An Ethnomusicological Study of Bòlòjò Music of Yewa Land in Ogun State, Nigeria

Abstract

One of the dynamics of the traditional African societies is that music is a common feature of cultural expression. In Nigeria, traditional music which is rooted in the belief system and the socio religious activities of the people finds space in the musical practice of the country and therefore attracts attention of scholars for documentation and analysis. Bolojo music, a traditional genre rooted in Yorùbá oral tradition from the Yewa people of Ogun State, Nigeria serves as a cultural expression that embodies the socio-cultural dynamics, historical contexts, and musical heritage of the Yewa people. This music has received scholarly studies in aspects such as its history, sociology, its dance forms, and song texts, but its ethno musicological study is still under explored. This study is therefore an ethno musicological examination of Bòlòjò music. Engaging established theories in ethnomusicology and African cultural studies as its theoretical framework, the study examines the musical structure, social functions, adaptability, and communicative roles of Bolojo within Yewa society. The study employs qualitative research methods including participant observation, interviews with local musicians, and audio-visual recordings of Bòlòjò performances. Through participant observation, the researchers engage in communal events where Bòlòjò music is performed, gaining first-hand insights into its social functions. Interviews with Yewa elders and Bòlòjò musicians provide valuable perspectives on the genre’s cultural meanings and evolution over time. Audio-visual recordings further aid in analyzing musical structures, rhythmic patterns, and lyrical themes with Bòlòjò music. Bòlòjò music is renowned for its unique rhythms, showcasing the call-and-response patterns that foster community participation and engagement during performances, also with the variety of traditional instruments integral to Bòlòjò performances, particularly the distinctive use of drum such as talking drum (gángan), àkúbà or kóngà, bèmbé, bàtá, which create complex rhythmic patterns, as well as agogo (metal gong), sèkèrè (rattles), and the introduction of guitar by King Jossy Friday. As an essential cultural practice, Bòlòjò music plays a central role in rites of passage, festivals, weddings, funerals, communal gatherings, where it not only entertains but also reinforces Yewa identity and heritage in social cohesion, cultural expression, and moral instruction. This study concludes that Bòlòjò music serves as a vital expression of the Yewa people’s identity and cultural heritage. Its origins are rooted in the historical, social, and spiritual fabric of the community, making it not only a form of entertainment but also a powerful medium for preserving cultural memory and fostering community unity. As Bòlòjò music continues to adapt and evolve, it remains a testament to the resilience and creativity of the Yewa people in navigating their cultural heritage. The need to preserve and promote Bòlòjò music has become urgent, particularly in the face of globalization and changing social landscapes. This paper recommends that archival documentation, festival support, gender inclusivity and international collaborations should serve as safeguard for the preservation of Bòlòjò music.