




































 

 
117 

MUSICAL ACTIVITIES OF WOMEN IN ANNANG CULTURE OF 

AKWA IBOM STATE  

 

Ekaette C. Udok 

 

Abstract 

his work focuses on the musical activities of women in Annang 

culture with its main objective to critically study the music of 

Annang women and collate ethnographic and ethnology materials 

into a coherent body of knowledge on music practice, behavior and 

concepts in the society. The method used for the study is 

multidimensional - historical, descriptive and analytical approach to 

assess those basic principles and organization that are common in 

indigenous musical culture of the Annang people. Facts for the 

compilation of the work were drawn from both primary and secondary 

sources and from interviews during fieldwork experience. The study 

also examined the extent in which musical activities play its role in 

maintaining social, culturalin the society. Through interview and 

findings, it is realized that a lot of things has changed. Most cultural 

activities and seasonal events like fattening process of mbopo and 

(new yam, cassava, and ebre festivals) which call for the statutory 

musical performance yearly by women in Annang culture are fast 

disappearing.  Among other things, it is observed that though some 

annual festivals like new yam and puberty rites which drew women 

participation to the event are almost extinct, the musical activities by 

women are still prominently performed during marriage ceremonies, 

funeral rites and coronation of chiefs. Suggestions were as well made 

for the sustenance of the culture.  

Keywords: Musical activities, culture, Annang, women performing 

groups, festivals, change. 

 

T 

 Awka Journal of Research in Music and the Arts (AJRMA) Vol. 13 2019 



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Introduction 

The Annang people of AkwaIbom State like any other African 

community are vested with rich musical culture transmitted orally by 

their progenitors to the future generation. Yet some cultural traits 

retained by various musical groups are almost disappearing without 

being heard again.Therefore, the study of Annang music in the global 

world is to view the musical activities of women past and present as a 

reflection of that particular group with its connection to all social 

elements in life. This implies that during the pre-colonial times the 

indigenous musical arts such as asianubaikpa, ekang, enin, atamma, 
asianakan-anwan, ikem, oko, nkaurimakpo, utu-ekpe,ekpoonyoho, ekong, 
atat, ebre, ibanisongesit, and ndokufokebeplayed significant roles in 

maintaining the musical culture of the entire Annang people.  Such 

cultural groups existed for both men and women, and were usually 

based on the indigenous artistic work set by the people of the area to 

form part of their culture. There are many other traditional musical 

genres in Annang apart from those mentioned above, but the 

peculiarity of the musical performance and the traditional instruments 

used; gives that performing group a distinct identity.  

 

However, as the culture is dynamic or active, many indigenous musical 

groups get transformed. Likewise, the state of the Annang women 

musical groups evolved from the original setting to the present 

standard which has come to stay as important socio-cultural group 

known as ibanidung. These changes are to meet up with the 

contemporary society. So with the gradual evolutionary social change, 

musical arts become the most indispensable part ofsuch cultural 

differences. The music of the Annang women group has inevitably 

given credit in the expression of ethnic identity, and also expressed 

historical facts through song text to construct identity in a modern 

society.The study lays emphasis on documentation of cultural and 

social context of music as an aspect which goes beyond the mere 

sound production, and it adopted the practical approach on fieldwork. 

 



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Location of Annang 

The Annang people are found in AkwaIbom State. They are part of 

the South-South coast of Nigeria; which by 1946 during the regional 

era in Nigeria the present AkwaIbom State was categorized under 

the then Eastern Region with headquarters at Enugu. Other states 

such as Cross River, Enugu, Abia, Imo, Ebonyi, and Anambra and State 

were under the same region.  

 

Annang is one of the thre major ethnic groups in AkwaIbom State 

with eight local government areas as shown below:  

Ethnic/Dialectical 

Group 

Local Government Areas 

Annang Abak, EssienUdim, EtimEkpo, Ika, 

IkotEkpene, ObotAkara, OrukAnam, 

Ukanafun (8).   

The distribution of the local government areas in AkwaIbom State 

according to the ethnic and dialectical groups: 

Source: A Compendium of Annang Culture. 
Edited by Patty Ineme and Joseph Udondata. 

 

 
Map of AkwaIbom State showing three dialectical groups 



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Historical Facts on the Origin of Annang 

The writings on the Annangseems to bear similar origin and migration 

with Ibibio, but there are some specifications on the important issues 

concerning both groups. To trace the origin and migration of a 

particular group, sometimes poses problems especially where there is 

no authentic prove of records in form of written document, 

archeological materials or dynastic system of government. By origin 

and historical findings, Ibibio is an umbrella name that represents 

those occupying the land of AkwaIbom State and beyond. Exploring 

into the root and migration of the people shows that, Ibibio is a 

generic name for all other sub groups in AkwaIbom. 

