As he drew closer, hiding behind bamboo reeds and watching, he saw a crowd of two groups. Their positions coincided with the direction of two clans, Mbayion and Mbatyav. A white flag was hoisted in-between the two groups which both had a band of drummers, dancing girls and puppets on dagbera (platform). He then realized that the performers were not really human beings but "Adzov" (spirits). The two groups seemed to be engaged in a competition which looked to him like the story-telling tradition of the Tiv known as "kwagh-alom", but with a difference. In this instance, instead of a storyteller, a man would come to the centre of the arena and at the top of his voice announce to the audience what they were about to see. Then the performers would file into the area either as animals dancing or "Adzov", engaged in dancing to emphasize their character. Adikpo Songu says he fell asleep watching the spectacle, and upon waking up the following morning, there was nothing in the vicinity to show that an event of such had taken place in the location. So he came to the conclusion that the "Adzov" must have deliberately selected him for the purpose of entrusting him with the responsibility of bringing "kwagh-hir" to the Tiv people, and humanity in the form and style he had been privileged to watch. According to Iyorwuese Hagher, the Tiv are not want to the personalization of artworks. The Tiv would attribute any level of excellence to witchcraft; "Tsav" or "Adzov", who could protect the gifted from harm of other Tsav. Thus, his inquisition into the originator of the "kwagh-hir" may have been lost on the Tiv people. Hence they offered the leading "kwagh-hir" artist ("Tor-Kwagh-hir") as the originator. Hagher concluded that no one person started the "kwagh-hir" in its present form. However, Gowon Ama Doki avers that contemporary "kwagh-hir" puppet theatre owes its birth to Adikpo Songu from Mbatyav clan in Gboko area of Benue State when he held an audience spellbound with his puppets and masquerades in 1960. Nevertheless, the nexus of "kwagh-hir" scholars, including Doki, is that like any other theatrical performance, "kwagh-hir" cannot be linked to a single individual as an originator.