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THE PROSPECTS AND CHALLENGES OF BICULTURAL AND BIMUSICAL ELEMENTS IN NIGERIA 

ART MUSIC 

 

KARAWUSA, Okechukwu Nonye 

& 

Rev. Sr. C. M. ACHIKEH (PhD) 
 

 

ABSTRACT 

This publication explores the prospects and challenges of integrating bicultural and bimusical elements into Nigerian 

art music. It examines how the rich cultural diversity of Nigeria, with its plethora of ethnic groups and musical 

traditions can be harmonized within the contemporary art music scene. The article is centered on using music as a 

communication tool, applying fusion of text, instruments and rhythmic pattern that identified ethnic groups and their 

musical heritage. Many Nigerian composers have strived to pen down a composition that depicts a bicultural 

heritage from different ethnic groups within the country in their compositions. Often times such composition is seen 

during festival of music and cultural heritage. This form of composition is used to express unity in cultural heritage, 

such as during Nigeria Independence Day celebration. Music of bicultural element is fondly used to identify ethnics 

and cultural music backgrounds. However, language of the people, their instruments, dance and rhythm are the 

primary tools for cultural music classification. The study aims to identify the benefits and obstacles associated with 

this fusion and propose strategies for effective integration to enhance the global appeal of Nigeria art music. 

 

INTRODUCTION 

Nigeria, with it’s over 250 ethnic groups, is a nation of immense cultural and musical diversity. Traditional music 

forms an essential part of the Nigerian cultural landscape, with each ethnic group possessing unique musical styles. 

Years, there has been a growing interest in integrating these traditional elements with Western art music to create a 

unique genre known as Nigerian art music. This fusion often referred to as bicultural or bimusical integration, 

presents both exciting prospects and significant changes. The challenges faced during music performance among the 

audience who are from different ethnic background, creating momentary division in ethnicity has been the concern 

of the writer, seeking to bridge that gap by introducing bicultural and bimusical music composition as a tool for 

unity among ethnics. Some of the primary tools are discussed below which includes language, instruments and so 

on. 

 

Language Integration 

Many Nigerian Art Music composers who compose in particular language and style are most times limited in 

conveying the message in the music to the audience who are likely to be mixed with people of diverse musical 

culture and practices. Message in the lyric of composed music, as far as it is a vocal composition is the centre and 

primary focus of that composition. According to Ekwueme (2001:17), opine “Of what use is the African composer’s 

effort if it is limited to the African audience – indeed to a specific ethnic group, since other ethnic groups even 

within his own country and those outside his country may not understand the language or idiom of expression?” 

Music editors and lyricist has translated most of African indigenous music to English language for the audience 

benefit to understand the message in the music. Most prominent Nigerian Art music composers who are known for 

their compositions across the world, such as Laz Ekwueme, Dan Agu, Alvan-Ikoku Nwamara and so on, have 

composed many works both in Igbo, Yoruba, Hausa, including in Pidgin (broken English), and in other local 

languages. Some lyricist has transcribed some composed music lyrics into English language for the benefit of wider 

audience. Such is seen in “Obi Dimkpa (Brotherhood of Youth)” by Laz Ekwueme.  

 

 

 

 

 

 

 

 

 

 

 



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Example: 

 

 

 

 

 

 

 

 

 

 

 

 

 

According to Agu (2002:85) who wrote that “he has broken the barrier of writing only in the Igbo language by 

writing and arranging pieces in the English language.” However, Ofuani (2016:59) affirms that “a composer can 

alternatively provide an English translation version option of the local language and aligning the English text 

accordingly under their specific notes in the score. Laz Ekwueme’s Obi Dimkpa” (Brotherhood of Youth) review the 

example of translating an Igbo composition to English version to aid the audience understand the meaning and 

aligning the text under the notes accordingly.  

