Oral Literature As a Tool For Conflict Resolution Dr. (Mrs.

) Uche Janet Ogbalu

Department of Igbo Language Anambra State University Uli, Igbariam
Campus Ekwentị: 07038045003 E-Mail: [email protected].

Abstract:
Oral literature is that literature that is composed and transmitted orally in
face to face contact for cultural continuity, education, edification and
unification. It is an essential property of non-literate community. Story
telling is one of the ways through which this transmission is carried through.
During this period, the ideals cherished by members of the community are
interwoven into the stories. Those things that make for the unity of the
community are also emphasized. The stories about their heroes and the
selfless deeds of these heroes in the society are told for members of the
society to emulate. These stories are sources of pride to the members of the
society. It gives them collective solidarity and unity of actions. The study of
oral literature as a field of learning coincided with nationalistic struggle and
cultural revival in countries of Europe in the 19th century. These countries
used oral literatures as a tool for conflict resolution and a means of
achieving national unity. In like manner Igbo people should endeavour to
channel lessons of oral literature towards resolution of conflicts amongst all
sections of Igbo land. The same is true for Nigeria, which is made up of
numerous divergent ethnic groups. Oral literature should be used as a
means of achieving national unity by weaving into the fabrics of the stories
those ideals that make for national unity. In this study the author examines
ways oral literature can be used as a tool for conflict resolution.
Keywords: Conflict Resolution, Oral Literature, education
1. INTRODUCTION
Literature whether oral or written is all about life. It deals with lives of men
and women of various ages in various societies. Literature is used as a
means of educating, directing, uniting, satirizing and entertaining members
of the society. Traditional society evolved literature in the form of oral
literature as a result of man‟s desire to share his views with other members
of his society to educate and direct, to entertain and to reinforce the

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attachment of individuals to the society. Oral literature therefore gives
individual member of the society a sense of identity. It embodies the
people‟s sympathies, emotions and moral values thereby identifying the
culture of the village community and its peculiar character. Oral literature is
the expression of the rural folks consciousness in his environment.
Emenyonu (1987:1) aligns that oral literature “had a definite purpose to
instruct the young in the principles of right and wrong in the society”. Oral
literature does not instruct or educate the young alone, it also educates,
unifies and inspires both older and younger members of the society. The
rural communities which evolved this form of literature are generally so
much endeared to it. They have used this literature for ages as a means of
conflict resolution and as a means of inculcating the spirit of patriotism and
nationalism amongst members of the society. Dorson, (1978:118) shows
that many peoples of Europe used oral literature to achieve the unity of
their country.

2. SIMILARITY OF ORAL LITERATURE WORLD WIDE

A careful examination of oral literature throughout the world shows that

they have similar structure, similar themes and motifs, and they perform
similar functions in various communities throughout the world. For example,
in folktales, some of these motifs featured include; marriage motif, bareness
motif, lack of male child in the home motif, maltreatment of orphan motif,
famine motif, trickster motif et cetera. To portray these motifs, animals,
birds, man-living things and non-living things are used as characters. They
perform human actions. Though these characters perform these actions,
their activities are meant for “human appreciation, evaluation, outrage,
envy and education”, (Momoh, 1989:xiv). The stories in folktales mirror the
activities of the society. The characters portrayed in folktales are
representative of characters in the society. That is why the stories are
powerful weapon used for the education of the members of the society. It
provides emotional matrix that binds the individual with his community.

