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Symposium. Indiana University Press. 2002.

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Mythic   Resonance. Stenhouse Publishers. 2010. 

Performance in Itsekiri Moonlight Games 
And Songs

 

 OVIE-JACK MATILDA  EYITUOYO

             DELTA  STATE SCHOOL OF MARINE 

                     TECHNOLOGY, BURUTU.

ebonnyt@yahoo.com,

ebonnyt03@gmail.com

 08037226601

Abstrat

Moonlight plays and their performances are major art forms still 

existing in most African societies. Among the Itsekiri people of Nigeria, 

the several genres of oral performances that have been researched and 

documented include the Ife, Owe, The Itsekiri language and Umale 

Okere. However, very little attention and studies have been committed 

to the oral performance of Itsekiri moonlight plays. Moonlight plays 

expose the participants to realities of human situations, problems, 

feelings and relationships. Moonlight plays are performed by children 

as well as teenagers whose ages fall between 3 and 17, adults often make 

up the audience.  It is a game that consists of several creative activities 

that serve as veritable mirror and cultural preserver in Itsekiri 

communities. This paper therefore investigates the style and evaluates 

the artistic importance in the oral performance of Itsekiri moonlight 

plays with the aim of exploring its significance in the life of the people. 

The sociological approach to literature is employed in this paper to 

examine the ethical and moral values of these plays as a means of 

cultural reintegration of the young to the society. The paper concludes 

that more researchers need to be involved in study in goral traditional 

performances by children. Especially, how the oral enactments in 

African traditional societies propagate, sustain and preserve the 

cherished social norms of the African people in the face of contemporary 

challenges especially the new media.

Keywords:  Moonlight play; Performance; Itsekiri, Songs, Player.

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http://www.segilolasalami.co.uk/oriki-aje-poetry-goddess-of-wealth.%202018
http://www.segilolasalami.co.uk/oriki-aje-poetry-goddess-of-wealth.%202018
mailto:ebonnyt@yahoo.com,
mailto:ebonnyt@yahoo.com,


Introduction

Traditional oral art still plays a dominant role in shaping the lives of the 

people in many societies especially in Africa. Oral art exposes both 

audience and participant to realities of human situations, problems, 

feelings and relationships. This paper investigates the different dramatic 

and performance aesthetics in the moonlight games of the Itsekiri people 

of Delta State, Nigeria. Before Chinua Achebe had come into the literary 

scene in Nigeria in 1958 with his famous novel, Things Fall Apart, D. O. 

Fagunwa, Amos Tutola, Cyprain Ekwensi, among others, had 

contributed immensely in importing the morality tales from African oral 

narratives into their creative works. This study chiefly focuses on the 

forgotten aspects of the Itsekiri culture represented in their folk 

narratives and songs.

While the Nigeria Civil War may have accounted for why, in the last four 

decades, most Itsekiri youths moved from their roots, the prospection 

for greener pastures has also been another prominent reason for which 

they have lost touch with their cultural heritage. These facts have also 

instigated the loss of touch with their oral tradition. From this study, it is 

obvious that the Itsekiri people have their own body of literature; 

children's songs, poetry, tongue twisters, drama and recitation. People 

are attracted to this performance because they are enjoyable, they 

inform, instruct, educate and socialize, by acting as a vehicle for cultural 

propagation and provide an enjoyable escape from reality.They also 

inculcate such societal values as discipline, honesty, tolerance, 

sincerity; and they provide for the mental alertness and physical fitness 

of the young ones. Although, the plays and games may be devoid of 

trophies, medals or shields; participants derive joy, satisfaction and 

confidence that cannot be overrun by their neighbours, especially when 

there is war. Before we proceed to the significance of Itsekiri moonlight 

plays, it is important for us to undertake an overview of the Itsekiri 

people? 

The Itsekiri also called Isekiri are an ethnic group of Nigeria's Niger 

Delta area. They presently number almost a million people, living 

mainly in the Warri South, Warri South West and Warri North local 

government areas of Delta State, on the Atlantic Coast of Nigeria. 