 

Much work of the early historical writings on the Ibibio including 

Annang according to Abasiatai (1987) and the sub-groups are mostly in 

the works of the foreigners like G.I. Jones, A. J. N. Latham, K.K. Nair. 

Though in a rudimentary form, the sources available for much writing 

in many cases before 1900, are of the oral tradition. So since it was 

not properly documented in the early centuries, the information 

becomes distorted because the theoretical framework was based on 

oral tradition.Hence, writings on Annang and Ibibio origin from both 

indigenous and foreign writers have brought serious argument on the 

issues. Ekong (2001) states: 

Several attempts have been made to trace the origin of 
the Ibibio and (Annang). As the Ibibio had no written 
records, it has been very difficult to obtain a reliable 
historical source from where its origin could be 
traced…nevertheless, using the linguistic approach, the 
Ibibio language has been classified under the Sudanic-
Niger-Congo group with its root traced to some of the 
Bantu dialects (p.3). 
 

The scanty written document from foreigners in different fields of 

studies has helped the indigenous writers to have bird‟s-eye view on 

the subject. Ukpong, Akpan and Akang (2001), in „Ikono: The cradle of 
Ibibio nation (Historical Origin and Cultural Heritage)  assert that in 



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1894, Sir Roger Casement, a British explorer arrived the coastal 

waters of Ibibioland and carefully explored the hinterland of Ibibio 

speaking areas for three and a half years on behalf of the British 

Government and in his report stated that, “The Semi-Bantu people 

called Ibibio South – East of the Niger comprise of the Ibibio proper, 

Annang, Eket, Ibeno, Ebughu, Eastern Andoni and Efiat as indicated by 

their dialects” (p.25). In a similar comment, they declared that 

“British consul- Sir Henry Johnston after carrying out a research 

study on Bantu people, concluded that the Ibibio are Semi-Bantu 

people who inhabited the Cross River (AkwaIbom) under the names of 

Efik, Annang, Eket, Ibeno, Andoni, Efiat and Ebughu” (p.25). 

 

Abasiattai (1987) also notes that British scholars on anthropological 

studies like “Talbot, Jeffrey, Jones, Forde and David Crabb are 

invaluable for historical reconstruction since they contain useful oral 

traditions no longer easy to collect. They also formed part of the 

written sources available for…. the twentieth century in Nigerian and 

British archives” (p.49). He mentions that another field of study 

which helped significantly in the re-construction of the (AkwaIbom) 

state‟s history was linguistic studies through the work of Huge Goldie, 

Joseph Greenberg, Jan P. Sterk, Harry H. Johnston. W. Thomas and 

others. 

 

According to Forde and Jones in Ekong (2001), the six major sub-

groups which make up Ibibio race are: Eastern or proper Ibibio, 

Western Ibibio or Annang, Northern Ibibio or Eniong, Delta, Ibibio or 

Andoni, Ibeno, Riverine Ibibio or Efik and Southern Ibibio or Oron. 

The division of Ibibio into six major sub-groups as above is relative to 

their geographical locations and dialectical differences. Presently, the 

six sub-groups of Ibibio mentioned above have been merged into three 

major dominant sub-groups for administrative convenience. There are 

Ibibio proper – central Ibibio, Annang-Western Ibibio, Oron and (Efik 

now in Cross River State) Riverine Ibibio. The state of migration of 

Ibibio and Annang as one stock is asserted by Edet Udo (Who are the 
Ibibio?), EkongEkong (Sociology of the Ibibio: A Study of Social 



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122 

Organisation and Change) and EdetUkpong (Enquiry into Culture: 
Ibibio Names).  

 

Ukpong (2007) states, „It must be emphasized that the Ibibio 

migration into Nigeria was part of the Bantu expansion‟ (p.2). In a 

similar consideration, Ineme and Udondata in their writing on Annang 

history assert that Annang people trace their ancestry to Bantu 

warriors and Zulu hunters in East Africa. 

 

To affirm the assertion that Ibibio, Annang and other sub-groups are 

from one stock Umo-Faithmann (1999) in the preface of his book 

„Ibibio Jews of Nigeria‟ states, „The knowledge that the Ibobio 

including Annang, Efik, Oron, EketAndoni and Ibeno sub-groups that 

originated from Israel, the stock of Abraham is inherent in all well 

informed citizens of the old Calabar Province of the Eastern region of 

Nigeria‟ (p.vii). However, Ukpong (2007) in his own view asserts that 

Ibibio migration into Nigeria was part of the Bantu expansion through 

which the Ibibio language and some of their customs evolved. During 

migration some settled at Ibom in present day Arochukwu, before 

passing to their present homeland- northern, southern, eastern, 

western, inter-land and riverine areas. 

