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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

 

ENTREPRENEURSHIP IN SUSTAINING NIGERIAN TRADITIONAL MUSIC FOR ECONOMIC 

DEVELOPMENT 

 

Ayeyemi Ebenezer Oluwatoyin, PhD 

Department of Music 

Adeyemi Federal University of Education, Ondo 

olueben01@gmail.com 

ayeyemioe@aceondo.edu.ng 

& 

Omodele Kehinde Samuel 

Department of Music 

Adeyemi Federal University of Education, Ondo 

 

Abstract 

This paper explores the vital role of entrepreneurship in preserving and leveraging Nigerian 

traditional music for economic development. Nigeria’s rich cultural heritage, particularly its diverse 

traditional music, holds immense economic potential that can be harnessed through entrepreneurial 

initiatives. Entrepreneurship in the context of Nigerian traditional music involves various activities 

such as music performance as occasion demands, music production, cultural tourism, digital platforms 

and merchandise sales. Through case studies and analysis, this paper elucidates how entrepreneurs 

leverage technology and marketing strategies to reach wider audiences both locally and 

internationally. It also discusses the challenges and opportunities faced by the traditional performers 

including issues related to funding, infrastructure, and cultural preservation. It underscores the 

importance of collaboration between entrepreneurs, artists, policymakers, and communities to foster 

a conducive environment for sustainable entrepreneurship in traditional music. 

Keywords: Entrepreneurship, Nigerian Traditional Music, Economic Development, Performance. 

 

Introduction 

The issue of economy in Nigerian is one which gives the citizenry critical concern and also poses 

danger to the coming generation. Everyone seems to be carrying their burden unnoticed by the closest 

person. The effort government at all levels, non-governmental and corporate bodies put in place to 

alleviate economic crunch from the type of hard life Nigerians live seem to be insufficient until the 

effect is felt. This could be credited to either overpopulation or failure to strategies for economic 

boost. One could say then, that the issues of economic development depend on the input and business 

of every individual who wishes to have a better living for self and others. These individuals take 

cognizance of their physical and cultural environments in order to identify the possible and best 

materials for self-development and at the same time cushion the effect of economic challenges facing 

the society.   

 

Music is a phenomenon that wraps up the daily life of an African man, and it is multifunctional in all 

activities in the society. Few of the functions in African societies include cultural expression with 

the medium expressing cultural identity, traditions and values. It serves as a means of preserving and 

transmitting cultural heritage from one generation to another, social cohesion which brings 

communities together, fostering a sense of unity and solidarity. Through communal singing, dancing, 

mailto:olueben01@gmail.com
mailto:ayeyemioe@aceondo.edu.ng


 

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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

and drumming; reinforcement of communal work, praise of heroes, exposition and correction of 

societal ills, fulfillment of rites and rituals during religious activities, historical exposition through 

praise chants (ewi), teaching of the norms, ideals and values of the society and a means of expression 

of ideas in order to create environmental awareness. It strengthens social bonds and promotes 

cooperation among members of societies. Communication which is concerned with the conveyance of 

messages, stories, and narratives. Traditional songs often contain historical accounts, moral lessons, 

and socio-political commentary, serving as a means of oral tradition and storytelling. Education and 

moral instruction is a tool that deals with impacting knowledge, wisdom, and moral values to younger 

generations. Through music, cultural norms, ethical principles, and societal expectations are 

transmitted and reinforced. Entertainment and Celebration are very common among Africans. 

Festive music and dances bring joy, excitement, and a sense of festivity to various occasions. Music 

provides entertainment and serves as a form of celebration during festivals, ceremonies, and social 

gatherings. These multifaceted phenomenon is capable of providing suitable avenue for individuals 

and groups of people to boost economy following the principle of creativity and innovation in cultural 

entrepreneurship. 

