: akasdancescholar@gmail.com 

 

 

Abstract 

Indigenous dance has been myopically misinterpreted as mere annual 

festival, while according to some people it is “just their village dance”. 

These misinterpretations have really made people to enjoy various 

indigenous dances based on its aesthetics, pattern and style without 

considering its communicative potency if been interpreted. Indigenous 

dance when scholarly interpreted has gone beyond a perfect aesthetic 

combination of motivating movements; rather it stands as a serious 

tool for effective communication when interpreted. The core 

interpretation placed on indigenous dance movements broadens the 

indigenes‟ understanding horizon of seeing the indigenous dance as 

reflective mirror on their social, religious and economic status at the 

point the dance is been choreographed. This will make indigenes to see 

the indigenous dance as a communicative tool, a watchdog on their 

daily activities in the community, and a sustaining tool for upholding 

communal moral beliefs. This paper therefore, will critically analyse 

IduuAkpo dance performance beyond its mere movement into an 

indispensable communicative tool in Aguata. 

 

Introduction 

The major concern of indigenous dance history is to acknowledge the 

changes that have occurred with time.  Therefore it requires the 

explanation of events, which have necessitated changes as 

understanding the history that gave sense to identity and continuity in 

 Awka Journal of Research in Music and the Arts (ARMA) Vol. 10 2014 

 

mailto:akasdancescholar@gmail.com


 
 

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our indigenous communities. To understand the potency of indigenous 

dance in our indigenous community, it becomes imperative to trace it 

from the three sources of origin which are: emotional, impulse and 

improvisation, the need by man to release psychic tension by means of 

semiotic rhythmic movement and also through ecstasy on magic. 

Enekwe is of the opinion that: 

In early man‟s attempt to control and communicate with 

the forces around him, developed symbolic gestures and 

movement that expressed the way he felt to his supreme 

creator. This makes ritual one of the major sources of 

dance. (24) 

The evolution of indigenous dance as an art form that has its roots in 

the numerous indigenous festivals across the country has made our 

indigenous dance a total performance. Ogbonna is of the opinion that: 

Our indigenous dance movement both in styles and form are not done 

haphazardly but rather geared towards conveying the meaning and 

message of the festival(132). Indigenous dance like any other African 

art form is not for aesthetic use only rather, it commits individuals as 

tools for projecting the norms and values of their community. Akas 

states that: Indigenous dance as an art is interwoven around the 

fabrics of our indigenous communities especially based on their socio-

political, economic and religious experience. (34) 

Indigenous dance in traditional African societies is the 

expression of beliefs, attitudes, norms and values of a particular 

culture. It is what is embedded in the culture that can be reflected in 

the dance movement of a community. Onwuekwe is of the opinion that: 
Indigenous dance can be an art, visual or recreation. It goes 

beyond the merely functional movement of work or sport to 

become an experience that is pleasurable exciting or 

aesthetically valuable. In doing so, it can also express emotion, 

mood, ideas, tell a story or portrays political or social needs. 

(178) 

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Indigenous dance in core African setting is appreciated based on it its 

communicative potency. It is the communicative ability of dance as a 

unique act in our indigenous community that gives the dance of any 

community a traceable origin both in its form, style and content.  Akas 

opines that: 

In choreographing contemporary indigenous dance styles, 

the choreographer does not evolve dance steps from empty 

space or mere imagination rather those choreographed 

dance movements both in name, form and style are 

embodiments of socio-environmental problems raised 

through body movement to be answered while being 

entertained. (1) 

 

Indigenous dance also represents a physical instrument or symbol for 

feeling and thoughts that can serve as a more effective media than 

verbal language in revealing one‟s needs and desires. Kuper maintains 

that: 

Movements in dance become standardized and patterned 

symbols, where the members of a society may understand 

that these symbols are intended to represent experience 

and give meaning to an individual‟s external and psychic 

world. (238) 

 

Indigenous dance has remained an indispensable tool towards 

communicative and effective cultural identification. 