 

All the above opinions have given a clear evidence to believe the 

report of the foreigners and indigenous writers that Ibibio and other 

sub-groups are from one stock. Confirmatively, Ukpong (2007) finally 

notes, „it is clear, in the light of the foregoing that the Ibibio, Annang 

and Oron have a common origin. The Annang split from the main Ibibio, 

whereas, the Oron, an Afaha (Ibibio) people in the Cameroons, 

migrated directly from there to their present homeland in AkwaIbom 

State of Nigeria‟ (p.5). 

 

It is the dialectical differences that have created some impression in 

the mind of the people that the Annang, Oron and Ibibio are different 

ethnic groups. Whereas according to Udo (1983),  



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It is universally known that the differentiation of a 
language into dialects is due to movements of people from 
the centre of a common origin to various areas of 
settlements. This needs no further explanation since we 
know that the Annang of the Abak Division speak slightly 
different from the Annang of the IkotEkpene Division 
(p.90). 

 He further states, that in most serious cases during the age of tribal 

politics, a willful distortion and fabrication of facts was framed to 

wrongfully support a particular point of view for political gain. He 

adds, “…though there have never been serious arguments that the 

Annang are not a stock of the Ibibio, there are a few Annang 

politicians who feel that they would gain politically and economically by 

saying that the Annang are not Ibibio” (p.83). He confirms his 

comments that 

 Some educated Annang believe that they are a common 
stock with the Ibibio. For example, Dr. Reuben Kenrick 
Udo …stated in 1961 that Otoro is the dialect group of 
Ibibio. And Dr A. A. Udo … has written that it is generally 
believed that the entire group forming the (former) 
South Eastern State belong to the Semi-Bantu group… 
the Annang have the same history of migration as the 
Efik-Ibibio. He means, in other words, that the Efik, the 
Ibibio and the Annang have a common origin (p.86).  

Ntisong Sebastian Umoren quoted by Ukpong, Akpan et.al. (2001) 

asserts that Ibibio is an umbrella name for the central Ibibio, Annang, 

Oron and Efik including other smaller groups such as Ito, UkwaIbom, 

ItuMbonuso, Okobo, Efiat, Mbo or Eastern Andoni that belong to 

„okopusem‟ or the Pan-Ibibio nation. In his opinion, similar to that of 

Udo (1983) is that it is politics that has made some Ibibio sub groups 

to deny being Ibibio and thus search for independent identity, all the 

dialectical groups so mentioned are more often than not referred to 

as „Ibibio‟. Hence, there is not much difference in the belief systems, 



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124 

norms and values and social organizations of Annang and Ibibio groups 

apart from the dialectical differences.  

 

Who are the Annangs? 

The Annang is a dialectical group generally used to describe the 

people, speaking a variant of Ibibio dialect. “The Annang is occupying 

the Western territory of Ibibio country, former IkotEkpene and 

Abak Divisions” (Ukpong, Akpan et.al 2001: 119). According to 

ObongMboh in Ikono: The Cradle of Ibibio Nation: 
 the people called Annang today are a section of the 
Ibibio who were given to intolerant behavior towards 
other members of Ibibio family especially during 
moments of provocation” (p.119).  

Udo (1983) also states that Annang means warrior or one who is 

full of bravery. In his words, the western Ibibio (Annang) are 

always proud to be called Annang because of their bravery. He 

also describes the Annang as a sub tribe of Ibibio. 

 

It is believed that Annang is a common stock with Ibibio and indeed 

another name for Western Ibibio. In Ukpong, Akpan et al (2001) so 

many people aired out their views to back up this assertion, such 

people are: Reuben Udo, he stated in 1961 that Annang is the dialect 

group of the Ibibio. Similarly, another Annang man Udo Essien Udo 

confirmed the origin and meaning of the name Annang, that: “The 

Ibibio and the Annang are of the same ancestral father, ibom, having 

same history and a common origin with the Efik-Ibibio” (p.121). 

