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OVUM DANCE AND THE CHALLENGES TO CULTURAL 

STABILITY OF ELELE-ALIMINI IN EMOHUA LOCAL 

GOVERNMENT AREA OF RIVERS STATE 

 

Augustina C. Ezebube & Dan C. C. Agu Ph.D. 

 

Abstract 

his study which focuses on the Ovum Dance and the Challenges 

to Cultural Stability of Elele-Alimini in Emohua Local 

Government Area of Rivers State, explored the historical 

background of the Ovum dance, its origin, musical instruments, as well 

as its membership. Primary data were gathered through observation 

and oral interviews, while bibliographical evidences served as 

secondary data. This study revealed that Christianity, education and 

urbanization played a strong role in the sustainability of the group. 

The Ovum dance group instead of increasing in number, decreased due 

to its traditional belief of using ancestral figures during their dance 

display which was condemned by the Church, Finally, as a way forward, 

the authors presented some recommendations.  

 

Background of the Study 

Music is a cultural expression; every culture has its own music. Musical 

activity is an integral and functional part of the Ikwerre people. Music 

is very essential in all human activities and practices, as it expreses 

their emotions and feelings. Each music has its own cultural content 

such that one man’s sound could be another person’s noise. All through 

the life of the Ikwerre people, public performances take place during 

social occasions, festivals, coronations, cultural dance groups, burial 

ceremonies; all these are marked with music. Akpabot (1986) asserts 

that “one of the chief characteristics of African traditional music is 

associated with social and ritual ceremonies” (p. 1). Agu (2007) agrees 

that “each ethnic group has provided adequate musical activities and 

T 

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training for its community; consequently, the lives of the people are 

surrounded with music and music making” (p. 20). 

 

Traditional music can be described as songs and sounds which 

represent the cultural heritage, aspiration, norms and values of a 

group of people. There is no culture without music, they work together 

to make the society a better place and this make up the society. Agu 

(1990) affirms that “traditional festival anywhere is celebrations of 

the continuity of culture” (p. 17). Anolobi, et al (2015) confirms that: 

 

No community, society, ethnic group that does not 
practice one type of music or the other. Music is so 
common that it is part of human life. As an important 
part of culture (a way of people’s life), it features in 
many activities of man from birth till death (p. 103). 

 
Music is used for religious activities, festivals, ceremonies, teaching 

and learning and in other activities of man. Music serves not only as a 

medium for entertainment and social relationship but as an intricate 

part of development of the mind, body and soul. It is assumed that 

the laws of the land, history of a tribe and accepted behavioural 

pattern in the society are assimilated through music and dance. 

 

Historical Background of EleleAlimini 

EleleAlimini is currently located in Emohua Local Government Area of 

Rivers State of Nigeria. This can be seen in the diagram below. 

 



Ovum Dance and the Challenges....                                    A. C. Ezebube & D. C. C. Agu 

 
 

88 

 
Map of Emohua showing EleleAlimini community 

 

The town share common boundaries with many towns and villages. In 

the east Elele-Alimini, in the West Ekpeye tribe in the North with 

Akpavu people and in the South the Rundele people. Their major 

languages are Ikwerre language and are professional Farmers. They 

have many cultural heritages which includes Ozurumba cultural dance, 

new yam festival, wrestling festival and ovum dance group etc. A 

legendary story claims that the founder of the town was a warrior and 

great hunter named AnyiaWobeme who conquered other communities 

and settled in Elele-Alimini. 

 

The Ovum Dance Group of EleleAlimini 

The group is made up of both male and female from the community. In 

Elele-Alimini, culture is popularly known as Omenaliand that is why 

they usually host the Ovumdance group every year in order to unite 

the community because this is a culture that involves and practiced by 

both Christians and traditional religion worshippers. The people of 

Elele-Alimini cannot forsake their culture because of the love, peace 

and socialization it has brought to the community. Ibekwe (2011) 

confirms that “music is a product of human activities, behaviours and 



Ovum Dance and the Challenges....                                    A. C. Ezebube & D. C. C. Agu 

 
 

89 

experiences, that music provides an enabling ground for the 

transmission of formidable cultural traits” (p. 36). Ovum dance is one 

of the cultural dances of EleleAliminicommunity; there is a legendary 

story about the advent of Ovum cultural dance in EleleAlimini. 

According to Wakirika (2016), Ovum dance originated from Rundele 

community in the year 1964. Historically, Ovum dance originated 

through a mad-man who hailed from Rundele community.  This mad-

man was an orphan who usually hit his hand on his chest like a musical 

instrument. 

