169 

 AFRICA SENSED MUSIC EDUCATION AND CONFLICT 

RESOLUTION: THE CASE OF JOS, PLATEAU STATE OF 

NIGERIA. 

 

Prince K. Effiong 

 

Abstract 

fricans generally and Nigerians specifically have an 

overwhelming indigenous perception in reasoning, judging, 

comparing and performing their traditional music. Every special 

activity to an Africa man is always being accompanied by special 

indigenous music, made sorely for such an event. When the 

performance is carried out, there are joint collaborative efforts by all 

and Sunday. This brings about social cohesion, togetherness, 

resolution of conflict, and enactment of peace and promotion of 

brotherliness amidst tribal sentiment, and religious bigotries. This 

paper seeks to project the indigenous sense that is inherent in 

Africans, in using Africans indigenous music in resolving conflict and 

maintaining amble symbiotic relationship among themselves. The paper 

also focuses on the sense by Africans to use indigenous music in the 

preservation, promotion and transmission of her long 

lasting/cherished cultural values, norms and excellent morality among 

themselves and to generation yet unborn. The research employs the 

historical and personal observation as methods in determining the 

validity and reliability of the research. The paper however 

recommends that Africans/Nigerians should not allow the current 

westernization and technologies to make them lose their inherent 

moral values. Indigenous music should be encouraged for the 

maintenance of peace, resolve conflicts and uphold symbiotic 

relationship. 

 

 

A 

 Awka Journal of Research in Music and the Arts (AJRMA) Vol. 13 2019 



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Introduction 

Africa is one of the seventh (7th) continents of the world. It is the 

most world‟s second largest and second most populous continent, being 

behind Asia in both categories. It has about 30.3 million km2 including 

adjacent islands and it covers 6% of earth‟s total surface area and 

20% of its land area (Wikipedia). Africa has the population of 

1,225,080,500 people (2016) and has a land mass of 30,370,000km2 or 

11,730, 000 Sq. Meter. There are 54 countries in Africa, and Nigeria 

is one. The system of education in Nigeria could be informal or 

informal. In the formal and informal training of a Nigerian child, music 

is pivotal as the societal medium of instruction. A Nigerian child in 

particular is born and nurtured in music. He lives to experience 

virtually all the societal activities being accompanied by music. In the 

society where he lives, grows and learns with music, and with time, he 

will eventually take his exist from the world with music. Nigerians are 

lovers of traditional or indigenous music. The performance of this 

music is more real, factual and understood by them. The traditional 

norms, values, morals and customs are better interpreted, known, 

accepted and understood in an indigenous way. Onwuegbuna (2006) 

informs on how musical performance generally has to do with the 

creative art of integrating knowledge in to an applied sense thus: 

Musical performance therefore is the integration of 
knowledge (literacy) and experience (skills) to arrive at 
creative solution to musical problem of organization, 
production and presentation in order to meet the 
expectation levels of appreciation (educational, 
professionals, economic and social) of the consumers of 
the musical performance (p.3) 

 

From the above however, it is an undebatable fact that no aspect of 

art is known to command such unprecedented influence over human 

race at present than music. 

 

 



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The Concept of Music 

Music is an aspect of education which is directed towards training a 

holistic being. Music as a profession is multi-facetted. Apart from it 

being theoretical, it is also artistic, scientific, technological and 

vocational in its outlook. Glennon (1980:2) sees music as „an expression 

of thoughts and feelings in an aesthetic way‟. Ifemesia (1987:144) 

sees music as „a medium of communication and social unity of recording 

and documentation, meditation and worship, healing and socialization, 

recreation and celebration‟. Okafor (2005) calls music, the oxygen of 

demonstration. Effiong (2012:3) analyses the characteristic features 

of music thus: “music characteristically move along with rhythm, 

melody, harmony, pitch, counter- point, timbre and forms to become 

pleasant, delightful and pleasurable to listen to and enjoy”.    

