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Satire in Igbo Oral Tradition: The Case of Ụmụada Songs

Chioma F. Emelone 

Nwafor Orizu College of Education, 

Nsugbe, Anambra State

08063830898

emelonechioma@gmail.com

&

Christiana O. Udogu, PhD

Nwafor Orizu College of Education, 

     Nsugbe, Anambra State

08035488988

christieobiageli@gmail.com

Abstract

This study is based on a type of song rendered by Ụmụada, a collective 

name for daughters of a particular clan of the Igbo ethnic group of 

Nigeria. It exposes this type of poetry to scholars of African literature 

and assesses the elements of satire and other poetic qualities in the 

songs. It, as well, analyses their themes. Out of a good number sung by 

Ụmụada, four are selected for the purpose of this study. Thematically, 

the songs deal with laziness, failure in civic responsibility, sexual 

immorality, pretence and hypocrisy. They possess a feature present in 

every satiric work and that is to ridicule and expose a folly.  They are 

simple in nature with few words and lengthy presentations. The selected 

Ụmụada songs are studied using the sociological theory because they 

treat social issues. Interviews and library research are used in carrying 

out this study. It is found out that the selected songs possess all features 

of satirical poetry and so should be regarded as such. 

Keywords: Ụmụada, satire, poetry, satirical poetry and oral forms

Introduction

The traditional African society sees poetry as an effective instrument for 

interpreting life because it is a means of pleasure and a tool for criticism. 

Poetry surfaces in virtually every aspect of their lives from birth to 

death. Activities such as naming, marriage and funeral ceremonies are 

embellished with different forms of poetry. Other serious issues that take 

place in the society are also often addressed using poetry. The poetic 

genre is used for a variety of purposes and on occasions which could be 

religious, political and for pure satiric purposes. This study focuses on 

the satiric purpose of Ụmụada songs in Igboland. 

When a work of art is aimed at exposing or ridiculing the abnormal 

characteristics of institutions or individuals in the society in order to 

deter others from such, it is a satire. This form of art has found a solid 

ground in the genre of drama and contains a great deal of humour 

(Akwanya 133; Nwabueze 86). It is a literary art that ridicules vice in a 

society in order to expose or correct some anomalies. It evokes attitudes 

of scorn, contempt or amusement. The objects of scorn are generally 

familiar and contemporary to the age. They are usually taken for granted 

and perhaps ignored. The satirist, therefore, does the duty of bringing, to 

the consciousness of the people, these follies with the intention of 

correcting them. Satire can be prosaic, dramatic or poetic. The concern 

of this work is with its poetic form.

Okoye's definition of poetry as “the verbal form or expression of 

strongly felt, beautiful and, or inspired emotion, thought, idea or 

imagination in concentrated or rhythmical language usually but not 

always with a metrical pattern” (8) buttresses Wordsworth's classical 

definition of the genre as the spontaneous overflow of powerful 

emotions recollected in tranquility. Poetry can possess or present many 

things. Philosophies, emotions and sentiments can be embodied in 

poetry which can have lyrical, reflective, descriptive or narrative 

qualities. It can as well, be “satirical, or funny, or political or just 

informative” (Wolosky 3). Although all these features stated by 

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COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 1, No. 1, 2021
Chioma F. Emelone & Christiana O. Udogu:  Satire in Igbo Oral Tradition: 

The Case of Ụmụada Songs

mailto:emelonechioma@gmail.com
mailto:christieobiageli@gmail.com


Wolosky are possessed by poetry, they are not specific to the genre and 

so do not differentiate it from other forms of literature. According to 

Okpe who, poetry has two basic requirements. One is its ability “to touch 

us emotionally so that we feel either delight or pain” (10); second is that 

it stirs “our minds deeply so that we think intelligently on some concepts 

or aspects of life” (11). Okoye summarily puts it thus: “Poetry is felt and 

cannot be completely or satisfactorily defined or described” (8). It can be 

divided into two broad parts based on their modes of transmission. First 

is oral poetry, that which is chanted, and often improvised by the 

performer in a community. This form predates the second one which is 

written poetry – that which is put down in lines and verses, produced by a 

poet in a literate society. Both oral and written forms of poetry have a 

purpose. According to Chukwueloka and Asika, poetry is:

A tool for criticism with which poets mock and satirize societal 

actions, values and attitude in the hopes of correcting and instilling 

in the people the right and ethical moral values which in no small 

measure will institute a more harmonious, idyllic and tension free 

society as well as engineer a more appreciable peaceful co- 

existence among individuals in society (354).

