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#9 An Analytical Study of Selected Popularized Ogboni/Osugbo Cult Music among the Yoruba People of Nigeria

· 26 min read
Kayode Olusola
UDC: 


Received: Jun 29, 2025
Reviewed: Sep 24, 2025
Accepted: Nov 02, 2025

#9 An Analytical Study of Selected Popularized Ogboni/Osugbo Cult Music among the Yoruba People of Nigeria

Kayode O. OlusolaDepartment of Performing Arts, Olabisi Onabanjo University, Ago-Iwoye, Nigeriakayode.olusola@oouagoiwoye.edu.ng

Citation: Olusola, Kayode O. 2026. "An Analytical Study of Selected Popularized Ogboni/Osugbo Cult Music among the Yoruba People of Nigeria." Accelerando: Belgrade Journal of Music and Dance 11:9

Abstract

Within the premise of ethnomusicological theory, using cultural analytical tools, this study specifically focused on the analysis of selected popularized music of the Ogboni/Osugbo cult among the Yoruba people in order to identify the content and structure as well as their socio-cultural relevance among the Yoruba society at large. This study made use of the primary method of data collection which includes the use of discography of the selected songs as well as oral interviews with some of the members of the Ogboni/Osugbo cult. The secondary method involves the review of relevant related literature from books, journals and other library materials. The research findings have revealed that the musical practice among the Ogboni/Osugbo cult is secret to non-members or non-initiates except for few popular musicians who popularized it through singing and recording of some of these songs in CDs, VCDs and DVDs for commercial purposes. It is also revealed that these songs have short-verse poetic form originally in monophony before they were harmonized into voice parts by these musicians. The songs were observed to be in compound metre of 4/4 (8/8) and 12/8 time. The text content and theme covers the ritual, entertainment, homage to the superhuman beings, and loyalty and solidarity to Ogboni/Osugbo cult. This study hereby concludes that this study has therefore highlighted and made a contribution to the study of Yoruba traditional music by making provision for the analysis and documentation of this selected popularized Ogboni/Osugbo music among the Yoruba people of Nigeria. This research project thereby recommends that the Federal government of Nigeria through the Ministry of Culture and Tourism should commission the Nigerian popular musicians and Musicologists to record more cult music in Nigeria in order to document them for appreciation and for future references.

Keywords:

ogboni, osugbo, ilu osugbo, erelu, apena, yoruba

Introduction​

Music is an important part of African life as music is used in all their day-to-day activities. According to Vidal (1989):

Music is an important part of oriental mysticism, through which men’s inner conscience and awareness could be inflamed

Among Africans, Music forms an integral part of the daily life of the people because it is the most common form in which Africans express their feelings, fears, emotions, love, sentiment, danger, belief and culture. In Africa, musical expression, be it vocal or instrument, is often used as a better medium of communication and social discourse than ordinary spoken language (Olusola 2010).

Vidal opines that

one of the most common forms by which man expresses his emotions, feelings and sentiments [is through music]. (Vidal 2000, 1)

In Africa, music is seen as a part of life and a model for cultural practice. Music is used from birth to death. It is used to express joy when a child is born, as well as to express sorrow when someone dies. It is also used for coronation, puberty rites, and other ceremonies as it arises in different communities - for different events that take place in the community, different music is employed depending on their cultural and environmental background - music used for ritual ceremonies is different from the music used for recreational activities.

There are diverse types of music for diverse functions. Tracy (1969) expressed that music in Africa is seen as “vocal participation and physical manipulation of instruments and the rhythmic or dance movement associated with music”. As such, music could be in vocal or instrumental forms. The vocal form could employ a chorus of a group of boys, group of girls, group of men, group women or combination of both. The instrumental form could also employ drums, flute, trumpet, xylophone, goje among others or combination of instruments and vocal form. In traditional Nigerian society, each of the communities has different musical groups. The numbers and types of social events that take place in a community also determine the numbers of musical groups that exist in such a community.

In any African society especially among the Yoruba people of Nigeria, there are different traditional cults which are created for some certain individuals but restricted to some others. These cults only permit the initiates of that cult to be part of their gatherings and functions. These cults include Oro, Alagemo, Ogboni/Osugbo, Awopa, Alawo/Onisegun among others. Many of these Yoruba cult have their meeting sessions and their activities and practices are secret to the non-initiates. Since music is part of the daily paraphernalia of the Africans, and accordingly music and dance forms part of the activities of every cult in Africa, with musical instruments unique and peculiar to each of them. The music that exists in different cults are believed to play different functions and roles within the cults.

Within the premise of ethnomusicological theory and using cultural analytical tools, this study specifically focused on the analysis of selected popularized music of the Ogboni/Osugbo cult among the Yoruba people in order to identify the textual and musical content and structure as well as their socio-cultural relevance among the Yoruba society at large.

Theoretical framework​

The cultural theory as first advanced by Shepherd and Wicke (1997) conceived the understanding of music as a form of human expression. They argue that music is a central, rather than a peripheral activity for individuals and society. Adedeji’s (2012) application in his African perspective to sacred musicology also considers cultural context and hermeneutics in understanding and application of all music principles in popular music. Cultural dimension posits that music is the product of people’s culture and that all music exists and is appreciated with the context of the culture in which it exists. It seeks to understand any music within a society by considering the principles governing musical practice, ideals and cultural worldview or philosophy of that society where the music exists.

