ABSTRACT
AN APPRAISAL OF ATYAP PERFORMING ARTS OF ZANGON KATAF KADUNA
STATE, NIGERIA 1950 – 2013,By Samuel Caleb.(N.C.E. Fine and Applied Arts KSCOE
Kafanchan, B.A.Fine Arts, M.A Art History A.B.U Zaria)
This study explored the activities of the Atyap performing arts, defining what they are by
name. Chapter one introduces the background history of the Atyap performing arts of
ZangonKataf Kaduna State Nigeria from 1950 - 2013. The problem of the study was that,
the Atyap performing arts have dwindled over these years and that, it is being endangered.
The aim of the study sought to establish the state of the Atyap performing arts. The
objectives of the study were to: investigate the historical evolution of the performing arts
from 1950 - 2013, to identify the existing Atyap performing arts and the instruments of
music; study the socio-cultural character of the Atyap performing arts; examine the fears of
extinction expressed by researchers on performing arts of Atyap; and categorize the Atyap
performing arts according to their various manifestations. The performing arts of the Atyap
from available records, haven undergone considerable change of recent justify this study.
The scope of this research was devoted to the existing Atyap performing arts from the
numerous traditional music and theatre arts existing from 1950 - 2013. The performing arts
are diverse in nature; they include those performed without instruments, those performed
with musical instruments, those performed theatrically and those performed poetically.
They are those performing arts found within Abin-Atyap.Chapter two focuses mainly on
the review of relevant literature which further reveals the gaps existing in the previous
studies, especially in the examination of the nature, content and context of the Atyap
performing arts of ZangonKataf, Kaduna State. The relevant reviewed literature showed
that the influences that permeated the early periods of the Atyap performers have continued
to manifest themselves in different shades and circumstances to the extent that there are
new transformations and assimilations of performances from nearby ethnic groups
bordering Atyap, Chapter three discusses the methodology, research designed of the study.
Both the historical and qualitative methods of data collection were used. Several experts
suggested the use of multiple approaches to art historical studies, and were adopted in this
work to investigate the historical evolution of the Atyap performing arts from 1950 to
2013. The population of the performing arts is those practised in Abin-Atyap. The selection
was done using the purposive sampling due to the heterogeneous settlement pattern of
Atyap. In carrying out the field work of this study, the qualitative method of investigation
was used. The interviews conducted were done based on the sampled population, using
questions that were open ended in nature. Information collected from the field was
analyzed in Chapter four and five of the study. The discussions made were done through
categorization, description and comparative analysis. Chapter four analyzed the data
collected base on specific headings. These headings include (i) early performing Arts in
Abin-Atyap (Song Guguwa, Song Zunzuo, Song Zunzom Atah, song zunzom Angurung,
Song Zunzom Akhuwoo, Song Kuku), (ii) Borrowed performances (Song Zunzom Akatam,
Song Samba, Song Bori, Song B.B, Song Akpat (Hausa praise singers), (iii) Recent
performances (Song Din-vag) and Song Ashong. Chapter five pulled together some
assertions on the extinction of the Atyap Performing arts and discussed them through
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intrinsic deductions from the art forms and performances seen in the different celebrations.
The findings of this study established that some performances are actually going into
extinction, while most performances are undergoing refinement due to acculturation. Over
the years, there has been multiplication of adopted Atyap performing arts stemming from
youths, adults, and women groups. Chapter six contains a summarized overview of the
entire study. The recommendations of this study states that, most of the existing
performing arts needs sustenance. Schools were recommended to adopt some performing
arts for extra-curricular activities. Churches in the land were encouraged to adopt some of
the performing arts with some refinements for their praise, worship session.
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