Akükü 

These are best described as popular catcalls or greetings, commonly exchanged by "hip" young people, and usually lasting for only a season.  An excellent example would be "Ina Emetu kwa?" a flirtatious, perhaps even bawdy, akuku which swept the Eastern twonships in the 1950's.  Passing a pretty girl on Asa Road, Aba, in 1955, a young man might have called out to her,

"Miss, ina emetü kwa?"

If she were game, she might retort:

"Of course!  Anam emetü nke nta, nke nta!"

(Or, "Ima na emetügh emetü bü oria!") 

However, if the girl took offence at the question, she might have answered, instead:

"Gaa juö nne gi ma öna emetü kwa!"

Another akükü common around the same period was, "Miss, ebe-eh?"

To which the common answer was, "Öjügö!"

(Sometimes the above was followed by: Gini na aria gi? -- Akwükwü!)

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Akuku is common among youth dance groups and usually consist of  strings of calls and responses.  In the middle of a dance routine, a member calls out the praise name of the group.  Other group members answer in unison. 

Next, comes a series of questions, followed by appropriate answers by the group:

Ndi Chi nyere ugo, unu nnökwaya -yeh?

He-e-e-yi!

Obi öma!

Nwayö-ö!

Gini mere?

Nsogbu adigh!

Who say?

God say before the king! 

Women's dance groups especially are fond of addressing themselves with praise names, for the whole group or for individuals.  These are often mixed with ullulations and guttural exclamations proclaiming beauty or solidarity.  Common ullulations among Ngwa women would be:

"Ire-yi!"

"Hey-i!"

"Ire-yi!"

"Hey-i"

"Ole-le-le-o!"

"Hey-i!  Hey-i-hey-i!"

Variations might include a much-prolonged "Ire-yi!," followed by a solidarity proclamation such as,

"Onye ngawara-nu aghala nwa-nneya-o!"

To which the group responds:

"Hey-i!"

Quite often, akükü is commingled with etutu aha, as used to be common among pubescent girls stepping out for the ajah dance during the 1950's and '60's.  Stepping out in step to a lively drum beat, the girls would toast their beauty, youth and dancing skills with such adulations as:

"Osi nji ghara uri!"

(So dark and lovely that she requires no indigo decoration)

"Anya nlecha-a öghara nnyo"

(So beautiful that the eye forsakes the mirror)

"Ari ogugu enwegh igba!"

(Smooth and seamless like a raffia frond)

"Oga ije ükwü erugh ala!"

(So nimble that her feet seem not to touch the ground as she walks)

"Ote nkwa ukwu ru ala!"

(She dances so well that it seems that her waist touches the ground)

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The following excerpt, from I Saw the Sky Catch Fire,  illustrates another way in which praise names and akuku are used:

Throughout the year, they had scrimped and collected cowries, which had turned into manilas, then farthings and half-pennies and pennies, and finally into shillings and pounds.  Before each year's festival, they paid most of this money to a tailor or seamstress who made a new outfit for every woman in the village, so that during the market parade at the height of the festival, they all came out dressed alike, singing and laughing and teasing and bantering with one another, complimenting one another on how good they looked in their clothes, discussing how good this year's design was compared with the designs of previous years:

"Ikodiya," one woman called gaily to another in mock astonishment.

"Oweyi!" the other jauntily replied.

"Could that be you that I see?"

"Yes, it is me you see.  Have I not always told you that there was nothing wrong with me that could not be cured by a good bath and a new set of clothes?  Don't we all look good?"

"Ozugwo!  You look as colorful as a royal python!"

"Arirah!  With your uhie, you look as colorful as arirah.

"Ibara!"

"Yes, ureh!"

"Yes, amara.”

To be continued

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