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POPULARITY OF WOMEN IN INDIGENOUS MUSIC PERFORMANCE IN OBOSI 

COMMUNITY OF IGBOLAND: AN EXPOSITORY STUDY 

 

Okechukwu, Ifeoma P. 

Alvan Ikoku Federal University of Education, Owerri 

& 

Egwu-Kalu, Kalu Kinsley (Phd) 

Alvan Ikoku Federal University of Education, Owerri 

Email: kaluck27@gmail.com 

 

Abstract  

The participation of women in their indigenous musical activities during ceremonies in Obosi 

community of lgboland is very significant. But the issue of exposing its popularity is not taken 

serious. As such, the authors see the need to do an expository study on the level of the women’s 

popularity in their indigenous music performance during ceremonies. In Obosi community, women 

play expedient musical roles as regards burial, Ito Ogbo, welcoming a new baby, birthday and other 

ceremonial events which call for popularity and exposure for the purposes of documentation and 

generational transfer as well as continuity. The researchers in their study exposed among other 

things the brief historical background of women's indigenous music in Obosi community, the 

instruments they use during such occasions, performance situations, costumes and few musical 

examples of their music. Most importantly, its popularity in the community and the entire society 

as the main focus of the study. As a result, the theoretical framework of this study hinges on 

indigenous music and popularity theories. The method of data collection for the study are 

interviews, library and internet asset. From the findings, it was shown that much popularity, 

importance and recognition are not given to women’s indigenous music in Obosi community. 

Therefore, the researchers recommend that appropriation of popularity should be given to the 

women’s indigenous music because of its expedient roles during events and general ceremonies in 

the community and the society at large. Moreover, an individual and group sponsorship as well as 

community encouragement should be given to such music for continuity and transmission purposes. 

Keywords: Popularity, Women, Indigenous Music, Performance Community. 

 

Introduction 

African women at large and Obosi community women in particular are born and bred with their 

indigenous music along with its performances. In Nigeria and Obosi community in lgboland, women 

play serious and integral part in their indigenous music during ceremonial events. Nevertheless, 

the women appreciate their music whenever there are burials, traditional marriages, birthday and 

welcoming a new baby in their community. Therefore, exposing their music for recognition and 

popularity is worth studying.  Forchu (2017) affirms that, ‘’lgbo women participate in many musical 

activities as the culture demands, composing, singing, playing musical instruments and dancing” 

(p·130). However, the women’s music in Obosi setting covers all aspect of humn life and their 

cultural activities ranging from social, historical and religious activities. Ezeifeka and Ogbazi in 

Forchu (2017) infers that,” indigenous Igbo women’s music is a medium through which patriarchy 

is challenged and concessions demanded, albeit, in very mild and diplomatic tones” (p·130). In very 

mild and diplomatic tones proves how accommodating their musical activity shows and sustains the 

consumers. Nevertheless, there is need for its exposure and recognition towards cultural 

continuity. The popularity of women in indigenous music of Obosi in Igboland Area carries the 



 
 

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ethics, values, customs, traditions and the cultural artifacts of the society as well as the general 

Africans to the outside world, thereby exposing its popularity roles. Nwobu (2018) posits that,  

“Nigerian society is blessed with women of ability and integrity across all 

disciplines of human endeavor· Women have broken into many careers including 

music, and a large number of women involved in the music industry play different 

roles such as singing, dancing, composing, playing of instruments, teaching of music 

etc.(p.159). 

 

Since women are seen performing very well in the above mentioned fields especially music, there 

is serious need to expose their popularity in our indigenous music performances during occasions. 

Women music instills in the community diverse awareness in the areas of birth, politics, 

burials/death, birthday, coronation, installation, ofala and almost every activity from cradle to 

grave. Ibekwe(2018)postulates that; 

The analysis drawn from the above investigation brought women involvement in 

music production and performance to the lowest ebb irrespective of the fact that 

they are the major carriers of cultural identity in almost every society not only in 

lgbo. The fact that their roles are most outstanding in most traditional activities 

ranging from rites of passage, entertainment, initiation, social control to death 

does not square up the gaps (p.208). 