Another writer, Dr. A. A. Udo of the Department of Sociology and 

Anthropology in the University of Calabar commenting on the origin 

and migration of the Annang in 1971 states, „the Annang have the same 

history of migration as the Efik-Ibibio‟ (p.123). Noah (1980:64), 

Northrop (1973), and other recent publications by Reuben K. Udo 

(1961), A. A. Udo (1971), M.E. Noah (1980), A. Esen (1982), E. A. Udo 

(1983), M. Abasiattai (1987), F. U. Nssien (1991) and many others have 

supported the fact that Annang is a sub family of Ibibio. This 



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assertion has laid to rest many arguments and controversies about the 

origin of Annang and Ibibio. 

 

However, the Western Ibibio speaksAnnang - a variant of Ibibio 

language and this make Annang a separate dialectical tribe from the 

Ibibio. It is similar to the Igbo language, which becomes divergent 

into Awka, Oratta, Ngwa, Etche, Assa, Ndoki, Ikwere, Abam, Aro, 

Owerri, Nsukka, Ohafia, and Onitsha. The Annang group comprise of 

the following eight local government areas: IkotEkpene, Abak, 

EssienUdim, ObotAkara, Ika, EtimEkpo, OrukAnam and Ukanafun. 

 

Annang dialectical/ethnic group with its 8 local government areas 

Annang Population Distribution and Densities as shown during 2006 

National Population: 

S/N Local govt. 

area 

2006 

population 

Area(km2) Persons/

km2 

1. Abak 139,090 251.842 552 

2. EssienUdim 192,668 295,447 652 

3. EtimEkpo 105,418 159,925 659 



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4. Ika 72,939 113,600 642 

5. IkotEkpene 143,077 128,109 1,116 

6. ObotAkara 148,281 227,368 652 

7. OrukAnam 172,654 511,727 337 

8. Ukanafun 127,033 254,352 499 

Source: A Compendium of Annang Culture (p.33). 

 

Music in Annang Culture  

Music just like language has an important role to play in cultural 

preservation and identity of Annang people. In African culture, it is 

well known as an integral part of the life for every individual from 

childhood to adulthood. Similarly, in Annang culture, every stage in life 

is occupied by one musical activity or the other. It is the music that 

acts as mirror to the social event of the society. It is music of a 

particular group that shapes the social structure and processes of 

such group.   

 

Music as one of the major symbols for cultural expression is an 

instrument through which people articulate their ideas, feelings, 

thoughts and sentiments. According to Okafor (2005); “it is a societal 

experience shared by all which are employed and demanded in life 

processes, mechanism and programmes” (p.88). Music in traditional 

African context is more functional than the Western world with the 

outstanding characteristic of being associated with the social, 

cultural, political and religious events. The African concept of music is 

totally different from the Western one, as traditional African 

musicians do not seek to combine sounds in a manner pleasing to the 

ear alone, but simply to express life in all of its aspects through the 

medium of sound and gestures.  

 

The African musician does not merely attempt to imitate nature by 

music, but reverses the procedure by taking natural sounds, including 

spoken language, and incorporate them into the music. To the 

uninitiated members this may meaningless, but in fact each sound has 

a particular meaning. It is a common fact in every culture.Among 



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theAnnang people as it is the general phenomenon to all Africans, the 

musical culture of the people is so rich in such a way that life cannot 

be complete without music.   

 

There is no occasion, function or event that can hold with great 

ecstasy and appealing without musical performance. Traditionally, it is 

the music of a particular society that identifies the culture of the 

place and transmits the norms, values, philosophies and societal ideas 

to the future generation. The role of music and its effects on the 

people of Annang embraces all sort of social, cultural and religious 

activities and this has a great influence on the lives of the people.  

 

Fieldwork Approach on Various Musical Genres in Annang Culture  

During fieldwork, it was found that there are various music and social 

groups which are common in Annang and are based on gender and age 

grades. Different events provide opportunities for musical 

performances both for male and female gender groups. Ukpong (2014) 

rightly spelt out the three categories of musical genre in Annang 

culture to include male, female, and mixed group categories. He named 

some of the male musical groups to include ekpo, abon, utuekpe, 
ekoong, akpawod, ataad, ikud, nabo, atabadia,ikonisongAnnang, 
etokadioadio, ekpamkporo,(ekpa), and ese.While the female gender 
groups are: abang, asianakananwan, asianubaikpa, akporo, abre, 
mbopoand others that are extinct. The musical genres for mixed 

gender group are: offiong, utaand others. The area of concern for this 

study is on the female groups that have existed and those that are 

still in existence. Information was gathered through interview of 

women from (Oku Abak, MbiabongIkpe) while the contemporary 

women group (ibanidung) of UkanaAkpautong performed when visited. 

