































Global Online Journal of Academic Research (GOJAR), Vol. 2, No. 2 Mar-Apr 2023


Global Online Journal of Academic Research (GOJAR), Vol. 2, No. 2 Mar-Apr 2023 

 

 

66 
 

 

 

Sustaining Human Spirituality through Culture: Example 

of Olili Onwa Isaa in Eziagulu-Aguleri 

 

 

 

By 

 

Francis Chuks Madukasi 

 

 

 

 

Abstract 

This paper emanated from a research conducted by the author on the significance of 

Olili Onwa Isaa of Eziagulu-Aguleri, a traditional community in Anambra State, 

Nigeria. The festival, which is one of the annual events in the town by which human 

spirituality is sustained through culture, is centred around ritualizing the Ikenga (“place 

of strength”), a two-horned male deity kept by the traditional Igbo man as a personal 

god, an embodiment of his ancestors, and the symbol of his power to acquire wealth and 

achieve great things. This is why there is an annual Ikenga festival in most Igbo 

communities. This paper is an academic study of the Olili Onwa Isaa festival of 

Eziagulu-Aguleri as witnessed by this researcher who was a participant-observer at the 

event.  

Keywords: Aguleri, human spirituality, Ikenga, olili onwa isaa, festival 

 

Introduction 

The ritual festival of Olili Onwa Isaa (September) in Eziagulu-Aguleri is 

a commemoration of Ikenga, a spirit-force solely kept by the traditional 

Igbo man as a personal deity, as an embodiment of his ancestors and the 

symbol of his power to acquire wealth and achieve greatness. This 

festival devoted to the ritualized worship of Ikenga is known as Ilo-

Ikenga in Aguleri cosmology. The Ikenga deity itself is a personified 

force found in nature; it can be very useful if properly controlled and 

very dangerous if mishandled. It is like electric wire. Here, the sacred 

carved wooden symbol of the Ikenga as a symbolic instrument is very 

often associated with spirituality in connection with powerful 



Global Online Journal of Academic Research (GOJAR), Vol. 2, No. 2 Mar-Apr 2023 

 

 

67 
 

confraternities. The Ikenga deity in some contexts refers not only to the 

spirit-force, but also to the “icons” used for its worship. In a nut shell, 

Ikenga deity is basically the “symbol of manly achievement in Igbo 

belief system”. In this festival, the deities are believed to return from 

travel (Inata Mbia) and wrestling matches are organized on stipulated 

dates for public entertainment. Two or three months before the match, the 

young men are fattened at great expense. They are cultured and trained to 

abstain from doing any kind of farm work during the period and are made 

to eat only corn food, yam food and other nourishing food about eight 

times a day. They even rise in the night to eat.  

On the appointed day for wrestling match, the young men come out to 

the public square already thronged by spectators from the town and the 

neighbouring towns. The wrestlers look very corpulent and are adorned 

with black dye and fowl feathers which have symbolic meanings. If any 

wrestler is thrown down his family members would go on sorrowing, but 

if he pulls another down there will be wild enjoyment in the family 

(Idigo, 1990). Regrettably, Idigo (1990) comments that wrestling 

matches are not staged now as before for because some young men 

recourse to charms; besides that, it is alleged that witches have attacked 

some wrestlers in the fattening rooms, thereby reducing the number of 

young men who want to take part in the competition. Apart from these, 

young men now pursue education and productive work outside their 

home towns.   

This festival, however, continues to act as a spiritual conduit by which 

the members of the community renew contact with their ancestral home, 

garner spiritual support via participation in religious rituals, and 

strengthen their cultural security and communal brotherhood. This 

festival is usually an occasion for jocundity and thanksgiving; people 

appear in their best and give of their best. The offerings are mostly thank-

offerings, and the meals are made to become opportunities of communion 

between the ancestral deity and his “children”. Every indigene of 

Eziagulu-Aguleri village is expected to pay homage to this deity either 

directly or by proxy. This paper will discuss how this renewal of 

covenant relationship is done to renew the intimate brotherhood among 

Eziagulu-Aguleri people. It will also show how the Aguleri community 

uses this festival through the mediation of its rituals to reassert her 

leadership over other communities as the head of the Igbo race in 

diaspora reawakening the culture and sustenance of human spirituality in 

African Traditional Religion through commemoration of Ilo-Ikenga in 

Aguleri cosmology.  