 

Since women’s music carry the cultural way of life of the people, there is need to expose its 

popularity especially its roles during community events. Olisaeke and olisaeke(2018)infers that; 

In African traditional setting, music play roles according to the dictates of the 

function it accompanies. One of the main features of traditional Nigerian music in 

its close association with social context. They are always related to an event out 

of which they are born, made and established. A typical traditional music would 

only have meaning when associated with the socio-cultural institutions which they 

are made (pp. 114-115). 

With such exposure to socio-cultural events, their popularity in indigenous music performance is 

very outstanding. 

 

Purpose of the study  

The purpose of this study is to expose the popularity of women’s participation and performance 

in indigenous music as regards to the musical roles they play during critical events like burials, 

welcoming new baby, amongst others. Moreover, the study will also prove the importance of 

women’s music during occasions so as not to relegate the music to the background. 

 

Problem of the Study 

Nowadays, women make indigenous music during their events in their different communities, but 

the issue of its popularity becomes a problem. However, they perform music during burials, 

welcoming a new baby and for new married co-wives but such their music are done casually for 

that purpose and nothing more. Nonetheless, the issue of exposing its popularity and recognition 

becomes a problem. Moreover, no proper and close attention, documentation, archiving, and 

transmission for continuity are given to such an important music. As such, there is a gap to be 

filled which this study tends to expose and redress.  

 

Theoretical Framework 



 
 

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The research is anchored on popularity and indigenous music theories. 

Popularity Theory 

The theory of popularity states that popularity is the middle point of a group and it has influence 

on it. The theory was propounded by a renowned educational psychologist known as Tesa Lansu.    

Adetunji (2018) ascertains that:  

Music itself is the communication of the culture group by means of songs and other 

musical practices. The lyric of several songs often contains the indigenous 

practices of the locality or the beliefs and practices of the foreign styles being 

initiated. These could include marriage practice, intergroup relationship, ethnic 

identification, religion, family care, love, language among others. Some indigenous 

songs became so influential and customarily that they have become adopted as a 

culture of the people (p. 440). 

  

Indigenous Music Theory  

Indigenous music theory states that the symbolic reference in music deals with the concept of 

musical communication in codified symbols and terminologies that address various subjects in 

society.  Consequently, the music must be positioned scientifically and pragmatically which deals 

with the basic principles of music as regards background, middle ground and foreground. As such, 

building a framework for a creative and logically integrated development into folk music in a human 

society. The theory was propounded by Heinrich schenter in 1935 (internet Asset Wikipedia: 

Retrieved, 22nd May, 2024). In relating the theory to the study, it explains how indigenous or 

local music of a particular community are handled communicatively by women to pass the cultural 

values of the community across through their performances which needs to be exposed. 

 

Women Involvement in Indigenous Music Performance in Obosi Community of Idemili North 

Local Government Area of Anambra State 

Presently, women’s involvement in indigenous music performance has a tremendous improvement 

but no recognition, popularity and archiving of it is taken note of. In Obosi community of Igboland, 

women take part in most of the musical activities during ceremonies such as in: 

 Ito Ogbo Obosi Ceremony 

 Welcoming a co-wife 

 Welcoming a new baby 

 Igba ofala festival 

 Traditional marriage ceremony 

 Birthday ceremony 

 Burial ceremony  

 Coronation/Installation ceremony 

 Initiation ceremony 

 Age-grade celebration etc. 

 

The researchers in the interview with Chief Alex Obi (aka Di Okpa Ire) and Clement Chukwujekwu 

Emekwue (aka ogbueshi mentus). They stated that women's music started with Obosi community 

ancestors and very valuable in correcting  mishaps and social vices in the community. For instance, 

if somebody (a woman) steals or sleep with another's husband, the women will compose it into 

music to put the offender into shame for corrective and deterrent purposes. In some cases of 

some women who are lazy, some songs like  

Nwayi di ya huru n’anya                    The woman whom the husband loves 



 
 

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Onye ujo olu                                         Lazy person 

Nwanyi jee luo olu ooo                      Woman go to work 

Anaghi m alu oooo                             I will not work 

Na dim huru m n’anya                      My husband loves me 

Onye ujo olu                                       Lazy woman 

 

Likewise, during burials, they sing burial songs like 

Onwu imalu i bulu ego                       Death, you could have carried money 

Rapu nwa nne m k’odili m o o o       Leave my siblings to live for me 

(Monday, 20th May, 2024 9.30am – 12.05pm; personal communication). 

