



































Tonemic Substitution


 

 

206 Awka Journal of Research in Music and the Arts Vol.15 (2021) 

 
206 

LANGUAGE AND MEANING OF WORDS IN  

IBIBIO MUSIC COMPOSITION 

 

Precious Kufre Udoh & Alvan-Ikoku O. Nwamara Ph.D.  

 

Abstract 

n every culture or society of any geographical location, with 

characteristics of norms and values system ‘language’, is a driving 

force that propels communication. It is widely used and accepted 

as a means of expression. It influences the general life styles of the 

people through music. In music ‘Texts’ are words that help the listeners 

(audience) appreciate the message passed across by the singer or 

better still, the composer of a song. Music composition is language 

driven, and this is peculiar to Africans as it aid verbal communication 

amongst its tribes and also communicates emotions. This paper 

therefore, in looking at language as it relates to music and the society, 

examines the roles of language and some meaning of text (words) in 

Ibibio music composition.  

 

Introduction 

Language is a very important tool amongst humans of any given 

geographical location. It gives recognition and identity and also 

nationality to a particular race in a given country. According to  

Hall, in (2005) he sees language as: ‘an institution for communication’. 

For him and others, language, exist for the expression of or ideas. As 

a human institution, language is used in society and is seen as part of 

I 

 Awka Journal of Research in Music and the Arts (ARMA) Vol. 15 2021 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 207 

the society’s culture. Okon, also in (2003) sees language as: ‘the 

cultural embodiment of a particular group in that, the group’s language 

is used to portray ideas, emotions, desires and the thought pattern of 

the people’. This, then, presupposes that language, music and culture 

are all related and interwoven. According to Webster Dictionary (1998) 

- language is viewed abstractly as a system of forms and conventions 

used for communication in a community. It could be the use of words, 

their pronunciation, and the methods of combining them to make 

meaning to the community where it is established. It could also be in 

form of signs (arts) or symbols adopted by communities, and 

professionals for easy communication. In other instance, language and 

music are used as means of documentation and also as a means of 

expressing their values. In doing that, language becomes a major 

symbol of their communication. Akpabot (1986) asserted that: African 

music borrows much from vocal music which in turn is tied to speech 

melody and speech rhythm. Speech melody and speech rhythm are 

inter-related. Language or its speech rhythm then becomes a major 

factor of consideration in music composition in Africa. In Africa 

cultures, languages promotes traditions, customs, norms and values; it 

is and avenue through which a people of a culture identify and also 

constitutes themselves which are in turn passed from one generation 

to another. According to the assertion as asserted by Okon (2007), he 

stated that: there is no society without a culture and language must 

and, does perform its function as a vehicle of cultural transmission.  

 

Every culture of a geographical location reveals the identity of the 

people within with a number of things shared in common which of course 

includes their belief system, their language, their costume, and their 

music. Thus, language and music are one of the core characteristics in 

a culture. Corroborating this, Adesina (2008) assert that: you cannot 

have core value if you do not have culture. 

 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 208 

Language and Music 

In Africa and diaspora, music is used for several purposes as it is part 

and parcel of a culture of a society. It is used as a medium through 

which the norms and values of a community are passed from one 

generation to another generation for the sole aim of preserving 

culture. This communications are verbal, which are, in music, the 

composition and/or the arrangements of words that characterizes its 

texts (lyrics). The meaning of the words as used in a composition 

determines how much communication is enhanced and understood. 

Accordingly, Vidal (2002) stated that: music is a play with sound, a 

paragon of the experience and activities of man; a reflection of those 

experiences and activities as well as a model to both. To the Africans, 

music is an art; and there is hardly an activity or ceremony of any sort 

without music as it constitute expression of emotions and feeling being 

the function that characterize man and his environment. It 

communicates cautions, corrections, warning, and even war hence the 

choice of words used if not appropriate can be misleading because its 

meaning is not well or properly construed. Yekini-Ajenifuja (2004) 

corroborated this when he stated that:  

music involves all other areas of interaction in the communities 
such as religion, recreational and rites, among other. However, 
music remains the application of sounds that reflects the values 
of the society where it is established in order to stimulate the 
emotion of its audience to a reaction.   