Significant communities of Itsekiri people can be found in parts of Edo 

and Ondo states. There have over eighty-seven towns, villages and 

hamlets within the Niger-Delta. The uniqueness of the Itsekiri people 

has made them sustain the monolithic culture of having one kingand one 

language. They are most hospitable in welcoming people of other 

nationalities.

This study of performance has always been most exciting in oral 

literature, given that it is germane to its sustenance and transmission. 

While oral performance involves literature delivered by word of the 

mouth, there are varying typologies of performance from one 

community to the other, depending on such factors as age and energy of 

the performer, the nature of the occasion and audience. Thus, Ruth 

Finnegan observes that,

The significance of performance in oral literature goes beyond a 

mere matter of definition: for the nature of the performance itself 

can make an important contribution to the impact of the particular 

literary being exhibited (5).

Performance, in this context, is the artistic presentation of an oral art 

before an audience. The performance of an oral art varies in Itsekiri 

culture and, it involves the expressiveness of tone, gesture, facial 

expression, dramatic use of pause and rhythm, interplay of passion, 

dignity of humour and receptivity to the reactions of the audience. This 

adheres in line with Finnegan's point that, “bare words cannot be left to 

speak for themselves” (46). What this means is that factors and 

resources are involved in the ability to understand the delivery of words 

in the tradition of the people. One of such resources is the histrionics of 

performance, which, is movement made with any part of the body as a 

way of dramatizing actions during performance. In essence, oral 

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performance can only be realized when it is actually performed. Oral 

performance necessarily develops its own methodology and its artistic 

approach basically in the mouth of the performer. These performances 

also portray natural phenomena like landscapes, plants and creatures in 

the same lively language. It also recounts events and happenings in our 

lives and in the history of our societies. Hence these performances 

stimulate our observation and imagination. When a traditional art is well 

performed within its cultural context, we begin to understand the things 

described better and in a new light.  For instance, during moonlight 

plays, the audiences are the only context within which an oral 

performance makes any sense, with poetry, drama and dance playing a 

very important role. Virtually, all plays have songs that enhance 

performance. Itsekiri moonlight play songs relate issues that pertain to 

education, praise, religion, protest, love and they satirizes human fables. 

Most songs are borne out of individual experience. Others are however 

composed as compliment to story-telling, events, for praise to applaud a 

good work, criticize or mock (satirize) a wrong act or abuse. In the 

course of play no musical instruments are employed, only clapping and 

cheering. Participants/contestants don't get support from the audience, 

they are left to depend entirely on the skill with which they can match 

strength and wisdom stored in their memories with the subtleness of 

their voice. Dancing is a whole part of the performance. This makes the 

performance a thoroughly attractive spectacle. Some of these plays are 

synonymous with the popular Udje dance song tradition of the Urhobo 

people of Nigeria, because it employs the indices of attack and rejoinder 

in their enactments. 

Dramatic performance is another aspect of oral literature. They are 

usually demonstrations that are often highly dramatic and picturesque in 

form. They are also colourful and entertaining. Such spectacular shows 

are for people to see. These dramatic performance goes beyond 

entertainment, festivals and rituals, but also to shape the creativity 

andingenuity of the child as he/she grows up and finds his/her niche 

within the various social boundaries. Story-telling among the Itsekiri 

presents a unique kind of performance. One prominent example is 

Olikperebu, with the narrator different from the performer, this 

embraces Okpewho's reference to a report by two British scholars:

It would need a combination of phonograph and cinematograph 

to reproduce a tale as it is told. One listens to a clever story-teller

as was our old friend Mungalo, from whom we derived many of

these tales (Smith & Dale 336).

Oral tradition makes us aware of ourselves, other human beings, our 

environment and our history through folktales, songs, proverbs, riddles 

and jokes with the use of colourful words and vivid images. In some 

societies, especially Itsekiri, traditional oral art like the moonlight plays 

still constitute a dominant role in shaping their lives. 

Among the Itsekiri, for instance, performance plays an exigent 

utilitarian role from childhood to adulthood in the total life of every 

individual in the society. Both children and adults are directly or 

indirectly involved in the performances. This paper is inclined to 

effecting, the relevance of oral literature in modern African society.

