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psychopathological disorders. The performance poetry 
interrogates the issues of gender disorder and sexuality in 
patriarchal community. The paper concludes that the oral texts 
serve as subliminal coping mechanisms deployed by the 
traditional song artists impersonating housewives who are 
experiencing mental fragmentation in their matrimonial homes.

Keywords: Performance, sublimation, mental fragmentation, 
sexuality, 

Introduction
Oral performers like literary writers communicate their 

psychic and emotional pains to audience through their artistic 
productions. They employ performances as therapeutic method of 
addressing their personal psychological sufferings instead of 
directly confronting individuals and institutions that are 
responsible for psychopathological condition. Psychological 
sufferings of individuals can manifest in forms of anxieties, 
phobias, thought broadcast, neurosis, psychopathy, antisocial 
personality disorders and substance abuse disorders, to mention a 
few. These psychological problems are diagnosed and handled by 
physicians, psychologists, and social workers and so on in formal 
settings while elderly people, experienced parents, cultural 
orators and oral artists deploy song performance for such 
intervention purpose in traditional society. In some cases, 
individuals can employ self-therapeutic strategy such as singing 
and dancing.

Oral productions are to a large extent the outcomes of 
thoughts, feelings and perceptions of artists. In marital context, 
psychological problems could be triggered by various threat of 
divorce, economic hardship, food insecurity, disagreements, 
affection, communication gap and distress, to mention a few. An 
attempt to provide peace and conflict resolution within marriage 
informed the intervention of marriage therapy, using expressive 

Psychopathology, Mental Fragmentation And Subliminal 
Performance Poetry

Friday Akporherhe, Ph.D  
     Department of Languages (English & Literary Studies Unit)

University of Delta, Agbor, Nigeria
E-mail: friday.akporherhe@unidel.edu.n
 https://orcid.org/0000-0003-3910-9989

Phone No.: 08033596583
And 

Peter Oghenerioborue Udi, Ph.D
    Department of Languages (English & Literary Studies Unit)

University of Delta, Agbor, Nigeria
https://orcid.org/0009-0007-5266-6583

E-mail: peter.udi@unidel.edu.ng
Phone No.: 08063841019

Abstract
The performance of song-poetry is an expressive method of 
communicating introspective and observational experiences, 
worldview, thoughts and feelings to psychological expectant 
audience in socio-cultural settings. The psychic materials which 
encapsulate ethno-cultural, religious and economic values are 
capable of co-activating the unconscious minds of listeners and 
improve their wellbeing. In this paper, the researchers examine 
song-poetry of two traditional Urhobo musical minstrels, Johnson 
Adjan and Orhire Okoro with a view to establishing how the oral 
performances address women psychopathological condition 
activated by existential experientially in postcolonial society. The 
study adopts the library-based research and the psychodynamic 
theoretical framework to foreground the discourse. The oral texts 
purposively collected from the numerous songs of the artists are 
subjected to literary analysis. The study shows that song-poetry is 
the manifestation of the mental fragmentation of oral artists whose 
expectations of behavioural patterns of individuals in postcolonial 
soc ie ty  a re  overwhelming  and  capable  of  caus ing 

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http://friday.akporherhe@unidel.edu.n


preservative drives (sexuality).”The instinctual drives are 
predominant in every individual and it influence thoughts and 
behavioural patterns.Omiegbe (2005) notes that behaviour 
disorder is a deviant behaviour exhibited by a person who has a 
disturbance of the normal processes of the body or mind, which 
irritates or has negative effect on other people. The scholar 
maintains that “behaviour disorders imply any abnormal 
behavioural pattern shown by individuals that adversely affects 
interpersonal relationships.” Research has also shown that “the 
mind is responsible for both conscious and unconscious decisions 
based on drives and forces. Unconscious desires motivate people 
to act accordingly”(Shahwan, 2017:1). 

The human mind essence contains repressed psychic 
materials including emotions, memories, experiences and 
symbols observed in society or assimilated through introjection. 
The unconscious mind contains repressed feelings, images, 
experiences and memories, to mention a few, which are either 
pleasant or unpleasant. These can be activated or expected to 
surface unconsciously in the physical world. “Bhuvaneswari 
(2017) observes that “The state of repression, being between 
preconscious and unconscious state, functions like a storehouse of 
all the unfulfilled desires or traumatic past events and experiences. 
The reflections of this storehouse have a powerful influence on all 
the human actions. When the feelings of repression become 
excessive, they make the people sick” (49). It is therefore helpful 
for individuals with emotionally disturbed minds to express 
themselves openly instead of suppressing their psychic and 
emotional pains. Psychological disorders are also referred to as 
psychopathology and such abnormal condition requires urgent 
therapeutic intervention from healthcare specialists in socio-
cultural settings. 

