By
1Dr. Ada Onyebuenyi, 2Chiadikobi,
Chinwe Mary-Rose & 3Dr. Ugochukwu Iwuji
Department of Humanities, Federal Polytechnic Nekede,
Owerri, Imo State, Nigeria
Corresponding author’s email and phone No: aonyebuenyi@fpno.edu.ng; +234 (0)8033413186
Abstract
There
has been a dearth of scholarly inquisition on Owerri Bongo music, a genre
marked by its seductive rhythm, didactic lyrics and cultural aesthetics. There
is a transcultural attachment to Owerri Bongo music which is catalysed by the
dynamics of the digital media which transforms music from a local or linear
experience to a global interactive medium, dismantling geographical limits. With
the aid of the digital media, music albums can be streamed on social media and
digital devices, thus, giving visibility to both the artistic works and the
artists. This study expands epistemological frontiers on Owerri Bongo music by
investigating the mother metaphor in selected Bongo songs and its impact on the
psyche of the youth. The study is predicated on Freud’s Psychoanalytic theory
which is primarily applied to examine how art stimulates the subconscious of a
human, especially the superego. Besides gathering relevant data on songs that
express the mother metaphor, the research also relies on data obtained from
interviews with selected legends of the Bongo music genre. The findings of the
research are hinged on the cultural aesthetics of the Bongo musical art and the
psychic influence of the mother metaphor it expresses on the mind of the youth,
the objective of which is to turn them to cultural heroes that uphold the ethos
of their society.
Key Words: Cultural
aesthetics, Digital media, Owerri Bongo music, Psychoanalysis, Youth.
Introduction
The
digital media has transformed music from a local or linear experience to a
global interactive medium, dismantling geographical limits. This study aims at
interrogating the mother metaphor in Owerri Bongo music with the aim of
implicating its cultural richness which influences the subconscious of an
individual. An individual that is indoctrinated in the folklore and cultural
values of their people is easily positioned to be an agent of national development
– one that is drawn away from all forms of antisocial practices. The term, Bongo,
is not originally Igbo. It refers to a pair of small, open bottomed percussive
drums of different sizes. It originated in Cuba hence Bongo is a Latin American
music style. There is also the Bongo Flava, a music genre in Tanzania. Africa
and Cuba have strong cultural ties hence it may be safe to assert that Bongo is
traditionally African in concept and meaning. The drums are played with the
fingers and palms. Culturally, the Igbo traditional music did not have Bongo as
a musical instrument. What was available was a three-in-one open bottomed drums
that produced at least three musical parts of treble, alto and tenor.
According to U. Stephenson
(personal communication, February 15, 2026), the use of the term, Bongo music,
in Nigeria is traced to the late Nze Dan Orji of the Peacocks Band fame, where
in one of his albums he announced that they had added the Bongo instrument in
their percussive instruments, making their style a Bongo musical genre. Bongo
music in Nigeria is associated with the Owerri people who already had the Okuru
cultural music practice that blended local instruments, including the
three-in-one percussion (epete) which would later be replaced by the Bongo
instrument. The Okuru, according to Stephenson, was a recreational Owerri
cultural music genre played during moonlight games or night ceremonies.
Occasionally, a fowl was placed as a prize and an Okuru competition was
declared and the best player went home with the hung fowl. Nze Dan Orji started
recording the Okuru cultural music as early as the 60s. He would later
introduce the two percussive instruments, Bongo, before renaming it as Bongo
music. The second generation of recorded
Bongo artists operated between the 80s and late 90s were mainly age-grades,
prominent among which was Owerri Dozie Age-grade led by Oriwo. There was also
Umuakpadike of Egbu, Owerri North and others from Emekuku. Leading the pack of
modern Bongo artists is Godswill Onyekpandu alias Dr. Sir Foreigner who
recorded successful hits at the turn of the 21st century. He was
followed closely by Chima Eke, Eluigwe Ugorji, Joseph Jacobs (Saro Wiwa) Sunny
Bobo, Owigiri, David Osuji (Don One), Bruno, Obinna Umoh (alias Ababanna), KC
Voice and Chimuanya, among others.