 



Global Online Journal of Academic Research (GOJAR), Vol. 2, No. 2 Mar-Apr 2023 

 

 

68 
 

 

Origin and Migration 

Etymologically, the words Olili Onwa Isaa emanates from the month of 

September which is the ninth month of the lunar calendar year among the 

Igbo where the God(s) are worshipped and it is called Ilo-Ikenga feast in 

Aguleri cosmology. According to Nzewi (2000:25) the Olili Onwa Isaa 

festival in which “it figures originated in Aguleri – a farming/fishing 

Igbo community on Omambala River basin of south-Eastern Nigeria”. 

Isichei (1980:2) argues that “it is possible to visit Aguleri, and go away 

seeing almost nothing of the town at all. Most of the houses are set back 

from the road, and cover a wide area, in the classic Igbo pattern. And one 

may know the town well and never guesses its immense antiquity, for 

there is nothing visible to suggest it. Yet Aguleri, perhaps more than any 

other place, was the cradle of Igbo civilization. A long history, 

encapsulated in mythology, recalls a man called Eri, sent from God, who 

lived there”. It is very important to note that Eziagulu is a quarter/village 

in Aguleri town. 

Ancestral Worship 

According to Idigo (1990:60) “Aguleri people have strong belief in the 

existence of one God, the creator of all things whom they call Chi-Ukwu, 

the Supreme Being, under whose control is the spirits both good and bad. 

Ancestor worship is also practiced and the people offer sacrifices to their 

dead fathers, where the King is believed to serve as an earthly 

representative between God and people, and this demonstrated 

convincingly that the concept of God was indigenous to the Igbo 

religious traditions (Metuh, 1981:7), which promises concrete blessings 

and protection (Isichei, 1980:4). Uchendu (1965:101) affirms that “the 

number of Igbo deities, spirits, and oracles is enormous and their 

anthropomorphous character is well recognized”. He argues that “Igbo 

attitude towards the gods is not of fear but of friendship, a friendship that 

lasts as long as the reciprocal obligations are kept” (Uchendu, 1965:101). 

Besides, Idigo (1990:60) affirms that these deities owned in common but 

there are individual deities whom each person keeps and worships 

through the carved wooden images or idols. 

Significance of the Festival 

Olili-Onwa Isaa is the ritual commemoration of ancestor worship in 

Eziagulu-Aguleri. It is very significant to reiterate here that the festival 

has common link to the Ilo-Ikenga feast which is usually commemorated 

in September. No wonder then, Peters (2002:23) asserts that such sacred 



Global Online Journal of Academic Research (GOJAR), Vol. 2, No. 2 Mar-Apr 2023 

 

 

69 
 

feasts are believed to be done where “many deities were understood to 

meet a variety of human needs and when some needs are met, the status 

quo is maintained; when other needs are met, there is transformation of 

individuals and societies to new states of being”. Brown (2004:164) 

posits that such feasts are where traditional religious ties tend to 

compensate the communities like those ones that make up the Eri 

kingdom “through the mediation for the loss of their contact with their 

ancestral home and with the built/support in religious rituals and cultural 

security of their extended brotherhood”. This means that there is synergy 

between the seen and unseen worlds making Aguleri to be the cosmic 

epicenter of spiritual and cultural home of the Igbo people through the 

sacred ordination of Eri the progenitor of the Igbo in diaspora. It is on 

this position that Macdonald (2004:317) argues that 90 per cent of the 

indigenes like that of Aguleri “identify themselves as Christians, but at 

the same time they continue to assert the tradition and hegemony of their 

ancestors”. In this position, Kaplan (2000:122) observes that such rituals 

are still observed and maintained today by the traditionalists in the 

community and “even among most members who have converted to 

dominations of Christianity”. Such occasion “serve as a catalyst in 

cementing people’s solidarity’’ (Dube, 1996:110). In other words the 

community “are dancing on the shoulders of their ancestors’’ (Glocke & 

Jackson, 2011:6), through the mediation of “ordered hierarchy from deity 

to man” (Rowe, 2008:32). llesanmi (1996:2) argues that it cannot be 

denied that the entire community, including the 82% who are said to be 

Catholics, under the symbolic shadow of ancestorship hold great ancestor 

like Eri in high esteem probably not as a deity, but purely as an ancestor 

of the community, a great grandfather of high dignity whose influence is 

still currently felt in the town politically, socially and religiously. Most 

importantly is the fact that the cosmogonic myth about Eri and the 

commemoration of Olili Onwa Isaa through Ilo-Ikenga feast in Eziagulu-

Aguleri “provided an ideological inclusive arena for communal ritual, 

blending and uniting the various communities at a crucial juncture” 

(Levine, 1997:196).  