 

During other famous and popular events of the community like Ito Ogbo  Obosi ceremony, the 

women play serious significant roles especially as it pertains to Ima Mbem (Chanting Praises) to 

dignitaries. Apart from women group music, there are women that specialize in chanting praises 

(Ima Mbem) in the community. Those two women specialists in chanting and singing praise names 

are: 

1. Iyom Nkemdilim Emodi (Iyom Onu Okwa) 

2. Inugo Onum Egodi Ndubuisi (Ijele Nwanyi-Akudenu) 

 

During coronation and installation of chieftaincy titles, the women musical groups such as umu-

ada and lnyomdi feature prominently. Each group with its own songs, musical instruments, uniforms 

and dancing styles come in mass to grace the occasions. Likewise, they function in other afore 

mentioned ceremonies to make merriments and provide sustainable entertainment to the audience. 

However, there is no ceremonial events the women are not involved in participating musically,which 

exposes the musical integrity and identity of Obosi community and the entire society. Hence, its 

popularity calls for its exposure as pertains documentation, archiving and transmission. In most 

of the women’s music, they value sisterly, brotherly and general siblings’ unification bonds in Obosi 

community in particular and the entire society at large. Such is seen in the musical example below. 

Okpara (2023; 107) submits and cites some women’s musical example arranged by Prof. Agatha 

Ijeoma Onwuekwe. 

 
 



 
 

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Identifiable Items Used by Women for their Popularity Purposes and Exposure. 

 The women are identified with some identifiable items during their performances Such as: 

 Uniform/Costumes 

 Musical instruments 

 Musical language and its structural forms 

 Occasions for performance 

 Socio-cultural impact of their music. 

Uniform and Costumes 

During the women performances of the indigenous music for ceremonies, they wear and carry 

some outfits that call for easy identification for proper exposure and popularity. Agu in okpala 

(2015) posits that ‘’costumes are carefully selected to portray the mood of the music and also to 

transmit the message of the group to the audience. Costume adds glamour to dance performance’’ 

(p.101). 

The different women musical groups wear their unique uniforms and accessories like: 

Beads                                        aaka 

Anklets                                      mgbaka 

Wristlets                                   mgbokpa 

Waistbids                                   ejije-ukwu 

Designed horse tail                  uzari 

Gele                                             ichatu 

Decorated hairs                         ntutu-isi 

 

Musical Instruments 

The women carry portable instruments that will not be too heavy for them to carry. Such simple 

musical instruments are: 

Nne igba              Mother drum 

Nkere                    Small drum 

 Etiti igba              Medium drum 

Ogwe                     Long membrane drum 

Udu                        Musical pot 

Ichaka                    Rattle (calabash) 

Oyo                        Basket rattles 

Ekpili                      Tortoise shell 

Okpokoro              Wood block 

Alo                          Long metal gong 

Ogene                    Metal gong 

  

Modeme and Nnodim(2022) asserts that; “Women in general sing and dance with accompaniment 

usually made up of hand clapping, deep breathing aspiration, yodeling, gultural singing and playing 

such instruments as Udu(pot), Ogene(metal gong), Ekwe(wooden clappers), and also(very large 

metal gong)’’(p.88). However, the number of musical instrument that is chosen for performance 

depends on the women group's choice. Okpala (2015) submits that, “The selection of musical 

instruments by African music ensemble is done based on the orientation of the group” (p.106).  

 

Musical Language and its Structural Forms. 

The language of indigenous music is the language of the people which they carry along with it its 

structural forms and features Okpara (2016) postulates that: 



 
 

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In our present dispensation, in addition of the above description of African 

indigenous music, any original composition that does not deviate totally from  

African music features is also indigenous music especially when an African language is used 

for the composition (p.20). 