 

The Sociological Perception of Indigenous Dance Forms 

Indigenous dance depicts lives, rhythms and cycles, labours, values, 

aspirations, history, economic condition and realities. Akas states 

that: 

 

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The traditional African dance symbolizes social structure 

and traditional values of the people from where it 

emerged. Dance steps in traditional African dances 

sometimes praise, criticize and even work as a tool for 

social mobilization. (186) 

Each dance type and style is distinctly different from the other, 

because of cultural differences in melodic and movement styles. Most 

of African dance forms exhibit the social pattern prevalent among 

indigenes and those dance forms can be classified based on the 

following communicative sub theme: 

 

 

An Overview on Semiotics 

Semiotics is the study of signs by which humans communicate meaning 

words, images, behaviour or an idea is relayed by a corresponding 

manifestation we can perceive. Enahoro states that: Semiotics is the 

science of the production of meaning in the society, is concerned with 

the processes involved in the generation and exchange of meaning or 

of signification and communication. (37) 

The study of signs and their meaning has been as important as 

any movement in 20th century culture theory, thereby informing 

developments in all areas of theoretical endeavours. Semiotics is a 

system of knowledge that studies signs and offers explanations about 

how signs are used to communicate meanings. Enahoro is of the opinion 

that: 

Semiotics is often employed in the analysis of texts. The word 

text refers to a recorded message that is physically 

independent of its sender or receiver. Text exists in any 

medium and may be verbal, non-verbal or both. It is an assembly 

of signs, gestures, sound, and image, constructed or 

deconstructed with reference to the conversion associated with 

a particular medium of communication. (28) 

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Signs are organized into code and systems governed by rules which 

are consented to by members of the community. This means that 

codes and signs operate within a culture which in turn depends upon 

the use of these codes and signs for its existence. Aguia maintains 

that:” A sign can be „anything‟, any entity or process that works as a 

sign, that is, anything that is able to act semiotically representing 

something for someone, an organism, a creature or simply any 

interpretative system”(146). Semiotics involves the study not only of 

what we refer to as signs in everyday speech, but of anything which 

stands for something else. In a semiotic sense, signs take the form of 

words, image, sounds, gestures and objects. Saussure states that: A 

sign is something which stands to somebody for something in some 

respect or capacity.  It addresses somebody, that is, creates in the 

mind of that person an equivalent sign or perhaps a more developed 

sign (39). 

 

 

The Essence of Codes in Performance 

The essence of codes in performance is to aid in effective 

understanding of the communicative code infused in the performance. 

It is the communicative potency of the codes in the performance that 

guides its essence beyond mere aesthetics, literary understanding and 

stylized movements or actions into a serious analytical interpretative 

tool. The use of meaningful specified codes in the performance 

motivates the spectators towards understanding what gave rise to the 

emergence of such codes and how it has enabled in their cultural 

sustainability. Jon White More states that: Codes are culturally 

derived signs that have been assigned meanings that are understood 

by the inhabitants‟ of a given society. The level of understanding of 

codes comes through the spectator‟s background education, 

environment, ethnic, political and socio-economic (9). The effective 

essence of codes in performance has really succeeded in taking the 

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performance closer to its indigenes irrespective of their location, 

profession and religious beliefs for easily understanding and 

appreciation. More maintains that: Cultural codes are rules or 

guidelines that govern the operation of a society and its culture base 

on its Language, dress, manners, the arts, social strata and level of 

education. (9). 

 

 

Semiotic Analysis on Iduuakpo Dance Performance in Aguata 

Anambra State 

The semiotic analysis on indigenous dance performance especially 

IduuAkpo dance, makes the meaning of the dance bare before the 

people that owns the dance and also the foreigners that come to 

watch the dance as an annual event. The interpretative understanding 

of the use of semiotics used in the dance IduuAkpo makes it more 

communicative than a mere tool for cultural sustainability cum 

traceability. At this point people will understand and appreciate what 

gave rise to the emergence of such a dance. IduuAkpo dance 

performance is highly semiotic in its performance; the high level of 

the use of communicative semiotic symbol distinguishes the dance 

from other neighbouring dances in Aguata. The use of well interpreted 

semiotic symbol in IduuAkpo dance performance has really presented 

the uniqueness of the dance both in its aesthetics, communication and 

cultural sustainability.  