 

As stated earlier, language is a very important identity of a particular 

people within a geographical location. It influences all the aspects of 

life such as – belief, norms, values, socials, styles and ways, dressing 

including music. It is a major factor and character of music whether 

vocal or instrumental as both are ‘sound’ inclined. Hornby (2000) 

defined language as: The system of sounds and words, used by human 

to express their thoughts and feelings. The means in a given ethnic 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 209 

language is used in composition, and also expressed in music. It is used 

in music to properly communicate the emotions, beliefs and customs of 

the people. The meanings of every words used communicates a proper 

understanding thereby building confidence and strength and foster 

relationship amongst the people. Encarta (2009) defines language as: 

communication among spoken or written symbols with agreed upon 

meanings. These spoken-gesture-signaled communication involves the 

same process for all humans, and any human language can convey any 

human thought; nevertheless, the actual languages spoken in the world 

are numerous, and they differ vastly in their sound systems and 

grammatical structures. In his views on the relationship of language 

and culture Kramsch (2010) stated that: 

Language is the principal means whereby we conduct our social 
lives. When it is used in contexts of communication, it is bound 
up with culture in multiple and complex ways. The words people 
utter refer to common experience. They express facts, ideas 
or events that are communicable because they refer to a stock 
of knowledge about the world that other people share. Words 
also reflect their author’s attitudes and beliefs, their point of 
view that are also those of others. In both cases, language 
expresses cultural identity. 

 

In Webster Dictionary (1998), language is viewed abstractly as a 

system of forms and conventions used for communication in a 

community. Primarily, it could be the use of words, their pronunciation, 

and the methods of combining them to make meaning to the community 

where it is accepted. In some societies, language and music are used as 

means of documentation and also as a means of expressing their values. 

In doing that, language becomes a major symbol of their 

communication. Corroborating this, Akpabot (1986) stated that: 

African music borrows much from vocal music which in turn is tied to 

speech melody and speech rhythm. Speech melody and speech rhythm 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 210 

are inter-related. Language or its speech rhythm then becomes a major 

factor of consideration in African music composition. It is worthy of 

note to state that language and music are practically intertwine in that, 

language if often times set into music and in the same vein music is also 

often set into language as the case may be. This is because language in 

music to the Africans, express deep meanings  

 

Language and the Society 

According to history, there are many African languages indigenous to 

the African continent. More than 2,000 different languages according 

to Microsoft ® Encarta ® 2009 are spoken in Africa. Apart from 

Arabic which is not confined to Africa, the most spoken African 

tongues are Swahili (about 35 million speakers) and Hausa (about 39 

million speakers), both of which are used over wide areas as lingua 

franca. Several languages (often inaccurately termed dialects simply 

because they have few users or are under-researched) are spoken by 

only a few thousand people. Although very few African languages have 

written literature, the majority have long-standing traditions of oral 

literature. Nigeria is known for a heavy proportion of languages in 

comparison to other African countries of an estimated 2,058 languages 

in Africa, 500 are thought to be spoken in Nigeria. The official 

language is English (first taken to Nigeria by European traders before 

colonization), used in educational, governmental, business, the media, 

and other official domains.  

 

Multilingualism is common among Nigerians through daily interactions 

and trade. The names of the three main peoples in Nigeria (the Hausa, 

the Igbo and the Yoruba) correspond to the languages spoken by these 

people. Yoruba and Hausa are the most widely spoken languages (with 

over 18.5 million speakers of each in Nigeria itself), followed by Igbo 

(around 18 million), and the Fulfulde (over 7.5 million) and Kanuri (3 

million). Ibibio among others are the minor national languages spoken in 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 211 

Nigeria. Many Nigerians also speak Nigerian Pidgin English (creolized in 

some areas), which is mutually intelligible with some other West 

African pidgins. This acts as a lingua franca across the many languages 

spoken in Nigeria and its use is growing in literature, advertising, 

television, newspapers and radio. Language as it relates to the society 

could be in form of communication (verbal), symbols or signs. The socio-

cultural norms and values of man in his social environment, is the 

concept which deals with specific forms of organized pattern of 

interaction which occurs within the society. In the words of Charles 

(2003) he noted that: 

 cultures would not exist without language. He views language as 
a guide to social reality and argues that in every human society, 
people are very much at the mercy of the particular language 
which is the medium of expression for the society.  

