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THEMATIC PREOCCUPATION AND HERMENEUTICS OF 
SELECTED SONGS/MUSIC OF PAUL ODI: A 21ST CENTURY 

APPROACH 
 

Godwin Onuche 
Department of Theatre Arts 

Kogi State University, 1Anyigba 
e-mail:godwinonuche10@gmail.com 

Mobile:+234-803-601-5156, +234-905-062-7821 
 

and 
 

Esther O. Onwuka 
Faculty of Arts 

Department of theatre Arts 
University of Abuja 

e-mail: estomale2@yahoo.com 
mobile : +23408033119555 

Abstract 

It is no longer an aberration to say that songs in traditional African 
cultures continue to suffer a setback possibly as a result of inadequate 
attention given to songs and music in traditional African societies. 
Many African scholars and practitioners often gloss over traditional 
African songs/music conceivably as a result of their religious 
affiliation. This paper therefore provides a perspective on which 
socio-cultural music and songs of paul Odi can be perceived 
artistically towards cultural education in Nigeria. Against this 
background, this paper adopts interviews and content analysis for its 
research methodology. The findings reveal that, songs in traditional 
African societies are yet to assume their proper place in 
contemporary socio-milieu. In view of this, some selected songs of 
Paul Odi of Igala North Central Nigeria will be x-rayed to situate him 
among other oral poets whose songs serves as agent of social control 
among other things. The paper therefore concludes that, there is a 
need for increased social awareness and patronage towards proper 
artistic appreciation of traditional music/songs in a globalised world. 

Introduction 

It is evident within the contemporary African cultural milieus that most of 
the African youths in the 21st century inadvertently ignore to pick interest 
in listening to contents and messages from traditional African songs/music 



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despite its contribution and relevance towards national development. The 
reason(s) for this may not be far to fetch. This is in view of the fact that, 
in contemporary epoch, traditional songs/music is often not set apart from 
its social and cultural context. In a similar vein, at the mentioning of 
traditional songs/music, most African youths out rightly perceive it as 
something that shouldn’t be mentioned on the tabloid of African
entertainment in this modern time. Majority of the African youth often 
consider traditional songs/music as ‘primitive’ and ‘archaic.’ Some argue
that their interests in listening to traditional music are persistently marred 
as a result of its language and lack of modern instrumentations and 
ideology. This perhaps seems to be one of the reasons Mariam Iye and 
Godwin Onuche agreed that there is conceptual confusion and 
misinterpretation about traditional medium of communication. In their 
opinion, at the mentioning of the term ‘Traditional’ the general view or
notion indicates that traditional songs/music is something out-dated or 
primitive (128). Extrapolating from this view, it is disheartening to note 
that right from the outset; traditional songs from Igala land have suffered 
a tremendous setback. This is in view of the fact that traditional songs in 
African society are yet to assume both national and international 
colouration. To buttress this point, Baba Ojonugwa opined that, each time 
Igala music is played, some Igala sons and daughters ‘frown’ and
‘makeface’ (iv). It may be agreed as an established fact that oral poets are
entertainers and subsequently agent of social control.  

Paul Odi of Igala North Central Nigeria is one major Igala traditional poet 
whose songs continue to be relevant in contemporary Nigeria society till 
today. The lyrics and thematic preoccupation of his songs if properly 
interpreted and applied can contribute to attitudinal change towards 
making the society better. Paul Odi poetically uses his songs to address 
political issues vis-a-vis people’s plight and the socio-cultural conditions 
of the African people. He was often prophetic in his songs. For example, 
in his collection of songs titled Eli gba mi kedo which was sang around 
1980s, when Buhari became the military Head of State, Paul Odi 
vehemently condemned corrupt practices via his songs. He categorically 
appraised Muhamodu Buhari as his government has a zero tolerance for 
corruption. He equally enunciated the fact that if one indulges in corrupt 
practices especially in Buhari’s government, there is every tendency that,
he or she may end up in jail. Many at that time thought it was a mere song 
sung by Paul Odi in his traditional dialect that may not have national 
interpretation or international colouration in terms of its contents and 