Consequently, the language of this particular indigenous music popularity and expository purposes 

is purely lgbo in Obosi dialect proper. Some of the structural forms found in the sound of 

indigenous music are:  

 Solo 

 Call and Response 

 Call and Refrain 

 Solo and chorused Refrain  

 Mixed structural form. 

 

Socio-Cultural Impact of their Music in the Community for Popularity and Exposure 

Every indigenous/traditional music has a socio-cultural impact on the lives of the community. The 

reason being that indigenous music as performed by community women carries along with it the 

values, ethnics, customs, traditions, pathos, ethos among other positive attributes, to keep the 

community’s solidarity from generation to generation. Udeh (2014) posits that, “Music in the Igbo 

society is indeed a culture experience. It is a heritage handed down from generation to 

generation’’ (p.26). This caption exposes the identity and integrity which indigenous music carries 

for generational transmission. Odogbor (2008) asserts that: 

Socio-culturally, traditional music helps promote group sentiments and the 

people’s ideals. During traditional festivals and other social gatherings, for 

example, music generates an atmosphere of conviviality where boundaries based 

on sex, age, status etc. are blurred into insignificance, and everybody celebrates 

as an entity. This is capable of providing a forum for mending broken relations and 

providing common ground for development (p.69). 

 

Women indigenous music performance is all round efficiency in the areas of religion, politics, 

economy, education and therapy among others. Udoh (2012) opines that: 

Traditional music is a communal property with spiritual qualities that are shared 

and experienced by all. It is a product of the society and fundamentally, a 

collective art; therefore, it cannot be separated from the society as ours, Nigeria. 

It is an embodiment of people’s culture-their way of life. Traditional music is truly 

the mirror of the people’s culture. Therefore, the musical practices of such a 

people are truly maintained. The totality of this manifests the integrity of 

traditional music and a total revelation in the identity of such a people (p.119). 

 

Therefore, the general socio-culture impact and influence in popularizing and exposing the 

women's performance in the indigenous music can be summed up under the following attributes;  

1. lt has social influence 

2. It inculcates cultural values 

3. Acts as mirror of integrity to people's behaviors 

4. Carries ethical values, customs and traditions from generation to generation. 

5. It is very good for the maintenance of law and order in the community. 

6. Acts as a unionist to the society 

7. Gives general entertainment to people 



 
 

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8. It acts as an agent of communication 

9. Teaches the historical background of a community 

10. Good at therapeutic healing 

11. A philosophical pointer of what is to come or happen in future 

12. Brings equity in gender discrepancy. 

Challenges Facing Popularizing the Women in Indigenous Music Performance 

Despite the fact that women play significant and indefectible roles in our present day indigenous 

music, there are still challenges and tasks that are hindrances in making and exposing their music 

for popularity purposes. These challenges are threats to their indigenous music performance as 

regards popularity for attainable exposure. Ógbazi in Forchu (2017) affirms that, ‘’ indigenous 

Igbo women’s music is a medium through which patriarchy is challenged and concessions demanded, 

albeit, in every mild and diplomatic tones’’’ (p.130). Some of the challenges are as follows; 

1. Gender inequality problem 

2. Inferiority complex by women 

3. Domestic violence 

4. Insecurity in the society 

5. Household chores and family up-keep/responsibilities. 

6. Fear of the unknown and African belief syndrome on gender 

7. Mobility of heavy musical instruments during performances. 

8. Superstition and ignorant attachment in some communities’ belief 

9. Lack of knowledge on the use of ICT 

10. Inadequate funding and sponsorship 

11. Popularity of western musical instruments over African musical instruments. 

 

Gender Inequality Problem 

Gender inequality between men and women performers of indigenous music has been a great 

challenge to popularizing women’s performances. As a matter of fact, it sets the women back in 

the exposure to performance popularity. Special and un-necessary attachments are placed in some 

musical instruments like drums (both membrane and wooden). Ugochukwu (2018) affirms that; 

The issue of women participating in drumming has been a great concern in today’s 

indigenous music development in Africa at large and Nigeria in particular. Women 

have been marginalized as a matter of fact when it comes to traditional drumming 

especially in Igbo land. The fact remains that men have been the only drummer in 

almost every traditional music performance with the women folk sidelined (p.83). 