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 Since oral literature throughout the world perform the same functions
to the community that owns it, it then follows that what causes grief to man
in one part of the world will also cause grief to those in other parts of the
world. Man throughout the world is appreciative; he rejoices when he is
faced with good fortune or reward. Man is egalitarian in nature. He tries to
maintain the spirit of egalitarianism with his fellow human being. Nature in
the creation of man had put in man those instincts like instinct of curiosity,
instinct of love and hatred, instinct of discrimination etc. These instincts are
in man throughout the world and they account for man‟s similarity in
behaviour throughout the world. It also account for the reason why human
beings in different parts of the world evolve literature as a means of
directing, educating, inspiring and entertaining his fellow human beings
especially members of his society.
Another characteristic of oral literature throughout the world is the
existence of heroes/heroines. These are men and women who have attained
national prominence and who embody the national or the community‟s
ideals of good behaviour. The heroes/heroines are endowed with numerous
admirable qualities that are held up to the people for emulation. The
achievements of are celebrated in oral literature of their various
communities. In most cases some of these heroes are deified and
worshipped after their death. Euhemerus in Okebalama (2003:11) observes
that most of the Greek gods were men who were deified. Euhemerus
maintained that Zeus one of the principal gods of the Greeks was a Cretan
who traveled widely in the East and was deified there before returning to
die in his native Crete.
Though Euhemerus was accused of sacrilege by his people, later, his
assertion was proved to be the truth. In Okpewho (1983:2) Spencer affirms
that “god Aesculapius was a deified medicine man”. Deification of heroes
could be seen in other parts of the world like American, Asia and Egypt. In
Yoruba land (Nigeria) the Yoruba scholars support Euhemerus view. They
maintain that major figures in their traditional pantheon were deified men.
In Okpewho (1983:5) Babalola asserts that god Ogun was a temperamented
war lord who was deified after his death. In like manner, Igbo scholars also

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acknowledge the existence of deified heroes in Igbo land. Afigbo, (1981:7)
has it that Onoja Oboni, a warrior and one of the Abatamu of Ogurugu
(Nsukka) was defied and is still worshipped in Ogurugu to this present day.
In the same manner, Okebalama (2003:11) asserts that in Nsude (Udi), their
hero, a renown wrestler, Uto Nsude was deified and worshipped and his
deeds were celebrated in Nsude even to this present time.
Deification is the highest honour that can be accorded to the hero. It
is so because from that period of deification, the hero is elevated to
supernatural figure. He is then adored and respected by the people. Later,
when the generation that deified the hero die off, the succeeding
generation then worship him as a god and will never forgive anybody that
refers to their god as a human being. Bamidele (2003:180) says:
Experience has shown that the folk mind does not take the
name of Sango or Ogun in vain since he cannot take a risk with
his level of belief… in gods. I submit that the folk mind believes
in the god as a guardian of the public conscience in redressing
justice and truth.
The spirit of respect adoration and implicit faith in the powers of gods
in the determination of human destiny is universal throughout the world and
this belief unifies the adherents throughout the world. It unifies the
confidence of the people that own the particular god. In Igbo traditional
society, Ogbalu (n.d. 52) comments:
Each village or town regards the (god) idols as its own… Gods on the
whole are supposed to have powers mostly over their town’s people
and their descendants in other towns… powerful gods are feared in
their areas of influence which might cover several towns.

The stories about these heroes or legends perform functions for the
community that owns them. Firstly they give members of the community a
collective solidarity by linking their past with the present and enabling
members of the society identify their aspiration with these dead heroes.
Secondly, it provides basis for conflict resolution within the social system,
for the actions of these heroes become parameter through which present

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action can be judged. For example, the story of Sunjata legend in Okpewho
(1983:24) gives a sense of togetherness, homogeneity and cohesion to all
Mandinka people of Western Sudan. The choice of folk hero by members of
the community is not only seen in the past but also it is current in the
present society where the spirit of community has not died. Azuonye
(1984:3) supporting this view asserts: The
Igbo world before the great cultural alienation not only revered the
folk hero as the epitome of the beauty of human achievement, it was
also a world in which environmental beauty was invested with
sacerdotal reverence.
The selection of folk hero in the community follows the same pattern not
only in Igbo traditional society but also throughout every ethnic group in
Nigeria, in Africa and in every part of the world in general. The folk hero is
selfless in his service to his people. He suffers or even dies in pursuit of
common good.

