Cultural Poetics of Loss: Repetition and Parallelism in Dagbamba Dirge Performance

Abstract

This paper addresses parallelism and repetition in the Dagbamba dirge. The study aims to investigate parallelism and repetition as core elements of oral art, focusing on synonymous, antithetic, synthetic, or constructive parallelism (or sameness), which are prominent in the Dagbamba dirge. Dirge serves not only as a farewell to the deceased but also as a vehicle for cultural transmission and the expression of communal values. The paper analyses selected dirges and uncovers how parallelism and repetition function to enhance the aesthetic quality, emotional intensity, and mnemonic aid of these lamentations. The paper uses Richard Bauman’s Performance Theory as its analytical tool since dirge is a mode of communication that involves the performer (addresser), the audience (addressees) and the event's setting. A qualitative research approach is adopted using both primary and secondary data. The findings reveal that parallelism and repetition serve multiple purposes: they enhance the mnemonic quality of the dirges, emphasize key thematic elements, and provide a rhythmic and emotional cadence that resonates with both performers and listeners.