Buttressing this point, Ejizu (2002:126) comments that “the annual 

liturgical calendar continues to be strictly lived out from cycle to cycle, 

with a good number that had joined Christianity participating in certain 

instances”. No wonder Leith-Ross (1965:293) made an observation that 

“an Igbo attends communion at the same time as he believes in the 

potency of traditional magic; he ties up in the same handkerchief the 

Rosary and the traditional talisman and plants side by side in the garden 

around his new cement and pan-roofed house the hibiscus of civilization 

and the ogirisi tree of pagan family rites”. 

 

 



Global Online Journal of Academic Research (GOJAR), Vol. 2, No. 2 Mar-Apr 2023 

 

 

70 
 

Here, one can see clearly struggle in the area of sacred space; urban 

anthropologist, historians and religious scholars have theorized that the 

intersection of religiosity and urban space is through mediating on 

religious practices of sacralization of the city or city space (Parish, 1994). 

In this wise, Chidester & Linenthal (1995) conclude that sacred space is 

inevitably a contested space. From this assertion, one can say tersely that 

Aguleri as an uncontaminated indigenous community in Igbo land 

embraced Christianity centuries ago but has never alienated herself from 

traditional religion. In that wise, through the mediating rituals that are 

involved in the commemoration of Olili Onwa Isaa festival in Aguleri as 

the ancestral head of the Igbo, it is evident to validate romantically the 

return of the god(s) through the ritual festival of Olili Onwa Isaa in Igbo 

land. This is why Ejizu (2002:116 & 126) affirms that in Igbo land, 

special religious activities, like the festival of Olili Onwa Isaa — Ilo-

Ikenga in Eziagulu-Aguleri, the commemoration of the return of the 

deities is “accorded the more renowned deities in various areas” while 

“regular sacrifices and festivals continue to be offered and held in honour 

of these deities, besides other private acts of worship”.  

The ritual festival called Olili Onwa Isaa was designed as a unifying 

force for the Aguleri people both at home and elsewhere. It features 

religious ceremonies, agricultural trade fairs, dancing and musical 

entertainments and of course wrestling to name but a few. All these serve 

to strengthen and demonstrate the bond of union that kept Aguleri 

together. Thus, Olili Onwa Isaa festival was initiated by Eri himself in a 

form of a miniature, yearly ritual celebration to thank the gods for his 

somewhat spiritually activities over the humans. It is a one week ritual 

activity that is held every September annually. It is very significant to 

note that when people travel to their places of origin for the festivals, 

especially the traditional ones, some of them return to their places of 

work with some sacred materials obtained from the priests in-charge of 

the community shrine. On this ritual celebration of Olili Onwa Isaa, 

Margaret Mead (1972:231) comments that it is on this month of 

September that “every theatrical performance which is also an offering to 

the gods that those who wish to make a thanks offering…sheer heaven 

for the anthropologist”. 

 In fact, the scenario of this event is better experienced than explained. It 

is on this position that llesanmi (1996:9) affirms that “it is a symbolic 

approach which ecumenism has not succeeded in achieving’’, and “they 

cannot be refuted by anything that has come down to us, in lyric, liturgy, 

or mode of worship from these primordial forces that the concerted might 

of Islam and Christianity have failed to crush” (Soyinka, 1999). 



Global Online Journal of Academic Research (GOJAR), Vol. 2, No. 2 Mar-Apr 2023 

 

 

71 
 

Salamone & Mbabuike (1994:211) argue that it is through this method 

that “the African traditionalist is committed morally, physically, and 

spiritually to native rituals and ceremonies that never entirely die no 

matter which foreign missionary religion is adapted, Christianity or 

Islam”. This invariably becomes a significant success in the maze of 

cultural ecology in Igbo Traditional Religion where Christendom poses a 

great threat for its survival.   

Nonetheless, it is very significant to say here that the kind of food eaten 

and offered in this type of festival by the members of Eziagulu-Aguleri 

community during the yearly thanksgiving celebration for 

commemoration of their God(s) is basically pounded yam. This is 

because traditionally cultivation of yam is associated with Anambra – 

Aguleri people (Onwuejeogwu, 1981:22 & Isichei, 1983:24). Aguleri as 

a community is classified as a “yam zone” (Coursey & Coursey, 

1971:447) and in Igbo land as a whole, it is believed that yam is the king 

of all the food crops (Achebe, 1958:26-32). This is why Basden 

(1966:389-390) describes it as “Igbo staff of life”. 