As a music genre,
Bongo music refers to a traditional Owerri musical style with a seductive
rhythm, blending various instruments including Bongo, wooden gong (ekwe),
rattles (ichaka) metal gong (ogele) and big pot instrument (udu). The Bongo
music is usually performed at traditional festivals, marriage ceremonies,
funeral rites, wake-keep ceremonies, community gatherings and house warming
ceremonies. Thematically, the Owerri Bongo music expresses Igbo worldview and
folklore, serving as a means of social commentary, humour, satire, eulogy and
moral guidance.
Owerri Bongo music
is distinguished by its infusion of Igbo folklore. It boldly expresses the Igbo
worldview while preserving cultural values. The genre is rich in literary
elements such as metaphor, eulogy, satire, sarcasm, aphorisms, ironies,
paradox, symbolism and epigrams, among others. This paper focuses on the
metaphorical nuance of Owerri Bongo music in order to implicate the stylistic
richness of the genre and its moral predilection.
According to
Abrams and Harpham (2012, p. 130), a metaphor is a word or expression “that is
applied to a distinctly different kind of thing, without asserting a
comparison.” A metaphor compares two unrelated things, highlighting shared
characteristics to create deeper meaning or strong imagery. Abrams and Harpham
(2012) identifies three types of metaphor, namely: implicit metaphor, mixed
metaphor and dead metaphor. An implicit or implied metaphor compares two unlikely
things indirectly, without clearly naming one of them. A mixed metaphor
compares two incompatible metaphors while a dead metaphor is one that loses its
original imaginative meaning through constant use. Metaphors are central in
literature as they create deeper layers of meaning, enhance imagery, express
powerful emotions, convey abstract ideas and enhance critical thinking. The
mother metaphor is not to be confused with the root metaphor which is a guiding
principle for understanding reality. In the realm of this paper, the mother
metaphor is a symbol of strength, care, light, unwavering support and
stability. The mother is a nurturer, protector, life-giver, guide and heart of
the home.
Nigerian
Music and the Digital Media
The digital media has enhanced the
global visibility of traditional music in Nigeria. The digital media refers to
any content created, stored, distributed and accessed in digital or electronic
forms such as smartphones, tablets and other digital devices. By nature, the
digital media is interactive and can be shared, having a global reach. It
enhances communication, promotes business and brands, connects people worldwide
and entertain people. Examples of digital media may include social media
platforms, streaming services (YouTube and Netflix), websites, blogs, podcasts
and e-books, among others. Digital
platforms that amplify contemporary Nigerian music include: Spotify, TikTok,
YouTube, Audiomack, Boomplay. Apple music and social media platforms
(Instagram, Facebook, Twitter/X), among others.
The digital media
has given old and contemporary Nigerian music a boost in terms of visibility
and access. Digital media and social platforms
have intensified these debates. Ojukwu (2025) notes that social media amplifies
the reach of morally insensitive songs, making regulation more complex. Adeola
(2020) also highlights how digital accessibility increases youth exposure to
morally ambiguous content. The democratisation of music production and
distribution has therefore weakened traditional gatekeeping structures. It is important
that the authorities regulate the content in digital media so that it does not
undermine the national ethos. Yet, the accessibility which the digital media
grants to musical albums has its merits. Essentially, it amplifies societal
values and exposes humanity to cultural ideals that catalyse national
development in many ways. For persons who are unfamiliar with their folklore,
the digital media easily exposes them to the richness of their shared identity.
The musical art by its nature easily makes an impression on the psyche of a
people, a reason it is a veritable avenue of propagating and escalating values.
When integrated in songs, the mother metaphor is one of the values that can
deeply influence the subconscious of a person, instilling positive ideals and
change.