 

One day he was moving along the community he began to beat his hand 

in the usual manner (beating his hand on his chest like a musical 

instrument). He began to sing a melodious song ovum mawele-weh aye 

(my heart is passing). This draws the attention of the people within 

the scene. This mad-man usually consoles his self with this music. 

After a while some youth who witnessed the event began to practice 

the song of the mad-man. Laterthey formed a cultural group in 

Rundele community and also one of the most famous cultural groups in 

the clan. 

 

The inhabitants of EleleAlimini usually visit the Rundele community 

during the display of this culture which normally takes place on 31st 

December of every year. In one of the visit from the EleleAlimini to 

Rundele community, they saw the gymnastic display by the dancers and 

drummers, the people of EleleAlimini saw the importance of the 

culture, so they have to copy this dance and brought it to their 

kinsmen and it was unanimously accepted by the people of EleleAlimini 

in general. The cultural dance was first performed in EleleAlimini on 

5th of March 1964 at Mr. Mbar’s compound in Mgbu –anyem village. 

Onuorah-Oguno and Nwamara (2014) affirm that: 

The present generation can learn a lot about the past life 
and values of his community by listening to and taking 
part in folklores. Through folklores, proverbs could be 
taught and better appreciated in schools because 



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examples are drawn from the child’s immediate 
environment (p. 116). 

 

Membership 

At the formation of the group in 1964, membership was open to young 

men and women of the community who are of marriage age and 

represent their family’s ancestral beliefs. Libations are poured for 

these idols in their family shrines before using them for any 

performance. Admission into this group was free, only a bottle of hot 

drink was required of the intending members. Rehearsals take place 

once a month at Mr. Mbar’s compound in Mgbu-Anyem village of Elele-

Alimini but the performance proper takes place on 31st of December 

every year at the market square. In the organizational structure, they 

have the president, secretary and treasurer. The appointed 

executives take care of the affairs of the group in order to maintain 

law and order and for the growth of the group. 

 

Musical Instruments of the Ovum Dance Group 

Before the introduction of African musical instruments in the groups, 

empty containers were used as musical instruments. The most vital 

part of this culture is the musical performance which includes the 

instrumentalist and the singers. Ovum dance does not have particular 

singers both the instrumentalists and the dancers sing while 

performing. The sound of the musical instrument motivates the 

spectators to dance. The musical instruments used include Rattle 

(Oyo), Xylophone (Ngelege), Bass drum (Nkwa), and slit wooden drum 

(Okwo). Vidal (2012) emphasizes that: 

Musical instruments are used to make music, to recite 
people’s praises, to signal danger, to warn people of 
curfew and to announce the arrival, departure or death 
of important personalities and the commencement or 
conclusion of important events including festivals (p. 51).  

 
 

 



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Musical Instruments of Ovum Cultural Dance of EleleAlimini 

Two Bass Drum (Ikenkwa/Eseni) 
They are single headed membrane drums made from coconut tree 

hallowed at the centre and closed at one end by a membrane 

stretched across its rim and fastened with pieces of wood in nail-like 

form. They are two in number big bass drum (Ikenkwa) and small bass 

drum (Eseni) it has a cylindrical shape. It plays alongside the leading 

instrument in Ovum cultural dance of the Elele-Alimini people. The 

drums are played with bare hands. Chukwu (2011) states that “the 

membrane drum plays both melodic and rhythmic roles, hence, the 

membrane drum play is a melo-rythmic instrument. African membrane 

drum is normally used as a singing or talking musical instrument” (p. 1).l 

 

 
Two Bass Drums (Ikenkwa/Eseni) of Ovum Cultural Dance kept on a 

plantain stem 

 

Xylophone (Ngelenge) 

It is classified under idiophone family made frompalm tree which is 

shaped into different sizes and placed on top of two log of plantain 

sucker to produce different sound or tone. It is the lead instrument in 

Ovum cultural dance. It cues in other instruments during performance 

and also guides every other instrument to produce a harmonious sound. 

The slabs of the xylophone are kept on the stems of plantain which 

serves as a resonator in order to produce a better sound when the 



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instrument is played. A long stick was also used to clip the slabs to the 

plantain stems so that the slabs would not shift from its position. 

 

 
Xylophone (Ngelenge) of Ovum Cultural Dance 

 

Slit Wooden Drum (Ikwirikwe) 

It belongs to idiophone family. It is also carved from palm tree to 

produce sound. It is played along with the bass drum in accompanying 

the xylophone which is the lead instrument. The instrument is also 

placed on plantain stem to produce a melodious sound.  

 

 
Slit Wooden Drum (Ikwirikwe) of Ovum Dance 

 
 



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Ichaka (Usara) Baskets Rattle 

It also belongs to Idiophone family, a basket made rattle which 

contains pieces of concrete. They are two in number tied together like 

twins. They are held by a player which is usually shaken to produce 

musical sound. The rattles are usually played together with the bass 

drum, slit wooden drum and the xylophone.  