Itsekiri moonlight games, as a traditional performance, provides 

children within the ages of 6 to 16 years the opportunity to interact and 

socialize.  Moonlight plays and songs take place after dinner, to soothe 

the day's hustle, entertain and for an informal method of traditional 

education where children learn moral lessons. At night, it is not 

particularly shiny because of the transition between limited light and 

total darkness. While it may not be established when these games 

originated, it is often seen to date back to the very beginning of the 

Itsekiri people. Moonlight performances were still being fully observed 

until the1990s. These performances take place in the bigger family 

compounds or the village square.  In most cases, because the moonlight 

does not provide a full glimmer of light, there is often semi-darkness, 

depending on the size and position of the moon, which births light from 

the soft glowing light sky. Itsekiri Moonlight plays and songsdo not only 

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play a very important role in socializing the young in society, they 

provide for scintillating recreation among participants. Participants are 

able to train the body, muscle, lungs and promotes mental alertness, thus 

they are healthy because of the rigorous exercise. In the course of play, 

participants learn to compose words, learn rhymes and Itsekiri poetry. It 

is an open opportunity to be good players, strive to win and adhere to 

instruction/rules. Shy participants eventually gets confident, learn to be 

patient, humble, obedient and humorous.

Performances in Selected Moonlight Songs

These performances are usually done in groups. The groups could be 

large, small, with odd or even by number, depending on the game. What 

determines the make-up of these groups include; the gender, age and 

strength of the participants. The performance is open to all children 

within the age group irrespective of gender, background, religion or 

family status within the society, requiring no special training or skills by 

participants to partake.Before the advent of Western education and 

after,the Itsekiris the moonlight plays is used to educate, inform and 

keep the children fit. Therefore anyone that knows the song could be the 

lead singer. In this regard, the lead player starts the song, while the 

other player chorus; “Abere abere ma” while the others chant the 

chorus “Abere ma”. As he leads the singing, he swings both hands back 

and forth almost touching his chest, while he bends backwards to the 

song's rhythm till he gracefully reaches the ground with both hands, first 

with his right hand then the left.In the course of bending the player must 

not bend his/her knees. This goes on till every participant takes turn. 

This performance trains children to be physically fit; hence, they can 

bend backwards without bending the knees. It is a good waist and trunk 

exercise.

ABERE MA

Abereaberema  abere   well done players well done

Abere abere ma  abere              well done players well done

Abereaberema  abere    well done players well done

Abere abere ma  abere              well done  player well done

Odidin to wi ololo                   the lid on a bottle well done player

Owun biri ololo we ri uli         would go home with the bottle

EKOKORO   (Knock on the head)

This play starts in a dialogue, with each session ending in a short song 

and clap. It is a competition which involves two leaders, who select 

members of their individual teams. The two teams stand in line facing 

each other while the leaders stand between the two groups. Each of the 

leaders blindfolds a member from the opposing team and then calls 

someone from his/her own team to knock the blindfolded person. The 

person comes forward when the player shouts;

 “ekokorowakan”!

 “ekokorowakan”!        Knock his/her head

“ekokorowakan”!         Knock his/her head

 Thereafter, the blindfold is taken off so that the one goes to identify who 

knocked him/her. While the player is searching for the culprit, both 

groups would be chanting;

Oruko mi yon                    My name is fascinating 

Oruko mi yon                    My name is fascinating

This is made to confuse him/her from knowing who really gave the 

knock, this goes on till he picks someone whether right or wrong. In 

most cases there is no response from the group, what happens is that 

everyone keeps quiet after the knock until the member blindfolded 

earlier would make a right or wrong guess of who knocked his/her head. 

With correct identification, the identified becomes a captive of the 

opposite team. If he fails to identify the one who had knocked him, he 

becomes a captive of the opposite team. The game continues till every 

participant takesa turn. In the course of the performance of this game, 

real names are not used. The material for this play is a piece of cloth for 

the blindfold. ''Ekokoro'' is a rigorous physical exercise that trains the 

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child's whole body and mind. It enhances the child's intellectual 

capacity, a form of psychological training.