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instrumentation, but lo and behold, in this contemporary epoch especially 
in the 21st century, president Buhari is currently a Nigerian civilian Head 
of State still maintaining zero tolerance for corruption. People are often 
cautious in indulging in sharp practices. Peradventure one is caught in the 
act; the fellow may face the full wrath of the law. It is in view of this 
known fact among others that this research is out to investigate how 
relevant Odi’s songs are in terms of its hermeneutics, cultural exchange
and its socio-political preoccupation using a 21st century approach in 
cautioning nefarious attitudes of the masses towards a better society. 

Igala people and their Origin 

It is imperative in the course of this research to be acquainted with the 
Igala people and their society. The paper paradoxically dwells on the 
traditional songs and music of Paul Odi, a singer of Igala origin. 
Historically, Tom Miachi opined that, a history of the Igala on its own and 
in the context of the history of Nigeria is yet to be written (74). Tom 
Miachi citing Boston enunciates that,  

Whatever is known of the historical background of this people (Igala) 
who has exerted so much influence in the political, cultural, and 
economic life of the peoples of the Niger and Benue valleys has come 
mostly from oral traditions rather than from archaeological or written 
evidence (75).   

The above assertion underscores one of the reasons we delve into socio 
political organisation of the Igala ethno-nationality in terms of their 
traditional songs and music. For instance, different versions abound 
historically in terms of Igala Origin. First, there is this perception and 
believe that, the Igala people migrated from (amidst) the Yoruba ethnic 
group. Another is this perception that considers Igala to have come from 
the Jukun, while the third account holds that, Igala particularly the ruling 
class come from the Benin. Be that as it may however, as Brain Dawtrey 
rightly posits, the most definite historical statement that can be made about 
the Igala is that, they had a common origin with Yoruba and that the 
separation took place long ago to allow their considerable linguistic 
differences (21). This claim by Dawtrey is evidently buttressed by the 
facts that, about (40%) of the names of things are similar and the songs 
and musical affinities that exist between the two languages are glaring. 

In a similar way, one of the most populous oral history common amongst 
the Igala is that which says that, Igala came from Benin. This account 
became very prominent and acceptable by some persons owing to the fact 



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that there is Eju beju-ailo (the wooden mask which is always worn over 
the neck of Attah as a symbol of authority and lordship). Dawtrey contends 
in a report that the origin of Igala Kingship was not Jukun but Benin. Brain 
Dawtrey further asserts that, beyond  a certain geographical plausibility, 
we can point to the fact that  the famous  brass mask  by the  act is  most 
probably  of Benin workmanship, that the wearing of bead on the wrists 
as a symbol of chieftaincy is common to Benin  and Igala (23). In the midst 
of all these perceptions of the origin of the Igala people, the position of 
Miachi holds sway; there is still no cogent consensus about the origin of 
the Igala people.   

Theoretical Framework 

This research leans on Oral-formulaic theory developed principally by 
Milman Parry in the 1920s to explain how Homeric epics could have been 
passed down through many generations purely through words of mouth, 
and why formulas appeared in it in the way they did. It is evident that the 
locus classicus for Oral Formulaic-theory was established by the work of 
Parry and his student, Albert Lord on the Serbian oral epic poetry of what 
was at that time part of Yugoslavia, where oral formulaic composition 
could be observed and recorded ethnographically. The Wikipedia, free 
encyclopaedia (on line) reiterates that the theory of oral formulaic 
composition seeks to explain two related issues: one, the mechanism 
whereby some oral poets are bound to improvise poetry and two; why 
orally improvised poetry has the characteristic it does. According to this 
theory, poets have a store of formulas (a formula being an expression 
which is regularly used, under the same metrical conditions, to express a 
particular essential idea) and that by linking these in conventionalised 
ways, they can rapidly compose verse. Paul Odi’s oral formula is Angale. 
Using this formula, Odi explores the social problems of his society. His 
repertoire in oratory covers a wide array of socio-economic and political 
issues even though he is not involved in partisan politics. He brings this 
formula to bear in all of these spheres depending on the nature of the 
performance. Odi as Igala oral poet often calls for peace, unity, and love 
among African people through his songs. 