Facts concerning the following women groups were derived in the 

field: 

i) Ebre    
ii)Asian akananwan 
iii) Asian ubaikpa 
iv) IbanIsongIdung 



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Ebre Women Group 

Ebre was a club /esoteric group meant for only married women of 

good reputation. The name ebremeans water yam (a type of yam 

cultivated by women and designated by male counterpart mainly for 

women in those days). Hence, ebresociety derived its name from the 

fact that their meetings and debut usually started with the harvest 

of this yam variety. This group was well noted in moral, upright and 

industrious standard. (Ekong: 2001) supported the idea.  This, of 

course, meant that a member must not be a thief, or somebody with 

deviant character. Otherwise, they use song texts as indispensable 

tool for communication to expose and expel any member from the 

club. The themes of ebremusic involve songs with social themes like 

praise, humors, satirical, and philosophical and ridicule songs are 

mostly performed with demonstration. All these themes are 

communicated verbally and non-verbally through gestures, song texts, 

instrumentation and dance to the audience.The instruments mostly 

used by the group are, metal gongs (big and medium sizes) wood block 

and bell.Ebreis now transformed to IbanIdunggroup.The ebrewomen 

group during the pre-colonial time performed during the ebrewomen 

festival and new yam festival, and they featured prominently during 

mbopofestivals.   A typical song of ebremusical group frequently sung, 

and demonstrated during performance to convey message is written 

below:  

Kad ubokise 

 
Call: Akpedo obo kídohoino          If you are not a thief  

Response:Kadubokise                        Open your palm for a prove 

Call: Akpedo obo kídohoino         If you are a not a thief  

Response: Kadubokise                         Open your palm for a prove 

The song has moral value of checking deviant behaviour among 

members; the meaning is dramatized by the dancers as they open 



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their palms to convince people that they are not thieves. When they 

dance, they open their palms to prove that they are not thieves but 

innocent. 

 

Matim inoiwa 

 
 
 

 
 
EsueneMatiminoiwaMatim who stole cassava should be disgraced 

Ekaemenakpan, eyen emen The mother took the container as well as 

the child. 

 

The above ebre song is danced and demonstrated showing the stolen 

item (cassava) in which the said Matim had stolen.Many song texts of 

ebredance portray direct meaning. To abuse the culprit in the public is 

a common practice during ebreperformance, for instance the song 

above song ridicules Matim as a thief, who has stolen the cassava. 

 

Asian akaan-anwan (pride of womanhood) 

The asianakaan-anwan musical genre was and is an organized group by 

married and elderly women of reputable character. The theme of 

asianakaan-anwanmusic is always satirical transferring information, 

ideas, views to the audience through song texts, instrumentation, 

gestures and dance drama. They demonstrate theatrically the current 

happenings in the society; sing philosophically about their husbands 

for instance the songs below have deeper meanings than the literal 

translation. 

 

Ayankoteyoesiere(you will call me till daybreak) 



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Etukudoadahaofon, Etukudo under the cloth (man‟s private system) 

Etukudoadahaofong Etukudo under the cloth (man‟s private system) 

A-yankotayiosiere    You will call me till daybreak 

 

Ebeokonondiadidim-o  My husband gave me a slope land 

Akpakpaifonno,         Neither is the land good for maize 

Nkongefereifonno           Nor for vegetable      

 
Asian ubaikpa 
This is a dance performance by maidens who are at the age of puberty 

in the olden days; mainly performed by virgins. Their dance 

performance had a very strong and communicative meaning. Their 

dance display acted as attractive information to inform the young 

unmarried men that they are ripe for marriage. Through this dance 

performance, the girls display beauty, elegance and graceful dance to 

the admiration of the spectators who perhaps are the potential 

suitors who anxiously wait to choose a wife among them. The 

attractive appearances of these young ladies draw men‟s attention to 

readily ask their hand in marriage. The instrumentation is done by 

young boys, while the girls adorned with beads and decorated with 

clay and calm wood do the dancing. The soloist intones the song and 

others respond, such songs are: 

 

 
 



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Odu-du e-sit i-kotake-mkpepunek 

 
Odu-du e-sit i-kotake-mkpepunek, Odudu (a kind of bird) in the forest 

taught me how to dance  

Amemedemntenten. Its back is as soft as maggot. 

 
Usunenenanie-nyongndahankutimanteowonoedi

 

Usun e-nenanie-nyong, The pathway to the house is far 

Ndahankuti-ma nteowono e-di I have not seen my lover coming 

In the pre-colonial time, occasion for the performance of 

asianubaikpamusic was usually during the outing ceremonies of mbopo 

from the seclusion room, so it was mainly organized to celebrate the 

mbopo.  Today the moral standard for the asianubaikpadance has gone 

down and it is more of economic purpose, owned by individual to earn 

money, without due consideration to the original status in which it was 

meant for. Hence, it is performed at various occasions like political 

events, traditional marriage, anniversary, coronations or any 

governmental function. 

