Tonemic Substitution


 

 

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

 
1 

CHANGE AND CONTINUITY IN THE PERFORMANCE PRACTICE 

OF KEKU DANCE MUSIC OF THE JUKUN 

  

Omotolani Ebenezer Ekpo, Eyitayo Aderonke Soretire  

& Jonathan Chinelo Arum  

 

Abstract 

hange is a constant phenomenon in our world, while knowledge is 

acknowledged as the power that rules the world. The combination 

of these two words about indigenous music seems to pose a sense 

of conflict, especially with the ongoing crusade for preserving African 

indigenous music heritage. Change is inevitable as consistently 

displayed in recent occurrences of the world; such as climate change, 

economic change, political change, fashion trends etc. The performance 

of keku dance of the Jukun has experienced some level of changes over 

the years, some of which will be discussed in this study. The coherence 

of the knowing and the change experienced in the performance of this 

music will also be examined. Through an ethnographic study of the 

music and the musician in the context of its performance and cultural 

implications, this study looks at the changes the music has experienced 

so far and their effects on the cultural posterity of the music. 

Therefore, this paper concludes that while maintaining the truism of 

change as an inevitable phenomenon, the knowing (i.e. the knowledge of 

the principal idioms) of the music are yet to be compromised, this 

consequently has preserved the music till date.  

 

Keywords: knowing, change, performance, Jukun, keku dance 

 

C 

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



Ekpo, O. E., Soretire, E. A. & Arum, J. C.: Change and Continuity in the Performance... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 2 

Introduction 

Consistently, every aspect of human existence changes. Times and 

seasons unfold with innovations or development on existing inventions. 

Music of the world has a rich history of various periods and their 

peculiarities which best describe them. African indigenous music has 

experienced some distinctive changes as a result of various cultural 

interferences. The ‘Keku dance’ is one of the prominent cultural music 

of the Jukun which has experienced three major changes in its 

performance in recent decades. However, the prominent musical 

elements and idioms of the music are still held tenaciously by the 

musical group. In other words, the major characteristics of the music 

in terms of instrumentation, rhythmic patterns and melodic patterns 

are still maintained till date.  

 

The knowing of the Keku dance can be hung on its functionality and 

participation. At the earlier stage of the music, it was said to be 

restricted in its functionality, but flexible in its participation. This has 

switched position over time; in that, it is now flexible in functionality 

and restricted in participation. The advent of globalization and political 

occurrences has brought the music to limelight and called for some 

modifications in its presentation. It is of huge importance also to note 

that the existing knowledge of the music, informs the changes it has 

undergone. A discuss on change simply connotes an extinct way of doing 

such a thing; which may be an outright displacement or modification of 

a phenomenon. In the cause of this study, both the ‘knowing’ and the 

‘change’ will be reconciled about the performance of keku dance among 

the Jukun. 

 

The “Knowing” or “Know-how” 

In the discus of “knowing”, learning comes to play and change cannot be 

ignored. The term knowledge is described as the codification of 

experience in some form of cognitive structure or behavioural pattern, 



Ekpo, O. E., Soretire, E. A. & Arum, J. C.: Change and Continuity in the Performance... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 3 

and of learning as the process through which such structures and 

patterns change (Kim, 1993; Fiol and Lyles, 1985). The concept of 

knowing and learning extensively forms an expedient impartation of 

ideas that facilitates human development and cognitive capabilities. 

The word “Knowing” is conceived as an inherent virtue that resides in 

human minds, which is often used in explaining and displaying individual 

potentials. This concept, views knowing/knowledge as a mere mental 

substance that is expressed in written texts, representations, and 

consistent behavioural pattern (Nicolini, Gherardi, and Yanow 2018). 

Although considered by some other schools of thought to be an 

unacceptable level of simplification and superficiality, void of 

intellectual sophistication. It remains the edge an individual or group 

has over another.  

 

From the perspective of “Know-how”, knowledge can be viewed as the 

indispensable acquired skill on a craft or trade; which embraces the 

Nicolini concept of knowledge as a process which is subjected to time. 

