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MUSIC ASSOCIATED WITH CHILDBIRTH: A CASE STUDY OF WOMEN’S 

PARTICIPATION IN TRADITIONAL SONGS IN IGBO LAND 

Ubani, Anozie U. 

Department of Music 

Nwafor Orizu College of Education Nsugbe. 

 

ABSTRACT 

One basic characteristic of Nigerian culture is the integration of music in their social life. The 

musical culture of the Igbo‟s in particular is rich and varied because it is associated with 

songs and dances, worship, occupation, rites of passages, rituals, childbirth and is functional. 

Women are special creation instituted by nature for caring and procreation of children; the 

society relies so much on them because “no woman no cry (child).” Music becomes a 

potential instrument in their hands for celebration of birth, entertainment and communication. 

This work is significant because the status of our mothers is enhanced, their efforts 

recognized and honoured. The thrust of this paper examines women‟s participation in 

traditional music associated with childbirth with a view to identifying them for posterity.  

 

INTRODUCTION  

Child bearing in Igbo land is part of the matrimonial rites for both parents. It is in the lyrics 

of the songs sung at childbirth that one sees not only the value the Igbo places on children, 

but also the Igbo Philosophy on motherhood and child bearing. Continuity, both of the family 

and the community, can only be ensured through children. Children must therefore be taken 

good care of and their mothers properly rewarded. On the above Okechukwu (1999) affirms 

“for the Igbo, to beget a child is to have fulfilled one self, and to have done the greatest 

service to the community. Thus, the basic and most essential function of the wife is to bear 

children …” (p. 140).  He further states that “Any wife who performs this duty effectively 

has, in the eyes of the Igbo, not only fulfilled herself, but done maximum service to her 

community. “Such women traditionally are held in high esteem even if they do nothing else 

for the up keep of the family”.  

 

In a situation of a woman without a child, she would block for her husband the most 

authentic means of establishing himself as a full-fledged member of his community. Women 

therefore, are highly honoured in our society. They were first teachers of music and usually 

encouraged young children to participate in folk lore and stories in songs. Women chant 

salutations to announce the birth of a child and afterwards sing lullabies to them. They also 

sing as they carry out their house hold chores. This helps to implant the musical cultures in 

their children and to ensure the continuity of Igbo music. This paper therefore, highlights 

women‟s participation in traditional music associated with childbirth in Igbo land.  

 Musical components and organization   
In Nigeria, the relationship between music and dance as inseparable communicative 

artistic models cannot be overemphasized. Music and dance therefore are two musical 

Awka Journal of Research in Music and the Arts (AJRMA) Vol. 9 2013 



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components associated with childbirth. Every song goes with a particular dancing style. 

In some parts of Igbo land, these songs are accompanied with local musical instruments 

like small wooden gong (okpokolo), metal gong-single or double (ogene) membrane 

drum, (igba) pot drums and varieties of idiophone instruments. These instruments 

facilitate their dancing steps to rhythm. Peggy (1976) in describing the rhythm of dance 

states that:  

The rhythmic patterns of Nigerian traditional dances consciously express the 

social identity of the performers and implicitly reflect the physical conditions 

in which they live. The nature of the country, the climate, the work that people 

do...which become heightened and intensified into the rhythmic movement of 

their dances (p. 2).  

Writing on the imports of music and dance to an African, Amaduime (1987) declares 

that:  

African women (especially during the traditional times) participated actively 

in public rituals and ceremonies that incorporated dances and songs. This 

active involvement not only enabled them „gain access to the medium of 

communication‟, but also made them a part of the ideology making       

process (p. 62).  

Dance and music as expressive tools of self realization and self-assertion that lend 

credence to them by their users moved spencer (1981), to put forward this suggestion of 

Bailey: “One might view dance (as) a highly Appropriate idiom (of expression), 

because it can display precisely, the power, initiative and coordinates discipline that 

gives strength,…it can be over-learning. (Akunna, 2006: 6)  

Music and dance are highly sensitive; they invigorate life and act as stimulant for healthy 

bodies. In Igbo society, the organization for such ensemble is open for married women in 

every community. It is exclusively feminine in character and every village has a woman head 

and a soloist who directs and sensitizes others on their performance techniques. Their 

guidelines are simple norms, which each participant most adhere to. Where ever they go, 

kola nut and palm wine or mineral are presented to them with cash which people offer to 

them voluntarily.    

The Relevance of the Songs and Dances  
Music and dance are so functional in Igbo traditional societies that when any music or dance 

is being performed, there are events going on. The importance attached to birth songs is 

much to be enumerated; the music and dances do not only provide for the release of emotion 

but act as social and artistic medium of communication. It can convey thoughts or matters of 

personal or social importance through the choice of movements, postures and facial 

expressions. Enekwe (1998: 6) has rightly observed that “besides group dance offering an 

excellent social integration, it helps one gain new friends, strengthen family ties, develop 

group loyalty, social cohesion and group solidarity”. Members of such organization enjoy 

and cherish performing and sharing common bonds and offers opportunity in sharing in 



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creative experiences and a good avenue for the expression of group sentiments. Music and 

dance result in group participation; a forum for generating co-operation and sentiments. 