Ojiofo (2016:109) acknowledges Morgan (2006) who 
states that “in everyday life, the terms insanity, mental illness, 
psychopathology, emotional disturbance, behaviour disorder, 

oral performances. Marriage therapy or counselling is a form of 
therapeutic intervention that is employed for the treatment of 
psychological problems with a view to strengthening 
interpersonal relationships in marriage institution. Research has 
revealed that the unconscious mind that contains repressed 
memories inherited from parents and those introjected into the 
mind from childhood till maturity. It contains the instinctual 
drives, urges, excessive demands, and uncontrollable desires for 
gratification. Ahamefule (2003:138) notes that “the Id is 
inaccessible to conscious awareness. It is entirely buried in the 
unconscious layer of the mind. The id follow the pleasure 
principle, and caring along a motivating force oriented towards 
the immediate and total gratification (satisfaction) of sensual 
needs and desires (instinctual needs).” The instinctual energy 
underlies the driving (cathexes) or restraining forces 
(anticathexes) of the id. The uncontrollable forces of the latter 
result in impulsive disorders, destructive or aggression, and so on. 
All these are beyond the conscious layer of the human mind.The 
Ego is the realistic principle of the human mind that is conscious, 
logical and rational in thinking. It is located at the center for 
conscious awareness and functions to give the individual the 
mental capacity for judgement, memory, perception and decision 
making which will enable the individual to adopt to the realities of 
the external world ( Ahamefule, 2003:140). The Superego refers 
to the aspect of the personality structure that strive independently 
towards perfection. It is morality principle and conscience of 
individuals. It creates the emotional feelings of guilt when the ego 
is overpowered by the id and vice versa. The superego is the level 
of righteousness, heroism, self-sacrifice and idealism.

In investigating the behavioural disorders and 
dysfunctional thoughts of people particularly in marriage. The 
concept of instincts must be explicated.Sharf (2010:33) asserts 
that in Freudian psychoanalysis, “the term instincts and drives are 
often used interchangeably. He observed self-preservative drives 
(including breathing, eating, drinking, and excreting) and species-

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conflicts in traditional society.Sublimation is the diversion of 
libidinal energies to something that is socially acceptable and 
economically viable. Sharf (2010:36) notes that sublimation 
refers to “the modification of a drive (usually sexual or aggressive) 
into acceptable scial behaviour” This research explores how the 
oral artists in an antiphonic and dramatic monologue employed 
subliminal ego defense mechanism by channelling their physical 
and mental energies into singing, dancing and dancing.The 
current study therefore examines performance poetry as 
subliminal coping mechanism for psychopathological and mental 
fragmentation, using folksongs of two popular Urhobo traditional 
artists. The researchers examine song-poetry of two traditional 
Urhobo musical minstrels, Johnson Adjan and Orhire Okoro with 
a view to establishing how the oral performances address the 
psychopathological condition activated by marital experientiality 
in postcolonial society.

Methodology
The study adopts the psychoanalytic theoretical 

framework and ethnographic design, exploring cultural materials 
to determine their psychotherapeutic values in traditional society. 
The oral texts purposively collected from the numerous songs of 
the artists based on their thematic relevance are transcribed from 
indigenous Urhobo language into English for non-native speakers 
to understand. The oral resources were subjected to literary 
analysis. Apart from the primary data used in this research, 
secondary materials sourced from the internet were consulted 
with their relevant information used to buttress arguments and 
views in the discourse.

Literature Review
Studies abound on performance of songs in traditional 

society particularly in Urhobo land. However, no significance 
attention has been paid to the aspect of subliminal coping 
mechanisms deployed by traditional song artists experiencing 
mental fragmentation in marital context. Darah (1982) focuses on 

mental disorder, abnormality and psychological disorder have 
roughly similar meanings”. The foregoing therefore implies that 
psychopathology deals with the study of mental disorders and 
abnormal behaviour in society. Schwarz, et al (1993) note that 
psychopathology is “the part of psychology that deals with 
abnormal workings of the mind; an abnormal psychological 
condition” (cited in Ojiofo, 2016:109). Psychopathological 
condition can cause mental Fragmentation which refers to 
disintegrated or inorganic psyche of individuals. Fragmented 
mind results in abnormal behavioural patterns, dysfunctional 
thoughts and even depressive symptomology. Coyne and 
Fechner-Bates (1992) note that “depressed persons may have 
trouble reciprocating pleasantries, showing enthusiasms or 
affection, or simply being attentive enough to participate in a 
conversation. They may find it difficult to express how badly they 
are feeling and may simply withdraw rather than face the lack of 
sympathy, useless advice, and outright hostility that they receive 
from others”(204). The scholars further reveal that “the serious 
stressors precipitating depression in a parent and the marital 
problems that are associated with it may have direct effects on 
both parenting and the well-being of children” (207). In relation to 
family system discourse which is the thrust of this research,Coyne 
and Fechner-Bates (1992:204) acknowledge (Coyne et al., 1987) 
who state that “the depressed person's relationships and family are 
distressed. Conflict and inadequacies in these relationships are 
likely to have played a role in the person having become 
depressed. Yet it is also difficult for depressed persons to maintain 
their relationships, and life with a depressed person can prove 
burdensome.”