Here the “know-how” or Knowing depends solely on the conscious and 

structured mode of learning and training. Thus, by constant practice 

or work routine, the skill on the job is attained. In an oral interview 

with Ashu (2018), the art of Keku dance overtime is taught by 

observation and participation, which requires an intense commitment 

on the part of the trainee, by being always available at every instance 

of the music performance. Moreover, in addition to the aforementioned 

concepts of knowing about Keku dance, one can also view the term 

knowing as the basic rules and concepts that informs the creation of 

the music. In the same vein, the knowledge of the music can be realized 

by the distinctive elements and idioms that forms its functionality and 

identity respectively, irrespective of changes experienced; this is 

similar to distinctive features of a man or woman even when either of 

them chose to dress or behave differently from the general norm, 



Ekpo, O. E., Soretire, E. A. & Arum, J. C.: Change and Continuity in the Performance... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 4 

there will always be an indispensable feature that will betray the 

disguise. 

 

Generations come and generations go leaving behind a landmark for 

succeeding generation to adopt or improve on. Culture is not static; it 

is perpetually vulnerable to change as time goes by. Likewise, music 

being a powerful cultural force is well disposed to change, of which to 

a large extent has enhanced its growth through ages and across the 

globe. Our world holistically has experienced a change in all sphere of 

human existence; ranging from the ecological realm to social 

interaction, to economical experiences, to political occurrences and 

religious practices to mention but a few. Therefore, aligning this study 

with the recent drastic change in the nation’s economy, indigenous 

musical practices that are fundamentally functional are becoming mere 

entertainment performances to raise funds to make ends meet and 

satisfy politicians ego at the detriment of musical cultural heritage.  

 

Theory of Continuity and Change 

This study employed the theory of continuity and change which is 

identified with Herskovits and Bascom (1975). Many scholars have 

adopted the theory of continuity and change, also known as cultural 

dynamism, to explain various musical genres in Nigeria. Such scholars 

include Euba (1990)–Dùndún music; Alaja-Browne (1989) -Jùjú music; 

and Samuel (2009) - Dùndún music. Cultural practices, especially in the 

music domain, are subjected to the danger of outright extinction as a 

result of civilization and globalization respectively. The amalgamation 

of ethnic groups into geopolitical zones and economic activities have 

submerged minor indigenous societies and their cultural heritage into 

obscurity. James Mahoney’s (2000) treatment of path dependence in 

historical sociology maintains that the positive feedback mechanisms 

sustaining a self-reinforcing sequence often lead to institutional 

persistence. The sustenance and reinforcement of indigenous heritage 



Ekpo, O. E., Soretire, E. A. & Arum, J. C.: Change and Continuity in the Performance... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 5 

like music require positive feedback on the part of the indigenes and 

the researcher, such that the interpretation of the details of the 

music adequately connotes the actual intent of the performers. One of 

the major problem faced in sustaining the elements and idioms of 

traditional music has always been an issue of misrepresentation of 

data.  

 

However, the sustenance or continuity of any cultural heritage is not 

without some iota of change resulting from certain revolutionary 

events, policies and dynamics of creativity. Migrations of indigenous 

people as a result of war, trade, natural disasters, marriage and so on 

tends to bring about changes in existing cultural practices. In terms of 

music, the introduction of new musical instruments, costume, dance 

steps, rhythmic and melodic motive as the case may be, constitute a 

remarkable change in the composition and performance of such genre; 

which may be a modification or complete departure from the original 

music. This study discusses the significant changes experienced in the 

composition and overall performance of keku dance over the 

decades using the theory of continuity and change against the 

background of some factors responsible for the sustenance and 

creative dynamics in musical performances. The agreement is that Keku 
dance music of the Jukun has gone through two major changes in its 

performance and functionality but still maintains its creative elements 

and idioms. 

.  

Jukun Traditional Music 

The Jukun like every other African indigenous society views music as a 

functional art which is integral with life and rhythms of life (Akpabot, 

1986; Nzewi, 1991; Agawu, 2003 Okafor, 2004, 2005). In other words, 

musical activities among the Jukun exhibits some remarkable elements 

that portray it as an entity rather than mere aesthetics and creativity. 

To them, music is an embodiment of total spirituality which may be 



Ekpo, O. E., Soretire, E. A. & Arum, J. C.: Change and Continuity in the Performance... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 6 

expressed mentally, psychologically, socially, emotionally or otherwise. 