 

Music Education in Nigeria 

Music education is fundamental to global, Africa‟s and Nigeria‟s 

lifelong educational system. It is pivotal and indispensable to the 

educational advancement and development of any nation. As indicated 

by Effiong (2013:327), „Whether in the informal or formal system, 

music education stands as the panacea for life, and as an unavoidable 

weapon „per excellence‟ in enhancing facilitating, and boosting the 

educational standard of any nation‟. 

 

The formal system of education is more organized and structured, 

modeled and administered in accordance with lay down rules and 

norms, with clear objectives and a curriculum with contents and 

methodology. It is the system connecting the educational process that 

involves the teacher, a classroom for students as well as an institution 

with certificates issued at the end of study. 

 

Non-formal system of education on the other hand is simply the 

system that lacks a well-defined set of features; such as an adopted 

strategy, students‟ attendance, decreasing in contacts between the 

teacher and students and sometimes, activities take place outside the 



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establishment of some organized phenomena. In non-formal system of 

education, there are no curricula and time lapse for study; as students 

are never going to be certified at the end of study. Therefore, 

Okafor and Maison (1992) reveal that music education is geared 

towards helping man to be able to express himself deeply. Effiong 

(2009:115) adds that music education prepares an individual not just 

to earn a living, but also for life itself. He defines music education as 

an aspect of education which leads to the acquisition of practical and 

applied skills as well as the basic scientific knowledge to enable one 

adapt successfully in society as well as contribute immensely to the 

development of his/her society. 

 

Traditional Education in Nigeria before Westernisation 

Okafor (2005) asserts thus: 

Trado-musical practices in Nigeria are concerned with 
the way people practice music in their traditional setting 
and what methods they use for the transmission of 
musical knowledge from those who know to those who do 
not, from the old to the young (p.191). 

 

From the above, it could be ascertained that learning in the 

traditional system of education before westernization was mainly by 

imitation and practice; a situation where an individual learns from 

another; doing exactly what he sees him do. 

 

Oral transmission and apprenticeship equally served as ways of 

transmitting knowledge in African traditional system of education. 

This was undoubtingly the footing to the basic foundation of learning 

in childhood because of their non- writing, learner involvement, and 

reputational procedures. The systems are widely accepted to be the 

most accepted to be the most effective patterns of learning in 

childhood that lead to modern civilization and development. Civilization 

and development can only be achieved through education. Thus, one 

will not be far off the beam to say that the ground work to the 

present day education originated from Africa. In the old Africa, it is 



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the right of every child to be educated. Thus, making education part 

of life and essential to human existence just like the air we breathe 

and the water we drink (Vanga, 1995). Furthermore, in the old Africa, 

right from the womb to birth, children are exposed to lullabies by 

their biological mothers who serve as the child‟s first teachers, 

nannies and guardians as well. Self-discipline is influence in folklores 

by their child‟s peers, the aged and all adults in the community as the 

child grows to maturity. He/She is exposed to domestic works 

especially to the female folks, while the male children are exposed to 

agriculture and games. The use of words, gestures, symbols and motif 

are used in communication to convey messages, give instructions when 

necessary (Vanga, 1995: Emeagwale, 2006). 

 

To buttress further on the traditional African system of education 

before westernization, Olutayo (1999) freely adds thus: the African 

traditional system of education has been proven to be the most 

productive educational practice of all the time. This is evidently clear 

in the product that has been produced. For example, the Igbo 

traditional system of apprenticeship in terms of human 

resourcefulness is by far the most effective, productive and societal 

driven than the western system of education has produced. 

Traditional music education in Nigeria has continued to survive despite 

the westernization and technological advancement being experienced.  

 

The Present State of Nigeria 

Nigeria today is infiltrated with all manners of inter- religious 

conflicts socio –political upheavals and communal differences. It has 

come to the stage that Nigeria do not trust each other again. Anyone 

could be a security risk to the other.  Well, the state of the nation, 

Nigeria calls for urgent surgery. The government, stakeholders and all 

Nigerians have serious part to play to revive again „‟the Nigeria of our 

dream‟‟. The trend of violence, crimes and wars in Nigeria has been so 

alarming, disheartening and dehumanizing; beginning from the 

devastating political civil war of the 1967 - 1970, to the 1980 

maintainer uprising in Kano, then the crisis of 2000 and the 2001 



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religious crisis in Jos. What more can be said of the life/modakeke 

crises, Shagamu Hausea Yoruba crisis in 2000, the Ogoni Ekpedo crisis 

in 2003 (Ogidi, 2004). 