In the same way, Ibekwe (2018) posits that, “The concept of feminism has remained a bane among 

women folk in Igbo society and even beyond” (p.199). 

The above statements show how gender inequality is a threat to our women performance in 

indigenous music renditions. 

 

Inferiority Complex among Women Folk/Feminist Syndrome 

Most women groups in the society regard themselves as weaker sex. As such, they feel that men 

are more likely to do more indigenous music strenuous parts like playing some musical instruments. 

This phobia makes some women not to show interest in some indigenous music areas like trado-

popular music. Idamoyibo (2008) states that,” In commercial music, we may find the men 

dominating the popular music scene, not because of any restriction, but perhaps interest. In the 

traditional African society, however, women reserve rights to participate in, and possibly 

dominate the scene” (p.59). Most times women will rise to fight for their right but to no avail. 



 
 

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Onoyona (2016) argues that, “This traditional song is sung by a group of women who are aggrieved. 

It is a warfare song meant to resist male domination and patriarchal injustice” (p. 66). As a matter 

of fact, Ekwueme in Mokwunyei (2018) affirms that, “in patriarchal societies such as ours, gender 

functions have been so arranged and segregated that men arrogate superior functions to 

themselves and inferior functions to women due to gender stereotypes” (p.5). 

 

Domestic Violence 

The issue of domestic violence in the present families has been an issue and serious threats to 

women in indigenous music performance. Some men are too aggressive and jealous that they cannot 

allow their spouses freedom of performance in music areas. The case with Osinachi’s talent was 

buried due to domestic violence in 2022. The husband was so wicked that Osinachi was not given 

a breathing space to live up to the expectations of the masses as regards indigenous gospel music. 

Guanah in Nwafor, Guanah and Nwaebi (2022) argues that, “It appears that gender violence 

against women and girls is not decreasing. Women and for girls still encounter sexual abuse, assault 

and many forms of domestic violence notwithstanding the challenges the confront during times of 

natural catastrophe, war, pandemic and displacement” (p.183). In relation to this, Mokwenyei 

(2018) postulates that; 

Gender issues in relation to music in this category is most prominent and most 

worrisome in terms of misogyny (feeling of hatred for women by men), identity 

crisis (neither portraying male or female, sometimes suggestive of homosexuality 

and lesbianism), drug abuse(promoting of or engaging in use of drugs, vulgar 

language in lyrics, extravagance, nudity(skimpy outfits or outright nudity) and 

uncensored sexual activities(erotic snippets in full view) that leave nothing to 

imagination, have become the order of the day(p.13). 

 

Insecurity 

Insecurity in the community, society and the world at large is a great challenge to women 

indigenous music performance because free movement to some parts of the country and in some 

other hours like late hours does not give room for free performance of such music. Hence, it 

hinders its popularity. Omonobi and Muhammaed in Eboselumen (2022) posits that; “Boko Haram 

has dramatically changed the landscape of internal security in Nigeria when it mounted the first 

ever suicide bombing in Nigeria which took place at the Police Headquarters in the Federal Capital 

city, Abuja on 16 June 2011"(p.76).The issue of kidnapping and abduction has been a threat to 

women’s  popularity in indigenous music performance. Onuoha and Temilola in Eboselumen (2022) 

state that; 

The nation has witnessed increasing feminization of terror by Boko Haram in two 

paradoxical ways-the targeting of young girls as both the victims and vanguards 

of terror, in the form of abductees, their abuse both sexually and psychologically 

has received the greatest international condemnation. The group (Boko Haram) 

has abducted at least 500 women and girls in North-Eastern Nigeria since 2009. 

(p.75). 