Opata (1989:38) asserts that; “The world of literature is a world

devoid of impossibilities”. This means that in appreciation of works of
literature in general, a willing suspension of disbelief is required on the part
of the appreciator. In Igbo folktales for example, spirit can transform itself to
human being. Paupa “mkpụlụmkpụ” can even borrow hands, legs head et
cetera and transform to human being. He can equally change to fly, bird,
dog, lion and so on. This phenomenon is called “ehihi” in Igbo and usually
for punitive measure. This transformation exists in most of other ethnic
groups in Nigeria. There is another category of this transformation which is
on healthy ground. The hero may transform to another type of creature in
his effort to save his people. Supporting this view, Ngugi (1985:68) referring
to Jomo Kenyatta, during Kenya‟s struggle for independence says; “Dedan
can change himself into anything – a white man, a bird or a tree. He can
also turn himself into an aeroplane. He learnt all this in the Big War”.
In the same manner, during Nigeria‟s struggle for independence,
similar tales exist around Nnamdi Azikiwe. Some tales narrated about him
by the folks say that during his struggle to free his people (Nigeria) from

5
European rule, the Europeans see him as an intelligent man and therefore
want to kill him. One old woman prepares a potent medicine for him and
with that medicine, Zik can change to anything he likes. In some occasions,
he changes to an old man with a walking stick and passes through their
road block they mounted to catch him. Because of constant problems the
Europeans are having from Zik, they decided to grant independence to
Nigeria. Zik was said to be holding the key to Bar Beach in Lagos. He locked
the beach so that its water would not overflow its bank and harm Nigerians.
This type of story is invented by the folks about their hero to win
public admiration for the hero. The folks tell these stories with pride and
respect for the hero. The story of Zik and Jomo caught across ethnic
boundary in their respective country. One can rightly asserts that they are
symbol of their national unity. Azuonye (1984:2) asserts:

The folklore hero is an ever resent reality in every society in which

the spirit of community has not died. The capacity to project the
heroic image in the contemporary leader is a powerful cultural
indicator of social vitality.

The folk hero is revered in every community. They are respected and the
people aspire to emulate their deeds.
Among the warlike Igbo community of Ohofia in Cross River State of
Nigeria, there exists powerful historical heroic epic. This epic portrays the
views and aspirations of the warlike community. As a warlike community,
they cherish valour, men who are not afraid of blood. They cherish and
honour people would bring as many human heads as possible to the
community. On the other hand, weak men are insulted and neglected. They
have no respect, they are called „ụjọ‟ or cowards. In such community,
stories portraying men and women of valour, men and women who bravely
fought the war and brought in human heads are told to inspire the
members. The members of the community look on these heroes with
admiration and pride and imitate them in their actions.

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 One of such stories told by the natives is the story of Nne Mgbafọ.
According to this story, Nne Mgbafọ is a woman who behaved very much
like a man. After the death of her first husband in Arọchukwu, she sets out
to find new husband. She searches in many communities and fails. At last
she meets Uduma, a native of Nde-Ana m-Ele-m-UluUma. She marries him.
Uduma was a dishonourable coward “onye ụjọ”. He had not yet fulfilled his
manhood responsibility as required by the heroic ethos of his age by
winning a human head in battle. Nne Mgbafọ cooks a special meal for her
husband and urges him to go to war which had just broken out on Ibibio
land. Uduma goes to war but is slain in the battle. When the news of his
death reaches Nne Mgbafọ, she immediately approaches the people of Ama
Achara, the people that took the head in the battle and they provide her
with escorts to the battle ground where she discovers the beheaded body of
her husband in a heap of slain worriers. She dutifully buries the corpse
under a tree and sacrifices a goat on the grave. Three market weeks after
returning from this expedition, Nne Mgbafọ assails and over powers a young
man who she finds wandering alone at Usukoam. She chops off his head
and buries his body in her husband‟s grave as a befitting sacrifice.

This type of tale is told in this war like community to stress the importance
of brevity and determination in fighting war. The virtues Nne Mgbafọ are
cherished by members of the society. By eulogizing Nne Mgbafọ in this
manner, the Ohofia society holds her up as a model that should be imitated
by its citizens.