 

He further opined that: the ‘real world’ is to a large extent 

unconsciously built on the language habit of the group. Corroborating 

this, Smeets (2006) asserts that: as human kind’s principal means of 

communication, language do not merely convey messages, they also 

express emotions, intentions and values, confirm social relations and 

transmit cultural and social expressions and practices. Hence, in every 

society like the Akwa Ibom, there is a common language that is peculiar 

and related to that of other related society. Though, Ibibio language 

is a general language, there are still some other ethnic within Akwa 

Ibom with their peculiar dialect. According to Merriam (1964), he 

assert that: music is a universal phenomenon just like language. It 

exists only in terms of social interaction and it is a learned behaviour. 

It involves the behaviour of learned individuals and groups of 

individuals. Owing to this assertion, a group of individuals who in the 

course of searching for greener pastures have come to stay in the same 

society other than theirs, are opportune to learn other languages and 

even their music which are basic characteristics of a society.  



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 212 

Language and Music of Ibibio and Society 

According existing literatures, the Ibibio migrated from the Central 

Benue Valley into the present South-Eastern Nigeria (Inyang 1991). 

The Ibibio are found predominantly in Akwa Ibom State in the South-

South geo-political zone. Ibibio is identified by a people and their 

language. Ibibio is spoken predominantly in Akwa Ibom State and in the 

neighbouring States where Ibibio people reside. The language originally 

belongs to the Benue-Congo family. A further sub-classification shows 

Ibibio as belonging to the lower Cross. Ibibio and other genetically 

related languages have been classed under what Essien (1990) refers 

to as Ibibiod, a term which in essence, captures the common 

origin/history of the language and the people (Urua 2000). As we have 

noted earlier, language and culture are closely related. We would want 

to state that without language there will be no culture and vice-versa. 

Okon (2007) asserts that culture is the knowledge that someone has 

by virtue of his being a member of a particular society.  

 

Kottak (2004) on the other hand, views culture as: a set of control 

mechanism, plans, recipes, rules, instructions for the governing of 

behaviour. Wardhaugh (2000) asserts that: language forms a vital 

aspect of the socio-cultural behaviour which in turn forms part of the 

society’s value system and patterned way of life shared by the people. 

In the Ibibio society, therefore, Ibibio language is tightly knit with 

Ibibio culture and together, they identify the individual or group as 

being distinctly Ibibio. The Ibibio society is an organized society. A 

number of social institutions are put in place which Ottong (2004) 

noted, are seen as: the principal instruments whereby the essential 

tasks of social life are organized, directed and executed. This, 

therefore, insinuates that, the established ways of behaving and/or 

ways of life lies within. These social institutions which form part of the 

Ibibio culture are embodied in the Ibibio language and reflect in the 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 213 

ethics of their norms and values. According to Agawu (2003) he 

submits that: 

Language and music occupy different levels in the hierarchy of 
modeling system. As the primary means of communication in the 
society, language is higher because it has conceptual priority 
over music. On the other hand, music, because it remains 
indispensable,       and because it includes and at the same time 
transcends languages more pragmatic function, often lead us 
into realms that are experientially higher than language.  
 

Hence, just like the language and music of other African countries, the 

language and music of Ibibio are inseparable arts that cohabit in three 

domains of man which are - cognitive, affective and psychomotor 

domains which becomes active and functional to both the performer 

and the audience alike. Ibibio language used in a music composition 

creates an avenue to help in the understanding of the text (words) and 

its meaning as this drives home the emotional thoughts, and also the 

interpretation it carries as intended by the composer/writer. This, 

also, presupposes that for any information to be disseminated 

effectively through music, the role of language is inevitable; an in-

depth meaning of every words as used must well ascertained. This if 

not properly researched especially by the non-Ibibio music composers, 

may become ordinary discourse, non-sense or even a taboo. 