Theory and Literature Review
Psychoanalysis
is essentially a framework that interrogates the relationship between
literature and the mind. Abrams and Harpham (2012, p. 320) adduce that in
Psychoanalysis “Freud proposes that literature and other arts, like dreams and
neurotic symptoms, consist of the imagined, or fantasised, fulfillment of
wishes that are either denied by reality or prohibited by the social standards
of morality and propriety.” Thus, these “dreams and neurotic symptoms,” and all
the fantasies and wishes exist in the unconscious of the individual and push him
to act in certain ways that are contradictory. Freud calls this tendency ‘id’
while the acceptable standards, morality and propriety reside in the domain of
the ego and superego (Baker, 2003).
Barry (1995, p. 70)
avers that “All of Freud’s work depends upon the notion of the unconscious,
which is the part of the mind beyond consciousness which nevertheless has a
strong influence upon our actions.” Meanwhile, Psychoanalysis for Eagleton
(2008) is both a theory of the mind and practice for curing those who are
mentally unstable. This treatment was based on the conclusion that the root of
mental symptoms or neurosis could be determined by encouraging patients to talk
and relive memories during which the therapist identifies the cause of their
malady. However, the cure may not be effective if the patient fails to reveal
all to the therapist.
If literature
reflects the complexities of the human life and condition, then Psychoanalysis
comes as an important theoretical framework that can richly identify and
analyse the nexus between the literary work and the mind that consumes it. The
infusion of the mother metaphor in Owerri Bongo music is deliberately aimed at
appealing to humanity to appreciate and venerate the mother personage.
There is,
surprisingly, a dearth of literature on Owerri Bongo music as there seems to be
limited research on the genre, despite its invaluable contribution to the
folkloric trajectory of the Igbo race. It is noteworthy that no scholarly
attention has been paid to the mother metaphor expressed in the genre among the
few scholarly works that exist on the Owerri Bongo music. According to Opara (2012), Bongo music functions not merely
as entertainment but as a medium of social commentary among the Igbo. Through
lyrical narration, proverbs, and moral instruction, Bongo artists articulate
communal concerns such as justice, leadership, family relations and social
transformation.
In terms of language, Onwubiko and Adikwu (2022) argue that
sociocultural metaphors in Owerri-Igbo Bongo songs frame communal identity and
encode moral philosophy, as the genre often encodes symbolic expressions drawn
from rural life and experiences. These metaphors are not arbitrary; they
function as cultural frames that help listeners interpret reality through
shared Igbo experiences. Thus, Owerri Bongo music becomes a vehicle for
transmitting indigenous knowledge and reinforcing cultural continuity in a
rapidly modernising society.
Language use further strengthens the genre’s cultural
significance as Nwulu (2019) emphasises that the predominance of the Owerri
dialect and idiomatic expressions in Bongo music contributes to Igbo cultural
renaissance. The foregrounding of linguistic patterns help to preserve dialectal
uniqueness while asserting cultural pride. This linguistic rootedness distinguishes
Owerri Bongo from mere cosmopolitan Nigerian popular genres that often prioritise
English or pidgin. Owerri Bongo music, thus, sustains local identity while
adapting to contemporary musical production styles.
In terms of trends, Mbara and Ekezie (2019) observe that Owerri
Bongo music has evolved from its earlier highlife-influenced structures to
incorporate modern instrumentation and studio technology. This is observed in
musical releases by Godswill Onyekpandu (Dr. Sir Foreigner), Chima Eke, Eluigwe
Ugorji and Obinna Umoh, among others. Essentially, Owerri Bongo music reflects
a dynamic interplay between tradition and change. Its meaning lies in its
function as moral instruction, social commentary, and cultural preservation,
while its trends show adaptation to contemporary media and performance spaces. This
makes Owerri Bongo music a resilient cultural form anchored in Igbo worldview.
The
Mother Metaphor in Ababanna’s Songs
Obinna
Umoh alias Ababanna is a contemporary Bongo artist from Awaka, Owerri North
Local Government Area of Imo State. He is prolific, having recorded numerous
Bongo albums that had resonated with the people. He came into the picture
almost fully made as almost all his albums had been successful. He is
distinguished among his peers for devoting some of his songs into cemebrating
motherhood. Ababanna might have been greatly influenced by his mother while
growing up, hence the passion devoted into celebrating motherhood.