 

IbanIdung (Nka, Iban). 

This is the contemporary women group which develops from ebreand 

other women groups of the olden days. In modern Annang society, 

ibanidung musical groups are very much in vogue and different village 

coin a name for its group. It springs forth as a result of ill-practices 

of the former and also because of the societal development and 

civilization. The ibanidung combines the previous existing cultural and 

musical elements to bring out new ideas.  Thus, the musical repertoire 



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132 

which deals with themes for social control, moral values, religious and 

political functions remain the same till now. The musical activities 

performed by ibanidung in creative music is built up with repertoire to 

suit different social occasions during performance The picture below 

shows the contemporary Annangwomen in performance. 

 

 

Fig 8 - IbanIdung - UkanaAkpautong (Annang women group) 

 

Annang song text                                                                 

Literary Translation 

Uruaakekaudononwobo                                      When it was time for 

market, you didn‟t go 

Etiek‟esaowoowoponwoboinuaiko                    You rather stayed around 

the corner to backbite 

The song condemns a lazy woman who goes round talking carelessly 

instead of going to the market. This goes in line with the proverb 

which says „An idle man is a devil‟s workshop‟.  



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The Values of Traditional Music in Annang Culture 

 Values are those ideas that a particular group appreciate and cherish. 

They are recommended principles and guidelines expected to be 

carried out by every member of the group. Ocha (2007) claims that 

values are the principles or standards followed and revered by a group 

of people continuously from generation to generation. Values are 

contextual, relative and referential, as Okere (1978) states, “every 

value (observed) is… for someone or some people” (p.23). This means 

that what is valuable in one particular group, may not be revered by 

another ethnic culture. Hence, most of the traditional values are 

encoded in the music of the people. It runs through various forms of 

cultural practices which are common in the area, one of which is 

women traditional music group. Some cultural and social values 

retained through music are illustrated in the song texts of musical 

group. 

 

Song text                                 Literal translation   

Inoifonnok‟otunnyin(2x)                   Thieves are not regard in our 

group                     

Nkannyinimahaino                              Our group does not welcome 

thieves 

Enukinoenoedem (repeat )                  Let thieves be dropped behind 

Song text                      Literal Translation 

EtokoboikpausuyihendomeyinYoung lady, why not rub ndom?  (maintain 

the pregnancy) 

Mfin, mfin, saa---ki‟kot                       Today you evacuate 

Mkpong, mkpong, saa---ki‟kot              Tomorrow you evacuate 



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There are deeper meanings to the above songs, which emphasize the 

moral standard expected by people in the society, hence, deviants are 

ridiculed through the song and they dare not attempt to go near or 

belong to the group. Through this medium, those with questionable 

characters are checked in the society.                   

 

 Contextual Applicationand Socio-cultural Functions of Women 

Music Groups in Annang 
Comparatively, the musical experience of the Annang people as applied 

to the music culture of other places in Africa is always attached to 

socio-cultural events. The relationship between music and culture is 

what Daramola and Ayeyemi (2008) assert that music and culture have 

a lasting relationship and bondthat has helped to develop and serve 

educational and cultural expressions as a unique premise for both. In a 

true sense, music has helped in promoting and preserving cultural 

values and historical occurrences in the society. The women music 

groups really have unified women together in terms of its socio-

economic benefit, maintenance of moral values and norms as expected 

by every woman in the community. 

 

Women musical groups such as ebre, asianakaan-anwanin the time past 

were so responsible for the conduct of rite of the passage known as 

mbopo. They were all involved in the processes and the outing 

ceremony of mbopo. It is noticed that in some African cultures, many 

people perform and practice this type of rite of passage at puberty 

for young girls.  Nketia‟s (1974) states similar views on such practice 

in Ghana. Also Omolaye (2016) confirms of such practice in Ogori of 

Kogi State, in all these places, music has a functional role to play.  

Music in the traditional Annang culture has a cohesive potent force in 

every day‟s life of individual. 

 

Events for Women’s Musical Performances in Annang Culture 

However, the totality of traditional artistic experience of the women 



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musical groups and the context of performance then and now is based 

on the following time of events: 

 

Mbopo Ceremonial Outing 

Fattening Room Celebration (Mbopo) is musical performance during 

rite of the passage as demonstrated by ebrewomen group during 

mbopoperformance. It was a ceremonial festival conducted yearly by 

the Annang people according to their customary calendar period. 