Subliminal coping mechanismis essential in management 
of psychological sufferings in socio-cultural settings.Since 
psychopathological condition can lead to emotional depression 
and untimely death if not promptly addressed, individuals are 
expected to adopt subliminal coping strategy to tackle 
psychological problems especially those triggered by marital 

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exploration of unconscious thoughts and feelings, understanding 
aspects of the relationship between therapist and client-which 
may relate to underlying emotional conflicts.” Levy (2009:182) 
establishes that “the terms psychodynamic and psychoanalytic are 
often used interchangeably. However, within the psychodynamic 
and psychoanalytic communities, psychoanalysis is the term used 
when referring to a psychological treatment where the therapist, 
called a psychoanalyst or analyst, adheres to standard techniques 
focused on interpretation leading to insight in the context of the 
transference.”

Psychoanalytic psychotherapy is rooted in the theory of 
psychoanalysis which was founded by Sigmund Freud. Though 
there are psychoanalysts like Alfred Adler and Carl Jung who 
deviated to develop their own theories, Freud's achievement in 
psychology has become indelible with his introduction of 
psychoanalysis which focuses on conflict between the conscious 
and the unconscious. Wright (2013:56) notes that “psychoanalysis 
is a science that concerns itself with the interaction between the 
unconscious and conscious. Psychoanalysis was founded by 
Sigmund Freud on the basis that people can be cured by making 
conscious of their unconscious motivations and thought 
processes.” Psychoanalytic and psychodynamic therapies focus 
on factors that are responsible for dysfunctional thoughts, 
maladaptive behaviour and negative feelings of individuals. 
These factors are repressed memories of events usually 
unpleasant that happened in the past which are mediated by 
unconscious processes. These memories are buried in the 
unconscious of individuals and they can be expressed 
spontaneously in several patterns of behaviour that affect their 
relationships and wellbeing. In actual sense, “the psychoanalysis 
makes it possible to understand the meaning of the analysand's 
symptoms, psychological patterns, internal conflicts, adaptations 
to trauma, self-deficits, deprivation, and other conditions” 
(American Board of Examiners, 2004:16). However, during the 
verbal communication that takes place between the psychoanalyst 

satirical nature of Udje tradition of Urhobo, Ojaide (2000) 
investigates poetry, performance and art in Udje dance songs of 
Nigeria's Urhobo people while Idamoyibo (2010) explores 
conceptual analysis of Igoru musical communication. Aleude's 
(2006) study examines music therapy in traditional African 
societies with a focus on origin, basis and application in Nigeria. 
Aleude (2012) explores music as Adae, focusing on the 
implications for music therapy in Nigeria while Awhefeada (2007) 
investigates praxis and aesthetics of Urhobo “disco.” Chambers 
(2008) explores song and metaphoric imagery in forensic music 
therapy while Chiwome (1992) examines traditional Shona poetry 
and mental health. Moreso, Coker (2012) investigates poetry as 
psychotherapy with a focus on Orin aremo in Yoruba folklore. The 
foregoing studies illuminate the current research which focuses on 
deployment of oral performances as subliminal coping 
mechanism for mentally fragmented of women in traditional 
marriages.

The term, “Therapy” is the short form of psychotherapy 
which is traceable to Sigmund Freud's Psychoanalytic theory. 
Psychotherapy is a psychological method of treatment for mental 
and behavioural disorders in society. This psycho-theoretical 
approach that originated from Sigmund Freudian Psychoanalysis 
is synonymous with psychodynamic therapy and psychoanalytic 
therapy. Sommers-Flanagan and Sommers-Flanagan (2004:6) 
find that “Psychoanalytic or psychodynamic psychotherapy is a 
form of clinical practice based on psychoanalytic theory and 
principles.” Shoai (2014) establishes that “Psychoanalytic or 
psychodynamic psychotherapy is a form of clinical practice based 
on psychoanalytic theory and principles. These multiple theories 
focus on increasing self-understanding and deepening insight into 
emotional issues and conflicts that underlie the presenting 
difficulties.” This clinical orientation will foreground the current 
study because the primary objective is to examine the application 
of poetry therapy as intervention for behavioural disorders in 
society. Shoai finds that “therapists pay particular attention to the 

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in polygamous marriage system in traditional society. The notion 
of permanence in human existence is faulted to activate the 
psychological consciousness of the husband who has instinctual 
drives for women with firm breasts. Emotional disturbances can 
be express through thought broadcast, complaints and singing. 
Davis (2010:126) affirms the unquantifiable function of 
performance or folkmusic and establishes that “music creates 
powerful connections between people as it provides a means to 
communicate, entertain, remember, mourn, or celebrate the lives 
of people.”

