The essence of this article is to analyse funeral songs among the Wimbum people as a piece of non-normative theatre which is a pro-social non-conformist theatre that consists of actions that benefit the community. Operational in a community that is essentially oral, funeral songs among the Wimbum are performed as a kind of therapy as through them, the people are purged of the pains imposed on them by death. Using the sociological and performance-centred approaches, the article demonstrates that Wimbum funeral songs are theatrically satisfying as performers actualize their texts in ways particular to a people by way of their manner of performance. As a kind of theatre that does not conform to laid down norms due to its oral nature, performance becomes a leitmotif for its survival in the context of globalisation where orality is being threatened by the stronger forces of modern technology.