One of Ababanna’s
songs that celebrate motherhood is “Onyekpatara aku lezie nne ya” (One who
acquires wealth, take care of the mother). The mother metaphor suggests
life-giving and nurturing qualities, symbolising unconditional love and care.
The mother metaphor is pervasive in Ababanna’s songs as it promotes love and
devotion to the mother personage. The song is a lyric marked by repetitions,
catharsis and appealing tone. Organically, the song can be divided into parts,
distinguished by the thematic thrust espoused in them. The first part of the
song appeals to humanity to look after mother:
Onye
kpatara aku lezie nne ya
Aa
nne wu ihe o
Onye
kpatara aku lezie nne ya
A
nne wu ihe o
Ikpatakwara
aku lezie nne ya
Aa nne
wu ihe o
One
kpataraku lezie nne ya
Aa
nne wu ihe o
Ndi
nne mama
Ugo
ezi n’ulo
One
who acquires wealth should take care of the mother
Mother
is a factor
One
who acquires wealth should take care of the mother
Mother
is a factor
You
who acquire wealth, take care of your mother
Mother
is a factor
One
who acquires wealth, take care of the mother
Mother
is a factor
Women
are mothers
Pride
of the home.
The
tone of the song is appealing. The artist enjoins humanity to value the mother
personage. The excerpt presupposes that every human grows to strive to acquire
wealth to be able to take care of the family. It also takes into account the
possibility of forgetting the mother personage when wealth is eventually
acquired, hence the song warns menfolk not to forget their mother. The song
generally speaks to everyone. To the adult, the song is a reminder that one’s
mother should partake of one’s wealth. To a child, the song is warning that the
mother should be taken care of when they attain adulthood. The mood of the song
is thoughtful, calling humanity to reflect on the mother metaphor. There is
repetition in the song which reinforces the centrality of motherhood. The
lexical item, “nne” (mother) is repeated severally in the excerpt above to
underscore the value of motherhood. The first part of the song successfully
sets the imagery of the mother as an indispensable personage in the society.
When the song, for instance, admonishes humanity to show care to the mother, it
adduces reasons for it: “Mother is a factor.” The last line of the excerpt boldly
asserts that the mother is the pride of the home. Thus, no home can be deemed complete without
the mother.
The
mother metaphor is sustained in the second part of the song which further
extols motherhood for what it stands for in populating and sustaining the
world:
Umu
elu uwa
Onye
eile nne ya aro nruro
Onye
owula lezir nne ya anya
Aa
nne bara uru lee
Echetara
m mgbe amuru muo
Aa
nne m eji echim ara
Aa
nne m eji asa m aru
Aa
nne m eji enye m nri
People
of the world
No
one should undermine their mother
Take
care of your mother
Mothers
are valuable
I
remember my years of cradle
Mother
breastfed me
Mother
washed me
Mother
fed me.
The
foregoing begins with a direct address to humanity to value the mother
personage. It draws inspiration from the first part of the song in sustaining
the mother metaphor. Beyond child-bearing, mothers do a lot in propagating
humanity. The tone of the song is didactic. The music cautions humanity on the
role of mothers. The artist goes down memory lane to stipulate what his mother
did for him from cradle to adulthood, evoking the imagery of the mother as
compassionate being. The mother breastfeeds the child to nurture them into
healthy beings. She washes the child to make the clean and feeds them to make
them grow. The use of repetition is also employed in the verse to reinforce the
mother metaphor – a caring and compassionate being without whom humanity may
grow into extinction. The last three lines show the mother as a symbol of
strength as she performs the tripartite duties of breastfeeding, washing and
feeding her child.
There is a similar
pattern in the song where each part begins with drawing the attention of
humanity to the essential virtues of a mother that make her central in the
world, at the first part of the song, the artist entreats adults who have means
of livelihood to care for the mother. The second part entreats all shades of
humanity in the world to care for the mother character. The third addresses the
artist’s brethren, drawing attention to the mother metaphor while eulogising
the mother:
Nwanne
ee
Asikwam
ihe rika nne akolam
Chineke
Nna biko
Ka gozie
kwa nneni murumini
Aa
ee onweghi onye dika nne
Umu
Owere lee
Onwei
ihe rika nne
Ejema
nku akpoma nne muru nwa
Eshima
nri akpowa nne muru nwa
Eze
biko, ka gozie kwa nne ni murumini
Okpatara
aku lezie nne ya
Aa
nne wu ihe o
Okpatara
alu lezie nne ya
Aa
nne wu ihe o.