Again, romantics epic otherwise known as “ịta” by the people exists

among the fishing and agricultural communities of Nando, Aguleri, Nzam,
Nteje etc of Anambra State. Amongst such tales is the story of their hero,
Ameke Okoye who was the grandson of a powerful witch called Emebolu –
meaning, revenge. She acts as the hero‟s supernatural props. His mother‟s
name was Mbaago. Ameke was born after a long period of barrenness on
the side of his mother. His birth takes place in an extraordinary
circumstance after an extraordinary gestation period of thirty nine years. At

7
birth, he is a fully mature person and he is so huge that it requires the
collaboration of the entire population of his home town Adaja to feed him.
He drinks directly from rivers and lakes and often he drains the whole
source dry in one sip. Ameke soon grew very strong surpassing his age
mates. He engages and overcomes a succession of monsters that trouble
his people and destroying their farm lands. He had twenty encounters with
these monsters which he defeated.
In the last of these encounters which takes place after Ameke had
completed his mission on earth, he dies while being swallowed up by
Ịkakpụlụenyinisi who also dies in the struggle. Their death was because
their metaphysical props from both sides deserted each of them. Ameke
was half swallowed by the monster and half of him remains outside his
mouth when he also dies. His grandmother, Emembọlụ also dies at the
same time his grandson dies.
Many of these “ịta” or Romantic Epics are told during the period
Omambara River overflows its bank. At this period many fishes were
caught. The telling of these tales keeps the fishermen awake throughout the
night. As an epic story, it takes several nights to complete the story.
Again during festivals in this area, minstrels compete on these tales and the
winner is rewarded. These stories bind members of the community and it is
a source of pride to them. It is also a form of entertainment to them and
they look up to these heroes as their models.
The story of Ozidi Saga by J. P. Clark is another example of such epic.
The story is from Ịjọ community in Niger Delta. Ozidi was a post humously
born hero who avenges the assassination of his father by fellow warriors. He
never stops his slaughter until he eliminates all his enemies in his
community and reigns in an uncontested supremacy.
In West Africa and in Nigeria in particular, cultural continuity within
non-literate traditional societies is largely carried out through oral
transmission. All beliefs, all values and all forms of knowledge are
communicated between individuals in face to face contact and they are
stored only in human memory. In traditional African communities, story
telling provides entertainment, moral instruction and an opportunity to

8
express solidarity. There are different types of traditional stories with
varying contents, patterns of narrations and significance.
Legends perform a dual function for the community that possesses
them, first they give the members of the community a collective solidarity
by linking their past with the present by enabling the living members of the
community identify themselves and their aspirations with those of their
ancestors. Legends and pseudo history provide the legalistic basis for
settling problems or rights and obligations within the social system, for the
doing of the traditional heroes become precedent and norms by which
present action can be judged.
Possession of myths is also one of the characteristics of oral literature
throughout the world. These myths are also regarded as true in the
community where they originate, they also have pseudo-religious
significance. They give meaning to the mysteries of existence and cosmic
order. Without myths traditional society would lose their rationale and the
confidence that hold it together.
3. SIGNIFICANCE OF PERFORMANCE IN ORAL LITERATURE
Finnegan (1970:92) notes that there are existence of bards or court poets
amongst people of Yoruba, Hausa and some other African communities.
Their functions seem to derive from the picture of the rhapsodist Homeric
age. The bard is depicted as standing before the gathered lords to chant the
heroic lays handed down through generations. These heroic deeds of the
ancestors are found in Europe, Africa and in other continents. In Igbo land
and in Nigeria in general, these stories generate pride amongst the rulers
and his people in the achievement of his ancestors and inspire him to
achieve further than his predecessors. Okpewho (1990:7) has it thus:

In my fieldwork among Anịọcha, story tellers in Bendel State, Nigeria,

I encountered one who acclaimed that his box hap had a spiritual
origin. In my reading of the Sunjata story collected from Gambia
Mandinka, I find a narrator who claims his guitar has a spiritual origin.
In my reading of ancient Greek heroic narratives, I find Hesiod

9
 claiming that the muses gave him a wand for use in singing heroic
song.

