Opinion
Consciousness and Traditional Ogoni Music
Ogoni traditional music is as old as the race. It is difficult to trace it from that time, nor any century earlier than the twentieth century. Nor is it possible to remember extinct song groups. The initial tradition was to form song groups among peer groups. The technique helped in socialisaton, dissemination of culture, learning and practising the mores of the people. The groups became historical time markers which helped uneducated persons to count time and record events in their memories that were later written down in books.
The socialisation process engaged people to sing, dance,court, marry and fish; it also assisted in group participation on farms and other works. It forstered love and harmony among peer groups and subsequently, each community. It was a means of training young people knitting, farming, fishing, palm-wine tapping, cooking, greeting and trading.
Peer groups still form musical groups today, not mandatory as in the past when the need for such cohesion was necessary. Interested individuals form song groups today, not motivated by age brackets .
They strive towards professionalism; some are educated musicians, others are laymen in the field who are talented singers, dancers and instrumentalists. They are proefessionals in other fields but depend on music for small sums of money.
Ogoni music is not only the musicality which derives from good qualitative singing and instrumentation, but it incorporates dance which is another art. Ogoni dance is peculiar to the race: wriggling and skipping. Other styles are hip-dance, relaxation, shoulder dance and, imitation dance which could be any object or subject – an aeroplane bombing a place,weeding, paddling or any other thing.
Patronage is a vital mens of controlling, influencing and mentoring Ogoni singers. Ogoni song peer groups are headed by patrons, who have either helped to found the groups or have taken interest in their development. They support them financially and psychologically.
Recording of songs in Ogoni has been in progress from the time tape-recorders were introduced in the area. Professional documentation has not been on a large scale; there are few professionals to do so and few music sponsors of poor local professionals. There are many song groups in the race; only one is known to me to have attained international standard in music. There are few recordings in Ogoni today of songs from song groups in all the local governments or traditional kingdoms which constitute the race.
Instrumentation is divided into three aspects in this essay: ideophones – resonators which are rattles, bells, whistles and xylophones; membranophones –drums which are tonaly divided into treble, tenor drums, alto and bass drums; aerophones – hollow instruments like horns and Indian bamboo hollow stems. These musical instruments are used by experts which produce various sounds on various musical scales.
Whistles, rattles, bells, xylophones, drums, horns, pots and hollow bamboos produce sounds which pass through the filter of noise and become melody; sounds blend and harmoinse on any traditional musical scales catalysing into harmony. Sometimes, sculptural art works evoke values and emotions that are easy to decipher through group-mind, symbolism and connotations; they relate to music. Dance is another art, but an integral part of Ogoni music; it reinforces theme, expresses emotions and speaks through body language. These create various traditional rhythms which are not poor copies learned from other cultures but original creations of indigenous minds.
Serele song group was the first to attain sublimity. It was formed about 1986 in Deeyor through which period gestation performances were done to select the best performers. Sub-groups were formed in the villages of Gokana from where they spread to other clans of Ogoni. The pioneer group performed in many towns and villages until it was presented at FESTAC in 1977. The competition was keen, the performers were brilliant and turned out to be outstanding. The group was invited to perform in the United States of America.
Anything could form the theme of a song; there are as many themes as song groups: love, feats of heroes, misdemeanor of men, women and youths, maladministration and theft. The songs convey various emotions which are tied to various themes; some of them are joy, sadness, reflection or meditation and, mixed feelings.
Theme, mood and tone determine the nature of songs –praise, work, abuse, war and any other. Aesthetics or beauty is determined not merely by rendition but the totality of performance: the equal proportions of dance, music and instrumentation. These are the elements that determine harmony, coherence and melody. Language and worldview, rhythm, structure and sense give holistic picture. Orchestration and perfect performance determine quality.
Composers and performers engage the minds of people with serious themes about man in society, his social, political, religious and economical relations, what he should be as opposed to what he is, what he is and should remain in relation to group-mind; these relate to the aims and goals of society.