 

Theoretical Framework 

This paper adopts Richard Florida’s Cultural Economic theory which posited that creativity, culture 

and talent are significant drivers of economic development and prosperity. He argues that cities and 

regions with vibrant cultural scenes and creative industries tend to experience higher levels of 

economic growth and innovation. He emphasis on 1) Creative Class which includes individuals engaged 

in occupations that require creativity, such as artists, designers and so on and that the presence of 

a diverse and dynamic creative class is a crucial determinant of a city’s economic success (Florida 

2002), 2) Cultural Assets which includes the organization of arts, museums, theatres, music venues 

and festivals, in fostering a vibrant cultural ecosystem. These cultural assets not only enhance the 

quality of life for residence but also attract visitors and investment, contributing to economic growth 

(Florida, 2002).  

From the foregoing, it could be inferred that the rich culture and music of the Yoruba of Southwest 

Nigeria and Africa at large are suitable avenues for a wide creativity, using the opportunity of assess 

to cultural artifacts to boost economy. 

   

The concept of Economic Development 

The term economic development and economic growth are used interchangeably but there is a very 

big difference between the two. Economic growth can be viewed as a sub category of economic 

development. Therefore, there is no one prescription for economic development that fulfills the 

needs of all communities. Successful economic development is a process that fills different needs for 

different communities at different times. Loveridge and Morse (2013) defined economic development 

as "a sustained community effort to improve both the local economy and the quality of life by building 

the area's capacity to adapt to economic change".  According to Todaro and Smith (2015), economic 

development involves three core values: sustenance, self-esteem, and freedom. These values 

emphasize the importance of meeting basic needs, fostering respect and dignity, and enhancing the 

ability of individuals to make choices.  Shaffer (1989) also defined it as the sustained, progressive 

attempt to attain individual and group interests through expanded, intensified and adjusted use of 

available resources. Economic development can involve job and income growth, it also involves 

sustainable increases in the productivity of individuals, businesses and resources to increase the 



 

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overall well-being of residents and maintaining or even enhancing the quality of life. Economic 

development refers to the enhancement of economic activity in the community. This is the starting 

point in the economic development process. Community, group or individual economic analysis is the 

process of examining the economic state or position in order to determine further steps of 

development process to be taken to better the situation.  

 

Music and its value in Traditional Setting 

African music can be described as the music of the indigenous peoples of Africa. Sub-Saharan African 

music has as its distinguishing feature a rhythmic complexity common to no other region. Music is 

highly functional in ethnic life, accompanying birth, marriage, hunting, and even political activities. 

Much music exists solely for entertainment, ranging from narrative songs to highly stylized musical 

theater. 

 

Traditional music as a concept is difficult to be given a unified definition, because everyone has his 

own idea of what the term means to them. However, within Nigerian context, Omibiyi (2002) defined 

it as the body of music practiced in pre-colonial Nigeria, associated with traditional ceremonies and 

rituals. Ekwueme (2008) also puts it as the local traditional music, music of indigenous Nigerians. It 

is the music that is native to their customs. Nettl (1964) described it as the music in oral tradition 

found in those areas which are dominated by high culture, distinguished from the cultivated or urban 

or fine art music by its dependence on oral tradition rather than on written notation.  

 

Traditional Music and Economic Development 

In many parts of Africa, the use of music is not limited to entertainment: it serves a purpose to the 

local community and helps in the conduct of daily routines. Traditional African music supplies 

appropriate music and dance for work and for religious ceremonies of birth, naming, rites of passage, 

marriage and funerals. Therefore, traditional music of Africa is functional, used for ceremonial: 

religious, political or incidental purposes, during funerals, to console the bereaved, to express pain 

and agony and during cleansing and chasing away of spirits, during parties, to praise people in 

authority, welcoming back the warriors from a war, during a wrestling match, during courtship, in rain 

making and during divination and healing and during festivals. Work songs are performed both during 

communal work like building, weeding, etc. and individual work like pounding of cereals, winnowing. 

