Community’s Influence on Igbo Musical Artiste and His Art

Alvan-Ikoku Okwudiri Nwamara

doi:doi:10.11648/j.ijla.20190701.11

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Community’s Influence on Igbo Musical Artiste and His Art

Alvan-Ikoku Okwudiri Nwamara

Published in International Journal of Literature and Arts (Volume 7, Issue 1)

Received: 19 September 2018 Accepted: 17 October 2018 Published: 11 March 2019

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Abstract

The Igbo traditional concept of “Ohaka: The Community is Supreme,” is mostly expressed in Igbo names like; Nwoha/Nwora (Community-Owned Child), Oranekwulu/Ohanekwulu (Community Intercedes/intervenes), Obiora/Obioha (Community-Owned Son), Adaora/Adaoha (Community-Owned Daughter) etc. This indicates value attached to Ora/Oha (Community) in Igbo culture. Musical studies have shown that the Igbo musical artiste does not exist in isolation; rather, he performs in/for his community and is guided by the norms and values of his culture. Most Igbo musicological scholars affirm that some of his works require the community as co-performers while some require collaboration with some gifted members of his community. His musical instruments are approved and often times constructed by members of his community as well as his costumes and other paraphernalia. But in recent times, modernity has not been so friendly to this “Ohaka” concept; hence the promotion of individuality/individualism concepts in various guises within the context of Igbo musical arts performance. Technological advancements on the one hand, try to promote and popularize Igbo musical arts, while on the other hand, dampen the spiritual and socio-cultural essence of the art. Coming from a performer/participant observer’s perspective, the author carefully examines the nature of Igbo musical arts in modern times in comparison to ethno-historical viewpoints gathered through review of related literatures. In general, the paper highlights Ohaka in Igbo musical arts with emphasis on the artiste, his art, effects of modernity on the concept and subsequently suggests way forward.

Published in	International Journal of Literature and Arts (Volume 7, Issue 1)
DOI	10.11648/j.ijla.20190701.11
Page(s)	1-8
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2019. Published by Science Publishing Group

Keywords

Igbo, Musical Arts, Community, Musical Artiste, Ohaka

References

[1]	Okafor, R. C. A Study of Igbo Folk Songs. Enugu: Academic Publishing Company. 2017.
[2]	Forchu, Ijeoma I.” Igbo Musical Instruments: Socio-cultural tools for Sustainable Development” in Journal of Nigerian Music Education (JONMED). 2017. No.9. Pp 112-123.
[3]	Adedeji, F. “Intercultural Music as Agent of Transformative Musicology” in M. A Ortiz Molina and A. O. Fernandex. (eds.) Cultura, Culturas. Estudios Sobre Musica Y Education Intercultural. Granada; Grupo Editorial Universitario, (2006). 41-54.
[4]	Nzewi, M. “Folk Music in Nigeria: A Communion”. Journal of International Library of Africa, 1980, Vol. 6, No. 6. Pp 6 – 21.
[5]	Nwamara, A. O. Music in Nigerian Culture: From Womb to Tomb in O. O. C. Uche and S. C. Okeke (Eds.) Nigerian History, Culture and Socio-Political Development. Enugu: John Jacobs 2011, 87-97.
[6]	Okafor, R. C. Music in Nigerian Society. Enugu: New Generation Books. 2005.
[7]	Okafor, R. C. “Women in Igbo Musical Culture”. The Nigerian Field. (1989). (54) 133 – 140.
[8]	Nketia K. Music of Africa. New York: W. W. Norton, 1974.
[9]	Okafor, R. C., Emeka L. and Inyiama T., Igbo Personal and Title Names. Enugu: New Generation Books. 2008.
[10]	Chukwu, S. K. I. Igbo Musical Instruments: A Taxonomical Study on the Classification of Traditional Musical Instruments of Imo State. Unpublished PhD. Dissertation, Nnamdi Azikiwe University, Awka. 2007.
[11]	Idolor, Emurobome. “Strategizing Globalisation for the Advancement of African Music Identity,” A Paper Delivered at the International Conference on African Arts at the Delta State University, Abraka, 10th-14th November 2004.
[12]	Achebe, C. Things Fall Apart. London: Heinemann, 1958.
[13]	Nwamara A. O. & Chukwu S. K. I. ‘The Retrieval Research Strategy (RRS): A Recapitulation on Music Studies’ Research Findings in Africa’. Unpublished paper presented at the PASMAE (ISME-African Region) Conference held at the University of Botswana in Gaborone, Botswana, 26th -30th July 2011.
[14]	Mbiti, J. S. African Religions and Philosophy. New York: Doubleday. 1970.

