Folk Music in Contemporary Nigeria: Continuity and Change
– Folk Music in Contemporary Nigeria: Continuity and Change –
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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.
TABLE OF 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
1.17 Method of Data Analysis – – – – – – 34
Chapter Two: Review of Related Literature 2
20 Introduction 35
- Dimensions of Folk Music Practice in Contemporary Nigerian Society 35
- Socio-Religious Dimensions of Folk Music Practice in Contemporary Nigeria – 38
- Socio-Cultural Dimension of Folk Music Practice in Contemporary Nigeria- – – 45
- Other Social and Supportive Roles of Traditional Folk Music Practice in Contemporary Nigerian Society 48
- Folk Music as a Means of Communication in Contemporary Nigerian Society 53
Chapter Three: Folk Music as Mass Culture
- Introduction – – – – – – – – 56
- Folk Music as Mass Culture in Contemporary Nigerian Society – 56
- Traditional Folk Music as Mass Culture in Nigerian Society- – 60
- Historical Base of Folk Music Practice as Mass Culture in Contemporary Nigerian Society 63
- Traditional Folk Music as Social Art of Nigeria Mass Culture – 67
- Religious Functions of Folk Music as Mass Culture in Contemporary Nigerian Society 73
- Philosophical Art of Folk Music as Mass Culture in Contemporary Nigerian Society 78
- Ethics and Moral Functions of Folk Music as Mass Culture in Contemporary Nigerian SocietY 86
Chapter Four: Data Presentation and Analysis
- Introduction – – – – – – – – 96
- Presentation of Selected Traditional Folk Music Practitioners in Contemporary Nigerian Society – 97
- Berom Broadcasting Corporation BBC Lon‟Bworok- – – 97
- The Bakah Dance Club Hundred Traditional Music Band of Makurdi 99
- Ekpo Masquerade Performances – – 101
- Mystery Surrounding Ekpo Performance – – 102
- Period of Ekpo Performance – – 103
- Costume Make-up and Props of Ekpo Masquerade Performance 104
- Change and Continuity – – – – – 105
- The Jarawa Dilla Dance Group – – – – 106
- Ezeagu Atilogwu: The Legendry Igbo Dance – – 108
- The Dundun and Bata Dance of the Yoruba People – – 112
- The Ovedje Ayonuwe Group – – – – – 116
- Analysis of Data from Respondents- – – – – – 118
- Contemporary Nigerian Folk Music: A Genre in Continuity and Change- 128
- Summary of Findings – – – – – – – 136
- The Adaptative Power of Traditional Folk Music in Contemporary Nigerian Society 136
- The Relevance of Folk Music as Adaptative Power in Contemporary Nigerian Society 139
- Supportive Roles of Traditional Folk Music to the Nigerian Film Industry as Adaptative Power in Contemporary Nigerian Society 144
- Socio- Cultural and Moral Functions as Adaptative Power of Traditional Folk Music in Contemporary Nigerian Society- 149
- Extra-cultural Functions of Traditional Folk Music Practice as Adaptative Power in Contemporary Nigerian Society – – 160
- The Resilience and Survival of the Black Race as Adaptative Power of Folk Music in Contemporary Nigerian Society – 163
- Age of Traditional Music as Adaptative Power of the Art in Contemporary Nigerian Society – 166
- Belief as Adaptative Power of Traditional Folk Music in Contemporary Nigerian Society 167
- Multi-National Corporations as Adaptative Power of Traditional Folk Music in Contemporary Nigerian Society 168
Chapter Five: Summary, Conclusion and Recommendations
- Introduction – – 170
- Summary of the Study – – – – – 171
- Achievement of the Study – – – – – – 172
- Weakness of the Study – – – – – – 176
5.4 Conclusion 177
5.5. Recommendations 178
References – 180
INTRODUCTION
Most musical activities that abound in some socio-religious and other ceremonial engagements in contemporary Nigeria present a facadeof a major departure from the indigenousand traditional folk music practice. This departure to a large extent isas a result of some external socio-political and cultural pressures as well as internal dynamics.
The dramatic transformation of the society especially through cultural contacts coming from Western, Arab and Asia worlds; urbanization, industrialization and religion brought about changes that tampered with and disrupted some aspects of Nigerian traditional values and lifestyles one of which is the traditional folk music artistic expressions and patronage.
As a result of these transformations, there emerged among Nigerians a new urban social class with a new musical taste. Today, aspeople are displaced from their indigenous homes in pursuit of education, better job opportunity, rural-urban migration, pressure on agricultural land and quest for pleasure among others, they acquire new life styles and values different from the indigenous cultural values they are known for.
REFERENCES
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Agbidi, N. (2011) Meki and music in African traditional beliefs system: It‟s relevance to human activities.InY.S Oyiuke, I.O Idamoyibo, I.O and D.C.C Ayu. (eds): Mekism and knowledge sharing of musical arts of Africa, p 128-133.
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Ajewole, J.O (2007) Social organization and musical style in the court of Alaafin of Oyo Unpublished Ph.D Thesis, Obafemi Awolowo University, Ile-Ife.
CSN Team.