 

Language and Meaning of text (Words) of Ibibio Music Composition 

Subject to the context of this paper, it is important to establish that 

Ibibio people are seen in the light of the ethnical relatedness of the 

traditional Northern Ibibio, Southern Ibibio, Western Ibibio, Central 

Ibibio, and Riverine Ibibio. The Ibibio people are distinctive ethnic 

group found predominantly in the South-South geopolitical region of 

Nigeria with a population of about four million people. They are the 

fourth largest ethnic group in Nigeria, according to Ukim, (2020); 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 214 

Demographic Nigeria (n.d); Okonofua and Ukim, (2016). The Ibibio has 

several networks of independent sub-groups comprising Efiat, Okobo, 

Andoni, Efik, Ibeno. Oron, Eket and Annang communities. Udo (1983; 

Ukim, 2020; Minahan, 2002 and Ekanem, 2000). The traditional art 

exhibition of these sub-groups which is an affiliate of a people’s 

cultural practices and language of communication are similar in context. 

This is so because they are ethnically related (Udo, 1983). Their 

economic, religious, aesthetics and political institutions are all reforms 

enabling.  

 

The music of the Ibibio people is uniquely rich in dance, songs and 

instruments, and symbols play very important roles. The songs in Ibibio 

are sung and played in social gathering s such as marriage, feast, 

coronation, birth, and so on. It is also used as a means of 

communication, warning, abusing, and treatment. The concept of Ibibio 

music is pre-determined and not by reactions; the mood and character 

of most of Ibibio music is cheerful and lively as expressed in bright 

melody. The tempo and dynamics often express bright mood, except in 

the case of death. According to Hugh (1963): The way African conceive 

music is different from the way Europeans do; to the Africans music 

is a word, meaning - vocal participation, the physical manipulation of 

instruments and rhythmic or dance movement associated with music. 

Furthermore, the traditional make-ups of Ibibio music are not entirely 

different from other ethnic groups in African, this is because 

compositional characteristics are not exclusive to one community, 

culture or country; one can extract the dominant musical concepts and 

procedures in a given area. Scholars like Agordor (2002) refer to this 

as: ‘culture area concept’, defined as geographic units whose 

inhabitants share a relatively homogenous cultural style. The song text 

is a medium for creative verbal expressions that reflects both personal 

and social experiences. Akpabot (1998), in looking at style and content 

of Yoruba and Hausa music states that: Ibibio oral poetry is most 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 215 

commonly found in song texts and invocations during ritual or non-ritual 

ceremonies.  

 

Furthermore, he also highlighted 14 categories of song texts easily 

recognizable in African music, and they are - historical, communication, 

social, insult, obsessed, praise, children, funeral, work, war, humorous, 

women, philosophical, and ritual. All which he said can be grouped under 

three main headings: Praise Songs; Songs of Insult; and Songs for 

Entertainment. These song-texts, which are the exactly words used in 

music composition are the very focus of this paper; and will thus be 

examined. 

 

Ibibio Text (words) and Their Meaning 

Udoh (2014), observed that less attention is paid to the song text 

(which is the actual words of a song) in Ibibio music compositions, and 

it leads to a number non-appreciable sound in Ibibio language and music 

composition; Suggested guides to help composer of Ibibio music, 

especially the non-Ibibio composers and they as follows:  

 

Vowel sounds common with the Ibibio are -     

a,      e,      i,      o,      Ͻ,      u,      ŋ. 

 a:  (short ‘a’ sound) as in hard. It is pronounced as /ae/; 

  examples are - afo, abasi, akan, awo akang etc. 

 

  Words     Meaning 

  Afo     You 

  Abasi     God 

  Akan     Old 

  Awo     Person 

  Akang     Potash 

 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 216 

 e: (short ‘e’ sound) as in hate. It is pronounced as /e/ 

without dot(.) underneath; 

  examples are - ebot, ewa, edim, edi etc. 

