FOLK MUSIC IN CONTEMPORARY NIGERIA

248 Pages·2015·3.08 MB·English

FOLK MUSIC IN CONTEMPORARY NIGERIA: CONTINUITY AND CHANGE
BY

AKPONOME, ABEL OGHENEOVO
Ph.D (ARTS) 14747/2007/08)

A Ph.D DISSERTATION SUBMITTED TO THE DEPARTMENT OF
THEATRE AND PERFORMING ARTS,
AHMADU BELLO UNIVERSITY
ZARIA

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE AWARD OF THE
DEGREE OF DOCTOR OF PHILOSOPHY

AHMADU BELLO UNIVERSITY, ZARIA.

AUGUST, 2014
i
DECLARATION
I hereby declare that this dissertation is written by me and that it is a record of my own research
work. It has not been submitted in any previous application for a higher degree. All quotations
are indicated and all sources of information are duly acknowledged by means of reference.

............................................ ................................... ..............................
Akponome, Ogheneovo Abel. Signature Date

ii
CERTIFICATION

This dissertation entitled “Folk Music in Contemporary Nigeria: Continuity and Change” by
Akponome, Ogheneovo Abel , meets the regulations governing the award of Doctor of
Philosophy in Theatre and Performing Arts of Ahmadu Bello University, Zaria and it is approved
for its contribution to knowledge.

................................................. ...................... ..............................
Professor. Oga Steve. Abah. Signature Date
Chairman, Supervisory Committee

................................................. ............. ........... .............................
Professor Jenkeri Z. Okwori. Signature Date
Member, Supervisory Committee

.............................................. ............................ ...................... .
Professor Samuel. A. Kafewo Signature Date
Member, Supervisory Committee

................................................ …………………. ............................
Professor. M. I. Umar - Buratai. Signature Date
Head of Department

............................................... .............................. ..................................
Professor A.Z Hassan Signature Date
Dean, School of
Post-Graduate Studies

iii
DEDICATION
This dissertation is dedicated to the memories of late Professor Jenkeri, Z Okwori and Professor
Samuel, Ayedime Kafewo.

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ACKNOWLEDGEMENTS
I wish to first appreciate God Almighty for giving me the opportunity, grace and health to
start and complete this programme. May His name alone be exalted for his goodness and
kindness to me throughout the programme.
I owe gratitude to my supervisors and mentors, Professor Steve O. Abah, late Professor
Jenkeri Z. Okwori, and late Professor Samuel Ayedime Kafewo, who groomed me, read through
the work, corrected the manuscripts and ensured that I complete the programme. I am highly
indebted to all of you.
I also want to appreciate the contributions of Professor Emmy Idegu, Dr. Emmanuel
Jegede, and other members of the academic staff of Theatre and Performing arts Department,
Ahmadu Bello University, Zaria for their contributions towards the success of this work.
I want to also use this opportunity to appreciate the understanding, prayers and support of
my wife, Mrs. Gift Akponome and my children throughout the programme and equally
appreciate the prayers and support of my Pastor Bamiyi Bissala, Rev. Bello, S.O. and Pastor
Nehemiah Obadiah,Mr. Adeniyi Moses, Mr. GbengaO. and brother Okobooh, M,O and my
brother Oyibo Philip and all members of staff of the department of music, Federal college of
Education Pankshin for their understanding and corperation that ensured the success of this
work, May God bless all of you.

