Omolabake Adejoke Dada, Timothy Kayode Ajiboye


Orin iÌbejiÌperformance, an age long musical tradition among the YoruÌbaìpeople of South Western Nigeria has undergone an evolutionary trajectory; over time, a change in the practice of the tradition has been observed. This paper investigates and presents the progression of its evolution from its traditional form to the present. The theory of Progressive Traditionalism propounded and first used by Emielu (2018) is employed as the theoretical backbone of this paper. Oral interview, archival and observational methods are employed as the methodological approach in gathering pieces of information for the study. The study observes that several elements have changed in the oriniÌbejiÌpractice. These changes include the context of performance, the class of performers, and the contemporized usage of the music. This paper attributes these changes to acculturation due to immigration, globalisation, modernisation and advancement in technology, which it opined has helped in the propagation of this musical tradition. The paper further observes that these aforementioned factors should be harnessed to advance, rather than impede, the progressive course of indigenous values such as oriniÌbejiÌFor. example, technological means could be employed in the preservation and archival of oriniÌbejiÌto project this tradition for global relevance.


Keywords: contemporary, folklore, oriniÌbejiÌ,progressive traditionalism

Full Text:



Adegbite, A. (1988). The drum and its role in YoruÌbaìreligion. Journal of Religion in Africa 18(1), 15 -26.

Adeleke, A. A. (2008). An Ethnomusicological appraisal of form and Structure of IyereIfá (Doctoral dissertation).University of Ibadan, Ibadan, Nigeria.

Agawu, K. (2003). Representing African Music: Postcolonial notes, queries, positions. New

York NY: Routledge.

Dada, O. A. (2015). An Evaluation of Dundun Technology Curriculum in the Music Programme of the Polytechnic Ibadan (Master's thesis). University of Lagos, Akoka, Nigeria.

______ (2020). Towards the documentation of YoruÌbaìtraditional musical forms for national

development: Orin ìbeji of Igbo-Ora people of Oyo State Western Nigeria. Journal of The Association of Nigerian Musicologists, (14), 373- 387.

Dada, O. A. Akere, A. O. and Omoniyi, B. O. (2021).Structural elements in orinìbeji of Igbo-Ora.In F. Adiodun and A. Nwamara (Eds.), Music in and out of culture, musical arts education perspectives (pp. 209-226). Lagos: Malthouse press limited.

Emielu, A. (2018). Tradition, innovation and modernity in the music of the Edoof Nigeria: Toward a theory of progressive traditionalism. Ethnomusicology,62(2), 206-229.

Jones, A. M. (1959). Studies in African music (1). London: Oxford University Press.

Olusegun, O. (2015). YoruÌbaìindigenous drums: An aesthetic symbol in ecological ritual of the YoruÌbaì people. European Scientific Journal, 11(5), 1-17. Retrieved from

Vidal, A. O. (2012). “Oriki Traditional Yorùbá Music.” In F. Adedeji (Ed.), Essays on Musicology, History, Theory and Practice. (pp. 151-159). Ile-Ife: Obafemi Awolowo University Press.


  • There are currently no refbacks.