It is in the above assertion that the social relevance of poetry lies. 

Although many writers see satirical poetry as different from lyric, its 

form presents it as a lyric poem which is comparatively simple and 

musical in diction. It could be described as a lyric poem because it 

“expresses feelings and emotions…and contains a single theme” 

(Okoye 85). Just as an elegy expresses mourning of the dead in serious 

manner and an ode praises someone, a satirical poem mocks someone or 

an institution. According to Ogene, “The lyric poems are generally short 

without fixed forms. The varieties include: the elegy, the odes and nearly 

all other poems written” (8). It is on this premise that a satirical poem 

could be said to be a lyric as well. Satirical poetry, therefore, consists of 

derisive songs that are used to ridicule perpetrators of evil in the society. 

It gathers some obvious human vices and follies and ridicules them with 

the aim of correcting them. Satirical poetry has a long history which 

dates to the Romans. It is also an African oral form. Other forms of 

African oral poetry include the panegyric, elegiac, religious, special 

purpose poetry like war songs, political song and lullabies.

Ụmụada songs can be seen as an example of satirical poetry. These 

songs are rendered in Igboland. The Igbo people are found in the south – 

east geopolitical area of Nigeria which comprises of Abia, Anambra, 

Ebonyi, Enugu and Imo States. The concept of Ụmụada is a strong union 

which unites all daughters of a particular clan, village, town or state, 

whether old, young, single, married, separated or divorced. This group is 

a powerful socio-political institution in Igbo society, a very useful 

organization for women. It helps in conflict resolution and organizes 

some activities which help its members to lessen certain economic 

burdens. They have ways of exerting influence and moral authority. The 

Ụmụada's most important ritual function is at funerals of a lineage 

member, since no one could have a proper funeral without their 

participation. It is mostly at funeral ceremonies that the Ụmụada sing 

and dance.  

The position of women in the rendition of poetry in African society is not 

negligible. Finnegan states that “certain kinds of poetry are typically 

delivered or sung by women” (98).  Nwoga also is of the view that 

“women song/dance groups continue the satiric strain” (231). Kolawale 

agrees that “women's voices remain audible, as we see in satirical songs 

and poetry which are women's domain” (92). The Ụmụada sing different 

types of songs, some of which are satirical in nature. Their songs are 

accompanied with musical instruments and dance. Some of the lines are 

often demonstrated. Fictional names are usually mentioned in such 

songs and their themes are varied. The songs are oral in form and are 

performed for various purposes. The obvious among them is their ability 

to entertain the audience. They lighten the mood of mourners at funeral 

ceremonies. Interwoven with the purpose of entertainment is that of 

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COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 1, No. 1, 2021
Chioma F. Emelone & Christiana O. Udogu:  Satire in Igbo Oral Tradition: 

The Case of Ụmụada Songs



correction. 

In addition to the earlier-stated functions of the songs, their presenters 

just like any other singing group “may acquire a material profit” 

(Finnegan 101). Ụmụada's performance is almost synonymous with 

monetary rewards. Because they perform at funerals of their relatives, 

they expect other relatives to appreciate their display. They value this to 

the extent that praise songs are sung for those who recognize their 

presence in a special way. Their songs not only touch the audience 

emotionally so that they feel either delight or pain, they also embody 

some imaginative, sensuous and intellectual dimensions (Okoye 11; 

Okpewho 10). 

Ụmụada songs are simple in nature because they make use of simple 

clear sentences. Finnegan has it that their verbal content “tends to be 

short (though the actual performance may be lengthy)” (235). These 

qualities coupled with a familiar audience bring about the simplicity of 

these songs. Okpewho explains that a satirical poet is “very much 

limited to the small local or ethnic environment with which he was 

familiar” (27) and so his audience is easily amused. Satirical poetry is 

usually functional, serving a specific purpose in specific times. It is not 

usually presented for its beauty; it is tied up to social activities. 