From the extract above, one concludes that one of the reasons why the
bards, the minstrels or the performers are held in high esteem in the
community is because the members of the community believe that the
message they are relaying is divine. Since their appointment is not from
human but from the gods, the members of the public is bound to accept the
message as true. In the performance, the bard takes time to recount the
history of the names of kings of the land and their achievements. The bard
is honest, trust worthy and of moral distinction. It is the praise names above
all else which elevate his story. It is the repetition of some of the key words
to emphasize the deeds that strive the blood and makes the listeners swell
with pride.

Songs are also used to satirize those who deviate from the acceptable
ways of the society. For example, a girl who indulges in a pre-marital sex
and becomes pregnant is satirized, a man who beats up his wife, wife who
cooks late in the night etc are satirized. Example:
O o Nwakaego – o – o – ewu!
O o Nwakaego – - - o – o – ewu!
Nwakaego, you drank hot pap
It swells your stomach
You shouted okokoko
It is not good.
ị sawanje … ịsawanje
why are you shouting
when you were enjoying it
did you tell us and
now you are shouting
it is not good.
ị sawanje, ịsawanje – e

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 From the extract above, one can discern that the song mocks
Nwakaego the wayward girl who imagines that she is the most beautiful in
the community. The song implies that it is her socially repulsive way of life
that results in her unwanted pregnancy. From this satire, no one in the
village is expected to emulate Nwakaego‟s character.
The exercise above shoes that oral poetry is used in traditional Igbo
societies and also in Nigeria as a medium for inculcating socially acceptable
behaviours and in criticizing socially disapproved behaviours in the society.
Story telling is one of the ways through which oral literature of the
people is handed down from one generation to the other. The telling of
these stories normally takes place in the evenings after the evening chores.
Members of the family and their neighbours normally gather at the father‟s
Obi or the mother‟s hut to hear these stories. Folktales are the main stories
told at this time. In these folktales, the people‟s ideas, their culture, their
world view and those important things that make for the unity of the people
are artistically woven into these stories. Nwaozuzu (2006:2a) notes that
“the idea couched in the witty narratives is based on the observation of
people‟s beahviour and reflects the view of ordinary men and women on the
conduct of life”. That is why it is said that folktale mirrors the activities of
members of the society. In his own opinion, Ashton (1957:20) adds that;
“the introduction of folkways in folktales is merely to give verisimilitude to a
depiction of life of a particular locality”.
One common characteristics of this story telling session is that the
performers is able to hold his audience attention for hours without any of
the party getting tired. This means that the narrator can hold his audience
as long as he wishes. He is able to achieve this because story telling or
performance ensures audience participation. Apronti (1978:77) advancing
the reason for the success of performance in story telling says: “a literary
type such as folktale owes its vitality to the fact that distinction between
narrator and audience is blurred thus making audience participation a
condition for successful realization of the type; story telling takes place in a
free and relaxed atmosphere and the audience is free to express their views
and participate freely without any hindrance. Most of these folktales are

11
interspersed with songs. This helps to enliven the narrative. Obechina
(1990:47) affirms that; “songs not only heighten the narrative but also vivify
it. It also ensures audience participation”. The audience sing the chorus clap
their hands or even correct the performer whenever he deviates from
normal way of telling the story or in portrayal of his characters. On this
audience participation, Okpewho (1990:161) adds thus:

Because the experiences and expectations of the society are woven

round the events of folktales, the suspension of disbelief by the
audience is an easy one and this also account for their instant
correction given to the performer when he deviates from the normal
routine of the tale or normal way of telling the story.

Onyekaonwu (1986:230) observes that in oral traditional story-telling,

two main aspects of performances are pursued. These are: the physical
performance aspect (usually visual) and the verbal or oral performance
aspect usually acoustic. This follows that the performer evokes the audience
senses of sight and auditory senses for these senses play great role in the
full realization of the aesthetic quality of the story being rendered.
Folktale is not only the story enjoyed at the story telling session. The
audience was also entertained with such stories as – stories about their
legends, gods/goddesses, history of their origin. Proverbs, riddles and other
forms of arts were also used by the performer for the audience to emulate.
These are essential parts of traditional lore. It is important to note that the
events of folktales are introduced to traditional Igbo child and African child
in general right from infancy. This means that African child is exposed to
story telling and participation right from infancy. He then grows up with the
lessons of these traditional lores.
Emenyonu (1987:3) affirms that; “the bond of affection between
mother and child in Igbo traditional culture is a very strong one, especially
when the child happens to be a son”. The mother takes time to integrate
her son into the culture of the society and the society‟s way of life with the
folktales. Usually other children join the story. When the mother retires,