FIFE MO FEE

Most words in this pun (akpebuwanje) are meaningless

Fife mofe                          I love you

Fife ololo                          Love of bottle

Ololoagada                        Bottle between legs

Agadajuuya                        Suffering in between legs

Ojeuyameefa                       Suffering in six places

Koko- olugbooroo               Long mix

Koko- ajagbooroo

Oseagadaesenween

Reen weeken!

Participants stand in a circle with the player in the middle while the  

player who is the lead singer points his/her index finger at each 

participant as the song goes on. The song ends with the participant 

saying “Weeken”, the last person the player points at, takes his/her place 

in the middle of the circle. It continues till everyone plays the player. The 

lead singer should neither be slow or too fast but maintain a steady 

tempo in his/her rendition. ''Fife Mo Fe'' performance signifies that 

children an easily learn rhymes, tongue twisters, poetry and learn to 

compose words.

MA FUN UNA

Itsekiri

Solo                              Chorus

Ma fuununa    Unaeegha

Ma fuununa    Unaeegha

Ma fuununa    Unaeegha

Ee se una re ke    gidiniuwere wee

Translation

Solo                                 Chorus

I want fire                       No fire

I want fire                       No fire

I want fire                       No fire

Is that not fire there

This is preferable for children of same age.  All participants form a 

circle holding hands with one player in the middle. The player who is 

asking for fire goes round with hands together, hitting lightly on every 

lock. The moment he/she senses a weak lock, he says “Ee se una re 

kegidiniuwere wee” and tries to break the circle.  If he succeeds another 

person takes his place, if he doesn't he continues till he gets a 

replacement. In the performance of “Ma fuununa” the individual 

strength is put to test, because what the middle player is looking for is a 

weak link and no one wants to be seen as weak. Hence, the show of 

strength with their partner in unity. From plays like these children know 

the importance of team work and bring it into their day to day living.   

MU NI EYIN

Mu nieyin  (put at the back)        Solo

E eeeeee!                                     Chorus 

A large circle of participants is made with everyone sitting, except the 

lead player. The player or lead participant holds a ball made of cloth and 

then runs round the circle shouting; “Mu nieyin o!” while others respond 

“Eeeeeee”. At a point, he secretly drops the ball, behind a participant he 

chooses. If the participant fails to notice or detect the ball behind him/her 

before the player comes round again, he gets a tap on the buttocks and 

the game continues. But if the participant takes not, he quickly picks the 

cloth ball and starts shouting; “Mu nieyin o!”. As the performance goes 

on, no participant must look behind them or give information about 

theplacement of the ball.This performance builds children sensitivity 

and ability to detect things around them. It helps to combine body 

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alertness and the mind. This is because as the player goes round the 

participants, everyone is alert to know where the ball would drop.

TEREE O TEREE O!

Teree o teree o, tereeginagina

TeereeIroorooton mi, tereeginagina

TeereeOgboduoton mi, tereeginagina

Teree o, teree o. tereeginagina

ENGLISH

Yours o yours o, yours say it say it

Yours Irooro my child, yours say it say it

Yours Ogbodu my child, yours say it say it

Yours o yours o, yours say it say it

The materialsthat are used for this game are seven kernel, nuts or small 

sticks.  There are usually less than ten participants. As all the 

participants come together, two of them would volunteer to lead. Each of 

the leaders would also choose members for the two teams. The two 

teams stand a good distance apart, facing each other. Distance should be 

average of twenty meters as it is a major factor in the game. A leader in 

one of the team starts off by hopping from his/her position towards the 

direct opponent he/she drops a nut, kernel or stick in his palm. Hops 

around the other opponent, until all nuts are dropped in his palm, then 

hops back without changing legs. The other team leader continues until 

all participants take their turn. 

Once a participant starts hopping round, he chants “Teree o teree o!” 

other participants take the chorus; “Tereegina gina!”. This performance 

plays more significant role amongst others. It does not just serve as a 

body exercise for the fitness of the legs, the hopping around builds their 

stamina for other contests. The strive to win is birthed by self-discipline, 

thus children grown into adults knowing the importance of discipline 

This is a hide and seek game. Participants gather and draw a large circle, 

with the lead player in the middle. The circle symbolizes the safe zone. 