The number of traditional artists is increasing. The sunrise has come but the zenith is yet to come. The data are not available now; there is the need for thorough research to quote the exact number. It is most likely that number will increase with quality in the years to come because many shall have taken degrees in music.
Modernisation is the major distraction of traditional music. New forms have arisen from various contacts made with various races. There are jazz, blues, raggae and other traditional forms of music with different audiences and lovers from the race. There are emergent professionals of western music from the race. There are a medley of forms by some artists but there are purists who believe in the preservation of each form as it is.
Traditional Ogoni music is battling to keep its breathe in the crowded music atmosphere. It is necessary for repertoire, orchestration, dance steps and performance to maintain traditional purity. Musical instruments may be modernised with modern materials as long as they maintain their sounds. Quality is bound to improve with the new stream of educated artists coming onto the scene. The guiding principle of production and performance should be the preservation of quality of music and, the culture of the race.
In conclusion, Ogoni people are conscious that their music is unique and different from those of other races. They are aware of the other forms of music from the West, Niger Delta and other races. There are some who love traditional music of the race and prefer it to the ones mentioned. They regard their songs and dances as unique creations worth preserving. The artists and performers are aware that people are eager to patronise their music in modern forms: film, video and CRD. They anticipate a bountiful renaissance harvest that shall come with the outpourings of songs, singers, performers, musicologists, music teachers and lecturers.
To be continued next Friday.
Ngaage writes from the Department of English, Faculty of Arts, Niger Delta University, Bayelsa State.
Barine Saana Ngaage
The events that unfolded in Abuja on Tuesday November 11, 2025 between the Minister of the Federal Capital Territory, Chief Nyesom Wike and a detachment of soldiers guarding a disputed property, led by Adams Yerima, a commissioned Naval Officer, may go down as one of the defining images of Nigeria’s democratic contradictions. It was not merely a quarrel over land. It was a confrontation between civil authority and the military legacy that still hovers over our national life.
Nyesom Wike, fiery and fearless as always, was seen on video exchanging words with a uniformed officer who refused to grant him passage to inspect a parcel of land alleged to have been illegally acquired. The minister’s voice rose, his temper flared, and the soldier, too, stood his ground, insisting on his own authority. Around them, aides, security men, and bystanders watched, stunned, as two embodiments of the Nigerian state clashed in the open.
The images spread fast, igniting debates across drawing rooms, beer parlours, and social media platforms. Some hailed Wike for standing up to military arrogance; others scolded him for perceived disrespect to the armed forces. Yet beneath the noise lies a deeper question about what sort of society we are building and whether power in Nigeria truly understands the limits of its own reach.
It is tragic that, more than two decades into civil rule, the relationship between the civilian arm of government and the military remains fragile and poorly understood. The presence of soldiers in a land dispute between private individuals and the city administration is, by all civic standards, an aberration. It recalls a dark era when might was right, and uniforms conferred immunity against accountability.
Wike’s anger, even if fiery, was rooted in a legitimate concern: that no individual, however connected or retired, should deploy the military to protect personal interests. That sentiment echoes the fundamental democratic creed that the law is supreme, not personalities. If his passion overshot decorum, it was perhaps a reflection of a nation weary of impunity.
On the other hand, the soldier in question is a symbol of another truth: that discipline, respect for order, and duty to hierarchy are ingrained in our armed forces. He may have been caught between conflicting instructions one from his superiors, another from a civilian minister exercising his lawful authority. The confusion points not to personal failure but to institutional dysfunction.
It is, therefore, simplistic to turn the incident into a morality play of good versus evil.
*********”**** What happened was an institutional embarrassment. Both men represented facets of the same failing system a polity still learning how to reconcile authority with civility, law with loyalty, and service with restraint.