The performance of Ụmụada songs is not different from other satirical 

poems. Finnegan lists the variegated aspects which contribute to the 

effectiveness of the performance of an oral piece and they include: 

“expressiveness of tone, gesture, facial expression, dramatic use of 

pause and rhythm, the interplay of passion, dignity, or humour, 

receptivity to the reactions of the audience, etc,” (5-6). She further adds 

that “…the performer has various visual resources at his disposal. The 

artist is typically face to face with the public and can take advantage of 

this to enhance the impact and even sometimes the content of his words” 

(7). The songs perform the functions of satire because the genre, in 

whatever form it is expressed, has the same objective “in all cultures, 

and that is, to degrade a subject” (Darah 21). These songs use poetry as 

their vehicle and satire as the idea. 

Some communities in Africa have some songs which are similar to 

Ụmụada songs in function and have been termed satirical songs and 

poetry by authorities in African literature. Such songs include Halo of 

Ewe people of Togo, Udje of Urhobo people of Nigeria (Ojaide 4), 

Nzema songs of Ghana, Egungun of Yoruba people of Nigeria 

(Kolawale 92), Zambo of Hausa people of Nigeria and such songs 

performed by the Kivu of the former Belgian Congo and Acoli people of 

Uganda (Darah 15). 

Against the above background, therefore, there is the need to carry out a 

study on some Ụmụada songs to assert their appropriateness as satirical 

poetry. The purpose of this study is to explore the veracity of Ụmụada 

songs as a type of African poetry in oral form. This research is limited to 

collection and study of four songs. The collection is based on the themes 

of the songs and they are presented in their original Igbo language and 

English translations.

Theoretical Framework

This research adopts the sociological theory. This theory is rooted in the 

idea that literature is a product of the society. It looks at literature from 

the perspective of social issues and its relevance to the society. The 

foundation for this approach to literature is the belief that art is not 

merely produced; it is a work of an author set in time and space 

responding to his community. The writer's or performer's environment 

helps to explain social attitudes and opinions that appear in a literary 

piece or performance. 

As ascertained by Akporobaro, “the study of African oral literature has 

reached an advanced stage in which the literariness of the various genres 

is being analysed, described and evaluated” and “are most propitious to 

a literary artistic analysis from several perspective” (515). It is for this 

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COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 1, No. 1, 2021
Chioma F. Emelone & Christiana O. Udogu:  Satire in Igbo Oral Tradition: 

The Case of Ụmụada Songs



reason that sociological approach is considered appropriate for this 

study. Although Ụmụada songs are cultural materials transmitted orally 

from one generation to another using the local language, they can be 

studied using this literary approach. Sociological approach is suitable in 

the sense that Ụmụada songs express Igbo thoughts and social beliefs. 

Ethical values and codes of conduct are expressed through them. 

Data Analyses

When the beauty of a work of art is firmly fixed in images and sounds, 

the genre of poetry comes to mind. Images are created using devices 

such as simile, metaphor, personification, synecdoche, metonymy and 

hyperbole while sounds are created using rhyme, rhythm, alliteration, 

assonance, consonance, refrain, repetition and onomatopoeia. These 

figures of speech help in bringing out the beauty of poetry. Both oral and 

written poetry have these qualities. Although there may be a problem of 

structural arrangement in oral poetry, the use of rhyme or refrain helps in 

developing the structure. Ụmụadasongs possess these qualities and their 

presenters use images which are familiar to the audience and sound 

effects are achieved through the use of various devices. They can be 

presented in stanzas because of the presence of refrains or choruses. 

According to Okoye, “a refrain is the repetition of one or more phrases or 

lines at intervals in a poem, usually at the end of a stanza. The refrain 

often takes the form of a chorus” (26). The presence of refrains or 

choruses, he further explains, helps us “mark the end of a stanza, hence 

the end of a segment of thought,...it aids in segmenting the poem” (35).  