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children continue with the stories. Story telling session therefore had the
following impact on traditional Igbo child:

- It gives the child the opportunity of using imagination to decipher

the truth and develop his intellectual ability. Their wits are tested by
allowing them give quick answers to questions posed to them in the
form of riddles.
- It helps the child develop creative thinking – a natural process
through which a person becomes aware of problem, difficulty or gap
in an information for which he has no learned response.
- Obedience and respect are other contribution of folklore to the
children development. Most stories and songs condemn bad
behaviours. In African folktales. Good always triumphs over evil, truth
over falsehood, honesty over dishonesty.
- National consciousnesses and patriotism are inculcated in the
children with the aid of folklore. Children learn bravery selflessness
etc from legendary stories and songs that tell how heroes suffered
greatly or even died for their people. When traditional Igbo child or
African child is inculcated with these virtues from childhood, it means
that by the time he gets to adult life, these virtues had become part
and parcel of his life. This accounts for the reason why both children
and adult enjoy stories of folktales despite their fictional nature.

Clarke, (1976:1) comments that the earliest form of literature was a

simple account of some heroic deeds recited or sung by the specially gifted
individual who became known as bard or minstrel in the presence of the
listening audience. These bards can be seen in the king‟s court or the Oba‟s
palace entertaining the people. They recount the deeds of the kings and
their consequent successions. They can be regarded as the custodian of the
people‟s history. They also entertain people during festive occasions during
which they reel out poetic praises in favour of a person and these songs are
carried out in native dialects of the singes songs generate ethnic pride and

13
gingers the spirit of nationalism and thus become weapon for conflict
resolution.
Vansina (1985:34) has it that “for the narrator to achieve the
experience, “he must know his audience, he must know the personalities
that make up his audience, so as to arrange and select his materials in such
a way to appeal to his audience and at the same time assimilate, dissolve,
multiply the various characters in the tale”. To Vansina, “it is the story
teller‟s ability and style that make him master of his craft”. This is sop
because it is through his style of narration that he can weave into the story
those ideals cherished by the society and also emphasize those things that
make for the unity of the society. The bard takes time to recount the history
of the names of kings of the land and their achievement without making
any mistake. He sings praises to kings and heroes of the land. The praise
names have an important effective function - it is the praise names above
all else which elevate the song from mere recital of event to that stirs the
blood and makes the listeners swell with pride. The bard uses formulae and
the recitation mode to elevate his performance. Bards are always honest,
trustworthy and of moral distinction. They are so much attached to their
native villages. They are so much attached, Nwahunanya advancing
(1998:89) aligns that:

The oral literary artist in such societies was vested with enormous
social responsibilities, especially with regard to his position as an
entertainer and regulator of social behaviour. He was an important as
one of the society’s mechanisms for social control through the se into
which he puts his lyrics, poems, stories and the music which
accompany them.

The performer is an entertainer, a social critic, an educator and a

custodian of the people‟s history and so he is always very close to his
people so he is always very close to his people.
4. ORAL LITERATURE, A TOOL FOR CONFLICT RESOLUTION