Most importantly, traditional music is highly educative, teaching morals, hygiene, patience in all things, 

good character, unity, hard word, good friendship, love and trust, preparation for difficult days, time 

management, wisdom, self-discipline and self-reliant, communication and signalling etc. 

 

The custodian and practitioners of the traditional culture and music are the indigenous people, apt to 

teach the traditional norms and values. They are bundle of oral history and information. However, 

there are different styles and names of music coined out of the traditional music of the different 

regions of Nigeria. These styles are functional and purposeful. Some of the music though attached 

to some specific regional and cultural environments, have been taken out to the global level of 

appreciation by the traditional performers. These performers not only develop themselves 

economically, they as well globally showcase their different cultures in the area of traditional music, 

remind the culture carriers in both home and in diaspora those traditional norms and values practiced 

in their different cultural backgrounds. For example, Ayilara (2014:20) comments at the demise of 

Elemure Ogunyemi, a prominent Ekiti traditional musician thus: 



 

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Chief Ogunyemi was an accomplished man, brilliantly successful in his chosen 

carrier. He was well in versed in the history and family antecedence of Ekitiland 

and its people and he used this to his advantage in all his records which showed 

the interwoven radiance of good rhythms, graceful dance-steps, excitable 

percussions dexterically given by the drummers…and the finely coined lyrics of 

rich unadulterated Ekiti dialet. 

Ayilara further exposes the musical personality of the icon that: 

“He was the legend of Ekiti folk songs, the genius of Ekiti musicology and the master of innovation in 

the field of traditional entertainment. He was the Ekiti music moderniser.”  

With a good time performance practice of traditional music, the economic attainment of Ogunyemi 

improved. By his consistency in the practice and self-discipline, he rose from obscurity to a limelight, 

from poverty, he became rich and self-reliant, he also moved from local level to become an 

international maestro and from a commoner to nobility as he became High Chief Elejoke of Isaba.  

 

The foregoing indicates that the types and styles of traditional music in Nigeria generated from the 

various ethnic groups created avenues of economic development for the performers. Traditional music 

is attracted by environmental, historical, political, socio-cultural conditions and of course, economic 

circumstances (Nketia in Ijeoma 2011:24). On the basis of the above, communal activities at different 

levels of societies are accompanied by music for its functionality during particular social occasions. 

 

Contributions of Nigeria Traditional Musicians to Economic Development 

Ijeoma (2011:27) identifies two types of Nigerian traditional music performers, firstly, performers 

that make music through their attachment to traditional institutions, such as religious/ritual 

institution, social institution, royalty and others. Musicians, whose motivation is the love of music and 

its economic considerations stand as the other aspect. Talented and inherited musicians who Yoruba 

of Nigeria called ayan could not be left out in this regard. Several of these performers from different 

cultural backgrounds in Nigeria whose names are listed below are icons of traditional music. 

 

Name of Musician Style of Music Domain of Musician 

Adedare Ariunralojaoba Adamo Ijesa/South west 

Durojaye Aremu Adamo   Ijesa/South west 

S.S. Olayera Adamo Ife/ South west 

Olufemi Oyaro Adamo Ile-Ife 

Abeni Olori Waka Ijebu-Igbo/South west 

S.K.B Ajao-Oru   Waka Ijebu-Igbo/South west 

Batile Alake Waka South west 

Salawatu Abeni Waka Lagos/ South west 

Mamman Shata Hausa Wakar Jos/North 

Alhaja Aduke Eyinfunjowo Waka Omuaran/ South west 

F. Aka Sakara Ikare/ South west 

Yesufu Olatunji Sakara Abeokuta/ South west 

Haruna Isola  Apala Egba/ South west 

Ayinla Omowura Apala Ijebu-Igbo/South west 

Alhaji Dauda Epo-akara Awurebe Ibadan/South west 



 

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Alhaji Tatalo Dundun Ibadan/South west 