Brethren ee
May
I not lose my mother
O
God please bless my mother
Aa
ee, there’s none like mother
Owerri
brethren
There’s
no one like mother
Time
for firewood fetching, mother is beckoned
Time
for cooking, mother is beckoned
Dear
God, please bless my mother
One
who acquires wealth, take care of your mother
Mother
is a factor
One
who has wealth, take care of your mother
Mother
is a factor.
The
tone of the verse is invocative. The artist summons hos brethren as witnesses
to prayer. He seems to dramatise the prayer while looking at his mother. First.
He pleads to Divinity to spare his mother as he would not want to lose her. He
seems to also raise his hands in prayer to the Almighty, pleading that He bless
his mother. Besides nurturing him to adulthood, the mother has remained a
resilient character in his life. It is she who is called upon to fetch
firewood, cook and serve the family. The artist may have considered these tasks
as daunting hence he admits there is none like the mother. Once again, he
entreats his brethren from the same Owerri clan to bear witness to the
indispensability of the mother. The song is defined by the use of repetition, a
deliberate poetic tool to create rhythm, musicality and reinforce theme and
meaning. Repetition also creates a sense of unity while intensifying a pattern.
The repetition of prayers for the mother in the excerpt aligns with the mother
metaphor motif running through the song. The song methodologically returns to
what may serve as the refrain, after the prayers. The refrain is an appeal to
all who acquire wealth to look after their mother dire to what they represent –
the mother metaphor – the mother factor.
The
mother metaphor is implicated in the fourth part of the song which addresses
the artist’s Owerri clan people. There seems to be a dramatic pattern in the
song which makes the artist to address the people in a different light. Having
repeatedly addressed them in the course of the poem, the artist in this part
addresses them as people who have assimilated the theme of his song:
Umu
Owere, anyi amarala
Aa
nne wu ihe o
Ohanaeze
Ndigbo amarala
Aa
nne wul ihe o
Christian
father, anyi amarala
Aa
nne wu ihe o
Engineer
Emma Duru amarakwala
Aa
nne wu ihe o
Ababanna
amarachala
Aa
nne wu ihe o.
Owerri
brethren, we already know
Mother
is a factor
Ohanaeze
Ndigbo knows
Mother
is a factor
Christian
fathers know
Mother
is a factor
Engineer
Emma Duru knows
Mother
is a factor
Ababanna
knows
Mother
is a factor.
The
application of psychoanalysis to literary criticism, according to Adeoti (2015,
p. 41) “stems from a supposition that powerful forces inherent in the
individual, of whom we are no aware, principally trigger behaviour.” These
“powerful forces” can stem from what one reads or consumes. In this case, the
assimilation of cultural songs that celebrate motherhood may trigger a pattern
of behaviour that tends to venerate the mother personage. The celebration of
the mother figure presupposes that some people may take their mother for
granted, prompting the artist in one of the lines of the song to assert that he
cannot undermine his mother. Stories abound of young men who use their mothers
for ritual sacrifices. These are the people that take their mothers for granted.
The lyrics of Ababanna’s song are meant to develop a person’s psychological
carriage (superego) to resist any antisocial act against the mother personage.
The
tone of the above excerpt is optimistic. The artist is positive that the
various sections of the society are sufficiently schooled on the vital position
a mother occupies. Dramatically, he acknowledges his clansmen (Owerri
brethren), expressing optimism about their devotion to the mother personage.
Next, he acknowledges the umbrella body that unites all Igbo people: Ohanaeze.