 

  Words     Meaning 

  Ebot     Goat 

  Ewa     Dog 

  Edim     Rain 

  Edi     Pig 

 i: (long ‘Ee’ sound) as in heel. It is pronounced as /i:/; 

  examples are - inua, iwo, ikwo, idem, idip, etc. 

 

  Words     Meaning 

  Inua     Mouth 

  Iwo     Nose 

  Ikwo     Song 

  Idem     Body 

  Idip     Stomach 

 

 o: (short ‘o’ sound) as in go. It is pronounced as /o/; 

  examples are - owo, odudu, obu, obot, etc.    

 

  Words     Meaning 

  Owo     Person 

  Odudu     Power 

  Obu     Dust 

  Obot     Mountain 

 

 Ͻ: (long ‘Oo’ sound) as in born. It is pronounced as /Ͻ:/ ‘c’ 

turned the other way; 

  examples are -obong, ofong, otong, ofiong, etc. 

 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 217 

  Words     Meaning 

  Obong     Lord 

  Ofong     Cloth 

  Otong     Soap 

  Ofiong     Moon 

 

 u: (long ‘Uu’ sound) as in school. It is pronounced as /u:/; 

  examples are - uwem, utom, udua, ufok etc. 

 

  Words     Meaning 

  Uwem     Life 

  Utom     Work 

  Udua     Market 

  Ufuk     House 

 

 ŋ: (combination of ‘n’ and ‘g’ sound - ‘ng’) as in hung. It is 

pronounced as /ŋ/; 

            examples are - mmong, mbang, abong, ikpang, abang etc. 

 

                      Words    Meaning 

             Mmong    Water 

             Mbang    Cheek 

             Abong    Mosquito 

             Ikpang    Spoon 

             Abang    Basin 

Others are: 

                        Iyak    Fish 

                        Ikwa    Knife 

                        Adisad   Comb 

                        Ukwak   Iron 

                        Nkukim   Nail 

                        Afongisin   Wrapper 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 218 

                        Umonoren   Mirror 

                        Akebe   Box 

                        Itam    Hat 

                        Ufuk-ayo   Umbrella 

                        Ikpo-ukod   Shoe 

                        Ikpang   Spoon 

                        Nkpo-itie   Chair 

                        Ided    Hair 

                        Usan    Plate 

                        Akpokoro   Table 

                        Afong-ukod   Trousers 

                        Ukod     Leg 

                        Ufok     House 

                        Ataha-afong    Rag 

                        Isin     Waist 

                        Mkpoutank-iko   Phone 

                        Ikang    Fire 

                        Esio     Pot 

                        Esiofere    Pot of soup 

                        Afere    Soup 

                        Ikpa      Cane 

                        Enang    Cow 

                        Enang-ukwak   Bicycle 

 

  And so on. 

 

 

 

- Some Ibibio Names and their Meaning: 

 

Names    Meaning 

  Ubong (as in UbongAbasi)  Glory (as in Glory of God) 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 219 

  Ese (as in EseAbasi)  Testimony (as in God’s Testimony) 

  Uduak (as in UduakAbasi)  Will (as in God’s Will) 

  Kufre (as in Kufre Abasi)        Don’t forget (as in Don’t forget God) 

  Akan (as in Akanimoh)  Victory (as in Victory over wealth) 

  Imo (as in Imo Abasi)  Wealth (Wealth of God) 

  Nkeruwem    I’m bearing life 

  Abasiema    God’s blevove 

  Emem (as in EmemObong)  Peace (God’s peace) 

  Inyang    Sea 

  Ini (as in Ekemini)   Time (as in when it’s time) 

  Ini (as in IniObong)   Season (as in God’s season or time) 

  Akwaowo    Great man 

  Iyene    Riches 

  Ewongo    Covenant 

  Edikan    Victory 

  Ime (as in Ofonime)  Patience (as in Patience is good) 

  Udo     Second son 

  Akpan    First son 

  Eka (as in Ekaete)            Mother (as in ones father’s mother) 

  Ete ete    Father’s father 

  

And so on. 

