




































102 

 

 

 

TEXTUAL INTERPRETATION OF INDIGENOUS YORUBA SONGS USED IN 

WORSHIP IN THE REDEEMED CHRISTIAN CHURCH OF GOD 

Loko, Omolara Olasunbo 

Department of Music, 

Adeniran Ogunsanya College of Education 

Otto/Ijanikin Lagos 

 

ABSTRACT  

The use of figures of speech is quite prominent in indigenous music of the Yoruba culture.  

The same is true of indigenous Yoruba music in the Redeemed Christian Church of God. The 

ability to use these figures of speech in composition for church worship is an index of the 

composers’ competence in Yoruba language. This paper is aimed at interpreting the texts of 

some selected Yoruba songs used during worship in the Redeemed Christian Church of God. 

This is done with the purpose of identifying and describing various figures of speech in these 

selected songs. Among the figures of speech that are in frequent use are repetition, metaphor 

and personification. However, the paper discussed the various categories of indigenous 

Yoruba songs in the church.   

INTRODUCTION  

Euba (1988) opined that the Yoruba have through the ages consistently promoted religion 

through music and some of the best examples of Yoruba music are those connected with 

religion. In modern times, some of the exciting new types of Yoruba music are those used in 

the African churches, such as the Cherubim and Seraphim Church, the Christ Apostolic 

Church and the Redeemed Christian Church of God to mention but a few.  

In an attempt to make Christianity more attractive to the indigenous populations, the new 

African churches have taken into consideration African culture and religious consciousness. 

They believe that the practice of Christianity in Nigeria should be reflective of the cultural 

environment in the country. Of particular importance in this regard is the employment of a 

musical liturgy that is rooted in traditional African practices while retaining important 

features of imported European liturgy.  

What makes services in the Redeemed Christian Church of God more lively and inviting is 

the musical element accompanied by enthusiastic communal singing of songs and texts based 

on various themes, arranged to express the worshippers’ feelings at different levels of human 

emotion.  

Indigenous Yoruba music features prominently in the worship practices of the church and are 

derived from two main sources, viz:  

(i) Songs with melodies adapted from traditional sources.  

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



103 

 

(ii) New compositions and arrangement of songs.  

The tonality of African music has been addressed by several scholars like Laoye (1966), 

Nketia (1975) and Euba (1977). Nketia (1975) noted that the most far-reaching influence on 

African music is exerted by the verbal text to which songs are set. African traditions 

deliberately treat songs as though they were speech utterance.  

In the same vein, Laoye (1966) and Euba (1977) explained that the Yoruba language is tonal 

and musical in such a way that whenever the Yoruba words are not correlating with musical 

tones, the correct pronunciations of the words can no longer be retained and the meanings of 

the words are lost. To prove this, in earlier studies, attention has usually been paid to the 

intonation of texts. This is because it is believed that distortion of the intonation of the tones 

of words might create lots of problems for the listeners. Following this, the present study is 

an in-depth interpretation of the texts of selected indigenous Yoruba songs used in the 

worship by the Redeemed Christian Church of God, with particular reference to their lyrics 

and melodic contours. 

Brief History of the Redeemed Christian Church  
The Redeemed Christian Church of God, one of the largest and fastest growing Pentecostal 

churches in the contemporary world started in 1952 with just 12 members. At that time, it 

was known as the “Egbe Ogo Oluwa (The Glory of God’s Group) it was established by Rev. 

Josiah Olufemi Akindayomi. He was formerly a member of the Cherubim and Seraphim 

Church. He left the church in 1952, with twelve others with whom he started the Redeemed 

Christian Church of God.  

The first Redeemed Christian Church of God was located at No. 9, Willoughby Street, Ebute-

Metta. Soon, the house for worship became too small, congregation was less than 100, and 

this necessitated relocation to No.1, Cemetery Street, Ebute-Metta, now 1-5 Redemption 

way, which also serves as the Headquarters. According to the founder, the Lord required the 

church to make holiness its focus and teach the whole counsel as written in the Holy Bible.  

The present name of the church was divinely revealed to the founder, Rev. Akindayomi with 

a clear mandate that the church should go to the end of the world to prepare the people for 

the Lord. Before Rev. Akindayomi died on Nov. 2, 1980 at the age of 75, God revealed that 

his successor would be “a man of books’ (well educated). Pastor E. A. Adeboye was 

consecrated as the new leader of the Redeemed Christian Church of God in January 1981.  

Since 1981, an open explosion began with the number of parishes growing in leaps and 

bounds. At the last count, there were about 20,000 parishes of the church worldwide. One of 

the well-known programmes of the church is the Holy Ghost Service, an all night miracle 

service that holds on the first Friday of every month at the Redemption Camp at Km. 46, 

Lagos Ibadan Expressway. The average headcount of those who attend the service is in 

millions.  