 

Using Creole Language as a Communication Tool 

Wikipedia explained Creole language as a “stable natural language that develops from the process of different 

languages simplifying and mixing into a new form, and then that form expanding and elaborating into a full-fledged 

language with native speakers, all within a fairly brief period. Language according to Nwamara (2010) reviewed that 

it is a “system of sounds and words used by humans to express their thoughts and feelings”. Well understood 

language in a composed music, aid the composer to speak to the audience in a manner that drives their soul and 

mind out to a distant places at the cost of reflection. However, language use in a particular piece often controls’ 

human emotions and thoughts at the moment. Sunday (2015:56) wrote “first, Nigerian composers must decide to be 

realistically objective and creative enough in tapping from the concept of lingual inter-culturalism”. Composers 

however, uses language to communicate to both educated and half educated through their artistry creativity in music 

lyrics arrangement. Ofuani (2011) wrote that “while song entertains, and educates, it intrinsically informs.” Many 



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Nigerian composers have used language in different forms, such as fusing double languages just to send message 

across to their audience. A popular saying “WAZOBIA” which is practically derived from three major tribes in 

Nigeria meaning “COME” has been used in a song, calling the three tribes for unity. Function of language could be 

entertaining, as well as educating and more. Ajewole (2011) emphasized that “music offers entertainment and it is 

concerned with the development of a complete being”. However, most Nigerian composers have made use of 

Nigerian popular language known as ‘Pidgin’. ‘Naija’ or Pidgin language is known to be Nigerian secondly lingua 

franca, which every average Nigerian citizen can easily identify with. It is an English-based creole language spoken 

as a lingua franca across Nigeria, and music composed with it makes Nigerians feel and see each other as brothers 

from one tribe. More so, it earned them to share a momentary cultural value and language communication flows out 

velvety, while message is sent. Composing music in ‘Pidgin’ gives composer and listener sense of belonging, then 

passes message in the composed music to every Nigerian including educated and half-educated audience. Most 

Nigerian composers have composed many pieces using ‘Pidgin’ vernacular such as Lilian Ekwem who has one of 

her compositions in ‘Pidgin’, titled “Something Don Happen”. The composition was a Christmas carol, narrates 

about Christ birth and the season Christmas.  

Eg. 

 

This piece of music, though a sacred music was aimed to entertain the audience, amuses them and gives them a 

moment to share biculturalism through language. Language has the ability to unite two clan in conflict, bring peace, 

heal broken relationships and more. According to Nzewi (2003:pg13), “in a situation of severe mental stress, such as 

occasioned by trauma of death or despair, music provides therapeutic remedy”. Furthermore, Okunade (2011:p139) 

stated that “musical presentations in most cases are used to disseminate information to the public”. Therefore, it 

could be in an informal phrasing or poetic form of arrangement. Furthermore, Onwuekwe (2023:29) added thus: 

Language is a very important icon of the identity of a people. It is a body of words, and set of methods of combining 

them, understood by a community and used as a form of communication. Language is the principal method of 

human communication consisting of words used in a structured and conventional way and conveyed by speech, 

writing and gesture. Agu (2008) opines: “Music is more appreciated when it truly communicates and dose that most 

effectively through language influences one’s creativity and expressions of musical terms”. (p. 7). Onwuekwe 

(2023:29) continued, “Language is a very important icon of the identity of a people”. A popular classical music 

composition by a German composer Gorge Frederic Handel titled “Hallelujah Chorus”, from the book “The 

Messiah” has been transcribed into Igbo language and other local African languages. Many choral ensembles have 

performed it in indifferent languages, including in Nigerian local languages, also has been accompanied with 

African instruments along in other to bring the music down to the African cultural vibes. Randel (2001: 18) opines: 

“Music and language are closely associated in the vocal music of all cultures, yet in Africa, the connection is 

particularly significant”. 

 

Effect of Bicultural Music to the Audience 

Nigeria as a nation has approximately 371 tribes across the nation, and over 250 ethnic groups. The tribes include 

Igbo, Yoruba and Housa-Fulani which has its most prominent minor ethnic groups such as the Ija, kanuri, Ibibio, 

and Tiv. According to Okunade (2011) stated that “one of the means of transmitting the norms, ethics, and values to 

the members of the society is through the text of the songs used within the community” (pg.139). Music is owned 

and cherished by the people. It defines people and gives them sense of belonging. According to Ofuani (2011:49), 

wrote that “Songs have been people’s watchdog, disciplinarian and objects of caution and ridicule that challenge 

some addressed individuals to re-examine and redirect their objectionable life styles.” In a contemporary society 

where there is people of diverse culture and believes, composer is expected to be diverse in compositional style, 