- Some Ibibio Names with other Meanings: 

 

             Names    Other Meanings 

   Obong     Lord, cane or mosquito 

             Edet    name or teeth 

             Ofiong   moon or month 

                       Obot    hill, mountain or creator 

                       Usoro    party or name 

                       Ete    Father, elderly man to say 

                       Ime    Patience or perseverance 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 220 

                       Ita    Name or number as in 3 

And so on. 

 

-  Ibibio Greetings with their Meanings: 

                         Greetings  Meanings 

                         Mesiere  Goodmorning 

                         Ekom do   Greetings there or Goodafternoon 

                         Asiere  Till morning or Goodnight 

                         K’e nam   Well-done 

                         Daa do   Greeting  

                         Song idem  Be Strong  

                         Isong o*  Greeting 

                         Tie do  Greeting  

              Meyong  Welcome or Are you back 

              Abadie  How are you 

              Idiok o  Not bad 

              Idem mfo o   How is your body 

              Asong  I’m well or I’m fine 

              Ka di o  Safe journey or Go come 

              Me kom o  I greet you 

              Bo ekom do  Accept my greetings 

              Ameyong  You are welcome 

              Mmeyong  I am back 

              Ame bak ayong You are back early 

              Akpene usen  It’s been a long time 

 

Amongst the above Ibibio greetings above, are the highlighted 

greetings. They are the type of greetings in which the action of a 

person or group of persons are used to determine the greeting. 

 

Daa do literarily means - ‘stand there’ but then it is a way of greeting;  

Tie do literarily means - ‘sit there’ and it is also a way of greeting. 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 221 

The highlighted greeting with asterick - Isong o, is a type of greeting 

used during a large congregation of Ibibio people; this could be town 

hall meeting, village meeting or traditional gatherings, which could be 

weddings, engagements or coronation (which could be installing a king, 

village head and so on). Same as Ino uyo o, Ufok mma, Idung mma, 

Mma’m ma de o. 

     

In Ibibio language, a word can mean several things, names, or places 

and also, depending on the context to which it is used, open to different 

meanings and interpretations. Inappropriate use of words in Ibibio 

music composition creates confused tonal inflection especially when 

the words are not properly accented. Some words spelt and pronounced 

are to be thoroughly thought of as they can mean and sound different 

things. For instance, there are some words in Ibibio that end with the 

letter ‘t’ when spelt, but in pronouncing them the ‘t’ is changed to ‘d’ 

thereby replacing the ‘t’. There are also Ibibio words with tonal 

contrasts (that is words with more than one meaning):  

 

- Some Ibibio Words with other meanings: 

  Words    Other Meanings 

  Edi    to come or pig 

  Obu    dust or crayfish 

  Ekpat    sack bag or to shift 

  Esang    walker’s stick or to go ahead 

  Ikang    fire or gun or light 

  Abong    mosquito or cane 

  Udua    market or week 

  Akang    potash or to lie 

  Akpo    rubber or bone 

  Nto    pit or hole 

  Unam    meat or animal 

  Uduk    robe or pity 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 222 

  Afiong    moon or month 

  Ikpong    cocoa or alone 

  Itam     hat or name of a village 

  Ayaya            beautiful or name of a person

  Ikim    urine or grasses 

  Ikwo    song or name 

  Ikot    faeces or bush  

  Kere    to think or to bear 

  Iyak    fish or to leave 

  Mbot    culvert or hill  

  Ubom    canoe or fatness 

  Usung    door or way or lump of ‘eba’ 

  Unen    right or hen  

  Edi    pig or to come 

  Utin    sun or name 

  Afang    vegetable leaves or space 

  Ukod    leg or in-law 

  Ete     father or Mr 

  Ikpe     judgement or name 

  Itie    position or to seat 

  Ese    testimony or to look 

  Essien    outside or name 

  Imoh    wealth or name 

  Idiok    bad or evil 

  Arit    to turn red or name 

  Ebong    to call or name 

  Eka    mother or to go 

  Ita    number or name 

  Ntong    saint-leave or dust or ashes 

  Ini    time or period or name 

  Ukpong   soul or name   

  Esit     heart or inside 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 223 