Usually fattening room for mbopo was a period of preparing young 

ladies for marital life. The nature and scope of music and dance in 

mbopo was to re-enact customs and tradition of the people. It was a 

yearly event which was performed after three months of lady‟s 

seclusion and confinement. During the outing ceremony, the dance 

steps, costume as well as the movements of mbopomaiden 

communicate messages uniquely to the audience. The outing ceremony 

as a social activity was to be celebrated by the entire community and 

beyond. One of such mboposongs is:  

AmanAma Edu           

 
 

 
 

A dance parade by the mbopoaround the village is indication to attract 

attention of the public to a scheduled dance outing. This is 

accompanied by the women musical group, while the song texts clearly 

portray the social themes, historical facts/ stories, customs and 

morals of the society. 



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During Marriage Ceremony 

There are three stages of marriage: nkongudok, mbup, and ndouweme 
(oyohondo) in Annang.  According to Akpan (2018), the first initial 

process known as nkongudokdoes not involve many expenses and 

visitors, likewise, the mbup which is the second stage, it is during this 

time that the payment of bride price is made. The last stage involves 

an elaborate ceremony of the two families, where friends and the 

entire community come together to celebrate. It is during this time 

that the women cultural group (ibanidung) performsoutstandingly with 

musical activities to bring out the bride to her husband. 

 

During Child Naming/Dedication  

Another important ceremony in which women play a central role is 

during child naming and dedication ceremony. The women lead the 

mother and the baby with music as she comes out. The group 

participates with songsof praise during this event. The song texts are 

conceived in various ways to express some vital issues in the text 

more than the tune. Such that deals with praise, admiration, applause 

and compliment. 

 

Funeral Celebration 

During funeral rite, music is used as an avenue of expression and 

custodian of culture. For instance, at funerals the music performance 

by the women, does not necessarily express sorrow or grief, but it 

indicates the paying of tribute to the dead. In the 

traditionalAnnangsetting, it is formal for the children to dance at the 

burial of the elderly parents as a symbol of honour to the departed 

souls. 

 

Festivals/Anniversary/memorial ceremonies 

In some villages, there is usually a day at the end of the year set 

aside to celebrate and honour indigenous sons and daughters of the 

community, in such a day, women groups participate fully as major part 

of event through their musical activities. Various dance groups, Asian 



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137 

uboikpa, andibanidung among the female folk dominate the public 

ceremonies with songs and dances. 

 

Changes in Socio-cultural Values of Annang Culture  

Before the arrival of the Europeans, various communities in this 

region were ruled by their chiefs aided by the village councils and 

secret/ cultural societies or clubs likeekpo, idiong, ekong, ataat, akata, 
obonand ebre/ibanisong. These were also religious cults in which 

incantation, ancestral prayers, music and sacrifices were highly 

considered as part of their roles.But the eruption of cultural 

practices when the Europeans arrived with the mind set to evangelize 

and colonize Nigeria, has greatly influenced the African culture. And 

because their cultural frameworks were incompatible with Africans, in 

politics, education, religion and economy, Africans were in conflict and 

confusion at that early stage.  

 

During the time, Westerners presented their culture as civilization 

which should be accepted as necessary tools without questions. They 

rejected many African values which people held with much respect, 

and the value system declined gradually giving way to the assimilation 

of foreign cultures and ideas. This affects many facets of life 

including the musical culture of the people. This implies that the 

nature of culture is subject to the process of change and therefore 

culture is not a static concept but a dynamic process. As society 

grows, its culture changes, people learned, borrowed, adapted, 

accumulated and add ideas and material possessions to their culture. 

The values of Annang culture which express the total collection of 

symbols, objects or norms so peculiar to the people were altered. 

Some of the moral principles or codes which shaped and identified one 

as an African man disintegrated. However, some cultural and moral 

values which were highly acknowledged and strictly adhered to by 

people in the traditional society gradually disappeared. Such values 

which enhanced the moral conduct, the up-bringing, the shaping of 

people‟s attitude and the character formation are replaced by alien 

behaviours especially among children and youth.  



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It is then possible to assume that all cultures are susceptible to 

changes arising from human factors like interactions, socio-political 

events, cultural confrontations and conflicts. The change of cultural 

infiltration has two sides of the coin – the good and bad impacts, but 

sometimes, the later overwhelm the former, it yields nothing but 

foreign ideas and orientations, such which mellow down the traditional 

values of respect and kinsmen, uphold depreciation of moral 

decadence against the societal ethics. 
 