The lead player whose eyes are shut, shouts “Otoori”, participants 

responds, “E te too” while trying to hide themselves.

OTOORI

Solo                                              Chorus

Otoori!                                          Eete to

Otoori o                                         Eeete to

Demi wa                                        in in

Demi wa                                        In in

Mo wa                                           In in

Otorioooo                                     O to ren

Translation                                    

Solo                                               Chorus 

Is it time                                        Not yet

Is it time                                        Not yet

Should I come                               No no

Should I come                               No no

Am coming                                   No no

Is it time                                        It is okay

The first person or persons that successfully get good hiding places call 

out “O to ren” (it is time). That response permits the lead performer to 

start searching for them. In the course of searching, players try to get 

back to the marked circle without being caught. Mere touch signifies 

being caught. The person that gets caught before reaching the circle 

takes the place of the lead player. It continues till participant gets tired. 

This performance builds and makes children psychologically 

competent. The moment the lead player goes into the circle, he 

automatically sees his/herself competent to get a replacement.

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EJOJI  KAN EKUN

This is both an indoor and outdoor play, for both boys and girls with at 

least seven participants. All participants sit on the mat with their legs 

stretched out, while the player stays behind the participants. The 

participants play the role of “Oli-noli” (landlord) and player gets the role 

of “Ejoji” (Visitor). The performance begins when “Ejoji” knocks 

behind the first participant. The participant queries him, hence the 

dialogue. He moves from the first person to the other till he/she gets to 

the last person. The sequence of the dialogue must be strictly followed. 

''Ejoji'' performance teaches children patience, simple courtesy of 

talking to stranger and obedience. In the dialogue the ejoji is overtly 

patience while the oli-noli responds with utmost courtesy hence, a 

successful dialogue was achieved. It also displays the importance of 

showing love and the essence of mutual cooperation.

Itsekiri      Translation

Ejoji:“Kpoo-kpoo-kpoo”    Visitor: “Knock knock”

Oli-noli: “Nésínrèwíeyínedùkùlí       Landlord:“Who is at the backyard              

                                                          of

Íyémi birí owà mi?”      My mother and father”

Ejoji: “Emi OdiboOritse ren”       Visitor: “I am God's servant!”

Oli-noli:  “Nikowofe sin?”     Landlord: “What do you want?”

Ejoji: “Ẹyẹnkékérémofẹgbà       Visitor: “Little palm kernel 

gbiÀlàbarà mi!          for my parrot”

Oli-noli: “Gbakekere di wojukekere   Landlord: “Take some and 

Si gbe mi”                      leave some for me”.

Ejoji: “No kanwa mu gbe mi!”        Visitor: “Give me some yourself”

Oli-noli: “Omawiesen mi!”                Landlord: I have a baby on my leg.

Ejoji: “Gbe oma si ale”        Visitor: “Put the baby on the floor”

Oli-noli: “Ale ti emi”                     Landlord:“The floor is mine”

Ejoji: “Gbe oma si ere!”        Visitor: “Put the baby on the mat”

Oli-noli: “Ere ti mi!”                     Landlord:  “The mat is mine”

Ejoji: “Gbe oma si ukpekele!”       Visitor: “Put the baby on the  

                                                           cabinet”

Oli-noli: “Ukpekelete mi”                  Landlord:  “The bed is mine”.

Ejoji: “Gbe si ubokubodede!”            Visitor: “Put the baby anywhere”

Oli-noli:“Ubokubodedetemi!”       Landlord:   “Everywhere is mine”.

AGBAN YEGHEYEGHE

Participants stand in a circle, with a participant kneeling with hands on 

the ground. As the song starts he tries to dance to the rhythm. The lead 

performer standing behind him assists him/her to dance by supporting 

the waist (trunk). Performance like this should be recommended for shy 

children. It is an exercise that concentrates on the fitness of the knees and 

waist. It also illustrates on the fundamentals of friendship choice and 

cautions children in their choice of friends, for not all that glitters is gold.  

Itsekiri     Translation

“Nesin re wee ee”   Who is your favourite?

Aghanyeegheyeeghe se ke se ee  Aghan tall and sleeky

“Ofisele, re we?”   Is ofisele your favourite?