Emperor Wale Olateju  Bolojo Egbado/ South west 

King Jossy Friday Bolojo Egbado/ South west 

Ayinde Barrister Fuji Lagos/ South west 

Kollington Ayinla Fuji Lagos/ South west 

Odolaye Aremu Dadakuada Ilorin/South west 

Ogundare Foyanmu Ijala Oyo/ South west 

Bola Otu Oseghe  Owo/ South west 

Isola Adepoju Osirigi Irun Akoko/ South west 

Ojo Ojuroungbe Ijigi Ileoluji/ South west 

Alhaja Adepeji Apiiri Ido Ekiti/South west 

Pa Sebulum  Biripo Ikale/South west 

Samuel Omotola Emaye Oba Biripo Okitipupa/Ikale/Ilaje 

Comfort Omoge Asiko Ikale/South west 

Layelu Twince Biripo Ikale/South west 

Chief Elemure Ogunyemi Ayuu Ado- Ekiti/ South west  

Chief Ajoyemi Ayuu Omuo-Ekiti/ South west 

Chief Femi Ariyo Agogo-Egungun Ilawe-Ekiti/ South west 

Ajayi Ogidiolu Ogbele Ilupeju-Ekiti/South west 

Ogidiolu Alaro Umore Ilupeju-Ekiti/South west 

Akinni Amodemaja Igunnuko music  Ota/South west 

Chime Akugwu Ekpili music South east 

Dan Maraya Minstrel  Jos/ North 

Hajia Fatima Lolo Nupe music Nupe/ North 

 

The above collection of Nigerian traditional music, the musical genres and the locations of the 

musicians was based on individual contact. 2015 

 

Traditional music is doubtless functional among Nigerians, it also promotes social, cultural, religious 

and other activities of the people, especially now that the music industry has improved tremendously 

on the recording technology. Both digital and analogue recording studios are at the fingertips of 

performers to boost their music which brings every production and reproduction or playback of 

recorded music ‘back to live’ to feed the audience. However, from the late sixties, the traditional 

performers began to travel abroad for performances where they were exposed to the sophisticated 

musical instruments and latest technologies which they began to acquire and introduce into their 

ensembles, (Oriloye and Ayeyemi, 2013). Thus, traditional music became popular and changed radically 

as some of the performers emerged globally as traditional music icons. Furthermore, the promotion 

strategy is not limited to music production only, it extends to the marketability of the music and 

cultural identity. The mass media stands a better chance to up-shoot the music in the mode of 

advertisement. Ekpa and Udor (2013:169) commended the stand of Nollywood in promoting Nigerian 

culture in the film industry, likewise, there is every need to allow traditional music to grow through 

and other technological bequeath of the world. 

 

Traditional music as a means of human development 



 

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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

As traditional music contributes to the promotion of Nigerian cultures in the areas of religion, social, 

physical and material lives of the people, it is also obvious in the spheres of: 

Education; music could facilitate learning and understanding of societal norms and values when 

integrated into the practices of and used by the societies, 

 Symbolism; traditional music serves as a symbol of the cultural identity to the people who performs, 

use and appreciate the formal structure of the music,  

 Communication; all aspect of traditional music: dance, singing, drumming, chanting, costumes, props, 

procession, declamation, poetry, etc are communicative in nature. Carriers of the culture receive it 

as in form of message and respond to its meaning, 

Situational/Emotional Expressions; music generally takes care of human feelings; traditional music 

especially addresses deep and strong emotional feeling according to the dictate of surrounding 

situation. For example, Alakinyede of Ado-Ekiti chants rara during burial ceremonies. This music 

dampens people’s morale for the loss of their loved one snatched by death. On the other hand, 

traditional music heightens the spirit and creates excitement in its listeners. Emotional feelings not 

permissible in words or speech are expressed in music countless of the effect on individuals as the 

message is disseminated, either for correction, resolution of conflict, exultation or admonition, 

encouragement etc,   

Social control; Traditional musicians stand likes watch dog to people in traditional societies, he has 

the information of credible and worthy dignitaries the evil perpetrators, he is the custodian of 

history of almost every family, icons, the community at large and incidents in the society. He stands 

the chance to expose through his music the evil deeds in the society and move to curb such evil. 