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CONTENTS
Title page - - - - - - - - - i
Declaration - - - - - - - - - ii
Certification - - - - - - - - - iii
Dedication - - - - - - - - - iv
Acknowledgements - - - - - - - - v
Contents - - - - - - - - - vi
Abstract - - - - - - - - - xi
Chapter One - Introduction
1.1 Background to the Study - - - - - - 1
1.2 The Concept of Traditional Folk Song: An Overview of its Scope- - 9
1.3 Uses of Folk Music in Nigeria Societies- - - - - 14
1.4 Statement of the Research Problem - - - - - 24
1.5 Aim of the Study - - - - - - - 25
1.6 Objectives of the Study - - - - - - 25
1.7 Justification of for the Study - - - - - - - 25
1.8 The Scope of the Study - - - - - 26
1.9 Theoretical Framework - - - - - - 26
1.10 Research Questions - - - - - - - 27

1.11 Methodology - - - - - - - - 28
1.12 Research Design - - - - - - - 29
1.13 Population of the Study - - - - - - 30
1.14 Sampling Technique - - - - - - - 31
1.15 Instruments of Data Collection - - - - - 32
1.16 Validity and Reliability of Instruments - - - - 33
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1.17 Method of Data Analysis - - - - - - 34

Chapter Two: Review of Related Literature
2/0 Introduction - - - - - - - - 35
2.1 Dimensions of Folk Music Practice in Contemporary Nigerian Society 35
2.2 Socio-Religious Dimensions of Folk Music Practice in Contemporary
Nigeria - - - - - - - 38
2.3 Socio-Cultural Dimension of Folk Music Practice in Contemporary
Nigeria- - - - - - - - - 45
2.4 Other Social and Supportive Roles of Traditional Folk Music
Practice in Contemporary Nigerian Society - - - - 48
2.5 Folk Music as a Means of Communication in Contemporary
Nigerian Society - - - - - - - 53
Chapter Three: Folk Music as Mass Culture
3.1 Introduction - - - - - - - - 56
3.2 Folk Music as Mass Culture in Contemporary Nigerian Society - 56
3.3 Traditional Folk Music as Mass Culture in Nigerian Society- - 60
3.4 Historical Base of Folk Music Practice as Mass Culture in Contemporary
Nigerian Society - - - - - - - 63
3.5 Traditional Folk Music as Social Art of Nigeria Mass Culture - 67
3.6 Religious Functions of Folk Music as Mass Culture in
Contemporary Nigerian Society - - - - - 73
3.7 Philosophical Art of Folk Music as Mass Culture in Contemporary
Nigerian Society - - - - - -- - 78
3.8 Ethics and Moral Functions of Folk Music as Mass Culture in
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Contemporary Nigerian Society - - - - - 86
Chapter Four: Data Presentation and Analysis
4.1 Introduction - - - - - - - - 96
4.2 Presentation of Selected Traditional Folk Music Practitioners in
Contemporary Nigerian Society - - - - - 97
4.2.1 Berom Broadcasting Corporation BBC Lon‟Bworok- - - 97
4.2.2 The Bakah Dance Club Hundred Traditional Music Band of Makurdi 99

