© Karel Arnaut 1993

During the classic Bedu dances, the atmosphere is rather more serene, having moved from the burlesque to the dramatic. The participants form one circle around the dancing Bedu. The opposition between men and women is largely upheld but now mediated by Bedu to whom the songs are addressed.

The staged controversy now takes the form of an indirect debate on the identity of Bedu. The women's songs retain their teasing character ("Bedu is my lover") while the men's songs speak of respect and even devotion ("Bedu, his hand does not reach the sky" - meaning that he is nearly as big as God).

The irreverence expressed by the word "lover" - meaning something like "toy boy" or "sugar daddy" - is as much addressed to Bedu as it is to the men. It is explained that women call Bedu their lover because their lover (not their husband) could be dancing the mask. Such mockery is nothing short of a dramatic unmasking: the women undermine the male reverence for Bedu, but also touch upon the painful reality of extramarital relationships which the men deny.

The classic Bedu songs all tell rather serious stories. However, more than being merely sad musings, the songs deal with the tragedies of everyday life, and above all, with family responsibilities on which the community is built. Children and orphans are the subject of many songs; they are reminders of adult responsibilities cast aside during Zorogo. Men and women now emerge in their roles as husbands, wives and parents. They sing to Bedu about social discipline and the restoration of society. Through these songs, Bedu becomes an advocate of consideration for the children.

After the performances are over Bedu returns to its home in the bush. People resume their everyday activities.