 

The rhythm produced by these musical instruments spurs the Ovum 
dance group into action. The dancers bend forward, thrust their 

buttocks and shake their waist region and the buttock vibrates. 

Kansese and Abray (2013) supports that: 

 

A skillful dancer accomplishes these movements with so 
much ease as if the waist and buttocks are moving on 
their own accord without the dancer’s effort. While 
these movements are going on, other parts of the 
anatomy like the shoulders, hands, face are seen 
executing other contrasting movements (p. 327). 

 
The rhythm of the music also attracts people from neighbouring 

communities to visit the community, watch their performance and also 

participate in the dance. 

 

Ovum Dance Performance 

Ovum dance is performed once a year on the 31st December of every 

year. Dances are displayed or performed when a song that is 

connected to the spirit they represent are sung. The dynamic style of 

Ovum cultural dance is what makes it unique among the cultural dances 

in Elele-Alimini. Formalized dance is the main dance pattern of the 

Ovumdance group. The Ovumdancers usually display their dance one 

after the other by holding an ancestral figure (gods they represent) 

while dancing. The carved figures represent gods and goddess this 

include, NwababyNeh-riakara (A maiden eating akara), Odah-chaneluh 

(rapped fruit) womami (Rivers godess), OgechiNukwe (Worn bead), 

Niri-Nwerelagos (city lady), Asor-durawhu –gbakuru, (Run for your 



Ovum Dance and the Challenges....                                    A. C. Ezebube & D. C. C. Agu 

 
 

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life), ogba-ochinukwe (bare foot dancer the rapper)   these carved 

objects is usually held by the dancers on their hands to perform one 

after the other. The Ogbaochinukwe is the lead dancer who usually 

performs last. Before his arrival, pieces of clothes are usually spread 

on the path way with his bare foot he performs to entertain the 

audience. 

 

Ovum Ancestral figures 

 

Ovum is a tool of consoling sorrows though one major significant of 

music is to console sorrow. If one is depressed, by listening to music 

can help in to remedy such depression. Dance implies movement of the 

body more than the feet. One of the most important aspects of dance 

is that it is a form of communication between dancers and musicians, 

between singers and drummers, instrumentalist between performers 

and audience and between communities and ancestors, the 

supernatural beings upon whom their human welfare and survival 

depends.  

 

Challenges ofOvum Dance  

Christianity  

The ovum dance is purely an African traditional culture, their dancing 

styles and singing pattern is similar with other cultures in African 



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society. Although before introduction of ovum dance majority of 

EleleAlimini people worship ancestral figures,gods/goddess such as 

Amadi-Oha, Ojuku, Igwekala respectively.During the days of their 

forefathers, sacrifices of animal/human are usually made to thank the 

gods/goddess of the land for their protections and long life especially 

during Ovum display period. This is the main reason why they accepted 

the ovum cultural dance because it is in line with their faith, the ovum 

cultural dance has ancestral figures which represent gods and goddess 

of different family in EleleAlimini. Sacrifices of animal such as fowl, 

goat and dog are performed in the bush to appease the gods of the 

land for peace among the members of the Ovum cultural dance. After 

which all the members both old and young cook and eat the remains 

from thesacrifices, this exercise was enjoyed by the people of 

EleleAlimini in those days.  

 

 
Founding Members of theOvum Cultural Dance on 31st of December 

1964and each member holding the ancestral figure which represents 

the gods of each family 

 

When the Christian religion began to expand in EleleAlimini, they 

preached against ovum ancestral figure. According to the holy Bible, 

(Leviticus: 26:1) you shall make for yourselves no idols and erect no 

graven image or pillar and you shall not set up a figured stone in your 

land, to bow down to them, for I am the LORD your God.Because of 



Ovum Dance and the Challenges....                                    A. C. Ezebube & D. C. C. Agu 

 
 

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this verse in the Bible which the preachers emphasized onovum 

cultural dance lost most of their members, spectators, Ovum dance 

and its significance and popularity reduced. The remaining members 

abolished the ancestral figure because everyone has joined the 

Christian religion and people no longer value Ovum cultural dance only 

the old members who are alive still value the culture. The youths and 

children no longer have interest in the cultural dance. Those who 

embraced Christianity conceiveovum cultural dance negatively and 

regard the dance as performance performed by pagans. The teaching 

of the scripture by the indigenous ministers in the community has 

sunk deep into the people that many cultural practices and beliefs of 

the people are now abandoned for the sake of the gospel. Gberegbara 

(2005) confirms that “as Christianity spread, the converts continued 

to receive spiritual teaching that really affect various traditional 

beliefs and custom of the people” (p. 142). At this juncture, there is 

need to look at some of the basic Christian teachings that affect the 

Ovum Cultural Dance. 