Odi’s Philosophy and the Thematic Relevance of his songs 

To begin with, it is imperative to note that the concept of Music in Igala 
land is quite different from the European concept. That is why Phrases like 
Iya (play), Eli (song) are at various times used to refer to music making, 
music performance or the art of music in Igala land. Unlike the 



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contemporary political sycophant who often picks delight in praise 
singing, Odi’s traditional songs continue to remain as a social conscience 
of his community and African people as a whole. One major significant 
fact about Odi is the dexterity with which he often uses his songs to report 
and comment on current affairs and politics in Nigeria. He also believed 
in using his songs to reflect and subsequently mould public opinion (oral 
interview). Corroborating this view, Baba Ojonugwa opined that, 

The norms and values of the traditional Igala Society are handed 
down from one generation to the other by oral means; music being a 
dynamic medium is used to pass this down and to subsequently 
enforce these values. Some Igala lyrics advice people on how to live, 
walk, relate and to follow socially accepted norms of the land (25).   

Deducing from the above assertion, one could notice that the relevance of 
Odi’s song is often timeless and corrective in nature. His songs are often
epigrammatic and metaphorical in its efforts to correct societal ill. Odi 
once used his songs titled Eli gba mi kedo (Song Embraced me) to examine 
Buhari’s Political power in the 1980s when he condemned greed,
corruption, exploitation and poverty in the midst of abundant natural 
resources in Nigeria. 

Juxtaposing the dexterity of Odi and Uko Akpan of Ekere of Akwa Ibom 
State for instance, one may contend that Odi and Uko Akpan shared a 
similar vision in their music career and proficiency. This may underscore 
why Uwemedimo Iwoketok appraising the philosophy and oral poetic skill 
of Uko Akpan reiterates thus: 

There is hardly any of his compositions that does not have idea of 
unity, harmony, and peace expressed either implicitly or explicitly…
his years of commitment to the art, affirm his philosophy that 
folksongs should not just amuse or entertain but should arouse the 
consciousness of the audience towards positive change for a better 
society. In other words, he perceives folksongs or ‘sung poetry’ as a
formidable instrument for achieving socio-political and cultural 
equilibrium (23). 

Comparing the above assertion on Uko Akpan with Paul Odi, one may not 
be out of place to say that Uko Akpan and Paul Odi shared in the same 
ideology. Baba stressed further that, Music is the greatest weapon of mass 
mobilisation on earth (26). Commenting on Paul Odi’s song, Baba
enunciates that, Paul Odi the Angale expert in one of his songs described 
incest as taboo when he sang thus: Igbo ki nw’ulo abia, ifuje: Meaning 
that, Igbo man admired the dog and ate its meat. Again he sang that Obuko 



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ki nw’ulo iye nwu ifu’ hi. This means that, the He-goat admired his mother 
and made love to her. In view of the fact that in Igala cosmology, 
committing incest is often considered as a social taboo and societal crime, 
perpetrators of this crime are often punish, humiliated and disgraced.  
Odi’s songs and music continue to remain a potent tool for social control 
among the Igala North-Central Nigeria. 

Didactic and Hermeneutic Survey of Odi’s Songs 

It is evident that Igala people have influenced a large number of other 
ethnic nationalities over the years with their culture and Kinship tastes. 
Songs and music are vital and very significant to the average Igala person. 
They are fluid with music. According to Festus Ainoko,  

Igala songs, like many others, are usually developed through 
compositions. Some are situational; others are didactic, while many 
are exclusively meant for rites, solemn festivals, and social events. 
Some talented individuals with exceptional music and song prowess 
take to singing as profession, specializing in the various branches of 
Igala music (viii). 