 

Household chores and family up-keep and responsibility by Women 

As a matter of fact, the womenfolk are most often engaged in family upkeep like: 

 Child bearing and family Care 

 Household chores and children's upbringing 

 Inculcation of family culture and societal values 



 
 

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 Psychological and Informal Educational training for the family 

 Spiritual indoctrination of the proper morals and ethics. 

Groot and Van den Brink in Yesufu and Egbeinyon (2022) affirms that;” Women spend more time 

than men in relation to domestic chores and child care” (p.177). 

Meanwhile, the women still devote time to their academics and education to meet up with the 

present demand of the society. Muokwunyei (2018) postulates that, "Woman, if you don't strive 

for greatness and empower yourself, you will be relevant only in the kitchen, the living room and 

the ‘’other room’’. You will never get to the boardroom” (p.3). Nevertheless, to popularize women 

and their indigenous music and for exposure, they must equalize their domestic work and 

educational attainment. 

 

Fear of the Unknown and African Belief Syndrome on Gender 

Most women, especially the married ones entertain fear of being faced with their husband 

suspecting their moves as subordinates. While the un-married ones may find it difficult for 

exposure for fear of not being able to get married as a result of the popularity involved in the 

indigenous music performance. 

Consequently, as a result of this fear, the lgbo people in particular and the Africans at large have 

serious attachment to the subordination of women to men. Aideloje (2022) ascertains that, "In 

African cultures, women are assigned the subordinate position. As a consequence, women have for 

long suffered various forms of discrimination, inequality and violence" (p.205). As a result of this, 

the women suffer lack of popularity and exposure to their music and in the playing of some musical 

instruments. 

 

Mobility of heavy musical instrument during performances 

This is another issue that hinders women’s popularity in the indigenous music performances. Some 

instruments that can be used for amplification of their instruments and songs sound during 

performances is a big challenge. However, the problem of hiring boys or men that will help them 

transfer, transport or setup those instruments will cost them money or delay which may not give 

them the desired services needed at a particular point in time. Therefore, going with portable 

ones may not give them complete harmony. Anugwa (2018) posits that,  

The nature of women has made it in such a way that they use the following 

instruments for performance. These include: Basket rattles (oyo, uya) , Gourd with 

chaplet beads (ichaka, nsaka), Giant metal bell (alo, ubom, ivom, nkwong), Wooden 

clappers (aja, oja, ukwu-nkwo), Clapperless bell(ogene, ugene, akan). They also use 

the water pot. This instrument is of two types, a bigger one hole and a smaller one 

with two holes (p.245).  

Looking at the above statement clarifies that women are confined to the use of some lighter and 

portable instruments that do not produce heavy sounds as regards women’s exposure and 

popularity in their indigenous music. 

 

Superstition and Ignorant Attachment in Some Communities Belief 

Most communities still believe in superstition as regards women's musical performance and its 

exposure for popularity. Meanwhile it is a set-back to modern day women in musical practices. 

Ibekwe (2018) infers that; 

Women in lgbo traditional setup do not have the privilege of moving from place to 

place entertaining people with music neither do they have the approval of doing 

apprentice job under the tutelage of well-known musicians just as men do. Women 



 
 

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who are involved in such serious public displays (apart from traditionally approved 

folk and group performances) are considered wild and promiscuous. The person is 

seen as going against the societal stipulations which expects every woman to 

remain docile and submissive even against her wish, and for a prospective young 

woman she rarely gets proposals for marriage as such women are seen as being 

unruly and uncontrollable and prove to independent life style. It is only a very 

insignificant percentage of men that can allow or tolerate a serious performing 

musician as a wife (pp.205-206). 

 

Nevertheless, when seen is the case, it will be difficult to popularize women in their indigenous 

music for positive exposure. Elegbe(2022)ascertains that; 

African culture is unfavorable to women. The patriarchal system of our society 

promotes women subjugation and gives men power over women. I think there is 

need for us to check ourselves and traditions and do away with those that do not 

embrace gender equality (p.70). 