It is text woven and it addresses specific socio-cultural events such as 

coronation, birth rites, marriage rites, funeral rites, socio-cultural and 

political sensitisation, moral values, rituals and initiations etc. 

 

Meanwhile, it is important to note that the Jukun as submitted by 

historians like C.K Meek, H.R Palmer, S. Abubakar and T.M Tamuno in 

Dauda (2017) migrated to Nigeria. The Jukun originally came from 

Yemen, from where they crossed Kordofan, the Fitri region, the 

Mandara, the Gongola region and finally reached and settled at the 

Benue Basin. This record is further buttressed by the present king 

(Aku-Uka) of Wukari in an oral interview. As a result of their internal 

and external activities, the Jukun were compelled to migrate further 

south and founded a new capital at Puje and subsequently at Wukari in 

the middle Benue, from where they spread their influence over non – 

Jukun groups and rebuilt their institutions till date. The Jukun are 

categorised into two major groups; the Wanu (waterside, 

predominantly fishermen located at Ibi) and the Wapa (the Wukari 

Jukun who are predominantly farmers.  

 

The Jukun possesses a large array of musical instruments which are 

used either individually (as an accompaniment to singing) or in large and 

small ensembles. Some of their music allows audience participation, a 

kind of communal sharing and interaction. Music among the Jukun is 

learned as part of cultural and practical education for posterity. Most 

often young children listen and observe the adults while performing, 

but as they get older they begin to actively participate in the musical 

functions of the community.  

 

Invariably, Jukun music is characteristically complex; it is often 

heterophonic, polyrhythmic and polyphonic in nature. Although, players 

of simple solo instruments (such as the musical bow- Goje/Keku) 



Ekpo, O. E., Soretire, E. A. & Arum, J. C.: Change and Continuity in the Performance... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 7 

manipulate the instrument skillfully to produce simultaneous sounds by 

producing overtones with the bow. Also, percussive quality of sound is 

often derived from their idiophones and membranophones; with their 

melodies consisting of two balanced phrases, often in a call and 

response performance. The polyphonic performances are generally 

structured such that two parts or two groups of vocalists or 

instrumentalists perform in antiphony.  

 

The binary musical form among the Jukun is expressed with variations 

or improvisations on short melodic motifs, which is repeated and 

sustained throughout a piece (litany type) or on strophic forms (i.e. the 

stanza type). Most of the Jukun music is associated with dance, which 

complements its multidimensional effect of presentation 

characterised by density and motion. Among the Jukun, the hocket 

technique is an important instrumental and vocal device and is 

frequently paired with multi-ostinato. Some of the music found among 

the Jukun include – Ajo-Niku - farming dance (work song), Adiyamando 

(war song), Akishe dance (marriage music), Garaza, Ajo-Bwi, Ajo-
Kovo, Agyogo and keku (Goje) dance. 

 

The Keku Dance 

The keku dance is one of the prominent musical genres of the Jukun. 

It is named after the lead instrument called ‘Keku’ in Jukun language 

but popularly known as Goje (African fiddle). The ‘Keku’ dance 

according to oral tradition is peculiar to the Jukun and plays a 

significant role in conveying the new king from the coronation site to 

the palace. Although in recent times due to civilization, its performance 

is now extended to other major celebration of the people. ‘Keku’ dance 

is open to any interested member of the society and still maintains its 

original musical instruments and modes of performance with slight 

modifications in their costume. The music like many African heritages 

is maintained and transferred to the younger generation by 



Ekpo, O. E., Soretire, E. A. & Arum, J. C.: Change and Continuity in the Performance... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 8 

observation, training and participation. Initially, the performance of 

keku dance involves the women too, but this gradually faced out 

because of the vigour required in its dance.  

 

‘Keku’ dance employs three major instruments namely- the akwe 

(calabash), akacha (leg bracelet) and keku (African violin). The akwe 

and the akacha play the percussive role and maintaining the rhythmic 

dynamics of the dance while producing pleasurable percussive sounds 

that inspires the dancers. The ‘Keku’ on the other hand plays the lead 

role, and is often accompanied with a brief vocal response during the 

procession to the stage; with the melodies mostly consisting of two 

balanced phrases. There is often a leader/chorus relationship in the 

performance of ‘Keku’ dance, creating room for variations or 

improvisations on short melodic motifs. The presentation of Keku dance 

is meant for celebration with no mystical implication. Its performance 

connotes dance skill competition to show who can dance best and outwit 

the other. 