Traditional Songs among the Igala are often noticed in various branches 
such as Angale, Agwom, Ogba, Ibele, Alo, Abele, Idologo, Iya Ogwu, Igba, 
Oye, Anukikpo, and Olele. These songs are so important due to the moral 
lessons from those Songs. Within the Igala cultural milieus, songs are 
often used to sensationalise messages, relieve tension, re-vitalise depleting 
strength especially on the farm or while doing vigorous exercise. Most 
Igala musicians generate discussions on contemporary issues and events. 
They run commentaries on any topical development and takes position 
unequivocally. For instance, Ainoko avers that, in 1984 when Buhari 
struck and dispatched President Shagari and his regime to terminate the 
Second Republic, Paul OdI released an album to support the intervention 
of military in the politics of Nigeria (22). The song was occasioned by the 
insensitivity of the NPN government headed by Alhaji Shehu Shagari and 
his cohort who abused power excessively. They allegedly used their 
positions in office to invade public treasury and flaunted the looted wealth 
with impunity. Contracts were awarded arbitrarily to party loyalists who 
normally collect mobilisation fees and abandoned the projects. Non 
payment of staff salaries, political victimisation, partisanship, etc became 
the trade mark of NPN government at all levels throughout the federation. 
In view of this scenario, Paul Odi in his song taunted the corrupt 
tendencies of the ousted civilian government through the use of metaphor. 



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He pictured Buhari as an enraged lion on the rampage in the forest that 
roared and sent gazelles and antelopes to flight. He sang thus:  

Buhari eni ame ya-a-a-a-a! 
Alapa arule, Ogoli arule      

This means that, 
“Buhari echoes a fierce Shout 
And the stag and deer scamper…” 

Also, in another track of the same album dedicated to Buhari’s Coup
against Shagari, Odi taunted the sudden slide in the fortunes of the former 
public office holders in the ousted regime who were playing God 
previously. He passed across the message that the evanescent comforts of 
an office are neither worth relying on, nor corruption worth taken for a 
lifestyle. He sang thus:  

Ama kuma anmo omi ago ojole 
Ama jomo anmo omi Ukode yi 
Todu okowa kuma gbaje… 
Buhari Ona 

The above lyrics means, the men who previously where feasting with glass 
cups 

Now feast and drink with spoons 
Because of our money they embezzled… 
Buhari, you are a man. 

It is evident that most of Odi’s songs are commentaries on social events
and issues. For instance, Odi frown at desecration of cultural practices in 
the land. It was once said that, Ekwe, one of the most revered, sacred and 
dreaded incarnate being of Attah Igala had started gracing Ogba, an 
exclusively entertainment dance gathering. In an interview with my 
correspondent, it was said that Ekwe’s outing should only be for sacred 
occasions and very important function of Attah. Ekwe is not a dance 
incarnate being among the Attah incarnate beings. Apart from Ekwe’s 
ritual and spiritual relevance, its glamorous costume, shape, and gait in 
fashion of a hedgehog do not permit Ekwe to dance. Commenting on the 
relevance of Ekwe incarnate being Tom Miachi in an interview with Chief 
Ebiloma Anekwu supported by Achimugu Ochala avers that, Ojima duu 
k’Ata ne, Ekwe nwo ne ge. Meaning, “All the respect, honour of glory that
the Ata has, are also given to Ekwe.”(282). Because of the spiritual
importance of Igala Kingship, it is dangerous treating certain traditions 
which form the basis of the kingdom’s foundation with spite. Bearing this



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in mind, Odi came out offensively in a track, titled; Chenwu K’Ayegba
ji…  to denounce such sacrilege and reminded those involved of what it 
took Ayegba Omaidoko to establish and preserve Igala Kingdom. Within 
a unique force of poetic skill, Odi lamented the desecration of the 
kingship’s ritual order with the following lyrics: 

Chewnu K’Ayegba ji onwu me tu yi nile! 
O! ile na go yio! Ile! 
Enwu me bie le, ile! 
Odi, again asks rhetorically: 