Aghanyeegheseke se   Aghan tall and sleeky

OLIKPEREBU

Itsekiri         Translation

Olikperebu egueremi – Eyere    My beautiful and lovely – this is life

Olikperebu egueremi – Eyere    My beautiful and lovely – this is life

Ireyebieukun we je o – Eyere            Human proposed you refused – this

                                                         is life

Umale bie ukun we je o – Eyere     Masquerade proposed you refused –       

        this is life

Egungunbieukun we je o – Eyere     Spirits proposed you refused –

         this is life

Ere wa do wa do ee – Eyere     It's snake you will marry – this is life

Ere ma fenmi ee kpotsi – Eyere     If snake swallows you, it won't

        vomit  you – this is life

Anamiwoliwoli – Eyere      My In law come, come in – this is

        life

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Ejoruneekon mi anami o – Eyere  I can't sleep, can't sleep my in- 

     law – this is life

This is either done alone or as a play with a dance. A pretty lady sits in the 

middle, with different suitors proposing to her. She rejects every one of 

them; tall, rich and handsome. Eventually, an unknown man comes in to 

ask for her hand in marriage. She quickly accepts and they both departed 

that same day. It was unknown to her that the man she accepted as a 

husband is a snake that borrowed human parts to marry her. On their 

way, everyone from whom he had borrowed body parts, he gives back. 

The moment he turns into the snake, she (Olikperebu) is scared to death, 

but there is nothing she could do. The snake starts licking her body. The 

player representing the snake would start a dance like walk like a very 

big snake with tongue out, acting like he/she is licking Olikperebu's 

body. This illustrates the covert and overt effects of being choosy like 

Olikperebu without listening to her parents. This performance guides 

children against making choices without listening to their parents, 

because they would always guide them on the right path.  

Most of the performance enhances physical fitness because during play 

the waist, knees and trunk are rigorously moved, team work, honesty 

and competitive mood is encouraged. Also courtesy, obedience, 

discipline, show of affection and tolerance which is seen in ''Ejoji Kan 

Ekun'' can be learnt. Confidence is built, learning to use the human 

senses effectively, alertness, ability to guess correctly and enablement of 

the combination of the body and mind is achieved. These moonlight 

performances create opportunity to test individual strength as seen in 

“Mu neyin” and “Tere o”. 

Conclusion

From the foregoing therefore, moonlight games and plays in the Itsekiri 

society and indeed other African societies serves as a means of 

socialization for the young ones. It enables them to fraternize and also to 

learn the cultural values of the people. However, the aspect of the 

people's culture is fact eroding, due to modernization and emergence of 

new media of entertainment. This paper has thus brought to the fore, the 

rich cultural heritage of the Itsekiri people and how they can be 

inculcated into the school curriculum. Moreover, they contain useful 

information and skills which we learn as we enjoy ourselves.

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AnIntroductory Text. Kraft, 2009.

Asika, Ikechukwu. “Resurrecting Igbo Cultural Values Through 

Folklore: 'Egwu Onwa' and its Commitment Towards Societal 

Ethos.”Nigerian Journal of African Studies, Vol. 2 n. 2, 2020, pp.1-

14.

Eyeoyibo, Mac Oma. Mofe's Dictionary In Itsekiri: Iwe Umofo. Mofe 

Press, 2008.

---New Moonlight Plays and Games and Sports in Itsekiri. Mofe Press, 

2008.

Finnegan, Ruth. Oral Literature in Africa. Vol. 1, Open Book, 2012. 

Mbunda, F.M. Oral Literature in Contemporary Society in Onuigbo S. 

(editor) Essays and   Literary Concepts in English. Nsukka.  Afro-

Orbis, 2006.

Ovie-Jack, M.E. Themes and Techniques in Itsekiri Chidren's Songs. 

2017. Delta State University, A braka.

Smith, E. W. and Dale, A. M. The Ila-Speaking Peoples of Northern 

Rhodesia. Macmillian,1920.

Walter, J. Ong. Orality and Literacy: The Technologizing of the Word. 

Taylor & Francis, 1982.     

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