Changes in the Musical Culture of Annang 

 Cultural encounter or contact is a general phenomenon which has 

resulted in the assimilation, adaptation and accommodation of other 

people‟s culture into one‟s society. This has equally affected the 

Annang culture, thereby ensuring the end product to become cultural 

alteration, refinement, development and advancement. In Annang 

culture, some laid down standard of what is acceptable or 

unacceptable, right or wrong that regulate the behaviour of members 

of the societyis fast changing. The laid down customs, norms and 

beliefs of the society is fast diminishing. There has been and always 

an acculturation or cultural contact in a dynamic world. Yet, according 

to Oladipo (2006), the re-discovery of African values has the 

potential of promoting the kind of self-understanding that would 

provide some basis for determining the kind of socio-cultural 

reconstructions that would enable Africans to come to terms with the 

challenges of contemporary life. 

 

Although, culture has different definitions by different groups of 

people, the concept placed on culture by different people is generally 

regarded as a way of life of a particular group of people. This is 

because, culture is meaningful only in the context of human society 

made up of people expressing themselves in particular ways which may 

be similar or different from those of other societies.Biobaku (1982) 

defines culture more clearly, as that complex whole which include 

knowledge, belief, art, morals, law, custom and any other abilities 

acquired by man. According to him culture encompasses those 



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139 

conventional understandings and practices which give a people its 

uniqueness and thus renders such a people distinct from all others. In 

other words, the nature of culture subsumes the totality of the 

material, spiritual, artistic, intellectual and other accomplishments of 

a people, which give some indication of their way of life, their mode of 

existence and the by-products of their type or level of civilization.  

 

For changes in musical culture of the Annang women,not much are 

portrayed in the musical performance practice like the musical forms, 

phrase structure, especially expression of meaning in the song text. 

The same philosophical, social and satirical characters in song texts 

are still observed. But since the society is dynamic, there are some 

changes in other surrounded areas which give rise to the change in the 

musical practices and identiy. The effects of such particular 

performances are considered alongside with the sound components of 

music. Hence, the following changes are observed in contemporary 

women performing groups: 

(i)  The changes occur more in the administrative process and 

cultural product of the society. For instance, Pseudo-religious 

activities like the introduction of prayer and singing of religious 

song before any performance.  

(ii) Monthly contributions and introduction of banner, involvement 

of young boys for instrumentation. Moreover, the prevalent 

festivals like new yam/cassava festivals are rarely practiced, 

hence, no regular or yearly meeting as a community based 

programme. Therefore, no fixed or firmed calendar of event 

meeting except during annual day‟s celebration or incidental 

occurrence of events like marriage ceremony, burial rites or 

child/ naming ceremony or any other irregular event in the area.  

(iii) No or less effective activities on traditional rites and festivals 

like mbopo on a particular calendar month. No more pouring of 

libation to appease the gods of the land.  

(iv) In the pre-colonial time, names of those with deviant 

behaviours were mentioned directly and ridiculed while singing. 



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140 

Today, offenders could be ridiculed but names of the 

defaulters are not mentioned by the group to avoid court case.   

(v)  From the interview, it was mandatory for every married woman 

by then to join the group. This was regarded as a training 

ground whereby rules and principles of home management was 

to be delivered directly to a newly married woman – on how to 

care for her husband and children. Today it is optional. 

(vi) There was nothing like uniform by then while today the 

ibanidung are dressed each group with their uniform as shown 

earlier.  

(vii) The themes for the song texts which according to Akpabot 

(1998) consist of satirical, philosophical, praise song, protest 

songs, abusive songs and metaphor and songs for social control 

are still maintained till now.This acted as a watchdog to check 

deviant behaviours in the community. 

 

Conclusion 

The study has examined the musical activities of women in Annang 

culture and also exposed the history, origin and migration of the 

Annang people. It has covered a wider knowledge of multi-cultural 

range and documented same for posterity, since the society is 

dynamic. In view of the above, it is therefore recommended as 

follows: 

1. To re-build the societal cultural values does not mean to purify 

or purge any useful alien ideas rather it should be merged to 

produce suitable standard in the contemporary society. 

2. In order to reach the state of cultural equilibrium, a concerted 

effort has to be applied by government to promote and 

encourage some essential societal values which are reflected 

and   embedded in musical arts. 

3. The interrelationships among the Annang people through the use 

of indigenous musical arts should be encouraged through 

periodical cultural festivals. 

4. Annang indigenous music culture should be documented during 

music festivals and stored in archive for posterity.  



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141 

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