Refrains, therefore, give the songs one characteristic of poetry on which 

all its other rudiments have to rely: the line. In the words of  Ojaide:

 

The use of chorus/refrain/call-and-response affords the lead singer 

opportunity to relax, inhale and exhale, and at the same time have a 

moment to recapture from memory what is ahead. Repetitions, 

especially in the form of refrain, is commonly used by African poets 

of both the older and the younger generations (25).

Furthermore, to achieve good sound effect, the voice plays a vital role in 

the performance of these songs. As affirmed by Darah, “tonal variation 

and pitch are important if melody as a basic element of music is to be 

created” (xiii). Also Ojaide states that “in most traditional African songs, 

voice and not words, imposes rhyme because of the tonality of the 

languages. The singer/poet/performer can always end a breath-space, a 

line equivalent with a vowel sound such as a drawn-out o-o-o or e-e-e-” 

(22). This also helps in maintaining the rhythm of the songs. Its presence 

also helps in forming rhyme schemes for the songs (Ojaide 22). These 

features are found in Ụmụada songs. 

Another dominant feature of Ụmụada songs which makes them poetic is 

emotion. Their thoughts and their emotional response to some events or 

experiences are the foundation of these songs (Egudu 247 – 248). The 

poet creates out of the feelings he has towards some societal ills such as 

greed and materialism, sexual immorality, failure in one's civic 

responsibilities, laziness and other follies and vices which the society 

frowns at. He, therefore, through his works, condemns such behaviour.

To illustrate these features, four Ụmụada songs are presented and 

analyzed based on their themes which include the following: laziness, 

failure in civic responsibility, sexual immorality, pretence and 

hypocrisy.  

Laziness

“Nwanyị Di Ya Fụrụ N'Anya”

Part 1

Nwanyị di ya fụrụ n'anya   

Ọnye ụjọ ọlụ.     

Nwanyị di ya fụrụ n'anya   

Ọnye ụjọ ọlụ.         

E bute akpa rice, o richaa.   

Ọnye ụjọ ọlụ.      

E bute akpa beans, o richaa. 

   

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COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 1, No. 1, 2021
Chioma F. Emelone & Christiana O. Udogu:  Satire in Igbo Oral Tradition: 

The Case of Ụmụada Songs



Ọnye ụjọ ọlụ.      

Ebute akpa okporoko, o tachaa.   

Ọnye ụjọ ọlụ.       

Ị nepụ anya na fridge, ọmadelu.  

Ọnye ụjọ ọlụ.     

E gote lipstick, ọ nyasia.    

Ọnye ụjọ ọlụ.       

E gote cortex, ọ nyasia.    

Ọnye ụjọ ọlụ.       

E gote eye shadow, ọ nyasia.   

Ọnye ụjọ ọlụ.       

Odinara na bed, ọ ghasalụ   

Ọnye ụjọ ọlụ.       

A kpa ya aka n'ọnụ, ọ murịa.   

Ọnye ụjọ ọlụ.      

Nwanyị bia lụọ ọlụ oo.   

Anaghị m alụ oo.    

Na di m fụrụ m n'anya.    

Ọnye ụjọ ọlụ.       

Translation

A woman loved by her husband 

She is afraid of work.

A woman loved by her husband 

She is afraid of work.

She consumes a bag of rice.

She is afraid of work.

She consumes a bag of beans.

She is afraid of work.

She consumes a bag of stock fish.

She is afraid of work.

Her fridge is stuffed.

She is afraid of work. 

Whenever lipstick is bought, she uses it excessively. 

She is afraid of work.

Whenever nail polish is bought, she it uses excessively.

 She is afraid of work.

Whenever eye shadow is bought, she uses it excessively. 

She is afraid of work.

She lies carelessly on the bed.

She is afraid of work.

She smiles whenever her mouth is touched.

She is afraid of work.

Woman, come and work.

I won't work.

My husband loves me.

She is afraid of work.

Part II     

Nwoke be ya gbalụ gharịị   

Ọnye ụjọ ọlụ.       

Nwoke be ya gbalụ gharịị   

Ọnye ụjọ ọlụ.       

Ojee na beer parlour, ọ ghasalụ.  

Ọnye ụjọ ọlụ.       