 

Lack of Knowledge in the use of Information and Communication Technology(ICT) 

Looking at the challenges facing popularizing the women indigenous music performance, lack of 

knowledge on the use of ICT in this modern world is a problem because most women do not show 

seriousness in learning the use of computers as regards music generally and indigenous music in 

particular. Modeme and Nnodim (2022) opine that; 

The nature of our society is men dominating right from the beginning. So work 

done by women in some communities are never recognized and appreciated even 

their contributions in music. Researchers have observed that there is lack of in 

depth understanding of the use of in-depth understanding of the use of ICTs for 

women’s empowerment (p.88). 

Therefore, growth in modern technological advancement has to be observed and applied by women 

in the indigenous music performance so as to popularize it.  

 

Inadequate Funding and Sponsorship Problem 

 Financial difficulties and lack of sponsorship can hinder the issue of popularizing the women in 

indigenous music performance. Nonetheless, when any community women music is meant only for 

entertainment without adequate funding and sponsorship for exposure, such musical group will 

retire to its shell or revolve only around small unit for miniature financial gain instead of extension 

of performance to the larger society that can attract individual and government grants or subsidy. 

With adequate funding and sponsorship, such music can gain patronage to travel abroad for special 

performance. Forchu (2017) posits that, “indigenous music should always be encouraged by the 

stakeholders because through it, many ills in the society are brought to the fore and corrected” 

(p.136). This is where the issue of adequate funding and scholarship arise. 

 

Popularity of Western Musical Instruments over African Musical Instruments 

Most bands and indigenous music performers make use of western musical instruments. Some 

people prefer it to African Musical Instruments and this hampers much use of the traditional 

ones which most of the women’s groups use for their indigenous music. Nwabufo (2023) infers 

that, “The popularity of the piano-keyboard, guitar, violin, saxophone, autoharp etc. in the study 

of music has downplayed the relevance of several other musical instruments such as the 

harmonica” (p.31). 



 
 

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Conclusion 

There are rare exposures of Indigenous Music Women Performances in most communities in 

Africa. As such, women's involvement in indigenous music performance is not given the rightful 

recognition in the society but they are the major custodians of our cultural heritage from the 

homes to the entire society for generational Transmission and Transfer (G.T.T). 

The research has ascertained that the women in different communities participate seriously in 

indigenous music to pass to the society the morals, ethics, customs, traditions and their general 

culture. However, they are to be given the proper exposure and recognition for popularity 

purposes. As such, if that is done, it will add to the society welfare and development for better 

living. Hence, the women are the major custodians and carries of our culture through their 

indigenous music performances. It is also the channel through which Igbo indigenous music creates 

avenue for the women to challenge men over intimidation, marginalization and subordination of 

their female folk nature. Ibekwe (2018) states that, “There is no community in Igbo society that 

exists without various groups of women performances or dancers” (p.208). 

 

Recommendations 

For the popularity of women in indigenous music performance for communities and development 

growth, much exposure and recognition should be enhanced. The researchers therefore 

recommend that; 

 Obosi/Igbo women should be encouraged to promote their women in indigenous music 

practices and performances through adverts and awareness. 

 The society should enhance adequate documentary and archiving of the women’s indigenous 

music as well as generational transfer of such music. 

 Indigenous music should be encouraged to be performed in the governmental gatherings 

like independent day and children’s day celebration. 

 Government, non- governmental and individual organizational foundations should organize 

indigenous music carnivals for women to promote their identity and integrity. 

 Curriculum planners and policy makers should also be attracted to consider it in the school 

syllables. 

 Seminars and symposiums should be organized to teach the women in indigenous music for 

exposure and portrayal purposes. 

 Community philanthropists and special personalities should be attracted as patrons of the 

women in indigenous music. 

 Individual and group sponsorship should be given to women of indigenous music 

performances. 

 Aids, grants and subsidies will be very useful to promote the popularity of women 

indigenous music. 

 More so, the use of major Nigerian multi-lingua languages or the lingua franca can be 

applied to expose the popularity of such music. 

 

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Interview/Personal Communication 

Alex Obi (aka diokpa ire) and Clement Emekwue (aka Ogbueshi Mentus). Monday, 20th May, 2024 

9.30am – 12.05pm. Ire village, Obosi. 

 

 

 
 