He also hails his friend, Emma Duru, for being a respecter of mothers. In a bid
to reinforce the theme of his song, the artist openly admits that he reverences
the mother personage. There is the abundant use of apostrophe where the line
“Mother is a factor” is repeated in alternate lines to heighten the emotional
appeal of the verse.
Ababanna’s
song thrives in folklore. In the fifth part of the song, the artists employs
epigrams in valorising the mother personage:
Enyi
mee, onye riwele ihe ka nne
Enyekwala
m
A si
m onye, rewerele ihe ka nne
Enyekwala
m
Ihe
rika nne akokwalam muo
Ihe
rika nne akolwala muo
Mama
ee, ezinne ee
Onwu
ga-egbu nne, onwu ga-egbu nne
Kaa
jema na mmiri o
Hakwala
m nne murumini
Aa
nne, aa nne, aa nne lelelele, aa nne o
Chineke
gozie nne murumini
Aa
nne aa nne murumini
Chineke
kere uwa biko
Ka
gozie nne muru mmanu.
Friends,
he who possesses what is greater than Mother
Give
me not
Indeed
he who possesses what is greater than Mother
Give
me not
May
I lack no motherly care
May
I lack no motherly care
Mama
ee, good mother
Death
aiming at Mother, death aiming at Mother
Please
aim at the river
Leave
my mother alone
O
Mother, O Mother
O
Creator of the world
Please
bless my Mother.
The
tone of the foregoing verse is audacious and invocative. The artist boldly
declares his stand on the issue of the mother personage. He calls on his
friends not to associate him with anything greater than his mother. The imagery
of the mother so created in the verse is that of a precious jewel – a metaphor
for the indispensability of the mother. The verse generously applies repetition
to reinforce the mother personage. The declaration about the supremacy of the
mother personage over possessions is repeated in the second line of the stanza.
This is meant to appeal to the subconscious of the listeners of the song who
may be hostile or disrespectful to their mothers. The first two lines are
epigrammatic as an unusual comparison is drawn between the mother personage and
a sumptuous consumable. The implication is that if the mother personage were to
be a consumable, it would be the sweetest of all. In the lines following, the
artist reinforces the active presence of the mother personage. The presence
makes her emotionally attached to her children. The quality of active presence
distinguishes a mother in the family. She is easily attuned to the needs of a
child. He artist suddenly goes invocative by pleading with death to spare his
mother. Death is personified in the line as a living being which must not look
in the way of the mother. The persona once again implores death to spare his mother.
There is the use of epizeuxis in the line which emphasises the point made and
improves the rhythm of the verse. The artist certainly wants his mother to grow
old so as to fully enjoy the reward of her labour. The use of apostrophe in the
verse continues in the second line. Apostrophe enables a persona to think aloud
or express inner emotions while addressing an inanimate. This is often marked
with a shift in tone. The artist further implores death to visit its anger on
the river rather than his mother. Having beseeched death to leave his mother,
the artist appeals to God to bless his mother: “Chineke gozie nne murumini.”
The prayer is repeated in the successive line to reinforce the passion in the
artist’s heart.
Ababanna’s song
thrives in elements of repetition including anaphora, epizeuxis and refrain.
The verse breaks into a refrain at the last part of the poem where he reminds
humanity not to neglect mothers because of the central role they play in the
world.
Conclusion
The digital media has democratised access to
art, oral or written, the advantage of which it amplifies societal values and
exposes humanity to cultural ideals that catalyse national development in many
ways. For persons who are unfamiliar with their folklore, the digital media
easily exposes them to the richness of their shared identity. The musical art
by its nature easily makes an impression on the psyche of a people, hence it is
a veritable avenue for propagating and escalating values. When integrated in
songs, the mother metaphor is one of the values that can deeply influence the
subconscious of a person, instilling the positive culture of reverence for
elders and value for humanity. There is need for artists to be inspired by
factors that underpin our shared humanity, especially in an era of insecurity
when core human values are undermined. The worst-hit is the mother personage
symbolised by young women and girls that are regularly abducted, molested and
dehumanised.
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This article is published in ALQALAM: A Journal of Language and Literary Studies, FUGUS, Volume 1, Issue 2 - June 2026
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