learn to compose in other peoples’ language and as well use their rhythmic pattern.  When the audience sensed a 

familiarity of their own music in the music of other world culture, they are likely to give it a kin attention, because 

of the shared value in bicultural music sensation. Omojola (1995) stated that “Music is an important aspect of a 

people’s culture and since culture is dynamic, it can be assumed that Nigeria traditional music as we know it today is 

different from what it was several hundred years ago. (p. 1). Nigerian early composers who were trained by the 

westerners, learnt to compose in their style of music. However, Nigerian music has gained stand in the world music 

due to the development in their musical idioms. Ekwueme (2001; 19) in his view, suggested that “being aware of the 

limitations of Nigerian language in terms of “global users’ population” It is my view that Nigerian composers should 

begin to adapt English language in their vocal music compositions against many other world languages including 

Nigeria local languages 

 

 



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Bi-Rhythm / Instrument as Means to Relate to Diverse Audience 

Nigerian Art Music shares a significant rhythmic pattern in their various indigenous music and dance practices, 

which was influenced by their distinct traditional creative arts. However, some of the indigenous musical rhythm 

practices in Nigeria are purely owned by the people. Transition from one indigenous traditional rhythm to another is 

mostly depends on their musical heritage and rhythmic pattern used in their style of music and their instruments. 

Generally, Africa music structure most times has danceable rhythm, likewise the music of the Nigeria, which in 

most occasions requires body movement. Involving a specific traditional instrument in a music composition creates 

a bi-cultural fusion of peoples’ traditional music; it reviews an identity of a music that belongs to another clan. 

Example of such is when Yoruba music is performing on stage using Yoruba musical instruments, and Oja (flute 

from Igbo clan) is played in the middle of the music, it suddenly reviews an identity of Igbo music. Likewise the 

other tribes’ music has a distinct instrument that reviews the identity of their owned music once the instrument is 

being played in between a performance. The major tribes in Nigeria which includes Hausa, Yoruba and Igbo 

prominent instruments are discussed thus:  

 

Hausa Music and Instruments 

 Music of the Northern part of Nigeria is known for its complex percussion instrumentation. The music of the Hausa 

tribe was influenced under Muslim insurgence since the 14th century their music uses free rhythmic improvisation 

and the pentatonic scale, similar to other Muslim Sahelian tribes throughout West Africa; such as Bambara, Kanuri, 

Fulani and Songhai. The rhythmic pattern in Hausa music is shown in their drumming which differentiate their 

rhythm from other tribes’ traditional music rhythm.   

Hausa music is known with some of their peculiar percussion instruments which includes Talking drum, Kakaki, 

Goje, Kukkuma, Kintigi, Algaita etc.  

i. The Algaita is a double reed wind instrument from Sahelian region of West-Central Africa that is used 

by the Bamum, Hausa and Kanuri peoples in Cameroon and Nigeria. It has similar construction with 

Oboe.Algaita plays a prominent role in Hausa traditional music and create a bicultural music when 

used in other Nigeria tribe music. Air is brown through the small opening at the tail just as clarinet 

instrument, the note pitches are controlled with fingers by covering and opening the three holes by the 

side of the instrument.  

 

 

 

 

 

 

 

ii. Goje is tied to various pre-Islamic Sahelian rituals around jinn possession, between the Bori, Hausa, 

Zarma, Borori,. And Songhay. It is held high esteem and are linked to the spirit world, or as a carrier 

for voices aimed at or from the spirit world. Goje is played with a bowstring.  

 

 

 

 

 

 

 

 

 

 

 

iii. Kakaki instrument is about four metre long metal trumpet usually found in Hausa and Yoruba music. 

Its sound is associated with royalty and it is only played at events at the palace of the king or sultan in 

Hausa societies. Kakaki which is also called Malakat in Ethiopia is exclusively played by men. 

iv. Kukkuma instrument is a small spike lute or spike fiddle used in Hausa music. It is made from 

calabash gourd covered with skin, with the neck (a stick) that impales the gourd, the bottom poking out 

one side to form a spike. It is played with a horsehair bow and strung with horsehair. 