  Eyen    eye or baby 

  Iwang    farm or freely  

  Obong    Lord or whip 

  Eyong    heaven or above 

  Isong    earth or land or down 

  Ufang    passage or space 

  Ufiop    hot or heat 

  Afia    fair or white 

  Isin     waist or to put 

  Idip    stomach or pregnancy 

  Itong    neck or glutton 

  Ubok    hand or plead 

  Udia    yam or food 

  Afid    cutlass or all or boiled 

  Anem    sweet or name of fruit 

  Akim    dark or unripe or mine 

  Uwa    sacrifice or predicament 

  Akop    navel or to hear 

  Anwa    cat or outside 

  Edong     goat or kneel 

  Awan    wife or fight 

  Ufuk    odour or smell 

  Adu    hole or discussion 

  Mben    side or to take along 

  Ata     chew or spice or to stand a ground 

  Mkpo    mucor or thing 

  Ebok    monkey or to cook 

  Iba    pant or number 

  Uyo       voice or fruit or name of a town 

  Ikpo    big or great 

  Ayong    gong or up 

 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 224 

Having looked at language as in relation to music and the society and 

the role of language and some meaning of text (words) in Ibibio music 

composition, it is strongly agreed that language is a key factor in Ibibio 

music composition just like other African languages. In conclusion, this 

paper has shown that to express and communicate with Ibibio language 

in music compositions, composers will have to devote himself/herself 

to the study of Ibibio idioms, phrases, and concepts of musical arts 

and most importantly, meanings of Ibibio words intended in their music 

compositions. This is in line with Omojola (1999), views that:  

 an understanding of the conception of music among 
communities       in Africa would have to derive from a 
combination of factors such as the words used by the people to 
describe music, the contextual music performance, the 
organized procedures associated with music, the nature of the 
musical expression itself and the meaning intended in a musical 
performance.  

 

References 

Adesina, G. (2008). ‘Saving Yoruba Language’. The News. 30/1: pp.55-

56. 

Agawu, K. (2003). ‘Defining and interpreting African music’. In A. 

Herbst; M. Nzewi; and K. Agawu (Eds.), Musical Arts in Africa: 
Theory, Practice and Education, pp.1-12. South Africa: Unisa 

Press. 

Agodor, A. A. (2002). The Role of Music in the Life of the African 
Studies. African Music. Revised Edition, pp.44-45. Printed in 

Ghana by Comboni Printing School.  

Akpabot, S. E. (1998). Forms, Function, and Style in African Music. 

Ibadan: Macmillan Nigeria 

__________. (1986). Foundation of Nigerian traditional music. 
Ibadan: Spectrum Books Ltd. 



Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 225 

Charles, J. O. (2003). ‘The search for cultural identity and its 

implication for national integration in Nigeria: The Role of 

Language’. In: O. Essien, M. M. Okon (ed). Topical Issues in 
Sociolinguistics: The Nigerian Perspective. Aba: National 

Institute for Nigerian Language (NINLAN). 

Demographic Nigeria (n.d). 

https://www.cs.mcgill.ca/~rwest/wikispeedia/wpcd/wp/d/Dem

ographics_of_Nigeria.htm. Retrieved 25/5/2023. 

Ekanem, B. (2000). ‘Comparative study of Ibibio, Egyptian and Greek 

arts’. In: B. Ekanem and O. Egonwa (Eds.), Arts today for 

tomorrow, pp.10-17.Uyo, Nigeria: Dorand Publications. 

Essien, O.E. (2003). ‘Linguistic variations among the small minorities of 

Akwa Ibom and CrossRiver States. In: Essien, O. and M. Okon 

(ed). Topical Issues in sociolinguistic: The Nigerian Perspective. 
Aba: NINLAN. 

Hornby, A.S. (2000). Oxford Advanced Learners’ Dictionary. New York: 

Oxford University Press. Pp.662. 