 

As regards religious conflict, right to life and freedom of worship, the 

constitution of the Federal Republic of Nigeria (1999), section 33, 

sub- section 1 and 3 clearly states: 

Every person has right to life, and no one shall be 
deprived intentionally of his life, save in execution in the 
sentence of a court in respect of a criminal offense of 
which he has been found guilty in Nigeria… every person 
shall be entitled to freedom of thought, consciences and 
religion to change this religion or belief, and freedom 
(either alone or in community with other and in public or 
in private) to manifest and propagate his religion or 
believe in worship, teaching, practice or observance. 

 

Dambo (2005) reacting to the so called claim of man‟s right to life and 

in security says thus: “For a man to remain in silence in an ideological 

issue involving the survival of a man on earth is irrational”, Dambo also 

quotes Usman (2007) and argues thus with regards to the violent 

attacks in Kaduna State:  

Violent attacks have been launched against life, property 
and places of worship in most major cities and towns in 
Kaduna State. Churches and mosques, hotels and cinemas, 
business and vehicles private homes and persons have 
been attacked, smashed up and systematically set on fire 
in an unprecedented campaign of violence… 

 

The state of Nigeria today is pitiable. Recently there have been cases 

of socio-politico-religious crisis in Benue State, Nasarrawa State, 

Taraba State, Zamfara State, Plateau State and all sorts of killings, 

kidnapping, abduction and destruction of properties worth billions of 

Nigeria by the Islamic sect called “Boko Haram”.  Even with the 



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abundance of good resources and governance, the few “bad eggs” are 

making life “seemingly unbearable” (Effiong, 2012). 

Albert (1994, 1996, 2004), Fenton (1992) and Ogidi (2004) have 

severally written on the threatening violence and conflicts that have 

erupted Nigeria over the years and suggested peace as a vital tool in 

resolving  conflicts and in the promotion of human right. Effiong 

(2012) analyses the effects of the reoccurring crisis in Nigeria on 

humans thus: 

This dehumanizing trend has made Nigerians “prisoners in 
their homes”. Nigerians to some extent are no longer 
free to move and settle in any area of their choice, for 
fear of being butchered, killed, or murdered. Infact, in 
some states, there are places designated for the 
Christians, and some for the Muslims. As a result, 
religious bigotry, distrust of one another, segregation, 
vengeful mindsets, unforgiving spirit, hypocritical love 
and false display of peace, have become the order of the 
day. 

 

The state of Nigeria today as far as security is concerned, needs 

urgent attention. Nigeria is “somehow sitting on a time bomb”, ready 

to explode. The menace is eroding and spreading wild like cancer. It is 

therefore hoped that all hands must be on desk to forestall peace 

amidst warring parties. 

 

State of Crisis in Jos (Plateau State) and its Environs 

For The past decade (2008 - 2018) and beyond, there have been cases 

of ethnic, political, religious and socio- cultural crisis in Jos and its 

environs. The devastation caused by the incessant crisis has been 

worrisome, alarming and heart – blooming. Kwaja (2011) resorts that 

„these clashes have claimed thousands of lives, displaced hundreds of 

thousands of others, and fostered a climate of instability throughout 

the surrounding regions (p.1). Effiong (2018) adds that „these 

anomalies have led to the breakdown of law and order, death of 

thousands of innocent citizens, destruction of properties worth 



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billions naira, displacement of citizens in internally displaced camps 

and have posed serious security threats both to the inhabitants of 

the land and other non–indigenes. 

 

Effiong (2012) egually adds thus: “over the years, they have been 

international and unduly  murder of innocent Jos residents by 

militants, “Boko Haram set”, robbers, kidnappers, and other 

unscrupulous elements; and these have brought untold hardships, 

panics, pains, bereavements, insecurity and distrust among Jos 

residents. Plateau State generally and Jos specifically witnessed 

various degrees of violence and these have dreaded on plateau 

indigenes mere existence, tampered on plateau security and 

constituted social imbalance, instability and injustice. For instance, 

from 2016 – 2019, there have been serious silent and open killings of 

residents by Hausa/ Fulani herdsmen in farmlands, homes, places of 

worship, and social gatherings among others. 