However, this festival is also symbolic because it shows the strength, 

position and leadership of the King among his subordinates and entire 

community due to the fact in the communal mode theory according to 

McAdams (1988:81) this kind of relationship are understood as 

egalitarian. In fact, during this festival of Olili Onwa Isaa — Ilo-Ikenga, 

there is this kind of concept of communal ideology that brings together 

every Eziagulu-Aguleri person—man and woman, old and young, titled 

and non-titled, working  together for the common goal, betterment and 

progress of the festival and Aguleri community as a whole. Uchendu 

(1965:103) affirms that “there is a great emphasis on communal 

cooperation and achievement. The communal character of the Igbo must 

be traced to the formative influence of their traditional social patterns, the 

influence of their nucleated residence pattern, and the ideological urge to 

get up”. He argues that “the ideal of cooperation, illustrated in work 

groups, credit associations, and title-making societies, pervades all 

aspects of Igbo culture” (Uchendu, 1965:103). No wonder, Hobart et al 

(1996:239) describes this concept as “mutual-aid activities to the 

advantage of the village or [sic] community’’, in which the festival is 

sometimes the affair of a whole town.  

Buttressing this affirmation further, Eiseman (1990b:72) explains that 

such remarkable moment requires collective participation in almost every 

aspect of political, social, economic, and religious life, where the 

community members are bound together, and that it is very imperative 

for community like the Eziagulu-Aguleri to engage in such group 



Global Online Journal of Academic Research (GOJAR), Vol. 2, No. 2 Mar-Apr 2023 

 

 

72 
 

projects for the welfare of their community. It is during this period that 

the entire ‘Agulerians’ especially Eziagulu quarter who are native-born 

and those who are foreign show what Nnamah (2002:8) describes as the 

“spirit of Ogbagidigidi”— by this I mean the spirit of strong solidarity 

among themselves and in support of Aguleri. 

 

Figure 1: This is the picture of the Ikenga sited inside the ritual arena during the Olili  

Onwa Isaa festival. 

At this festival, a well-fed man, appointed through oracular divination 

after certain rigorous ritualistic endeavours, carries the carved wooden 

symbol of the Ikenga deity on his head while displaying the ritualistic 

strength of the god(s). It is in this form that the ritual symbolism of the 

auspicious body of the deity and realm still persist in native belief which 

has power and influence on the believers. In celebration, the youths 

dance around the entire village with rhythm and music that emanate from 

Ogene Anuka – the bell orchestra that stir the crowd into frenzy mood. 

The drums beat and the flutes sound and the spectators hold their breath. 

The music style is a factor that basically adds an embellishment to the 

flora, fun, enthusiasm and fantasy.  

The pomp goes on, the unconscious emotion, nodding of heads and 

waving of hands, a sight which can be better felt than described. This is 

because its powerful effects defy analysis. Thus, it is easy for the on-

lookers during such display to assess the devotees taking part in the real 

ritual drama rehearsing their exploit. The idea is that the entire indigenes 

of Eziagulu-Aguleri especially the able bodied men will collectively run 

round the whole village in solidarity making great ululation, dancing and 

chanting Aguleri Enyi - Mba to showcase their absolute support for the 



Global Online Journal of Academic Research (GOJAR), Vol. 2, No. 2 Mar-Apr 2023 

 

 

73 
 

town and shout the glory of the deity and Aguleri at the top of their 

voices.  

 

Figure 2: This is the picture of a well built man carrying the Ikenga during the Olili 

Onwa Isaa festival. 

This kind of tense atmosphere has been described “as periods of 

relaxation to moments of peak activity’’ (Wilson, 1992:337). Also, it is 

in this kind of festival that Bright (1981:166) asserts that “the tribesmen 

would gather on stated occasions to seek the presence of [sic] and renew 

their allegiance to him, and also to adjust matters of controversy and 

mutual interest among the tribes”. This is also a restatement and a re-

affirmation of oneness of Aguleri and a moment of expression of their 

love for Aguleri their fatherland. Interpretatively, such occasion “serve as 

a catalyst in cementing people’s solidarity” (Dube, 1996:110), and in 

other words the community “are dancing on the shoulders of their 

ancestors” (Glocke & Jackson, 2011:6). Through the mediation of such 

ritualistic relationship in the cosmology of Aguleri paradigm there is an 

“ordered hierarchy from deity to man” (Rowe, 2008:32). 