O jee ebe ana-ata anụ, ọ ghasalụ. 

Ọnye ụjọ ọlụ.  

O jee ebe ana-aṅu nkwụ, ọ ghasalụ. 

Ọnye ụjọ ọlụ.  

O jee ebe ana- ama njakili, ọ ghasalụ. 

Ọnye ụjọ ọlụ.      

Nwoke bịa naa be gi oo.   

Anaghị m ana oo    

Na bem gbalụ m gharịị.   

Ọnye ụjọ ọlụ.       

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COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 1, No. 1, 2021
Chioma F. Emelone & Christiana O. Udogu:  Satire in Igbo Oral Tradition: 

The Case of Ụmụada Songs



Translation

A man who is confused about his home

He is afraid of work.

A man who is confused about his home

He is afraid of work.

He goes to bar and forgets himself.

He is afraid of work.

He goes wherever meat is being eaten and forgets himself.

He is afraid of work.

He goes wherever drink is being taken and forgets himself.

He is afraid of work.

He goes to where jokes are being cracked and forgets himself.

He is afraid of work.

Man, come and go home.

I won't go.

I am confused about my home.

He is afraid of work.

This song satirizes value for fashion and trivial things. It has two parts. 

Initially, it had one part which satirizes only the women folk but lately, 

the women who themselves sing the song thought it necessary to satirize 

their male counterparts as well (Felicia Ezika. Personal interview).  

The first part of this song is used to condemn women who abhor work 

because they feel they are loved by their husbands who afford their 

family needs and do not care whether their wives work or not. The 

second part satirizes men who are confused about their homes or 

families. They cannot put their houses in order and consequently they 

prefer staying out to staying with their families. Their laziness is seen in 

the fact that they cannot exercise their responsibilities as fathers or 

husbands in their various homes.

This song uses hyperbole which Spurr defines as the “overshooting, 

where fact is extravagantly exaggerated for serious or comic effect” 

(375) to drive home its theme. Lines 5, 7, 9 and 11 of the first part 

exaggerate the rate at which these lazy women eat or the extent to which 

their loving husbands provide them with food items. Lines 13, 15, and 

17 of the same part exaggerate the rate at which they pay attention to 

their looks and appearance. They wear excessive make-up because their 

husbands supply them with those items. With the use of euphemism in 

lines 19 and 21, the song describes how loose and careless these women 

can be. The use of exaggeration to elicit laughter from the audience is 

also achieved in the second part of the song. Lines 5, 7 and 9 describe, in 

an exaggerated manner, how confused some men can be to the extent 

that they spend much of their time eating and drinking in bars and 

restaurants forgetting that they have wives and children at home.

“Nwanyị Di Ya Fụrụ N'anya” has a rhythm of alternating successive 

lines which is regular enough to become predictable apart from the last 

four lines of each of the part where the voice of the personae is heard.

Failure in Civic Responsibility

Some Ụmụada songs convey the theme of failure in civic responsibility. 

One of such songs is “Naalụ m ọda”. The song goes thus: 

Naalụ m ọda. Naalụ m ọda.

Chorus: Naalụ m ọda, ọ kwa n'omeghị gị n'ahụ.

Naalụ m ọda. Naalụ m ọda.

Chorus:

Naalụ m ọda, na m ja-abịa m leeti.

Chorus

 Naalụ m ọda na di m ga-anata.

Chorus

Naalụ m ọda na ahụ na-anwụ m. 

Chorus 

Ọ mee gi n'ahụ, idobe ihu ka mkpi.

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COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 1, No. 1, 2021
Chioma F. Emelone & Christiana O. Udogu:  Satire in Igbo Oral Tradition: 

The Case of Ụmụada Songs



Chorus

Ọ mee gi n'ahụ I dobe ihu ka nsị.

Chorus

Translation

Obtain permission for me. Obtain permission for me.

Chorus: Obtain permission for me because it did not happen to 

you.

Obtain permission for me. Obtain permission for me.

 Chorus

 Obtain permission for me, I will be late.

 Chorus 

  Obtain permission for me, my husband will return. 

  Chorus

  Obtain permission for me, I am sick. 