 

Music in Conflict Resolution  

Ritchie (2013) asserts the following concerning the need for music in 

conflict resolution: „Music takes many forms and for a majority of 

listeners, the highest level of emotional satisfaction from music is 

derived from the organic relationship between dissonances (harmonic 

tension, disruption or conflict) and consonance (harmonic resolution). 

Music is basic impulse which precedes the formation of words. Where 

words often fail, music can be instrumental in successful 

communication between divided individuals or communities. Music can 

help to treat the traumas and mend the scars of war. Music can serve 

as a powerful tool in promoting natural security, enhancing social 

stability and preventing conflict in Jos and its environs.  

 

Akponome A.O., Johnson, H., Nwosu, and Effiong, P.K. (2007) assert: 

„Music art in various religious circles provide a rallying point where 

members of a nation gather to engage in activities which provides the 

co-operation of the groups. Music art helps to reconcile and settle 



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disputes among quarrelling parties; it draws people together by way of 

singing and dancing‟ (p. 211). 

Effiong (2018) posits the relevance of music in conflict resolution 

thus: 

Music is a powerful tool and a redeemable medium in 
settling crisis. It has the divine potency to heal broken 
hearts, encourage the discouraged, calm the troubled 
souls, strengthen the weak, resolve long standing cases of 
acrimony and and bring to normalcy any form of upheaval. 
Where dialogues and words may fail, music can be 
instrumental in successful communication between 
aggrieved parties, individuals and communities (p. 8). 

 

Oyovwe (2014) agrees to the above and comments thus:  

Music is a powerful tool; it is one of the channels to the 
most hardened heart because everybody loves music. 
Music is a powerful tool that God has given to mankind to 
use as a tool to bring peace and joy into the hearts. 

 

Africans Exploring their Musical Senses in Crisis Settlement 

There are several ways that Africans use their God- given sense to 

resolve conflicts. In Plateau State for example, there are several 

ways that the inhabitants explore the use of music in settling crisis. 

The following are some of the ways: 

Folk songs/tunes 

Folk songs renditions are very dominant practices in Plateau State. 

They are rendered mostly during festivals, ceremonies like marriages, 

coronations, naming among others. In Jos for example, during the 

Nzem Berom annual festival, folk songs are used to unite and 

integrate various families, parties, religious, dwellers, communities and 

villages together. Talking on the use of the Mwaghavul folk songs in 

Puuskat Festival, Effiong (2009) comments: 

The purpose of the celebration is to bring together their 
sons and daughters that are at home and in the diaspora 
to inter-relate, dance, sing eat, play and discuss salient 



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issues together… Thus, the performance of the 
Mwaghavul folk music on any social occasion adds colour 
and beauty to the celebration, assists in maintaining and 
preserving the cultural heritage of the Mwaghavul people, 
serves as a reservoir of knowledge for the younger 
generations and spectators alike; and, assists in 
rebranding the Nigerian nation at large (pp.1-2). 

 

It could however be deduced from the above that, folk songs, being 

common, generally acceptable and known to the members of any 

community (from the grassroots) can be a powerful tool in the 

resolution of conflicts among warring parties, groups, religious and 

communities. What this mean is that members of the communities, 

families etc normally come together in Unison to sing folk songs during 

festivals, marriage ceremonies and send off parties. Through this, 

peace is sustained and aggrieved hearts experience oneness. 

 

The Making and Use of Traditional Musical Instruments  

Nigerians generally and Jos residents specifically, love to use their 

ingenuity, skills, creativities, prowess and talents in the making and 

display of traditional musical instruments during occasions, 

ceremonies, festivals and services. Musical instruments in Nigeria are 

mainly made from the sources of materials found within the local 

environment. These materials are all around the Nigerian child where 

he/she resides. Having mastered his environment well, the Nigerian 

child uses materials like gourd, animal horns, local trees, clays, animals‟ 

membranes (skins), gun stones, iron bamboos, hides of animals, and 

woods among others, to make music instruments. 