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Alvan-Ikoku Okwudiri Nwamara. (2019). Community’s Influence on Igbo Musical Artiste and His Art. International Journal of Literature and Arts, 7(1), 1-8. https://doi.org/10.11648/j.ijla.20190701.11

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Alvan-Ikoku Okwudiri Nwamara. Community’s Influence on Igbo Musical Artiste and His Art. Int. J. Lit. Arts 2019, 7(1), 1-8. doi: 10.11648/j.ijla.20190701.11

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AMA Style

Alvan-Ikoku Okwudiri Nwamara. Community’s Influence on Igbo Musical Artiste and His Art. Int J Lit Arts. 2019;7(1):1-8. doi: 10.11648/j.ijla.20190701.11

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@article{10.11648/j.ijla.20190701.11,
  author = {Alvan-Ikoku Okwudiri Nwamara},
  title = {Community’s Influence on Igbo Musical Artiste and His Art},
  journal = {International Journal of Literature and Arts},
  volume = {7},
  number = {1},
  pages = {1-8},
  doi = {10.11648/j.ijla.20190701.11},
  url = {https://doi.org/10.11648/j.ijla.20190701.11},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20190701.11},
  abstract = {The Igbo traditional concept of “Ohaka: The Community is Supreme,” is mostly expressed in Igbo names like; Nwoha/Nwora (Community-Owned Child), Oranekwulu/Ohanekwulu (Community Intercedes/intervenes), Obiora/Obioha (Community-Owned Son), Adaora/Adaoha (Community-Owned Daughter) etc. This indicates value attached to Ora/Oha (Community) in Igbo culture. Musical studies have shown that the Igbo musical artiste does not exist in isolation; rather, he performs in/for his community and is guided by the norms and values of his culture. Most Igbo musicological scholars affirm that some of his works require the community as co-performers while some require collaboration with some gifted members of his community. His musical instruments are approved and often times constructed by members of his community as well as his costumes and other paraphernalia. But in recent times, modernity has not been so friendly to this “Ohaka” concept; hence the promotion of individuality/individualism concepts in various guises within the context of Igbo musical arts performance. Technological advancements on the one hand, try to promote and popularize Igbo musical arts, while on the other hand, dampen the spiritual and socio-cultural essence of the art. Coming from a performer/participant observer’s perspective, the author carefully examines the nature of Igbo musical arts in modern times in comparison to ethno-historical viewpoints gathered through review of related literatures. In general, the paper highlights Ohaka in Igbo musical arts with emphasis on the artiste, his art, effects of modernity on the concept and subsequently suggests way forward.},
 year = {2019}
}

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T1  - Community’s Influence on Igbo Musical Artiste and His Art
AU  - Alvan-Ikoku Okwudiri Nwamara
Y1  - 2019/03/11
PY  - 2019
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DO  - 10.11648/j.ijla.20190701.11
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JO  - International Journal of Literature and Arts
SP  - 1
EP  - 8
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20190701.11
AB  - The Igbo traditional concept of “Ohaka: The Community is Supreme,” is mostly expressed in Igbo names like; Nwoha/Nwora (Community-Owned Child), Oranekwulu/Ohanekwulu (Community Intercedes/intervenes), Obiora/Obioha (Community-Owned Son), Adaora/Adaoha (Community-Owned Daughter) etc. This indicates value attached to Ora/Oha (Community) in Igbo culture. Musical studies have shown that the Igbo musical artiste does not exist in isolation; rather, he performs in/for his community and is guided by the norms and values of his culture. Most Igbo musicological scholars affirm that some of his works require the community as co-performers while some require collaboration with some gifted members of his community. His musical instruments are approved and often times constructed by members of his community as well as his costumes and other paraphernalia. But in recent times, modernity has not been so friendly to this “Ohaka” concept; hence the promotion of individuality/individualism concepts in various guises within the context of Igbo musical arts performance. Technological advancements on the one hand, try to promote and popularize Igbo musical arts, while on the other hand, dampen the spiritual and socio-cultural essence of the art. Coming from a performer/participant observer’s perspective, the author carefully examines the nature of Igbo musical arts in modern times in comparison to ethno-historical viewpoints gathered through review of related literatures. In general, the paper highlights Ohaka in Igbo musical arts with emphasis on the artiste, his art, effects of modernity on the concept and subsequently suggests way forward.
VL  - 7
IS  - 1
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Author Information