Indigenous Yoruba Songs in R.C.C.G.  
The root of indigenous Yoruba songs in the Redeemed Christian Church of God could be 

traced to when the founder of the Church Rev. Josiah Akindayomi left Cherubim and 

Seraphim Church in 1952. He formed a group which is now known as the Redeemed 



104 

 

Christian Church of God. Most of the members who attended the prayer meetings were 

members of the Cherubim and Seraphim Church that were used to singing indigenous 

Yoruba songs. The indigenous music has always been an important part of worship in the 

church as it constitutes one of the elements of attraction of new converts to the church. The 

liveliness that this music brings to church worship had become irresistible in all the parishes. 

Many of the indigenous Yoruba songs in the church derived their melodies and rhythms from 

Yoruba culture while some have European influences both in melody and harmony. Many 

employ a style which is midway between singing and speaking (speech song or chant) a style 

found in the praise and worship session.  

Indigenous Yoruba songs in the Redeemed Christian Church of God is categorized into three 

namely: Native Airs, Anthem and Choruses.  

i. Native Air: Ofosu (2001) described Native Airs as “songs with indigenous 

flavouring which encourages maximum participation of the congregation. They 

are usually songs composed by pioneers of indigenous Yoruba music in the 

church in contrast to hymns.”           

ii. Anthems: These are indigenous songs rendered specially by the choir during 

church service of any type to illustrate and reinforce the scriptural message for the 

day.  

iii. Choruses: These are short indigenous Yoruba songs of praise and adoration 

aimed at the revival of congregation through participatory action.   

Some of the indigenous Yoruba music in the Redeemed Christian Church of God are Yoruba 

tunes to which Christian texts have been written while some are songs with newly composed 

texts and melodies. The practice of adapting existing melodies to sacred texts is known as 

contrafactum. It is vocal composition in which the original text is replaced by a new one, 

particularly secular text by sacred text, or vice versa (Apel, 1969:203). 

In the same vein, Omojola (2001) opined that adaptation of Yoruba tunes to Christian texts, 

is a device which helps to consolidate the Christian faith of new converts who, before their 

conversion to Christianity, have sung the same songs during traditional Yoruba religious 

activities and relished the idea that they could still sing the same set of songs within the 

context of their new faith. Songs with newly composed texts and melodies are composed by 

contemporary musicians in the church, using African elements such as praise, poetry, 

proverbs, rhythms and accompanied by a combination of both African and western musical 

instruments.  

Sometimes, poetical form of singing, such as Oriki (praise poetry) is used. Most of the songs 

are in the standard dialect of Yoruba; many a time other dialects such as Ekiti and Ijesha are 

employed.  

Textual Interpretation of Selected Songs  

There is no doubt that there exist clear indications on the differing role of song texts in 

religious composition. Adedeji (2001), while discussing the purpose of  text in musical 

composition, observed that the purpose of Nigerian gospel music is ecclesiastical, the content 



105 

 

is mainly gospel and didactic. Boyer (1979) also noted that the texts of the songs are based 

on the Trinity; they speak of blessings, sorrow, woes and lamentations.  

Song texts exist as essential medium for meaningful worship of God in the Redeemed 

Christian Church of God. In writing texts for songs used in the church, various themes have 

been explored by composers based on things happening in the church, society, faith in God, 

moral values, personal experience in life and so forth. Adedeji (2001) also noted theological 

subjects, such as praise and worship, prayer and spiritual solution to problems and other 

socio-political themes.  

The texts in this collection are especially arranged to express worshippers’ feelings at 

different levels of human emotions. Selected songs for interpretation shall be examined under 

the following themes: Adoration and Thanksgiving.  

(1).  Olori Kokoro Baba fi fun mi  

 Kokoro to nsi lekun ire  

 Gbogbo ona toti ti mo mi  

 Ba mi si won, k‟ogo re yo laye mi. 

 

Translation  

 Father, give me the Master Key  

 The key that unlocks the door to goodness,  

 All the doors shut against me  

 Unlock them, and let your Glory rise in my life.       

 

“The Master Key” is a metaphor (comparison between two things). The composer compares 

God’s showers of blessings to a key. Since God can bless one at anytime and in any manner 

He wishes; the act is comparable to what could be accomplished with a Master Key which is 

believed can open any door. When God blesses anyone, it is as if a Master Key has been used 

to open the door “of goodness” in this respect.  

 

(2).  O ye kaadupe, O ye kaadupe  

 Ara nsan, ategun nfe 

 Iji nja ko gbe wa lo 

 Oye kaadupe 

 

Translation  

 Let’s be thankful, let’s be grateful  

 The thunder rumbles, the wind blows  

 The storm rages, … 

 We should be thankful. 

 

O ye kaadupe, O ye kaadupe is a repetition used to emphasize the importance of such thanks. 

The lines that follow make it clear that the repetition is worth the while, considering the 

storm of adversities which rages unabated, leaving the singer unscathed. Little wonder, 



106 

 

parallel phrases ara nsan, ategun nfe, iji nja are placed side by side. Such parallelism gives 

force to the need for gratitude.  