 

This is Africa-sensed! Okafor (2004) supports the above assertion 

thus:  
The Instrument maker thus takes materials from his 
environment and turns them into musical instruments 
that will sound in a certain way to achieve a certain result 
or create a desired effect. In a way then, every Nigerian 



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musical instrument is a talking instrument… talks the 
language, mood idiosyncrasy and ideas of a locality‟ 
(p.180).  

 

Most of the traditional musical instruments on the plateau (Plateau 

State) are made by the local, primitive, indigenous, and traditional 

plateau citizens. These people are illiterates; and yet, through their 

conceived, gifted, talented and God-given sense, they are able to 

construct traditional musical instruments with exact tuning patterns, 

tonality, inter-rhythmic structures, melodic contours and tonal 

patterns. For example, the traditional Kundung (xylophone) musical 

instrument, made by a typical traditional and illiterate technologist 

either in Pankshin, Quanpan, Kanke or Riyom, will eventually sound alike 

with the same tonal pattern. This is actually a mystery! 

 

Relating the sense in the use of traditional musical instruments in Jos, 

Plateau State, a single drummer could be playing the drum and singing 

along (most times) during either the funeral dirges or the celebration 

of the Nzem Berom and the Mandieng festivals. Various traditional 

instruments could be playing together, each bringing out his rhythmic 

essence. But there is always the master instrumentalist, who directs 

and controls others, and they obey and adhere to his stylistic cues. 

 

Traditional Dance 

Africans, Nigerians and Jos residents are blessed by God with unique 

complexities in inter-rhythmic patterns in dance. Nketia (1975) sees 

dance as „a social medium of communication, which can convey thoughts 

or matter of personal or social importance through the choice of 

movement, posture and facial expressions‟ (p.207). In traditional 

African societies, dancing is a group affair. Villagers often gather at 

the village squares, market square, football field, villages square or 

any chosen place to dance, sing and play traditional musical 

instruments together. This could be done at moon light or during any 

major or minor community celebration like festivals, coronation, 

traditional marriages, and sendoff prayers among others. Through this 



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joint collaborative and cooperative media of dance, strong affinity, 

oneness, bond of friendship, brotherliness, social cohesion, 

togetherness and symbiotic relationships are strengthened. Strifes, 

dissonances, complaints, malice hatreds bitterness and all forms of 

seeming or intending conflicts are settled. Thus, peace and warm 

relationships are enhanced and promoted amidst communities and 

families.     

     

The Mass Media and Music  

The mass media primarily consists of newspapers, radios and 

televisions. In a democratic society where the media is instrumental 

to the public, Okafor (2002) calls it the “the Oxygen of democracy” 

and further asserts; „it communicates sharper than mere words and 

permeates through the barriers of prejudice, enmity and religious 

bigotry‟ (p.22). Today on the Plateau, popular artistes, gospel artistes, 

and other practitioners have continued to sing and perform on radios, 

and televisions on the need to promote peace, and avoid crimes, 

killings, fighting and other forms of violence. Examples of such songs 

are “Zaman lafiya” by Evang. David Lucky. “We need peace” by Chuang 

Sati Davou, “Beautiful Plateau” by Peter Maurice and “Mutanen 

Plateau”, by Aaron Damap, among several others. Effiong (2012) adds 

thus concerning the positive effects of music in the mass media: 

In Plateau State, “peace songs” are always being 
presented on the redios and televisions stations to 
promote peace, unity, love, friendliness, and brotherly 
affection. The 90.5 FM is even called “Peace FM”. To a 
greater extent, through the musical jingles, promotions, 
adverts and rhymes peace have come to stay in Plateau 
State. For example, some popular songs always rendered 
(on a daily basis) on Plateau Radio Television Corporation 
(PRTV) Such as “Zaman lafiya” “God bless Plateau State” 
among others, have promoted a peaceful co-existence 
among various tribes, ages religions, sex and nations 
(p.18). 