The poet-minstrel describes the psychic and emotional 
sufferings of betrayed an old housewife but respectfully 
addressing her husband by chidren's names, “Ose Iboyi” (Iboyi's 
father) and “Ose Ititi” (Ititi's father). The culture of addressing 
husbands by children's names in the song depicts the high regards 
which married women bestows on their spouses in matrimonial 
homes. The referential use of “masa” which stands for the English 
equivalent of “Master” further reveals housewives' total 
submission and declaration of lordship status of African men, 
particularly in Urhobo socio-cultural settings. The foregoing is 
vividly captured in the excerpt of the performance below.

Lead Singer:  Obrare re masa me
Chorus:  Obrare re masa
Lead Singer:  Oshare me onana wo rue na
Chorus:  Obrare re masa
Lead Singer:  Ose re Iboyi ona wo ru vwe na
Chorus:  Obrare re masa
Lead Singer:  Ose re Ititi ona wo ru vwe na
Chorus:  Obrare re masa 
Lead Singer:  Obrare re masa
Chorus:  Obrare re masa
Lead Singer:  Obrare re masa
Chorus:  Obrare re masa
Lead Singer:  Ose re Iboyi ona wo ru vwe na
Chorus: Obrare re masa
Lead Singer:  Oyota!

and the analysand (patient), both parties are bound to be 
beneficiaries. Apart from other ego defense mechanisms used in 
addressing psychopathological disorders, subliminal technique 
which is often employed by oral artists. In this research, therefore, 
the performance serves as purgatory strategy for the artists and  
their choral groups.

Discussion of Findings
The psychological performing artists chosen for this study 

have performed several songs which address issues of affection, 
marital conflicts, childbirth, divorce, forgiveness, criminality and 
punishments, inevitable death, materialism and hospitality, to 
mention a few. Johnson Adjan's song, “Emeya ri tete na je ka 
ghwa” (The Young Wives Shall Also Get Old) is performed 
through the technique of dramatic monologue, being a method of 
expressing the sufferings of female characters who undergo 
psychological torture in a patriarchal structural family system. An 
excerpt of the song is presented, thus:
Lead Singer: Emeya ritete na je ka gwa vwe orovwe na ooo!
Emeya ritete na je ka gwa vwe orovwe na
Gbe nughe, Emeya ritete na je ka gwa vwe orovwe na

Chorus: Emeya ritete na je ka gwa vwe orovwe na
Emeya ritete na je ka gwa vwe orovwe na
Emeya ritete na je ka gwa vwe orovwe na
Emeya ritete na je ka gwa vwe orovwe na

Lead Singer: The young wives shall also get old in the marriage ooo!
The young wives shall also get old in the marriage 

Chorus: The young wives shall also get old in the marriage 
The young wives shall also get old in the marriage
The young wives shall also get old in the marriage 
The young wives shall also get old in the marriage 

The performance is presented in purgatory style with the oral artist 
imaginatively exposing the mental fragmentation of older wives 

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metaphysical with cultural proverbs introduced to illuminate the 
subject matter. In this purgatory song, the oral artist deploys the 
proverb, “Ame ro te osho je ke te ivwrite” (The water that touches penis 
will also get to the testis) as a notional illustration of non-permanence of 
beauty of women. 

Lead Singer:  Obrare re masa
Chorus:  Obrare re masa
Lead Singer:  Wo rovwe ivie me she nure
Chorus:  Obrare re masa
Lead Singer:  Wo gbo bo ye vwe ere rharan koye wo ne
Chorus:  Obrare re masa
Lead Singer:  Ame ro te osho je ke te ivwrite
Chorus:  Obrare re masa
Lead Singer:  Ame ro te osho je ke te ivwrite
Chorus:  Obrare re masa
Lead Singer:  E-eeeh! Inene mo-ooo!
Chorus:  Obrare re masa

Playing of gongs…
Lead Singer:  It's not bad master
Chorus:  It's not bad master
Lead Singer:  You have caused the sagging of my breasts
Chorus:  It's not bad master
Lead Singer:  You abandoned me to seek firm ones.
Chorus:  t's not bad master
Lead Singer:  The water that touches penis will also gets to the testis
Chorus:  It's not bad master
Lead Singer:  The water that touches penis will also gets to the testis
Chorus:  It's not bad master.
Lead Singer:  E-eeeh! My mother –ooo!
Chorus:  It's not bad master
Playing of gongs…

 The rendition provides audience insights into the 
psychologically fragmented world of the imaginary character who 
is an old housewife with uncontrollable desire to marry a young 
lady with firms and pointed breasts whose husband demonstrates 

Lead Singer:  It's not bad my master
Chorus:  It's not bad master
Lead Singer:  My husband what you are doing to me now
Chorus:  It's not bad master
Lead Singer:  Iboyi's father this act you are displaying towards me
Chorus:  It's not bad master
Lead Singer:  Otiti's father this act you are displaying towards me
Chorus:  It's not bad master
Lead Singer:  It's not bad master
Chorus:  It's not bad master
Lead Singer:  It's not bad master
Chorus:  It's not bad master
Lead Singer: Iboyi's father this act you are displaying towards me
Chorus:  It's not bad master
Lead Singer:  It is true!