Hugh, T. (1963).  The Development of music. (African Music, 111/2), 

p.36. 

Inyang, P.E.B. (1991). ‘Ibibio land, people and livelihoods’. In: Abasiattai, 

M. (ed). The Ibibio.Calabar: n.p. 

Kottak, C.P. (2004). Cultural Anthropology 10th Ed. New York: McGraw-

Hill. 

Kramsch, C.J. (2003). The relationship of language and culture. 

http//www.books.google.com. Assessed 15th September, 2010.  

‘Language.’ Microsoft ® Encarta® 2009 [DVD]. Microsoft Corporation, 

2008. 

Merriam, A.P. (1964). The Anthropology of Music. Evanston; Illinois: 

Northwestern University Press. 

‘Nigeria.’ Microsoft ® Encarta® 2009 [DVD] Microsoft corporation, 

2008. 

https://www.cs.mcgill.ca/~rwest/wikispeedia/wpcd/wp/d/Demographics_of_Nigeria.htm
https://www.cs.mcgill.ca/~rwest/wikispeedia/wpcd/wp/d/Demographics_of_Nigeria.htm


Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 226 

Okon, B.A. (2007). ‘The role of language in multilingual society: The 

case of Akwa Ibom State’. IBAAN. Pp.1-8. 

Okonofua, A. & Ukim, I. (2016). Documentation of indigenous Ibibio 

culture in sculpture: An analysis of some works in University of 

Uyo Art Garden. Graspact Journal of Arts and Technology. 1(1), 

pp.24-32. 

Omojola, O. (1999). Culture and Social identity in Nigerian Traditional 
Music. The Performer Vol. 1. No. 2, pp.44-45  

Ottong, J.G. (2004). The study of sociology: A conceptual approach. 
Calabar: Adonai Publishing House. 

Smeets, R. (2006). ‘Language matters’. The intangible heritage 

messenger. Pp.1 and 8. 

Udo, E.A. (1983) Who Are the Ibibio? Onitsha: Nigeria. Africana Feb-

Publishers. 

Udoh, P.K. (2022). EMEM KE NIGERIA: A Didactic Ibibio Choral Music 

Composition. Festschrift in Honour of the Music Maestra 

Professor Young-sook Onyiuke, Chapter Forty-Six. 

http://ojadilipublishing.com.ng/onyiuke/. All Right Reserved.  

________. (2021). An Appraisal of Three Selected 
Composers/Arrangers of Ibibio Vocal Music. Ogirisi: a new 

journal of African Studies Vol. 17. 

doi:10.11648/j.ijla.20190701.11.  

________. (2014). A Study of the Styles of Contemporary Choral Art 
Music in Ibibio Land. An Unpublished MA thesis. University of 

Lagos, Akoka. Lagos. Nigeria. 

________. (2011). An Ibibio Choral Work with Instrumental 

Accompaniment for (SATB). An Unpublished BA project. Lagos 

State University, Ojo, Lagos. Nigeria. 

Ukim, I. (2020). Influence of Traditional Art of Africa on 

Contemporary Art Praxis: The Ibibio Funerary Art Example. 

International Journal of Art and Art History, Vol. 8, No. 2, pp. 

  54-61. 

http://ojadilipublishing.com.ng/onyiuke/


Udoh, P. K. & Nwamara, A. O.: Language and Meaning of Words in Ibibio Music ... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 227 

Webster, Merriam (1998) Collegiate Dictionary (10th Ed.) 

Massachusetts: Encyclopedia Britannica Company. 

Vidal, A.O. (2002). ‘Music, Culture and National Development’. A paper 

presented at Adeniran Ogunsanya College of Education, Otto-

Ijanikin, Lagos. 

Yekini-Ajenifuja, I.A. (2004). Structural Organization and Musical 

Style in the Bata Drum Ensemble of the Awori People in Ijaniki, 

Lagos State. Unpublished Masters Dissertation, Obafemi 

Awolowo University, Ile-Ife. 

 

 

 

 

 

 
 

 

 