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The study of oral literature as a field of started in 19th century, that
coincided with the nationalistic struggles and cultural revival amongst
various countries of Europe. From Dorson (1963:18) many countries of
Europe resorted to oral literature of their people as a means of achieving
their national unity and as a weapon for their conflict resolution amongst
various sections of its people. In Germany for example, Jacob and Weilhelm
Grimm, otherwise known as Grimm brothers published influential volumes
of folk narratives and their interpretations of Germanic mythology and with
these they achieved Germanic unity. In Ireland folklore was used as stimulus
to imaginative research and a source of national pride through folklore was
entwined with political ideology and virulent nationalism.
In Soviet Russia, oral literature was used as a powerful weapon to
advance communism. Oral literature served not only the socialist but also
served the nationalist cause by welding the diverse people of Soviet Union
into one closer unity based on common workers lore. In Japan folklore was
used to recapitulate the ancient Japanese animistic religion. Dorson
(1978:118) asserts that the Jewish folktale narrators careful description of
their lives in Europe – their struggles and their sufferings enlightened the
younger generations. These stories are source of inspiration and source of
their unity.
It will be recalled that oral literature is totally composed by the folks.
Oral literature embodies their do‟s and don‟ts what they cherish and what
they despise their total ways of life. The countries that had used oral
literature for unification of their state had first of all studied the character of
the folks and learnt how they operate through that way they were able to
succeed in achieving their national unity.
From the study so far, it can be seen that oral literature throughout
the world has identical characteristics, identical structure, identical themes
and motif and they serve the same purpose. Different countries of the world
have used oral literature as a tool for their conflict resolution and national
unity. In like manner, in Nigerian, during the colonial period, oral literature
provided an avenue for the unity of the country. The story circulating around
the legendary Zik of Africa during the struggle for Nigerian independence

15
unifies various ethnic groups in the country. In like manner, the stories
circulating round Jomo Kenyatta of Kenya during the country‟s struggle for
independence provides avenue for the country‟s unity for every member of
these country aspire to be like these heroes.
Nigeria is made up of diverse ethnic groups currently if Nigeria each
of these ethnic groups is struggling towards emancipation of the group. As a
result there is more of ethnic consciousness rather than national
consciousness. If this type of attitude is allowed to continue, Nigeria as a
nation will face disintegration. Nigerian leaders should therefore borrow a
leaf from other countries of the world that had used oral literature as a tool
for their conflict resolution and a tool for the achievement of their national
unity. Oral poetry or songs offer a lot of folkloristic elements. These
elements range from the mythical to historical bards can also recapture real
happening in the society. We have also seen that the success of the
performance rests on the capability of the bard to sustain the interest of his
audience to the end. These bards and minstrels can be employed by the
leaders of the country to entertain the audience during which they infuse
those ideals cherished by the country. They also emphasize those elements
that make for national unity. Political ideology can be infused in the songs
thus providing common front for the achievement of national unity.
Folks in general are innocent in their dealings. They acknowledge the
spirit of patriotism and selfless deeds of their heroes. This accounts for
reason why they use oral literature as a means of achieving their
community‟s unity. They generate consciousness or spirit of patriotism
through the use of oral literature. In Nigeria, about seventy percent of its
population is still illiterate. Oral literature is a strong weapon to be used for
conflict resolution and for achievement of national unity. This means that
folktales, myths and legends and other forms oral literature can be used for
conflict resolution since these stories binds members of the community by
emphasizing in these stories those elements that make for national unity
and those deals cherished by the country. Oral literature has been used
traditionally in creating national character models that appeal to entire

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population. This is possible because oral literature presents its propaganda
in the guise of aesthetically appealing narratives.
One outstanding quality of oral literature is its flexibility. This means
that the narrator can add or subtract story from its original trend. He can
add elements into the story to suite his desire. This means that the leaders
of Nigeria can add those things make for national unity into their narratives.
In modern Nigeria, there is a pressing need to generate national
consciousness and the national unity amongst the entire population of the
country. This could be done by emphasizing the things that hold together
various ethnic nationalities that comprise i.e. Nigerian State. Another way of
achieving this is by mobilizing the teaming masses of this country and
engendering in them the patriotic ideals that make the country strong. If the
leaders of Nigeria want to build a strong united Nigeria, then they have to
adopt the time tested methods of conflict resolution through the use of oral
literature and through this the unity of the country is assured.
5. CONCLUSION
From the discussions so far, one can see that oral literature plays active role
in the unification of the communities that own them. This is because oral
literature is their own creation. It is created out of what they desire and
what they despise. Nigeria is made up of diverse ethnic groups and these
ethnic groups have their own oral literature. These oral literatures have
similar characteristics and so the leaders of Nigeria should use them to
achieve national unity just as the folks are using them.
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