A Comparative Analysis of the Distinguishing Feature of the Sacred and Non-Sacred Masquerade Tradition

Masquerade traditions constitute important forms of cultural expression in Nigerian communities, communicating ideas about spirituality, identity, morality, communal relationships, and cultural continuity through costume, music, dance, dramatic action, and audience participation. However, the tendency to regard all masquerades as sacred has obscured the distinguishing features of non-sacred or social masquerades. This study comparatively analyses the Awankere sacred masquerade of the Okere Itsekiri community in Warri South Local Government Area of Delta State and the Oki social masquerade of Otuobhi in Ogbia Local Government Area of Bayelsa State. Anchored in performance theory and the ritual theatre distinction, the study adopts a qualitative comparative design based on field observation, personal interviews, photographic documentation, and relevant scholarly works. It examines the performance structure, costume, music, dance, and audience participation associated with both traditions. The findings indicate that Oki is primarily an entertainment-oriented and inclusive performance, characterized by dramatic storytelling, decorative costume, recreational music and dance, and open participation. Awankere, by contrast, is connected with spiritual beliefs, ritual obligations, purification, symbolic costume, ritual music and dance, and differentiated audience access, although its public phase permits broader communal participation. The study recommends systematic documentation, culturally sensitive preservation, community-based education, and respect for restricted ritual knowledge. It concludes that sacred and non-sacred masquerades are distinguished by the total organization and function of performance rather than by masking alone.