  Chorus

  If it happens to you, you will keep your face like that of a he-

goat.

   Chorus

   If it happens to you, you will keep your face like faeces.

   Chorus

This song satirizes those people who give flimsy excuses for their 

absence or lateness to funeral ceremonies. In Igbo land, attendance of 

funerals is a very important civic responsibility. Societies and groups 

such as churches, age grades, ụmụada, ụmụnna and other social 

organizations which have a fallen colleague compulsorily attend his/her 

funeral ceremony. Relatives of the dead person are also expected to 

honour the dead and console the closer relatives with their presence and 

gifts. It, therefore, becomes a failure in one's responsibilities when one    

does not attend a funeral ceremony. In order not to be seen as a deviant, 

one who cannot attend a funeral gives a flimsy excuse so as not to be 

punished as prescribed by the constitution of one's association. Lines 5, 

7 and 9 give some examples of excuses which such people give. The 

song summarily informs this group of people that they give such excuses 

because the deceased is not very closely related to them; otherwise, they 

would have been in pain and sorrow as presented by the similes in lines 

11 and 13. 

Sexual Immorality

  

            “Ọyị M, Mọnịka”

           Chorus:   Ọyị m, Mọnịka nwee ndidi ee 

  

  Mgbe a na-agwọlụ gị okpoloko,

   Ị gwalụ nne gi, Moni oo?

 Chorus:  Ọyị m Mọnịka, nwee ndidi ee. 

                           Mgbe a na-akpọlụ gị azụ gbamgbam, 

I gwalụ nne gị, Moni oo?

Chorus : Ọyị m Mọnịka nwee ndidi ee.

                         Ọ bịa lu ka ị dịlị ime,

Ị je gwa nne gị, Moni oo.

Chorus: Ọyị m Mọnịka nwee ndidi ee.

                         Ị na-agwadụ nne gị oo 

Ka ọ medụ aghaa, Moni oo?

Chorus:  Ọyị m Mọnịka, nwee ndidi ee

 

            Translation

“My Friend Monica”

 Chorus: My friend Monica, have patience ee.

                          When stockfish dish was being prepared for you,

  Did you tell your mother, Moni?

 Chorus: My friend, Monica have patience ee

                          When canned fish was being opened for you, 

  Did you tell your mother, Moni?

 Chorus: My friend, Monica have patience ee

                          Now you have become pregnant

  You went and told your mother, Moni.

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COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 1, No. 1, 2021
Chioma F. Emelone & Christiana O. Udogu:  Satire in Igbo Oral Tradition: 

The Case of Ụmụada Songs



Conclusion

The study embarked on the collection and analysis of four Ụmụada 

songs. It dwelt on satire which is a poetic genre and a technique in 

literature that creates an atmosphere to laugh at the abnormalities or 

vices in a given society in order to deter people from engaging in such 

acts. This form of art can be present in novels, plays or poems. For the 

purpose of this research, emphasis is on the satire which comes in form 

of poems. 

The study has examined Ụmụada songs in particular which are simple in 

nature with simple sentences and clear images.  They have little verbal 

contents but their performance is lengthy. A song of few lines can be 

repeated over and over again and that adds to its simplicity. Although the 

poetic qualities between the original and the translated forms of the 

Ụmụada songs have a considerable difference, an attempt is made to 

preserve, as much as possible, the poetic arrangements which is 

achieved through the use of refrains, choruses and responses as well as 

the images in the songs. According to Okoye, “poetry is compressed, 

suggesting the unknown; it is compelling; it is pictorial and filled with 

imagery; it is acoustic with rhythm and music” (106). 

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Ogene, Mbanefo. Literary Appreciation: Theory and Practice. Nolix 

Educational, 2010.

Ojaide, Tanure. “Examining Canonisation in Modern African 

Literature.”Asiatic vol. 3, no.1.  June 2009, pp. 1 – 20.

---Poetic Imagination in Black Africa. Carolina Academic Press, 1996.

Okoye, Chike. Essentials of Poetry. Besing Books, 2013.