 



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Igbo Music and Instruments 

A tribe located at the South-Eastern part of Nigeria natively called “Ndi Igbo”, are gifted in music making by 

creating their own music and invented by themselves a wide range of musical instruments. The music of the Igbo 

people is very vast and complex in instrumentation, which can be identified through their owned instruments. One of 

the most prominent instrument of the Igbo society is called “Ogene (Gong)”, others includes Igba (cylinder drum), 

Oja (flute), Udu (Pot drum), Ekwe (Slit drum) etc. 

i. Ogene (Gong) is viewed as one of the most prominent metal instruments in Igbo instrumental music 

orchestration; it has its own instrument family and own a music popularly known as “Egwu ogene”.  

Ogene plays an important role in in Igbo tradition and music and folk 

music as the lead instrument. In Igbo land, Ogene is used locally to call 

for attention for important information for the community.  

 

 

 

 

 

 

 

 

 

 

ii. Oja (Flute) Igbo music popular Igbo instrument which plays a vital role in Igbo music and culture. Oja 

plays a significant role in the music of the Igbo people which its role is to high the spirit both in the 

dancers and the instrumentalists. Oja is used in the Igbo land to usher 

in the great men in the community, such as  the king, the brave 

(warrior) and so on. It is also believed that it is used to communicate 

with the spirits. Oja crerates a bicultural music when introduced in a 

music composition, which reviews another culture and Igbo music 

traditional     

 

 

 

 

 

 

 

 

 

 

iii. Ekwe (Slit drum) is one of the prominent Igbo traditional instrument use by the people to create music 

at different cultural music events. It is carved from wood, hallow and has different shapes. It is two 

pitch instrument which is played with two sticks. Ekwe is 

found in every Igbo traditional music because of its 

prominent role in bring out the Igbo cultural vibes and 

identity. 

 

 

 

 

 

 

Yoruba Music and Instruments 

The Yoruba is an ethnic group from West Africa who many of them inhabit parts of Nigeria, Benin, and Togo. They 

are considered the largest ethnic group all over Africa. Yoruba music is distinguished by its extremely advanced 

drumming tradition and techniques, especially using the Gongon hourglass shape tension drums. Their music 

became the most prominent in West African music in Afro-Latin and Caribbean musical styles. Music of the Yoruba 



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became popular and gain wide range of accomplishment in arts and entertainment industry. Through Yoruba music, 

many popular music genres were established such as Juju, Fuji, Apala and, Sakara music. This paper review some of 

the instruments used in the making of Yoruba music that can be used to create an identity of a Yoruba music in other 

society traditional music. Some of the prominent Yoruba instruments include Ashiko drum, Bata drum, talking 

drum, Agbe (Shaker), etc. 

i. Ashiko drum is one of the prominent Yoruba instruments that review Yoruba identity when used in 

music performance. The instrument can be traced from West Africa, also in some part of America, 

while its origin is traced in Yoruba culture. It is made of hardwood and 

generally has a goatskin hide. Ashiko drum is shaped like a tapered 

cylinder, and has a long tradition in the culture of Yoruba people.  

 

 

 

 

 

 

 

 

ii. Bata Drum is a prominent instrument in yoruba music and playued wide range of functions their 

tradition. It is a double-headed drum with one end bigger than the other. Bata drum is used for an 

entertainment and plays a vital role in conveying messges to 

the people.  

 

 

 

 

 

 

 

iii. Talking Drum is traced from West African, it plays a vital role in Yoruba traditional music and culture. 

It has an hourglass-shape and has two drum head connected by leather tension cords, which allow the 

player to modulate the pitch of the drum by squeezing the cords 

between their arm and body. It is used by skillful player to mimic 

ones speech by hitting the drum and squeezing the cords. Due to 

its vast functions in Yoruba music, Bata drum has retained its 

traditional role.   

 

 

 

 

 

 

 

 

Summary 

Bicultural music is determined through the artistry of the composer, by using available tools to create a fusion of 

cultural music identity. Using mother tongue, traditional instrument or compositional style are tools to make a fusion 

of traditional music composition. 

 

Conclusion  
This paper concludes that while there are significant challenges in integrating bicultural and bi-musical elements in 

Nigerian art music, the prospects are equally promising. With the right strategies and support, it is possible to create 

a unique and globally appealing genre that preserves Nigeria’s rich cultural heritage while embracing contemporary 

musical innovations.  

 

 



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