  



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Religious Songs 

Religious songs are sacred, pure, and pius songs often sung in praise of 

God or, to a supreme deity. In the Christian perspective, religious 

song could be seen as Christian songs, Church songs and gospel songs, 

rendered by Christians in the worship the Almighty God. The 

Christians worship God with songs of praise, hymns, solos and dances, 

using various musical instruments. The Almighty God deserves our 

praises. He made us sorely for this purpose (1st peter 2:9, Hebrew 

13:15). Music, performed in the Church brings people together from 

various backgrounds, tightens relationships, foster peaceful 

coexistence and creates friendliness and oneness.  

  

Sofala (1984) adds that music acts as a stimulant or tranquilizer for a 

people to harness their potential towards a collective social 

development. Akponome, A. O., Johnson, H. A., and Effiong, P. K. 

(2007) comments that; 

musical art in various religions circle provides a rallying 
point where members of a nation gather to engage in 
activities which requires the co-operation of the group. 
Music arts help to reconcile and settle disputes among 
quarrelling parties. It draws people together by way of 
singing and dancing (p.211). 

Thus, the performance of music in the church, either as praise, 

worship, dance, instrumentals, solos, hymns among others, has the 

divine potency to bring peace, foster unity, settle disputes and bring 

total peaceful resolution, harmony, joyful co-existence and 

progressive habitual/symbiotic relationship among warring parties. 

 

Conclusion 

Music is a powerful and undisputable tool for integration, peaceful co-

existence and national security. Music brings people together from 

various backgrounds, tribes, religions sex, and ages, which thereafter, 

helps to tighten relationship, friendliness and oneness. Oikelome 

(2010) posits that music as a tranquilizer can function to bring about 



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peace and calm in conflicts. He stated an example of its function on 

the “Rwandan ballet isonga”, where songs and dances were employed to 

mediate in the conflict between the major ethnic groups. The 

performance of traditional folk songs, dance, musical instruments 

using the Africa sensed ingenuity, creativity, skill, innovativeness and 

resourcefulness at our disposal, can be used to bring about mediation, 

reconciliation, negotiation for peace and peaceful resolution of 

conflict in African communities. The desired end result of indigenous 

conflict resolution mechanism is a sensed of harmony, consonance, 

integration, and solidarity; and shared dialogues among warring/ 

onflicting parties. Thus, music education, displayed in traditional ways 

at the grassroots (communities) can be employed and used to foster 

unity, create symbiotic relationship, unite warring folks, integrate 

love, promote consensus, melt aggrieved / offended hearts and bring 

out amiable resolution of socio-politico- religious crisis in Jos, Plateau 

State, Nigeria.                             

        

Recommendations  

Having seen Africa-sensed in music education vis-à-vis conflict 

resolution in Jos, Plateau State, the author recommends among other 

things that the performance of traditional folk music/songs should be 

encouraged, upheld and continuous. Since folk song are mostly used as 

cultural preservatives, it continuous performance should be better 

harnessed especially by the youths who constitutes about 70% of the 

residents in Jos. Folk songs promotes, preserves and transmits 

cultural heritages. Most of the songs which are proverbial in nature 

should be presented in festivals, marriage ceremonies, and send-off 

parties and during coronation ceremonies in Plateau State. Through it 

constant renditions, the resolution of conflict among warring parties 

shall be made possible. 

 

Plateau indigenes and non-indigenes should actively participate in 

dancing, singing and playing of traditional musical instruments. Singing 

traditional folk songs together, unites and build brotherliness, since 

the songs are generally known, accepted and performed by them, and 



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contains the indigenes dwellers, the cultural norms, values ethics and 

moralities of such community.  

 

And finally the Federal and State Government should empower the 

media, for example, radio and television station (FM.90.5) with enough 

infrastructural facilities, traditional musicians to compose songs with 

good lyrics that talk about peace and how to stay together in harmony. 

These songs should be played daily on the Plateau Radio Television 

network stations for all to keep hearing them. Through these, there 

shall be total resolution of conflicts and amiable working relationship 

across parties, tribes, religions sex, and families. 

 

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https://www.vanguardngr.com/2014/07/music
https://www.gresham.ac.uk/lectures/events