 

Density and motion broadly characterize the performance of keku 

dance, coupled with high degree amplitude due it being mostly an 

outdoor performance. There also exists an overlapping instrumental 

antiphony and responsorial interaction between the three instruments. 

Also, some canonic imitation may occur in responsorial or antiphonal 

sections during its performance as a result of the repetition of the 

first phrase or the introduction of the new melodic material in the 

form of a refrain. 

 

Analysis of Keku Dance music 

Ensemble: The music is of a mixed ensemble of vocal, dance and 

instrumental ensemble, with dominance given to the dance and 

instrumental ensemble. 

 



Ekpo, O. E., Soretire, E. A. & Arum, J. C.: Change and Continuity in the Performance... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 9 

Structural form: this piece of music is in strophic form, although it has 

three major sections, there is mainly a chordophone solo and vocal and 

instrumental backup. 

 

Instrumentation: there are only two categories of three instruments; 

the chordophone ‘Goge’ which is the main and solo instrument, and the 

idiophones, comprising of leg shakers and calabash, which play solo and 

time referent respectively. 

 

Rhythm: The rhythmic pattern employed is additive and asymmetric 

rhythmic patterns. 

 

Time signature: The musical piece is in a simple time 4/4 quadruple 

meter. 

 

Scale: The scale of this music is pentatonic. Although, with little 

alterations. 

 

Tempo: The music begins with a moderately fast tempo and gradually 

increase speed until getting to a very fast tempo and thus end. 

 

Melody: there is a melodic arm-bit of A3-G5, (using piano pitch 

measurement method) 

 

Key: C major  

 

The Changes in the performance of ‘Keku’ Dance Music 

According to Ajiduku (2017), the ‘Keku’ dance at inception was 

performed by both men and women and strictly as the music that 

ushers in the new king from the coronation site to the palace. As 

discussed earlier on the basic musical instruments employed were the 

akwe (calabash), akacha (leg braclet/rattles) and ‘Keku’ (fiddle). The 



Ekpo, O. E., Soretire, E. A. & Arum, J. C.: Change and Continuity in the Performance... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 10 

music is a combination of vocal, instrumental and dance music. The 

dressing of the performers was not necessarily uniform, probably 

because the people at the early ages had limited wears at their 

disposal, so the performers simply dress presentably to fit into the 

celebration and royal aura of the coronation. The ‘Keku’ dance along 

other African indigenous music underwent some level of changes which 

is evident majorly in the participation, functionality and aesthetic 

presentation of the music over the decades. The initial flexibility in 

the participation of keku dance has over time metamorphosed into 

strictly masculine musical dance showmanship. According to Ajiduku 

(2017), this resulted from the often need for performance and the 

rigorous dance gestures involved in the performance of the dance.  

 

Secondly, the restriction in the functionality of the music as the 

conveyor of the new king from the coronation site to the palace, which 

allows very minimal public performance of the music. The aesthetic 

representation of the music now employs the use of uniformed costume 

and dance formation, where the dancers sing and dance in structured 

patterns that reveal the masculine strength of the legs and the 

shoulders of a Jukun man. Unlike the original consciousness of the 

functionality of the performance which governs the presentation of 

the music and dance, the people are more concerned about audience 

acceptance and economic implication of the music. 

 

Conclusion 

 In conclusion, this paper is able to reconcile the concept of “Knowing 

and “Change” in the performance of Jukun Keku dance by establishing 

the obvious inevitability of “Change” as a phenomenon of life; and that 

the performance of ‘Keku’ dance of the Jukun has experienced majorly 

functionality, participatory and aesthetic performance of the music 

dance. The coherence of the “Knowing” and the “Change” experienced 

in the performance of this music has been presented as being 



Ekpo, O. E., Soretire, E. A. & Arum, J. C.: Change and Continuity in the Performance... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 11 

dependent of each other. These changes experienced so far in the 

performance of the dance music and their effects on the cultural 

posterity of the music are discussed. Therefore, this paper concludes 

that while maintaining the truism of change as an inevitable 

phenomenon, the knowing (i.e the knowledge of the principal idioms) of 

the music are still maintained, this consequently has preserved the 

music till date.  

 

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http://www.knowing/