Alvan-Ikoku Okwudiri Nwamara

Department of Music, Nnamdi Azikiwe University, Awka, Nigeria

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Alvan-Ikoku Okwudiri Nwamara. (2019). Community’s Influence on Igbo Musical Artiste and His Art. International Journal of Literature and Arts, 7(1), 1-8. https://doi.org/10.11648/j.ijla.20190701.11

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ACS Style

Alvan-Ikoku Okwudiri Nwamara. Community’s Influence on Igbo Musical Artiste and His Art. Int. J. Lit. Arts 2019, 7(1), 1-8. doi: 10.11648/j.ijla.20190701.11

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AMA Style

Alvan-Ikoku Okwudiri Nwamara. Community’s Influence on Igbo Musical Artiste and His Art. Int J Lit Arts. 2019;7(1):1-8. doi: 10.11648/j.ijla.20190701.11

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@article{10.11648/j.ijla.20190701.11,
  author = {Alvan-Ikoku Okwudiri Nwamara},
  title = {Community’s Influence on Igbo Musical Artiste and His Art},
  journal = {International Journal of Literature and Arts},
  volume = {7},
  number = {1},
  pages = {1-8},
  doi = {10.11648/j.ijla.20190701.11},
  url = {https://doi.org/10.11648/j.ijla.20190701.11},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20190701.11},
  abstract = {The Igbo traditional concept of “Ohaka: The Community is Supreme,” is mostly expressed in Igbo names like; Nwoha/Nwora (Community-Owned Child), Oranekwulu/Ohanekwulu (Community Intercedes/intervenes), Obiora/Obioha (Community-Owned Son), Adaora/Adaoha (Community-Owned Daughter) etc. This indicates value attached to Ora/Oha (Community) in Igbo culture. Musical studies have shown that the Igbo musical artiste does not exist in isolation; rather, he performs in/for his community and is guided by the norms and values of his culture. Most Igbo musicological scholars affirm that some of his works require the community as co-performers while some require collaboration with some gifted members of his community. His musical instruments are approved and often times constructed by members of his community as well as his costumes and other paraphernalia. But in recent times, modernity has not been so friendly to this “Ohaka” concept; hence the promotion of individuality/individualism concepts in various guises within the context of Igbo musical arts performance. Technological advancements on the one hand, try to promote and popularize Igbo musical arts, while on the other hand, dampen the spiritual and socio-cultural essence of the art. Coming from a performer/participant observer’s perspective, the author carefully examines the nature of Igbo musical arts in modern times in comparison to ethno-historical viewpoints gathered through review of related literatures. In general, the paper highlights Ohaka in Igbo musical arts with emphasis on the artiste, his art, effects of modernity on the concept and subsequently suggests way forward.},
 year = {2019}
}

Copy | Download

TY  - JOUR
T1  - Community’s Influence on Igbo Musical Artiste and His Art
AU  - Alvan-Ikoku Okwudiri Nwamara
Y1  - 2019/03/11
PY  - 2019
N1  - https://doi.org/10.11648/j.ijla.20190701.11
DO  - 10.11648/j.ijla.20190701.11
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 1
EP  - 8
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20190701.11
AB  - The Igbo traditional concept of “Ohaka: The Community is Supreme,” is mostly expressed in Igbo names like; Nwoha/Nwora (Community-Owned Child), Oranekwulu/Ohanekwulu (Community Intercedes/intervenes), Obiora/Obioha (Community-Owned Son), Adaora/Adaoha (Community-Owned Daughter) etc. This indicates value attached to Ora/Oha (Community) in Igbo culture. Musical studies have shown that the Igbo musical artiste does not exist in isolation; rather, he performs in/for his community and is guided by the norms and values of his culture. Most Igbo musicological scholars affirm that some of his works require the community as co-performers while some require collaboration with some gifted members of his community. His musical instruments are approved and often times constructed by members of his community as well as his costumes and other paraphernalia. But in recent times, modernity has not been so friendly to this “Ohaka” concept; hence the promotion of individuality/individualism concepts in various guises within the context of Igbo musical arts performance. Technological advancements on the one hand, try to promote and popularize Igbo musical arts, while on the other hand, dampen the spiritual and socio-cultural essence of the art. Coming from a performer/participant observer’s perspective, the author carefully examines the nature of Igbo musical arts in modern times in comparison to ethno-historical viewpoints gathered through review of related literatures. In general, the paper highlights Ohaka in Igbo musical arts with emphasis on the artiste, his art, effects of modernity on the concept and subsequently suggests way forward.
VL  - 7
IS  - 1
ER  -

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