Dance offers opportunity for freedom of expression and imaginative interpretation of 

rhythmic movements. Music and dance of such promote cultural transmission and cultural 

identity. The people‟s imaginative potentials are transformed into kinetic energy through 

different dancing styles. Songs and dance help develop and maintain physical fitness, body 

suppleness and function of the body system.   

Performance of Birth Songs/Discussions.  
The level of arts in a society reflects the level of development in that society. Okafor (1994) 

added that “Any society that wishes to develop fully must go into partnership, true 

partnership of ethos, with the artiste” (p. 1-2). In Igbo musical culture, women have 

affiliations of two kinds, as married women to the village of their husbands and as daughters 

to the village where they were born. When a woman delivers a baby, women on the side of 

the husband alert the parents of the woman that gave birth to a child with a song No. 1. “Uma 

mee”. This is a signal tune. The mother-in-law of the woman will carry powder as she 

communicates to people that her wife has delivered. She dishes out the powder to any woman 

that comes her way. See music (song) 1.  

 

The song is poetic, rhetoric and recitative. The soloist renders it in a declamatory style 

announcing the arrival of a new born baby. Traditionally, a day is fixed for the ensemble of 

women to chant their songs of joy not only to inform their in-laws for the safe delivery of 

their daughter but to celebrate the birth. The following songs are accompanied with their 

traditional instruments to enhance their performance.  

For this paper, eight of these birth songs as practiced in Igbo culture have been carefully 

selected for study.  

  

Igbo Translation  

Uma mee… 

Eziumamo 

A cry of joy for safety arrival of a baby.  

Good thing has happened 

Uma ziere ogeri yeziere, di ya An interesting thing has happened for the wife 

and the husband 

Eziuma mee Good thing has happened  

Uma Nwoke wo Happy arrival of a baby boy 

Uma nwanyi wo Happy arrival of a baby girl! 

Ezi uma mee. A happy arrival of a baby. 



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Song No. 1. As seen above “uma mee” is significant. It signifies joy and happiness, an arrival 

of a new born baby, a prayer that has been answered. Where the soloist meets two or more 

women, there would be yodeling and ululation to cadence their overwhelming outburst of 

joy.  

Song No. 2 Gini dim n’obi (What is in my heart). In Igbo land, there is nothing that fulfils 

that objectivity of marriage than “a child”. An ideal woman feels alleviated and highly 

honoured when children come. 

 

Overflow of joy fills the heart of all people at birth. The celebration of the child is the 

ultimate. The dance choreography is in circular formation while the dancing steps are same. 

The sense of balance and style of dancing amongst participants are the same. The mode of 

teaching and learning is through participatory observation. 

Song No. 3. Onurakwa nwa gbata (Whoever hears the cry of a baby should come).  

 

Child-bearing is a universal phenomenon, therefore whoever hears the cry of a baby should 

respond. This song helps to portray the importance attached to child-bearing in the Igbo 

traditional society. Ownership of a child is not restricted to the mother alone but a collective 

responsibility of all.  

Song No. 4. Titled “Ihe ebuzo aju bu nwa” (What is asked first is the child).  

Igbo Translation  

Call: Gini dim n’ obi what fills my heart? 

Resp: Nma Joy 

Call: Emepotum obi if my heart is revealed 

Resp: Ihe oma dim n’ obi Odighi nkojo 

na dim n’ obi  

Good things fills my heart There is 

nothing bad in my heart. 

           Nma Joy 

Igbo Translation  

Onuru akwa nwa Mengwa ngwa a-

e 

Whoever hears the cry of a baby should hasten 

up a-e 

Onye nuru akwa nwa Me ngwa 

ngwa, obughi Otuonye new nwa 

whoever hears the cry of a baby should hasten 

up a-e Not only an individual owns a child.  



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In Igbo society, without the child there will be no family, no future generation, the future 

would be extinct. The child creates hope for continuity and becomes the essence of marriage. 

The song is in Solo/chorus refrain pattern. The poem Ihe oma na-adi mma (Good thing is 

good) is set in Solo/chorus refrain pattern on three count (
3
/4) time signature.  

 

This song is a prayer offered to a pregnant woman so that she will deliver safely, to enable 

women eat and celebrate. The coming of a new baby promotes eating and drinking.  

Song No. 6 “Ezinne Agamuyamu” (Good mother, I will deliver) depicts readiness of a 

pregnant woman to safely and willingly deliver her baby.  

 

Igbo Translation  

Call: Ihe ebuzo aju nwokorobia  

        Ihe ebuzo aju n’obu nwa 

The first question to a young man is the child.  

The first question is the child. 

Resp: Ihebuzo ajuo, ihebuzo aju 

n’obu nwa  

The first question, the first question, is the child. 