 Despite the emotional brutalization metted on the older 
wife by her husband, the former also acknowledges the supremacy 
of the “Masa.” The performance thus serves as a psychological 
coping mechanism, deployed by the emotionally depressed 
housewife. Through the rendition, the underlying factors that 
triggered the emotional outburst of the older wife is exteriorized. 
Moreso, the song-poetry provides therapeutic support to audience 
particularly married women who experience similar marital 
conflict, in terms of counselling and encouragement. Research has 
shown that “use of song lyrics in counselling is common and 
effective as an emotional recessing tool to evoke deep emotional 
responses from client” (Gladding, et al, 2008).

 Psychological performative arts among the Urhobo are 
presented in indigenous language  and they contain other 
linguistic resources such as myths, legendary stories, folktales and 
archetypal characters, to mention a few. All these are infused 
alongside the oral performance to activate and sustain the mental 
consciousness of listening audience. Johnson Osetejevwore 
Adjan is among the legendary folk minstrels in Urhobo society 
whose performances are philosophical, didactic, expository and 

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Song leader:  Ivie me sheri ye emo rhe vwe!!
Chorus:  Obrare re masa
Song leader:  Ivie me sheri die ababo re-e
Chorus:  Obrare re masa
Song leader:  Omo re ovie re ye ghwaro rhe-e!
Chorus:  Obrare re masa
Song leader:  Omo re ovie re ye ghwaro rhe-e!
Chorus:  Obrare re masa
Song leader:  My husband, I know.
Chorus:  It's not bad master
Song leader:  I knew before.
Chorus:  It's not bad master
Song leader:  Man is for everyone!
Chorus: It's not bad master
Song leader:  Man is for everyone!!
Chorus: It's not bad master
Song leader:  God has even done it.
Chorus:  It's not bad master
Song leader:  My breasts are sagging but I have children!
Chorus:  It's not bad master
Song leader:  My breasts are sagging but I have children!!
Chorus:  It's not bad master
Song leader:  My breasts are not sagging for nothing.
Chorus:  It's not bad master
Song leader:  The child who sucked them caused it!
Chorus:  It's not bad master
Song leader:  The child who sucked them caused it!!
Chorus:  It's not bad master

 The psychological reflections of the older wife on her 
achievements in the marriage provide consolation and emotional 
stimulant to her. According to her narratology, they include 
procreation of both male and female children who shall be 
inheritors and inheritress of her husband's estates in accordance 
with Urhobo customs and traditions.

Song Leader:  Ehware vwe rhe re
Chorus:  Obrare re masa

cultural instinctual drives for younger women as a polygamist. 
The performance could be reminiscent or imaginative 
presentation of nostalgic experiences that require attention of 
conflict mediators. The artist demonstrates close psychological 
observation and philosophical investigation into the plights of 
female characters being symbolic reflection of happenings in life. 

 The rendition provides audience insights into the 
psychologically fragmented world of the imaginary character who 
is an old housewife with uncontrollable desire to marry a young 
lady with firms and pointed breasts whose husband demonstrates 
cultural instinctual drives for younger women as a polygamist. 
The performance could be reminiscent or imaginative 
presentation of nostalgic experiences that require attention of 
conflict mediators. The artist demonstrates close psychological 
observation and philosophical investigation into the plights of 
female characters being symbolic reflection of happenings in life. 

 The old wife adopts defense coping mechanism by 
acknowledging the nature of man in traditional African society, 
particularly among the Urhobo. Man is perceived to be polygamist 
in nature and the old wife in the performance ascribes the cause of 
her sagging breasts to feeding of children. However, she expresses 
euphoria over her childbirth:

Song Leader:  Oshare me me rie re
Chorus:  Obrare re masa
Song Leader:  Me rie re jo vwo
Chorus:  Obrare re masa
Song Leader:  Oshare ke ohwo re otu!
Chorus:  Obrare re masa
Song Leader:  Oshare ke ohwo re otu!!
Chorus:  Obrare re masa
Song leader:  Oghene ko ye chobo ruo
Chorus:  Obrare re masa
Song leader:  Ivie me sheri ye emo rhe vwe!
Chorus:  Obrare re masa

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inheritance of the man. The excerpt below indicates the 
therapeutic utterances of the old wife:

Song Leader:  Ode-e! Oshare me
Chorus:  Obrare re masa
Song Leader:  Asa ro je we wo me yan te!
Chorus:  Obrare re masa
Song Leader:  Asa ro je we wo me yan te!!
Chorus:  Obrare re masa
Song Leader:  Wo re ye aye ofa dede
Chorus:  Obrare re masa
Song Leader:  Oda die oyibo ko ye ovwie re-o
Chorus:  Obrare re masa
Song Leader:  Oye na ke obuko re emo me!
Chorus:  Obrare re masa
Song Leader:  Oye na ke obuko re emo me!!
Chorus:  Obrare re masa
Song Leader:  Erawevwi re okobaro ghwe us inure-e!
Chorus:  Obrare re masa
Song Leader:  Erawevwi re okobaro ghwe us inure-e!!
Song Leader:  O-oh! My husband
Chorus:  It's not bad master
Song Leader:  You can go to anywhere!
Chorus:  It's not bad master
Song Leader:  You can go to anywhere!!
Chorus:  It's not bad master
Song Leader:  Even though you marry another wife
Chorus:  It's not bad master
Song Leader:  Even if the born child is a white,
Chorus:  It's not bad master
Song Leader:  That child queues behind my children!
Chorus:  It's not bad master
Song Leader:  That child queues behind my children!!
Chorus:  It's not bad master
Song Leader:  The rat at front has become famous!
Chorus:  It's not bad master
Song Leader:  The rat at front has become famous!!
Chorus:  It's not bad master

Song Leader:  Ehware vwe rhe we omo re-e!
Chorus:  Obrare re masa
Song Leader:  Mi vwie owaran
Chorus:  Obrare re masa
Song Leader:  Mi vwie odede
Chorus:  Obrare re masa
Song Leader:  Emo ive re die erivwin-o
Chorus:  Obrare re masa
Song Leader:  Mi vwie aye gba
Chorus:  Obrare re masa
Song Leader: Mi vwie omoshare
Chorus:  Obrare re masa
Song Leader:  Mi vwie omote-e
Chorus:  Obrare re masa
Song Leader:  Mi vwie omoshare-o
Chorus: Obrare re masa
Song Leader:  Sex is pleasurable
Chorus:  It's not bad master
Song Leader:  Sex is pleasurable but it's incomparable to a child
Chorus:  It's not bad master
Song Leader:  I have the heir apparent
Chorus:  It's not bad master
Song Leader:  I have the heiress
Chorus:  It's not bad master
Song Leader:  The two children found in the spirit world
Chorus: It's not bad master
Song Leader:  I gave birth to them
Chorus:  It's not bad master
Song Leader:  I gave birth to a male child!
Chorus:  It's not bad master
Song Leader:  I gave birth to a female child!!
Chorus:  It's not bad master
Song leader:  I gave birth to a male child!!!
Chorus:  It's not bad master

 The first wife acknowledges her husband's freedom to 
explore the world and establish polygamous family system with 
several wives and children. Nevertheless, she is optimistic of 
bright future for her children who are the major beneficiaries of the 

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 4, No. 1, 2024
Ezennadiri Chukwudi Samuel & Nnemtem Olanikke Tony-Ugbejie: Reaffirming

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Chorus:            Obrare re masa 
Lead Singer:    Ophrophro me, we muophu-n!
Chorus:            Obrare re masa 
Lead Singer:   Ophrophro me, we muophu-n!!
Chorus:  Obrare re masa 
Lead Singer:  Wo mre akpo re arhe re na,
Chorus:  Obrare re masa 
Lead Singer:  Wo de je okare emu ovuovo erio,
Oyovwiri-n!
Chorus:  Obrare re masa 
Lead Singer:  Asa ne emu ria, oda vwe rha!
Chorus:  Obrare re masa 
Lead Singer:  Asa ne emu ria, oda vwe rha!
Chorus:  Obrare re masa 

Lead Singer:  Johnson, I called the woman!
Chorus:  It's not bad master
Lead Singer:  I called the woman!!
Chorus:  It's not bad master
Lead Singer:  My co-wife, don't be angry!
Chorus:  It's not bad master
Lead Singer:  My co-wife don't be angry!!
Chorus:  It's not bad master
Lead Singer: In this life we are…
Chorus:  It's not bad master
Lead Singer:  If you always eat one kind of food.
Chorus:  It's not bad master
Lead Singer:  It's not good!
Chorus:  It's not bad master
Lead Singer:  One selects food to eat, there lies delicacies!
Chorus:  It's not bad master
Lead Singer:  One selects food to eat, there lies delicacies!
Chorus:  It's not bad master

 The performing artist provides uchebro, counselling to the 
depressed housewife and posits that man deserves the right to 
consumption of varieties of food. The concept of “food” in this 
context connotes heterosexual intercourse between man and other 

 The foregoing excerpt reveals the thoughts and popular 
views of most Urhobo housewives from primordial period till date 
where the procreation of first male and first female children are 
considered paramount. In Urhobo society like other communities, 
these children play vital roles in a traditional family system 
because they can represent their parents, provide counsel and 
support to the entire family members when the need arises. In the 
song performance, the old wife acknowledges the foregoing hence 
she declares that her children have assumed the leadership role 
while others irrespective of their genders and race must abide by 
the decisions of the heir apparent and the heiress. The intermittent 
repetition of the chorus by the performing artist indicates the 
degree of psychological conflicts causing disintegration world of 
the old wife. This is captured in the excerpt below:

Lead Singer:  Oshare me, asa ro je we wo me yan te!
Lead Singer:  Oshare me onana wo rue na
Chorus:            Obrare re masa
Lead Singer:    Ose re Iboyi ona wo ru vwe na
Chorus:           Obrare re masa
Lead Singer:   Ose re Ititi ona wo ru vwe na
Chorus:          Obrare re masa
 Lead Singer:  My husband what you are doing to me now
Chorus:          It's not bad master
Lead Singer:   Iboyi's father this act you are displaying towards me
Chorus:          It's not bad master
Lead Singer:  Otiti's father this act you are displaying towards me
Chorus:           It's not bad master.

The performing artist through this song counsels the senior 
housewife, reveals the underlying factors responsible for the 
polygamous nature of married men in matrimonial homes through 
circumlocutory utterances:

Lead Singer:    Johnson, me kparunu se aye na
Chorus:            Obrare re masa 
Lead Singer:    Me kpare unu se aye na

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 4, No. 1, 2024
Ezennadiri Chukwudi Samuel & Nnemtem Olanikke Tony-Ugbejie: Reaffirming

 Cultural Identity: Igbo Folksongs as Imperative Tools in Ikechukwu Asika's Omalinze

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Chorus:  It's not bad master
Lead Singer:  Spiritual being ignores its murderer
Chorus:  It's not bad master
Lead Singer:  It continues to look sideways!
Chorus:  It's not bad master
Lead Singer:  It continues to look sideways!!
Chorus:  It's not bad master

 Uchebro is a psychotherapeutic technique, usually verbal 
utterance, that is deployed by experienced people particularly 
elders to alleviate psychological sufferings and moulding of 
characters in socio-cultural settings. The housewife through the 
voice of the performing artist cautions her husband against the 
consequences of sexual promiscuity such as contraction of 
sexually transmitted diseases (STDs). The performing artist 
introduces proverbs, myths, legendary stories and other verbal 
arts into this songs to further activate mental consciousness of 
audience and enhance their emotions.

Through the Opiri music performative art, Johnson Adjan 
objectively interrogates happenings in society. Okpeki 
(2021:166) notes that “Urhobo music consists of different genres, 
which include Udje music, Igoru music, Opiri music, Ema music, 
Opre music, Adjuya music and, most recently, Urhobo Disco 
music.” The scholar maintains that  “Each of the listed Urhobo 
music genres are engaged as an entertainment medium employed 
by Urhobo musicians to convey the socio-cultural experiences of 
the Urhobo people”(166). The communication of experiences 
through indigenous language is common among Urhobo song 
performers even though there are infusion of English and pidgin 
into the performances. Omokomoko Osokpa, D. Djanere, 
Diamond Icheghe, Egwheyanudje Otubure, Okpan Arhibo and 
recently Ovedje Ayonowe, Orhire Okoro, Nathaniel Oruma, to 
mention a few, mostly perform their songs in Urhobo language. 
Awhefeada (2007:137) finds that “language is the most important 
element of one's identity, but most people who are ignorant of this, 

women in society. John Owhona, a community leader who was 
interviewed in the field argues that having sexual intercourse with 
only one wife psychologically affects manhood and reduce sexual 
urge of man. He asserts that a monogamous husband sees his wife 
as a sibling due to familiarity. The respondent concludes that 
sexual orientation with other ladies promotes mental health of 
man.  

Lead Singer:  Oshare me uchebro vuovo me vwo ke we
Chorus:  Obrare re masa 
Lead Singer:  Wo mue emiavwe re ugbere bru vwe cha-a!
Chorus:  Obrare re masa 
Lead Singer:  Wo mue emiavwe re ugbere bru vwe cha-a!
Chorus:  Obrare re masa 
Lead Singer:  Because wo mre akpo na re arhe re na
Chorus:  Obrare re masa 
Lead Singer:  E-eh, okpetu she bere abo!
Chorus:  Obrare re masa 
Lead Singer:  E-eh, okpetu she bere abo!
Chorus:  Obrare re masa 
Lead Singer:  Erivwin gbo bo ye oro hwere
Chorus:  Obrare re masa 
Lead Singer:  Okoko ke oye one!
Chorus:  Obrare re masa 
Lead Singer:  Okoko ke oye one!!
Chorus:  Obrare re masa 
Lead Singer:  My husband, the only advise I have for you
Chorus:  It's not bad master
Lead Singer:  Do infest me with veneral diseases!
Chorus:  It's not bad master
Lead Singer:  Do infest me with veneral diseases!!
Chorus:  It's not bad master
Lead Singer:  Because in this world we found ourselves
Chorus:  It's not bad master
Lead Singer:  Trouble falls and spread its wings!
Chorus:  It's not bad master
Lead Singer:  Trouble falls and spread its wings!!

