Abigbo’s Identity in Music Making and Repertory of Songs: The Mbaise People’s Heritage

This paper directs attention to Abigbo, an outstanding traditional music of Mbaise people of Igbo south, east of the Niger. It gears to interrupt and challenge willful observations by western-oriented music lovers’ derogatory opinion, contrary to music in traditional setting such as ‘Abigbo’. To realize this objective and prove wrong the ill-informed critics, ‘Abigbo’s uniqueness in song rendition and peculiarity in music making is conspicuously examined here as a case study. The origin and development of Abigbo, its uses, and relationship with other aspects of Mbaise culture are discussed in this work. The musical challenges are highlighted with the dance formation, movements/steps and the ensembles costumed critically analyzed. All these are essentially adumbrated in association with music making trends in contemporary Mbaise. Equally reviewed where applicable are Abigbo’s relevance and inevitable roles in achieving the goal of societal well being. Song communication supported with body language and phonic emission via vocals are equally matters of great interest here. Methods employed in the data collection are library source of information obtained from associated printed materials documented in the library shelves. The researcher consulted relevant ones, read through them during desk work, and use their extracts as backup information to the subject of discourse which he initiated. Few of the procured print media materials are equally paraphrased as and when due. Datum is also secured through participant observation. At this juncture, the researcher’s sense of sight and aural perceptions are actively utilized along with retentive memory with the view to capturing the salient points needed for the paper. A few literature reviews that border round music making in rural culture are altogether, examined to guide and back up the thrust of this discourse. Abigbo has proved its worth beyond all reasonable doubt during its performance presentation in Mbaise social culture. The musicians’ close attention to the masses, particularly the zealous ones who are inclined to get at African tribes’ traditional music to subject them to western notation is a spring board to its fame. At this juncture, we resolve that for music making through song communication to logically reign supreme in Abigbo, its practice by interested artistes should be enhanced and encouraged even beyond the ensemble’s environmental origin. This done helps to secure indigenous interest akin to norms and values within the fabric of Mbaise society.