Conclusion 

Through the annual festival of the deities said to return from travel (Inata 

Mbia), an ancestor commemoration, and through the sacred ordination of 

Aguleri as the first son of Eri, Aguleri has taken her rightful position as 

the true head of Igbo race as it regards the tradition and culture of the 

Igbo in diaspora. Olili Onwa Isaa in Eziagulu-Aguleri is a ritual festival 

that reintegrates, reunites and reinforces the binding spiritual forces 



Global Online Journal of Academic Research (GOJAR), Vol. 2, No. 2 Mar-Apr 2023 

 

 

74 
 

which ecumenism has not succeeded in breaking its wall Jericho wise in 

Igbo land thereby buttressing the notion that the god(s) in African 

Traditional Religion have returned. Reinforcing this notion, it is very 

significant to note that there is a struggle over sonic and sacred space in 

this kind of ritual festival between the adherents of African Traditional 

Religion and that of Christianity. Equally significant is the fact that the 

death of African Traditional Religion is not near because this kind of 

ritual festival where the notion of brotherhood is cemented among the 

Igbo race which invariably depicts and sustains their quest for identity 

construction is contained and managed ritually.  

Olili Onwa Isaa is an avenue to showcase a nation’s culture, norms and 

lifestyles to the outside world which in turn brings about socio-religious 

and socio-political integration among the stakeholders. The more the 

celebrations of traditional festivals like that of Olili Onwa Isaa, the more 

tourists, foreigners and visitors are likely to watch or participate in this 

search for true brotherhood and quest for human spirituality. 

 

References 

Basden, G. T. 1966. Niger Ibos: A Description of the Primitive Life, 

Customs and Animistic Beliefs, etc, of The Igbo People of Nigeria. 

London: Frank Cass & Co. Ltd. 

Brown, M. K. 2004. Vodou in The Tenth Department: New York’s 

Haitian Community cited in Beyond Primitivism: Indigenous 

Religious Traditions And Modernity (ed) by Jacob K. Olupona 

(2004), New York: Routledge. 164-171. 

Bright, J. 1981. A History of Israel. London: SCM Press Ltd. 

Coursey, D. G & Coursey, C. K. 1971. The New Yam Festivals of West 

Africa. Anthropos. Bd. 66, H. 3./4 (1971), 444-484. Available 

From: http://www.jstor.org/stable/40457684. Accessed: 22 July 

2014.  

Dube, C. 1996. The Changing Context of African Music Performance In 

Zimbabwe. Zambezia, xxxiii (11). 99-120. Available From: 

archive.lib.msu.edu/DMC/AfricanJournals/pdfs/Journal of the 

University of Zimbabwe/vol23n2/juz023002002.pdf. Accessed: 30 

January 2013. 

Ejizu, C. I.  2002. Continuity and Discontinuity in Igbo Traditional 

Religion cited in the Gods In Retreat: Continuity and Change in 



Global Online Journal of Academic Research (GOJAR), Vol. 2, No. 2 Mar-Apr 2023 

 

 

75 
 

African Religion (ed) by Emefie Ikenga Metuh (2002), Enugu: 

Fourth Dimension Publishers.111-131. 

Eiseman, F. 1990b. Bali-Sekala and Niskala: volume 2, Essays on 

Society, Tradition and Craft. Hong Kong: Periplus. 

Glocke, A. & Jackson, L. M. 2011. Dancin’ On the Shoulders of Our 

Ancestors: An Introduction. The journal of Pan African Studies, 

vol.4, no.6, September 2011. 1-6. Available From: 

www.jpanafrican.com/docs /vol4.no6/4.6-1Dancin.pd Accessed 7 

December 2013.  

Isichei, E. 1980 Entirely for God: The life of Michael Iwene Tansi. 

Ibadan: Macmillan Nigeria Publishers Ltd. 

__________1983. The History of Nigeria. London: Longman Group 

Limited. 

Idigo, M. C. M.1990. Aguleri History and Culture. Lagos: Bantam Press 

Ltd. 

Ilesanmi, T. M.1996. The Ingenuity of Yoruba Women in the Worship of 

Orinlase in Ilawe-Ekiti. ORITA Ibadan Journal of Religious 

Studies, Vol. XXVIII/1-2 (June & December, 1996), 1-10. 