4.2.3 Ekpo Masquerade Performances - - - - 101

4.2.4 Mystery Surrounding Ekpo Performance - - - 102

4.2.5 Period of Ekpo Performance - - - - - 103

4.2.6 Costume Make-up and Props of Ekpo Masquerade Performance 104

4.2.7 Change and Continuity - - - - - 105

4.2.8 The Jarawa Dilla Dance Group - - - - 106

4.2.9 Ezeagu Atilogwu: The Legendry Igbo Dance - - 108

4.2.10 The Dundun and Bata Dance of the Yoruba People - - 112

4.2.11 The Ovedje Ayonuwe Group - - - - - 116

4.3 Analysis of Data from Respondents- - - - - - 118
4.4 Contemporary Nigerian Folk Music: A Genre in Continuity and Change- 128
4.5 Summary of Findings - - - - - - - 136
4.6 The Adaptative Power of Traditional Folk Music in Contemporary
Nigerian Society - - - - - - - 136
4.7 The Relevance of Folk Music as Adaptative Power in Contemporary
Nigerian Society - - - - - - - 139
4.8 Supportive Roles of Traditional Folk Music to the Nigerian Film Industry
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as Adaptative Power in Contemporary Nigerian Society - - 144
4.9 Socio- Cultural and Moral Functions as Adaptative Power of Traditional
Folk Music in Contemporary Nigerian Society- - - - 149
4.10 Extra-cultural Functions of Traditional Folk Music Practice as Adaptative
Power in Contemporary Nigerian Society - - - - 160
4.11 The Resilience and Survival of the Black Race as Adaptative Power of Folk
Music in Contemporary Nigerian Society - - - 163
4.12 Age of Traditional Music as Adaptative Power of the Art in
Contemporary Nigerian Society - - - - - 166
4.13 Belief as Adaptative Power of Traditional Folk Music in Contemporary
Nigerian Society - - - - - - 167
4.14 Multi-National Corporations as Adaptative Power of Traditional Folk
Music in Contemporary Nigerian Society - - - - 168
Chapter Five: Summary, Conclusion and Recommendations
5.0 Introduction - - - - - - - - 170
5.1 Summary of the Study - - - - - 171
5.2 Achievement of the Study - - - - - - 172
5.3 Weakness of the Study - - - - - - 176
5.4 Conclusion - - - - - - - - 177
5.5. Recommendations - - - - - - - 178
References - - - - - - - - - 180
Oral Interview - - - - - - - - - 187
Appendix i - - - - - - - - - 188
Appendix ii - - - - - - - - - 190
Appendix iii - - - - - - - - - 213
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ABSTRACT
One of the greatest challenges facing today‟s global age is its transformational and
transitional nature where values and norms are under constant change. As such a
developing nation like Nigeria is under high pressure of acculturation problem coming
mostly from Western nations to which her citizenry absorb more quickly or succumb to.
Consequently, contemporary Nigerian society has integrated some of these Western
cultural life styles to themselves thus posing serious threat to the survival of some of her
traditional values one of which is her folk music. Be that as it may, the practice of
traditional folk music is still being vibrantly practiced in contemporary society of Nigeria
as indicated by the numerous examples of traditional folk music practitioners used in this
study. They include; B.B.C. Lon‟Bworok, Turu in Jos South L.G.A of Plateau State,
Bakah Club 100 traditional music band of Makurdi, Benue State, The Jarawan Dilla
dance group of Pankshin, The Ekpo Masquerade performance group of Ibibio people of
Akwa-Ibom State, The Dundun dance group of the Yoruba people, the Bata dance group
of the Yoruba people, the Ezeagu Atilogwu dance group of Enugu State, the Ovedje
Ayonuwe dance of music of Urhobo people of Delta State, and Dan –Maraya Jos a
minstrel from Sokoto state.. In the light of this, the study wants to find out the integrative
and adaptative ability of traditional folk music to the ever dynamic nature of today‟s
society. In addition to this, the study want to find out the staying power that has enabled
the art of traditional folk music to triumph over these foreign values and cultures flooding
the country, most of them coming from Europe, America and Asian worlds. The study
begins with the concept of traditional folk music and its functions to society. It also
indicates how foreign cultures, Western pop music, globalization, urbanization and
foreign religions are a threat to the practice of traditional folk music in Nigeria. The
dimension of traditional folk music in Nigerian contemporary society is discussed in
chapter two. The study adopts the qualitative approach in analysing information gathered
from respondents. The oral interview method which was conducted through the “key
informant” and “focus group” enabled the researcher to gather useful information from
respondents. Altogether nine traditional folk music practitioners drawn from the major
ethnic groups cut across the geo-political zones of the country was used. Chapter three
discussed traditional folk music as mass culture. The presentation and analysis of data
generated from the respondents are discussed in chapter four. Majority of respondents
from each folk music group practitioners used in the study are of the opinion that
traditional folk music has survived and is being practiced vibrantly because it is adding
value to the socio-economic and socio-political life of contemporary Nigerian society and
folk music has being able to adapt itself to the changing situations in contemporary
society. This is attained by the new roles and functions it has assumed in today‟s Nigerian
society. Therefore the adaptative nature of traditional folk music accounts for it staying
power in modern society. Majority of respondents also see the art continuing as long as
the owners of the art are alive and will continue to make the art adapt to emerging issues
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