 

 

Iduu Akpo Dance Performance in Aguata Anambra State 

The semiotic analysis on indigenous dance performance especially 

IduuAkpo dance, makes the meaning of the dance bare before the 

people that owns the dance and also the foreigners that come to 

watch the dance as an annual event. The interpretative understanding 

of the use of semiotics used in the dance IduuAkpo makes it more 

Indigenous Dance beyond Movement…                            Akas, Nicholas Chielotam 



 
 

198 

communicative than a mere tool for cultural sustainability cum 

traceability. At this point people will understand and appreciate what 

gave rise to the emergence of such a dance. IduuAkpo dance 

performance is highly semiotic in its performance; the high level of 

the use of communicative semiotic symbol distinguishes the dance 

from other neighbouring dances in Aguata. The use of well interpreted 

semiotic symbol in IduuAkpo dance performance has really presented 

the uniqueness of the dance both in its aesthetics, communication and 

cultural sustainability.  

 

History on Iduuakpo Dance Performance 

This dance according to history of Aguata people started as far back 

as 1918. This dance Iduu was believed to have been performed by the 

strongest man in Akpo village in Aguata. This man was declared the 

strongest because he was a strong wrestler, a good farmer and a 

fearless man. On several occasion, it was said that he has fought with 

the spirits unconsciously and defeated them.  In other to sustain the 

masculinity and bravely in the dance, the present young men of Akpo 

community still perform the dance both in its style, form and ideology 

to conform to its original movement.  The dance IduuAkpo dance 

performance is an annual performance from primordial era till present 

day in Akpo community. It is usually performed by strong men during 

their notable festive period like new yam festival, chieftaincy title of 

a notable brave man and during the burial of a notable man in Akpo 

community. Once the dance is been performed during planting season 

and after harvesting period, it simply shows that their “chi” will bless 

them with good harvest.  Also the appearance of Iduu dance 

performance during the burial of a notable man according to their 

history simply shows he did not die a shameful death, rather he died 

as a brave man. It is also good to note that this dance is not 

performed during rainy season, because rainy season is period of 

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farming and serious labour, while the  dry season which is the period 

when the dance is being performed serves as period of enjoyment and 

relaxation after harvesting the farm produce. During the annual 

performance of this festival, it is opened to everybody both indigenes 

and foreigners who might want to carry out a research on dance or 

see it as means of tourism development. The dance styles in this dance 

are not just mere aesthetically combined steps, rather the 

communicative potency of IduuAkpo dance movements portrays what 

gave rise to the emergence of those dance movement.  

 

Ritual Dance  

This type of dance is very symbolic in nature during the dance 

performance. It serves as a connecting link between the world of the 

living and the world of the dead. This ritual dance is been performed 

by the chief priest who is the lead dancer, fully costumed in red, 

carrying a red pot, holding a fowl, palm fronds and finally at his back 

their a mini-load. Before the priest embarks on the journey into the 

forest for the ritual dance, he will be purified by another oldest chief 

priest who encourages him to move on. The reason why the chief 

priest who is the lead dancer in the ritual dance needs fortification 

from another chief priest is to enhance his charms more, to get the 

moral support and also to be guided on the rules and regulations 

surrounding the sacred forest.  The second chief priest is believed to 

be the oldest and understands the language of the spirit more. For 

this fortification to be strong, valued and respected, it must be done 

in the shrine of the oldest chief priest. It is in this shrine that the 

chief priest is being costumed by the oldest priest, who hands over a 

staff to him.  

The essence of the staff in the dance is to serve as symbol of 

authority and also to serve as a supporting tool to the chief priest 

especially when he is tired. It is also believed that the road that leads 

to the sacred forest is not a smooth one based on the fact that the 

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chief priest needs the staff.  All these items used by the chief priest 

during the performance are very communicative in nature. The 

masquerades are also part of the performance. There are two types 

of masquerade in this performance; Iduuanyaike and Iduu police. The 

Iduuanyaike is believed to appear during initiation ceremony, this 

masquerade Iduuanyaikeis believed to be the mouth piece of the gods 

during initiation. It is through the masquerade that the gods 

communicates their intentions to the initiates, while the red cap on 

the masquerade head symbolizes supreme authority to the gods in 

upholding their culture, maintaining peace and also ambassadors of 

truth till death. This masquerade appears only in dry season just to 

portray its sacredness. The Iduu police serve as peace make during 

the performance.  

 

 

The Flutist  

The flutist in the dance gives the cues and motivates the dancers 

while dancing on stage. It is the flutist that accompanies the chief 

priest into the forest for the ritual dance. The flutist leads the 

dancers into the arena for the performance and the flutist motivates 

dancers during performance and also reminds them of cues from one 

movement to another. The flutist body is designed with white nzu 

(native chalk) which presents him as the chief priest servant, well-

fortified for the great task ahead before, during and after the Iduu 

dance performance. 