(3).  Oluwa, Eyin l‟atobiju 

 Aribiti, Arabata, Eyin l‟atobiju 

 Aribiti, Arabata, Eyin l‟atobiju Oluwa  

  

Translation  

 Lord, you’re the Greatest  

 You’re indescribably great 

 You’re indescribably great, Oh Lord  

 

 

 

Aribiti, Arabata a pun (play on words) 

The meaningless words aribiti, arabata are used in an attempt to create a picture of 

indescribable nature of the Majestic God. Hence, there is a play on words, or rather on 

certain sounds in the syllable, of the two words aribiti, arabata, resulting in a change of tone, 

adding to the beauty of the musicality of the stanza.  

(4)  Eyin ni Baba to to Baba 

 E yin ni Baba to ju Baba lo 

 

Translation  

 You’re the Father who is really a Father 

 You’re the Father greater than any father.  

 

The figure of speech employed in this song is repetition (saying the same thing again and 

again). The composer is expressing the distinctive, unparallel role of God as not just a father 

like other fathers, but as THE FATHER, the Ultimate One. 

(5) Emi o mo  

 Emi o mo 

 O gang an o gang an  

 Ibi ti nba ti mo pe mi wa  

 

Translation  

 I do not know  

 I do not really know  

 

Exactly where to begin expressing my gratitude.  

Repetition is used in this song; indicating how overwhelmed the composer is by the showers 

of God’s blessings. The composer in effect is saying “he is short of words” with respect to 

describing how he feels about God’s goodness.  

 



107 

 

(6)  Ola l‟e wo „laso  

 Ogo l‟aso ileke 

 Iyin l‟egn lesin 

 Awamaridi le l‟Edumare  

 

Translation  

 You’re clothed with Honour  

 Your outer garment is Glory  

 You ride on praise as on a horse  

 The Almighty is unfathomable 

 

 “Ola… laso  

 Ogo laso ileke  

 Iyin …. Lesin”  

 

This is metaphor. Clothes cover the human body and beautify it. God’s glory, honour and 

praise beautify God and set Him on high even as clothes do to the body of the wearer. The 

horse is a traditional means of transportation. But when a king rides on a horse, he flaunts his 

wealth and glory. In the same vein, when we praise God, it is as if God rides on a horse. Such 

praises flaunt God’s wealth, glory and honour and heralds them.  

 

(7).  Meloo ni maa ro ninu ore ti Baba se  

 Meloo ni maaso ninu ore ti Jesus se 

 Ore re ma po oju yanrin okun lo  

 Meloo ni maaro, afi kinsa ma dupe  

 Ore re ma po oju yanrin okun lo  

 Meloo ni maaro afi ki nsama dupe  

 

Translation  

 The father’s goodness is beyond what I can recount 

 Jesus goodness is beyond what I can recount 

 Your goodness is more abundant than the sound of the sea  

 How do I recount it; except to give thanks  

 

 Meloo…  

 Meloo …. 

 

This repetition emphasizes how awed the composer, when he contemplates the breath of 

God’s goodness.  

 

Conclusion  
This study has demonstrated that there exists numerous indigenous Yoruba music in the 

Redeemed Christian Church of God employing the use of figures of speech. Though a few 



108 

 

song texts have been selected in this study, a number of figures of speech have been 

identified. Prominent among the identified figures of speech are Repetition, Metaphor, Pun 

and Parallelism-is Repetition, a figure of speech used primarily for emphasis. The study has 

made clear how an analysis can shed light on a practice.   

It is hoped that this paper will stimulate scholars to redouble their efforts at serious studies of 

more textual interpretation of indigenous songs in church worship.  

 

References 

Adedeji, F. (2001). Definitive and conceptual issues in Nigerian gospel music. Nigerian 

 Music Review, 2, 46-55. 

Apel, W. (1969). Contrafactum. Harvard Dictionary of Music, 203-204.  Cambridge, M. A.: 

 The Belknap Press of Harvard University Press.  

Boyer, H. C. (1979). Contemporary Gospel.  The Black Perspectives in Music. Spring,           

 7(1), 5-8.  

Euba, A. (1986). Yoruba music in the Church, the development of a new African art among 

 the Yoruba of Nigeria. African Musicology: Current Trends. 2, 42 – 53.  

Euba, A. (1988). The Music of Yoruba. Essays on Music in Africa. Bayreuth: Iwalewa Haus  

Universitat Bayreuth.  

Laoye, O. A. (1966). Music of Western Nigeria. The Composer, 19, 34-41. 

Nketia, J. H. K. (1975). Speech and Melody: The Music of Africa. Chichester, Sussex, Great 

 Britain: R. J. Acford Ltd. 

Ofosu, J. O. (2001). Kirimomo Music: A Christian Native Air genre of the Urhobo of  

Delta State of Nigeria. Unpublished Ph.D Thesis of University of Ibadan.   

Omojola, B. (2001). African music in Christian liturgy: The Yoruba tradition. Nigerian 

 Music Review, 2, 80-96. 

  

 