Kaplan, F. E. S. 2000. Some Thoughts On Ideology, Beliefs, And Sacred 

Kingship Among the Edo (Benin) People of Nigeria cited in 

African Spirituality: Forms, Meanings And Expressions (ed) by 

Jacob K. Olupona (2000), New York: The Crossroad Publishing 

Company. 114-151. 

Levine, V. L. 1997. ‘Music, Myth, and Medicine in the Choctaw Indian 

Ballgame’ cited in Enchanting Powers: Music in the World’s 

Religions (ed) by Lawrence E. Sullivan (1997), Cambridge: 

Harvard University Press. 189-218. 

Leith-Ross, S. 1965. African Women. Routledge and Kegan Paul. 

Metuh, E. I. 1981. God and Man in African Religion. London: Geoffrey 

Chapman.         

Macdonald, M. N. 2004. Thinking and Teaching With Indigenous 

Traditions of Melanesia cited in Beyond Primitivism: Indigenous 

Religious Traditions And Modernity (ed) by Jacob K. Olupona 

(2004), New York: Routledge. 314-324. 



Global Online Journal of Academic Research (GOJAR), Vol. 2, No. 2 Mar-Apr 2023 

 

 

76 
 

Mcadams, D. P. 1988. Power, Intimacy, and the Life Story: 

Personological Inquiries Into Identity. New York & London: The 

Guilford Press. 

Mead, M. 1972. Blackberry winter: My Earlier Years. London: Angus & 

Robertson.                            

Nnamah, P. A. 2002. A Centenary of A Dynasty And Ovala Celebrations 

From The Cradle, cited in  Ovala Aguleri 2002 Udo Na Njiko 

Aguleri Celebrating 100 years of Idigo  

Dynasty (1900-2000), Aguleri (ed) Paul .A. Nnamah, 2002, Aguleri: 

Okezie Press.7-10. 

Nzewi, O. 2000. The Technology And Music of The Nigerian Igbo 

Ogene Anuka Bell Orchestra in Leonardo Music Journal, vol. 10, 

25-31. Available From: http://muse.jhu.edu/journals/Imj/summary 

/v010/10.Inzewi.html. Accessed: 10 December 2012.  

Onwuejeogwu, M. A. 1981. An Igbo Civilization: Nri Kingdom and 

Hegemony. London: Ethnographica Ltd. 

Peters, K. E. 2002. Dancing With the Sacred: Evolution, Ecology, and 

God. Harrisburg, Pennsylvania: Trinity Press International. 

Parish, S. M. 1994. Moral Knowing in a Hindu Sacred City: An 

Exploration of Mind, Emotion, and Self.  New York, Columbia 

University Press. 

Rowe, S. M. 2008. We Dance For Knowledge. Dance Research Journal, 

Vol. 40, No. 1 (Summer 2008), 32-44. Available From: 

http://www.jstor.org/stable/20527591. Accessed: 18 July 2014. 

Salamone, F. A & Mbabuike, M. 1994. The Plight of the Indigenous 

Catholic Priest in Africa: An Igbo Example. Rivista Trimestrale di 

studi e documentazione dell’Istituto italiano per l’Africa e 

l’Oriente, Anno 49, No. 2 (Giugno 1994), 210-224. Available 

From: http://www.jstor.org/stable/40760880. Accessed: 17 April 

2014. 

Soyinka, W. 1999. The Seven Signposts of Existence: Knowledge, Honor, 

Justice and Other Virtues. Ibadan: An Imprint of BookCraft Ltd. 

Uchendu, C. C. 1965. The Igbo of South East Nigeria. Chicago: Holt, 

Rinehart and Winston, Inc. 



Global Online Journal of Academic Research (GOJAR), Vol. 2, No. 2 Mar-Apr 2023 

 

 

77 
 

Wilson, O. 1992. The Heterogeneous Sound Ideal in African American 

Music cited in New Perspectives On Music: Essays In Honor of 

Eileen Southern (ed) by Josephine Wright & Samuel Floyd 

Jr.Warren, Michigan: Harmonie Park Press. 327-338. 

     

 

Author Information: Dr Francis Chuks Madukasi is a lecturer in 

the Department of Religion & Human Relations, Chukwuemeka 

Odumegwu Ojukwu University, Igbariam, Anambra State, 

Nigeria. Email: frankmakson@gmail.com. 

 

 

 

 

 

 

 

 

 

 

 

 