Call: Ihe ebuzo aju nwa agboghobia  

        Ihe buzo aju n‟ obu nwa 

The first question to a young maiden is the 

child.   The first question is the child          

Igbo Translation  

Ihe oma na-adi nma Ihe oma e (DC) Good thing is good. Yes, good thing (DC)   

Onwu egbula nwayi N’afoime, 

komutarayi Nwa 

Death should not kill a Pregnant woman so 

that she will deliver a child 

K’ayi taba okporoko ṅuba manya 

ngwo  

So that we will eat stock fish and drink 

palm wine 

Igbo Translation  

Call: Ezinne Agamuyamu Good mother I will deliver it  

Resp: Nwa biam nukwu A gamamu ya 

werere 

If the baby decends to my waist I will deliver it freely 



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Womanhood indicates maturity, courage and determination in family up-bringing. 

Conceiving and bearing a child demands readiness of a greater responsibility which are 

inbuilt in them by nature.  

The lyrics, Omuru nwa leta nwa ya anya. (Whoever owns a child should take care of her.) 

This song indicates important position a child holds in the community. 

  

 

 

 

 

 

 

 

The next song called Ma obughi ma nwa, onye g’e-nyem? (If not for the sake of the child, 

who will give me?) This song exuberantly presents a catalogue of gifts a wife can receive or 

expect to receive after childbirth from well wishers; name them all. Mothers are disposed to 

be honoured Onye ga enyem (Who will give me?) reminds the husbands of their position to 

reciprocate the supreme gift of a child with worthy gifts to the wife.  

  

Each of the above songs has peculiar dancing steps and the compositions of the songs are 

spontaneous; the composers of the songs are not known since they are handed down from 

one generation to the other through oral tradition; and the people live with the music. 

Structurally, most of the songs are in call and response, and solo/chorus refrain pattern.  

Igbo Translation  

O muru nwa Whoever bears a child 

Leta nwa ya anya Should look after the child  

Nwa b’ uwa oma The child is a good fortune.  

Onye muru nwa Whoever bears a child 

Leta nwa ya’ anya Should look after the child  

Nwa biar’ ezije The child is welcomed.  

Igbo Translation  

Call: Ma obughi ma nwa If not for the sake of the child 

Resp: Onye ge’nyem? Who will give me? 

Call: Ukwu George  George wrapper  

Resp: Onye ge’nyem Who will give me?  

Call: Pankeki Power (Pancake)  

Including other items as one can imagine  



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 Impact of Social Change. 

In some localities in Igbo land, the rendition of birth songs is in the decline owing to some 

religious beliefs, Western influence and modernization. Some religious believes abhor 

traditional dances and if the lyrics of songs are not Christian based, they are regarded as 

fetish practices. Western influence and modernization have affected our culture. Records, 

VCD players and jumbo box music players are used to play music in child celebrations. Lack 

of social interest in promoting our cultural heritage has deduced the imports of our social 

commitment. Our birth songs are gradually forgotten and no longer in full practice.  

 Birth Songs and National Development 

Every woman in the world is a potential singer. Women traditionally are happy when they 

deliver after nine months of pregnancy. Nigeria as a nation benefits greatly in women‟s 

procreative potency because the population is enlarged and our generation extended with 

greater hope for the next century. Women all over the tribes of Nigeria have opportunities not 

only to be recognized or united but have a co-ordinate effort in building our socio-cultural 

heritage which calls for unity, peaceful co-existence in our different enclaves irrespective of 

tribal sentiments. Because a child is a national cake that is celebrated by both sexes; more 

efforts should be made to promote child care, which would bring about reduction of infant 

mortality. Healthy children would give birth to a healthy nation. Birth songs should be part of 

traditional songs that are taught in schools, this will instill love and respect for mothers by 

pupils in schools.  

Summary and Conclusion  

Childbirth is a blessing from God. Every woman is satisfied because, the period of childbirth 

is a period of celebration, a period of plenty, a period of rest and comfort. Women express 

their feelings through the medium of birth songs that uplift their spirit. The role of women in 

the society and their inclination to music and dance engenders healthy children and faithful 

women of our land. Our cultural heritage should be propagated and maintained to ensure 

continuity and our regard for children inculcated.  

 

References 

Amadiume, I. (1987). Male Daughters, Female Husbands: Gender and Sex in African 

Society. London: Zed Books.   

Akunna, G. I. (2006). Protest in African Women’s Dances and Songs: Meaning and 

Significance. A Paper Presented at the 6
th

 Edition of the Musicological Society of 

Nigeria (MSN), Nnamdi Azikiwe University, Awka.   

Enekwe, O. O. (1998). Theories of Dance in Nigeria. University of Nigeria Nsukka: Afa 

 Press. 

Okafor, R. C. (1994). The musicians in the Nigerian society. Journal of Research in General 

Studies (JORGS).  

Okechukwu, U. (1999). Women; marriage and child bearing in Igbo traditional poetry. 

UNIZIK Journal of Arts and Humanities, 1(1), 15-27. 

Peggy, H. (1976). Dance in the living culture of Nigeria. In S. O. Biobaku (Ed.). Lagos: 

Thomas Nelson.  


