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.
Highlights
One of the three major ethnic groups in Nigeria is the Igbo
The Igbo community’s influence on the musical artiste and his art cannot be over emphasized; his singing, dancing, playing of instruments and costume put together. Whether these are still in existence or have been affected by some elements of modernity and more are some of the important facts this study tends to uncover. Digging deep into this involves a closer look at music in Igbo culture, the ohaka concept in Igbo musicology as well as technological advancements in modern Igbo musical practice
This study portrays/highlights experiences, issues and ideas based on the Igbo trado-philosophical concept of “Ohaka: The Community is Supreme.”
Summary
One of the three major ethnic groups in Nigeria is the Igbo. According to Okafor [1], sources of the theories on the origin of the Igbo are traceable to ethnographic background of the Igbo, oral traditions and archaeological findings. 1The life style of every traditional Igbo society is most times community centred - they believe so much in communal living. In Igbo musical arts, communal creativity or collaborative creativity is part of the musician’s art and his audience (members of his community) is of great importance to him as well as his art As he performs to entertain his audience, he is conscious of the fact that the success of his artistic creativity. The Igbo community’s influence on the musical artiste and his art cannot be over emphasized; his singing, dancing, playing of instruments and costume put together. Whether these are still in existence or have been affected by some elements of modernity and more are some of the important facts this study tends to uncover. Digging deep into this involves a closer look at music in Igbo culture, the ohaka concept in Igbo musicology as well as technological advancements in modern Igbo musical practice
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