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Folk Music in Contemporary Nigeria: Continuity and Change

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Folk Music in Contemporary Nigeria: Continuity and Change 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. iv 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. v 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 vi 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 vii 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 viii 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 ix 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
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