Meaning:  
Are you not untying what Ayegba Knotted? 
O men! 
I am only making supplication! 
O men! 
You are indeed desecrating the land!  
O men 

In a similar instance, Ata Ayegba Om’Idoko was the most popular king
Igala people ever had. According to Ainoko, Ayegba ascended the throne 
around 500 AD (28). He tried his best possible to expand the territory of 
Igala Kingdom and had even the Igbos as his vassal subjects. Ayegba is 
perceived as one of the classical Igala patriot who used five of his children 
for sacrificial passages to ensure the preservation of his Kingdom. It is 
believed that he introduced many rites and observances in the palace with 
well laid out rules as a central force of the principles for preserving the 
throne of Igala Kingship. He instituted the nine ceremonial Ata incarnate 
beings and two sacred others called Adugbe and Ekwe for critical ritual 
and sacred festivals. These orders have been observed by all Atas who 
succeeded Ayegba until that attempt to abuse it. Odi saw no need for such 
abuse in view of the price paid to institute it and the grave danger that 
follows the abuse. He used his song’s lyrics to document thus: 

Ayegba Om’Idoko ibioma melu, ile; 
Inikpi ma mudu gwaji udeju’deju, ile 
Onojaliga mamudu gwaji udeju’deju, ile 
Ogado, mamudu gwaji udeju’deju, ile 
Omaodoko mamudu gwaji Udeju’deju, ile 
Onojaligbe mamudu gwaji Udeju’deju, ile. 

Odi in the above musical lyrics listed five children Ata Ayegba had to bury 
alive at each threat to the foundation of his kingdom. The above lyrics can 
be interpreted thus: 



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Ayegba Om’Idoko had five children, O men 
Inikpi the princess was buried alive, O men 
Princess Onojoaliga was buried alive, O men 
Princess Ogado was buried alive, Omen 
Princess Omaodoko was buried alive, O men 
Princess Onojaligbe was  buried alive O men.    

Recommendations 

It is disheartening how some scholars and elite who ought to be promoting 
Nigeria’s cultural heritage now frown at the carnivals and festivals which 
are essentially marked by traditional music, dance, and acrobatic display 
in the 21st century. Some of these scholars considered music and dance 
and traditional songs as a mere cultural jamboree considering the huge 
amount of money that are usually spent in the organisation of such event, 
therefore, it should be deemphasised. In view of this obnoxious scenario, 
culture managers, that is, the ministry of Culture, Tourism and National 
Orientation and their parastatals must be alive to their responsibility in the 
promotion and sensitization of traditional songs and music towards 
encouraging national integration. Researchers should do more on 
traditional songs and music which are didactic in nature especially in this 
21st century that most activities are often coloured by the western ways of 
life. There is urgent need to shift attention from where we are at the 
moment, to identifying and carefully adapting nationally-beneficial moral 
lessons from African traditional songs and music. The need to discourage 
pervasive forces of modernity on Nigeria’s cultural songs and heritages
become sacrosanct in the 21st century. 

Conclusion 

It has been observed from the foregoing that civilisation and modernity 
tend to pose threat to the cultural values of the Igala especially as it relates 
to their traditional songs and music. Rev. Father Fedelis Egbunu opined 
that, to give regard and respect to the cultural values does not connote 
primitivity, backwardness, brute-likeness, irrationality, non-sophistication 
or belongingness to the indigenous religious sphere (8). It therefore means 
that cultural values as evident in Odi’s traditional music and songs in its
lyrics and nuances denote positive elements of Igala culture and should be  
regarded as part of the common inheritance of a social group among the 
Igala north- central Nigeria. 

 



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Mariam Asabe and Onuche Godwin. “Reinvigorating the Indegenous Flute in 
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Oyibo, Nelson.  Forms and Content of Igala Funeral. A Dissertation in Partial 
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Onalo, Muhammed (Odi). Eligbami kedo Musical Album. Produced and 
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Onuche, Simon. Personal Interview 12/04/2018. 
Okpanachi, Jonathan Personal Interview 14/04/2018. 
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