Okoye Chike and Asika, Ikechukwu. “Totems and Pantheons: 

Paradigmatic Muses in Achebe's Poetry.” Nile Journal of English 

Studies, vol 1, no 1, 2015, pp. 47-58.

Okpewho, Isidore. African Oral Literature: Backgrounds, Character 

and Continuity. Indiana  University Press, 1992.

--- The Heritage of African Poetry. Longman, 1992.

Spurr, Barry. Studying Poetry. Palgrave Macmillan, 2006.

Wolosky, Shira. The Art of Poetry. Oxford University Press, 2001.

Interview
thEzika, Felicia. Personal interview. 14  December, 2020. A 73 years old 

woman who participates  in the activities of Ụmụada. She hails 

from Alor, Anambra State.

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COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 1, No. 1, 2021
Chioma F. Emelone & Christiana O. Udogu:  Satire in Igbo Oral Tradition: 

The Case of Ụmụada Songs



 Chorus:  My friend, Monica have patience ee

                           Are you telling your mother

   For her to do what, Moni?

 Chorus: My friend, Monica have patience ee 

In the words of  Nwoga, “without doubt, the most persistent subject of 

the satirical comment in Igbo oral traditions is misdemeanor against 

sexual morality” (233). “Ọyị M Mọnịka” satirizes a wayward young 

woman who eventually got pregnant. The poet addresses this young 

woman Monica (shortened to Moni), asking her a series of questions. 

The use of chorus in developing the structure of the song is evident. The 

chorus marks the end of one stanza as well as the end of a segment of 

thought. The stanzas of the song are in line with Abrams definition that 

stanzas of a given poem are usually “marked by a recurrent pattern of 

rhyme and are uniform in the number and lengths of the component 

lines” (Abrams 340). This is better observed when the song is sung using 

the correct tone variation.  

 

Figuratively, the two striking images used in this song are 'okpoloko' and 

'azụ gbamgbam' (stockfish and canned fish). These two items used to be 

the food for the rich in the forties, fifties and the early sixties. Young girls 

who were greedy were, therefore, lured into the beds of men who were 

able to provide such items for them (Felicia Ezika: Personal interview). 

The two items are symbolically used here for every other material thing 

given to these girls by their lovers which their mothers were never aware 

of. The song emphasizes the need for patience and self control using 

some rhetorical questions.   

Pretence and Hypocrisy 

Some Ụmụada songs possess these themes of pretence and hypocrisy, a 

case where a presented situation is not the actual situation. An example 

is below: 

“Oche Eze”

 Oche eze, nwanyị mma, oche eze.

 Oche eze, nwanyị mma, oche eze.

 Nwanyị bịa mbụ, e bunye ya oche a na-ebunye eze.

 Nwanyị bịa mbụ, e bunye ya oche a na-ebunye eze.

 O kwee ya izu naabọ, a nara ya oche eze bunye isi.

 Onye isi eburunu oche. 

 Agbataobi e delụ nwayọọ.

 Oche eze ee, oche eze. 

 

              Translation 

              “Seat of a King”

 Seat of a king, good woman, seat of a king. 

 Seat of a king, good woman, seat of a king. 

 When a woman comes first, she is given the seat of a king.

 When a woman comes first, she is given the seat of a king. 

 After two local weeks, the seat is taken away from her and given  

back to the head. 

 The head carries the seat.

 Neighbours keep calm.

 Seat of a king, seat of a king.  

This song satirizes the treatment given to women when they are newly 

married into a particular family. When a woman newly gets married, she 

is treated as a queen by her in-laws and other fellow women married into 

that family. But after some time, she starts being treated like her fellow 

women.  The head of the family remains the only person who is 

accorded such respect and honour. This will silence those who complain 

about the special treatment given to a particular woman. This 'special 

treatment' is symbolized by “Oche eze”, seat of a king, while 'izu naabọ' 

(two local weeks) summarizes the short time when the newly married 

women receive a special treatment. The repetition of “seat of a king” in 

lines 1, 2, and 8 add to the rhythm of the song.

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COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 1, No. 1, 2021
Chioma F. Emelone & Christiania O. Udogu:  Satire in Igbo Oral Tradition: 

The Case of Ụmụada Songs


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