In fairness, Wike has shown himself as a man of uncommon courage. Whether in Rivers State or at the FCTA, he does not shy away from confrontation. Yet courage without composure often feeds misunderstanding. A public officer must always be the cooler head, even when provoked, because the power of example outweighs the satisfaction of winning an argument.
Conversely, soldiers, too, must be reminded that their uniforms do not place them above civilian oversight. The military exists to defend the nation, not to enforce property claims or intimidate lawful authorities. Their participation in purely civil matters corrodes the image of the institution and erodes public trust.
One cannot overlook the irony: in a country where kidnappers roam highways and bandits sack villages, armed men are posted to guard contested land in the capital. It reflects misplaced priorities and distorted values. The Nigerian soldier, trained to defend sovereignty, should not be drawn into private or bureaucratic tussles.
Sycophancy remains the greatest ailment of our political culture. Many of those who now cheer one side or the other do so not out of conviction but out of convenience. Tomorrow they will switch allegiance. True patriotism lies not in defending personalities but in defending principles. A people enslaved by flattery cannot nurture a culture of justice.
The Nigerian elite must learn to submit to the same laws that govern the poor. When big men fence off public land and use connections to shield their interests, they mock the very constitution they swore to uphold. The FCT, as the mirror of national order, must not become a jungle where only the powerful can build.
The lesson for Wike himself is also clear: power is best exercised with calmness. The weight of his office demands more than bravery; it demands statesmanship. To lead is not merely to command, but to persuade — even those who resist your authority.
Equally, the lesson for the armed forces is that professionalism shines brightest in restraint. Obedience to illegal orders is not loyalty; it is complicity. The soldier who stands on the side of justice protects both his honour and the dignity of his uniform.
The Presidency, too, must see this episode as a wake-up call to clarify institutional boundaries. If soldiers can be drawn into civil enforcement without authorization, then our democracy remains at risk of subtle militarization. The constitution must speak louder than confusion.
The Nigerian public deserves better than spectacles of ego. We crave leaders who rise above emotion and officers who respect civilian supremacy. Our children must not inherit a nation where authority means shouting matches and intimidation in public glare.
Every democracy matures through such tests. What matters is whether we learn the right lessons. The British once had generals who defied parliament; the Americans once fought over states’ rights; Nigeria, too, must pass through her own growing pains but with humility, not hubris.
If the confrontation has stirred discomfort, then perhaps it has done the nation some good. It forces a conversation long overdue: Who truly owns the state — the citizen or the powerful? Can we build a Nigeria where institutions, not individuals, define our destiny?
As the dust settles, both the FCTA and the military hierarchy must conduct impartial investigations. The truth must be established — not to shame anyone, but to restore order. Where laws were broken, consequences must follow. Where misunderstandings occurred, apologies must be offered.
Let the rule of law triumph over the rule of impulse. Let civility triumph over confrontation. Let governance return to the path of dialogue and procedure.
Nigeria cannot continue to oscillate between civilian bravado and military arrogance. Both impulses spring from the same insecurity — the fear of losing control. True leadership lies in the ability to trust institutions to do their work without coercion.
Those who witnessed the clash saw a drama of two gladiators. One in starched khaki, one in well-cut suit. Both proud, both unyielding. But a nation cannot be built on stubbornness; it must be built on understanding. Power, when it meets power, should produce order, not chaos.
We must resist the temptation to glorify temper. Governance is not warfare; it is stewardship. The citizen watches, the world observes, and history records. How we handle moments like this will define our collective maturity.
The confrontation may have ended without violence, but it left deep questions in the national conscience. When men of authority quarrel in the open, institutions tremble. The people, once again, become spectators in a theatre of misplaced pride.
It is time for all who hold office — civilian or military — to remember that they serve under the same flag. That flag is neither khaki nor political colour; it is green-white-green, and it demands humility.
No victor, no vanquish only a lesson for a nation still learning to govern itself with dignity.
By; King Onunwor