 

Education/Urbanization 

Education enlightened them in many fields of endeavor and many 

moved from rural area to urban area. Today in the community many 

have grown up to occupy high positions in both public and private 

sector. Onuorah-Oguno (2011) posits that: 

Today, there is a shift of people to the cities, those that 
still reside in the rural areas no more engage in the 
moonlight activities as a result of what we term 
civilization, television and cable networks have taken over 
(p. 203). 

Many sons and daughters of Elele-Alimini are now educated and occupy 

different positions in government parastatals. 

 

Education is the bedrock of every society. Christianity and education 

came together. During the missionary era, they used secular education 

as a strategy for conversion. Many sons and daughters of Elele-Alimini 

availed themselves of the opportunity offered by the Christian 



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churches to attend school and this exposure assisted them to be 

educated and confident to read and write also, to read and interpret 

the bible. Fafunwa (1974) in Gberegbara (2005) supports this fact 

that: 

The primary objectives of the early Christian 
missionaries was to convert the “heathen” or the 
benighted African to Christianity via education, 
knowledge of the bible, the ability to sing hymns and 
recite catechism as well as the ability to communicate 
both oral and in writing were considered essential for a 
good Christian (p. 167). 

 

 

Ovum Dance Group Songs 

1. Ovum Ma 

Folk song English translation  

Ovum-Ma 
Ovum-Ma-whelewey a-eh 

My heart is passing 

My heart is passing 

 

 

 
 

 

 

 



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2. NwaaMami 

Folk song English translation  

NwaMami lee biawawey (3x) 

NwaMammyna-ta-akara lee 
biabiawa wee 

Marine spirit is coming (3x) 

Marine spirit that eats akara 

is coming. 

 

 
 

 

 

 

 



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3. Oyo Nwa 

Folk song English translation  

Oyo nwanwa mama lee 
Oyo nwanwa mama lee 
Stephenbu-wanamuoOwee(2x) 
WanalusiWananiyah saw 
Lum wee. 
Wanalusiwayaniyah saw 
Lum wee (4x) 

Handsome boy of the mother 

(2x) 

Brother cannot marry 

The sister, he would have 

marry me. 

Brother cannot marry the  

Sister he would have marry me. 

 

 
 

 

Summary 

Ovum dance past and present can be compared with, the spectator, 

drummers, members population has been reduced drastically. When 

Ovum dance was introduced, people from neighboring communities 

(Rundele and Rumuekpe) usually visit EleleAlimini to watch the 



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performance, but with the introduction of Christianity; people have 

lostinterest in Ovumdance group. 

 

In the present day, to host ovum cultural dance has become a problem, 

the founding members are aged both men and women, young 

men/women (youth) are not interested to join the cultural group for 

continuity. Modern civilization has seriously brought about some social 

changes in Ovum cultural dance. More so the coming of Western 

civilization has brought some changes in the society in which Ovum 

cultural dance is found just as every other part of the society is 

affected. The society and Ovum dance in particular has been so 

affected because the society is dynamic rather than static and so 

changes become inevitable. 

 

As of today, the response of people to this great cultural dance is no 

longer the same as it used to be in the past. Some parents no longer 

attach any value to this unique festival. As a result they find it very 

difficult to allow their sons and daughters to participate in the 

festival. This is so because of the intrusion of “western civilization” 

and its religion, which has robbed us of our cultural heritage. 

 

Conclusion  

Ovum cultural dance benefit the people of EleleAlimini in so many ways 

such as entertainment, religion worship, exercise and recreation. It 

also helps to transmit the norms and value of the land from one 

generation to another. During this festive period, the members usually 

meet at the chairman’s house to discuss the welfare of the dance 

group. Also, refreshments are shared to the members according to 

seniority ranging from the oldest member to the youngest 

member.This current tradition has been transmitted to the younger 

generation of the Elele-Alimini community. 

 

This cultural dance and the music has contributed immensely to the 

development of the EleleAlimini as such should adequately be 



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recognized in other to maintain its standard. The culture should 

remain the pride of EleleAlimini people.  

 

Recommendations 

In view of the above findings, the authors recommend that Ovum 

cultural dance should be revived in order not to go into extinction. The 

youths should take up the challenge to join the few members that are 

alive and the musical instruments used in the cultural performances 

should be well preserved. We further recommend that the Emohua 

Local Government Chairman should support the group and help to 

ensure that the advent of Christianity through education should not 

be allowed to destabilize the group and also that the ancestral figures 

representing different families should be accommodated in some way, 

rather than their total rejection. 

 

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