 

 

 

 

 

 

 

 

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The Drummers 

The drummers in this festival are young men and well trained in the 

act of drumming during the performance. The reason for the training 

in act of drumming is because the indigenes of Akpo community 

believed that once the drummers can drum well it will now motivate 

their ancestral father to bless them more than they expected. The 

creativity cum perfection amongst the drummers motivates their 

ancestral fathers to bless their indigenes, dancers and the drummers 

themselves. The perfect modulations in the drumming during Iduu 

dance performance make the drumming very interesting. 

 

 

 

 

 

 

 

 

The drummers of Iduu dance performance  

 

The Audience 

Everybody is allowed to partake in this dance both indigenes and 

foreigners, but women are not allowed to partake in dance or even 

watch the performance.  The reason for not allowing women to 

partake in the dance is that it is believed that once they watch the 

dance they will no longer see their menstrual cycle and any pregnant 

woman that watches the dance will give birth to a monkey.  

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Also if a woman mistakenly meets them on road, she must pass 

through their left hand side in order to avoid dis-charming their 

charms. Aside women been banned from partaking, every other person 

is allowed to dance with the dancers and take pictures in case of 

foreigners  carrying out any research on the dance. 

 

 

Dance style 

The type of dance style here is always fast, in circular form and also 

in a straight line.  All these forms in this dance style are symbolic and 

communicative in nature. The dance style is meant for young men of 

Akpo community between the ages of 25-35 years. It is believed that 

at this age the young are still energetic and can use their strength to 

defend their community in case of any unforeseen circumstances. 

They always dance to portray themselves as warriors, great farmers 

and hunters, who are always ready to provide and defend their family 

and the entire community large. During the dance itself the dances 

exhibit different skills to portray themselves as beyond mere mortal 

to human demi-gods who have fortified themselves by their ancestral 

fathers before the real performance. The fast movement during the 

dance performance simply portrays that the young men of Akpo 

community are smart and ready to withstand any obstacle. This they 

do by climbing a tree without rope, they are not lazy people and also 

great as warriors cum hunters.  

 
 
 
 
 
 
 

 

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Iduu dancers performing  

 

The circular dance movement portrays that united they stand and 

divided they fall as a community.  One standing ageless rule which this 

circular dance style portrays among the Iduu dancers is that, for one 

to be member he must have a clean mind where his fellow brother is 

and he must be ready to be his brother‟s keeper and also must be 

ready to share whatever he has no matter how little especially when 

he discovers that his brother is in need and needs help. Whoever is 

not ready to obey this and decides to dance the great Iduu dance, will 

die while performing the dance. So whenever this circular dance 

movement or style is been performed during their performance, it 

always remind the dancers what they believed is right from the days 

of their fore fathers till date. The straight line movement in the 

dance presents the dancers as warriors and always ready to defend 

their community. The brevity of each dancer is fully portrayed in 

their individualized stylized form of dancing, here the Iduu dancers 

are expected to display their various individual skills that qualifies 

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them as warriors and always ready to defend their community. It is 

believed that from the various individualized stylized dance movement 

determines the strength and skill of been true warriors in Akpo 

community which they claim to be. Aside the dancer‟s, initiates into 

the dance but on their full costumes are allowed to display their own 

warrior dance style. They also believed that once you are a young man 

from Akpo community and initiated into Iduu dance whether on 

costume or not he is always fortified. 

 

 

Conclusion 

The interpretative essence of semiotics in indigenous dance has 

contributed in communicative understanding of our indigenous dance 

movements. The various dance movement in indigenous dance 

especially that of Iduu dance performance did not just emerge rather 

it came into existence to give the community a traceable origin, 

sustain their culture and expose the socio-environmental factors that 

lead to the creation of dance movement. It is at this point that Akpo 

community in Aguata will appreciate their dance Iduu dance 

performance as a culture that communicates through its dance 

movements and not as a mere annual festival that they long to witness 

as form of relaxation and entertainment. Conclusively, the 

interpretative analysis on Iduu dance performance based on its form, 

style and content has really taken the dance beyond mere aesthetic 

appreciation only. 

 

 

 

 

 

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Kuper. J.(2002). Theory/Theatre. An Introduction. London: Routledge.  

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