Sugarman, cited in Dissanayake (2006) that traditional music is rarely an end in itself, but a means 

to social ends, 

Aesthetics; Beauty makes one excited and uplifts the spirit. The sound of music adds to the beauty 

of social, cultural and religious environment when it is put to practise. A desired change is brought 

about the surrounding by the dictate of the performers. Traditional music informs events by its 

numerous functions and affecting the subtile aural sensibilities which enhances the individual’s 

aesthetic perceptions of the environment and atmosphere (Ijeoma, 2011:32), 

Maintenance and continuity of history, tradition, norms, and values of the people are in the custodian 

of performers of the different traditional music genres.  

 

Need for Entrepreneurship in Sustaining Traditional Music 

Nigeria is indeed blessed with natural, material and human resources. As earlier mentioned, 

government, individual and cooperate bodies are not able to adequately solve economic problem, most 

youths in the society look forward for white-collar jobs from the government of the day. It looks 

difficult to satisfy the numerous job seekers with the few vacant spaces but the natural and material 

resources in Nigeria could yield positively for individuals, group of investors and the Nigerian 

government, if the human resources are adequately managed. 

 

Nigeria is equally rich in arts and culture from which traditional music performance is singled out as 

the center focus of this paper. In a general platform, Africans don’t toy with their traditional culture 

and music, since both are interwoven. Life in African traditional society is an aspect marked with 

various forms of ceremonies usually accompanied by music, because in African culture, there is music 

and in music, there is culture. Traditional musicians are seen as economic specialists, performing 

particular tasks to which they are assigned by the society contributing to the total labour necessary 



 

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for the economic requirement of the society as a whole. In this sense, traditional musician are 

professionals whose professionalism seems to run along a continuum of payment, they must be 

accorded an acknowledgement, and given recognition of professionalism in payment sufficient enough 

to support the music totally (Merriam, 1964). 

The objective of entrepreneurship is for one to assume the responsibility and the risk for a business 

operation with the expectation of making a profit. The entrepreneur generally decides on the product, 

acquires the facilities, and brings together the labour force, capital, and production materials. If the 

business succeeds, the entrepreneur reaps the reward of profits; if it fails, he or she takes the loss 

(Microsoft Encarta, 2009). Traditional music entrepreneurship is a good platform for many 

individuals, who choose to showcase their culture and mainly to see themselves gainfully employed in 

the society. 

 

Conclusion 

Obviously, traditional music of Nigerian diverse cultures contributes to the economic development 

and uplifts the standard of living of the performers irrespective of the styles or genres. Its functions 

in all ramifications cannot be underestimated among the traditional societies; it aids faster learning 

and memory retention, it instills moral education and controls anti-social activities, above all, its 

performance stirs up the spirit of people and the beauty of its sounds, either vocal, instrumental or 

vocal and instrumental and dance creates atmospheric excitement in the place of its presentation. 

This results to making traditional music contribute to the availability and accessibility of ethical, 

social, cultural and economic resources necessary for the development of…intellectual and economic 

capacities of individuals (Ijeoma, 2011:24). 

 

Suggestions 

This paper suggests that: 

a. music education is the best avenue to promote the Nigerian traditional music and to teach the younger 

generation the norms and values of the society,  since it is one of the ways of education, government 

should realize its impact and importance. It should therefore be made a core subject in the school 

system instead of co-subject in Cultural and Creative Arts (CCA). 

b. the good number of Nigerian jobless citizens be encouraged and empowered to take up the challenge 

of embarking on the performance of traditional music to economically power themselves, uplift the 

cultures of the different ethnic groups within the nation. 

c. ethno-musicological research body should be established like the Western communities and people 

should be trained in the area so as to dig out the cultural music that are still in obscurity.                  

             

 

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