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 4, No. 1, 2024
Ezennadiri Chukwudi Samuel & Nnemtem Olanikke Tony-Ugbejie: Reaffirming

 Cultural Identity: Igbo Folksongs as Imperative Tools in Ikechukwu Asika's Omalinze

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or starvation from her husband even though she prepares delicious 
meals for him. According to the song performance, after eating the 
delicious meal she prepared, her husband who she fondly calls, 
Imasa (master) deprives her of love play and sexual intercourse. 
She condemns this sexual denial and wonders why her husband 
neglects her with her emotions growing beyond her control on 
daily basis. The introductory part of the song is literally translated 
as follows:

Song Leader:
Ifry ke ro phe nene, utitan ke ro phe.
Ifry ke ro phe nene, utitan ke ro phe.
Me fry re utitan ke imasa
Imasa re nu ko re ye uko vwo ni vwe
Mi dje obo te imasa, 
Imasa sa re obo me kufia
Omana ru vwe vuvuu
Okebe si vvwe vuvuuu
Ki die mi rue imasa-a?Song leader:
Frying is free mother, onions are free.
Frying is free mother, onions are free.
I fried onions for master
Master ate and turned his back against me
I touch master but,
Master pushed my hand away.
I feel sensations all over my body
I feel sensations on my buttocks
What should I do to master?

 The song performer employs this song to explore the inner 
world of married women who are facing emotional distress owing 
to sexual denial by their spouses. The song is meant to appeal to 
married couples to perform their primary responsibility with their 
spouse in matrimonial homes to avoid adultery or promiscuity. 
The above songs function as supportive therapy, providing advice 
and encouragement to married patients with a view to 
strengthening their coping skills and promote their interpersonal 

resort to speaking other languages to the detriment of theirs.” 
Awhefeada's submission is corroborated by Akpofure-Okenrentie 
(2018:206) who notes that language is “a binding force, for, when 
a people can communicate with one another there is an unbroken 
chain of understanding which holds a people or peoples together.” 

Johnson Adjan's performance under discourse contains 
several poetic devices such as antithesis, synecdoche, metaphor 
and irony. The expression, “those young wives will still get old” is 
antithetical, setting the “young wives” with firm and pointed 
breasts against “the old ones” who have sagged breasts. There is 
synecdoche in the expression, “When my breasts were firm you 
used to praise me.” Here, “firm and pointed breasts” represent 
young brides who have just been married into the extended family 
while “sagged breasts” depicts the old wives. Metaphor is also 
evident in the song especially in the expression that “water that 
touches penis will not spare the scrotum.” These devices are 
significant in marital life, depicting that age comes with time and 
no one is exempted. It is ironical that the once-sought-after young 
wives will become old like the rejected old lover in the song. The 
repetition of the above expressions will make the subject matter 
memorable in the minds of audience until their unhelpful thoughts 
and negative mood are gradually eliminated. The deployment of 
poetic devices will help activate the mental consciousness of 
audience about the psychological condition of women in 
polygamous  marr iages .  Research  has  affirmed that 
“Consciousness indicates the entire area of mental attention, from 
pre-consciousness on through the levels of the mind up to and 
including the highest one of rational, communicable awareness”. 
(Hoffman 1945:126-129). Most Urhobo songs performed by 
Johnson Adjan, Okpan Arhibo, Orhire Okoro, Ovedje Ayonowe 
and a host of others usually focus on peace and harmonious co-
existence within family units and Urhobo society as large. 

In Orhire Okoro's song, “Ifri kere ophe” (Frying is Free), 
the emotionally distressed mistress laments over her sexual denial 

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 4, No. 1, 2024
Ezennadiri Chukwudi Samuel & Nnemtem Olanikke Tony-Ugbejie: Reaffirming

 Cultural Identity: Igbo Folksongs as Imperative Tools in Ikechukwu Asika's Omalinze

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Chorus:  Me de die ore uchere ovo, gba vue vwe.
Chorus:  Me de die ore uchere ovo, gba vue vwe.Chorus: If I am  

for only cooking, please tell me.
Chorus:  If I am for only cooking, please tell me.

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Conclusion
The study shows that the oral texts are presented in 

narrative mode where intrapsychic and emotional conflicts, 
unhelpful thoughts and feelings of the female sufferers are 
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emotions such as joy and sorrow; wants and needs; feelings such 
as cold and warmth. Language is used to express, to articulate 
aspirations and ambitions.”

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 4, No. 1, 2024
Ezennadiri Chukwudi Samuel & Nnemtem Olanikke Tony-Ugbejie: Reaffirming

 Cultural Identity: Igbo Folksongs as Imperative Tools in Ikechukwu Asika's Omalinze

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Ezennadiri Chukwudi Samuel & Nnemtem Olanikke Tony-Ugbejie: Reaffirming

 Cultural Identity: Igbo Folksongs as Imperative Tools in Ikechukwu Asika's Omalinze

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