In tandem with the above assertion, Vidal (2002) also observes that African music is one of the cultural indices that make Africans Africa. It is a cultural identity that has to do with singing, playing of instruments, dancing and use of various artifacts. Music, over the ages, “as proved” to be one of the indispensable arts cultivated by man for growth, nurture and transfer of his institution and value to future generations. While discussing the activities of the Ogboni/Osugbo cult, Lawal (1995) observes that the Ogboni/Osugbo initiates during their meeting session, greet one another with the left hand and move to the left while dancing to their unique music known as “Agba” music inside their lodge.

In ascertaining that Ogboni/Osugbo cult have the musical instruments peculiar to the cult, Ojo (1973) observed that black mud from a river or lake is a vital part of the ingredients used in consecrating an altar to Ogboni’s house, and a fish-legged figure often dominates the relief decoration on Ogboni drums, linking the terrestrial realm with the aquatic as part of the cult’s core values as shown on their drums.

Historical Background of Ogboni/Osugbo Cult​

The consensus in Yorubaland is that the society was founded in Ile-Ife, where it is also known by the name Mole (Idowu 1962, 23-24; Fadipe 1970, 243; Agiri 1972, 52; Adeoye 1989, 337; Adepegba 1991, 34). A terracotta vessel in the Museum of Antiquities, Ile-Ife (illustration in Adepegba 1991, 31), which presumably belongs to the same period as the Ife bronzes (twelfth to fifteenth centuries A.D.) displays what may very well be one of the earliest renderings of the edan motif in Yoruba art ( Williams 1964, 152, quoting in Adepegba 1985, 35).

The Ogboni society attained its highest form of development among the Egba and Ijebu apparently because, as Fadipe has noted (1970, 243-47), political groupings in these areas were small and could easily be controlled by an association of elders. But in bigger towns (as in central and northern Yorubaland) ruled by powerful kings, the society was not as strong; even in Ijebui-Ode it was weaker than in the smaller towns that surrounded it (Ibid.). Admittedly, most of the Ijebu in present-day IIe-Ife live in or very close to the Iremo ward-an area popularly regarded as the original homeland of the people of Ijbui-Remo before they dispersed southward.

Members of the Ogboni/Osugbo during a ritual session.

Picture1. The members of the Ogboni/Osugbo during a ritual session. Source: Iledi of Odogbolu

Certain history have it that the formation in December 18, 1914 of the Reformed Ogboni Fraternity by an Anglican priest, Reverend Thomas Adesina Jacobson Ogunbiyi, who revised the rituals and symbolism of the traditional Ogboni (now known as the Aboriginal Ogboni Fraternity, or A.O.F.) to make them acceptable to Christians, Moslems, and non-Yoruba and the introduction of European masonic lodges into Nigeria by some British citizens had led Rev. Ogunbiyi to see similarities between foreign lodges and the traditional Ogboni.

The Ogboni (also known as Osugbo in Ijèbú) is a fraternal institution indigenous to the Yoruba-speaking polities of Nigeria, Republic of Bénin and Togo, as well as among the Edo people. The society performs a range of political and religious functions, including exercising a profound influence on monarchs and serving as high courts of jurisprudence in capital offenses. Its members are generally considered to constitute the nobility of the various Yoruba kingdoms of West Africa. The traditional Ogboni society was part of the checks and balances system of the Yoruba kingdoms, as they performed as kingmakers, and disposed of both a religious as well as a judicial functions. They had also the power to dethrone Oba (the king) and could order him to kill himself (or would give him poison).

Erelu and Apena of Osugbo cult in Odogbolu.

Picture2. Erelu and Apena of Osugbo cult in Odogbolu. Source: The Chief Apena of Odogbolu.

The ethnographic work on their role and function in the 19th and early 20th century dates back to the 1930s. Nevertheless, no in-depth knowledge on their structure and inner workings after independence is available. They are thought to still dispose of considerable local influence, forming part of the traditional power network to regulate societies and control resources. It is assumed that through their membership they also have strong connections to official state structures (police, judiciary, omission, universities).

Osugbo Drum Ensemble.

Picture3. Osugbo Drum Ensemble. From left: Iya-Ilu, Atele Isaaju, Atele Ikehin. Source: The Yoruba

Analysis of Selected Popularized Ogboni/Osugbo Cult Music​

All songs collected are all dance forms of music with lyrics in song form. The analysis of the musical data in this study shall be in three categories, and they are:

  1. Textual Analysis
  2. Musical analysis
  3. Socio-religious analysis

Textual Analysis​

The textual analysis of music is based on the text content, translations and themes of selected popularized Ogboni/Osugbo cult songs by few Nigerian popular musicians.

Song 1: Ba Eni Njoye​

Ba Eni Njoye song.

Example 1. Ba Eni Njoye. Source: author.

Lyrics

Yoruba LanguageTranslation
Ba Eni Njoyeour Father is being installed as a chief
Ba Eni Njoyeour Father is being installed as a chief
Kalo mu saki kafi wa soja aran olet us get our fabrics to sow our regalia
Ba eni njoyeour father is being installed as a chief
Kalo mu saki kafi wa soja aran olet us get our fabrics to sow our regalia
Ba eni njoyeour father is being installed as a chief

The song above was popularized by Jimi Solanke’s musical album. The song is sung during the official chieftaincy ceremony of installing worthy members as chiefs of Ogboni/Osugbo cult among the Yoruba. According to Rasheed Sodeko (oral interview, 2024), this session is always celebrated with music and dance. This song is performed in Yoruba language with Ijebu dialect. The text content and theme of the song focus on praising and telling the importance of person(s) being installed as chief(s). The poetic form of the song is in short-verse form with poetic devise in call and response. The song was performed in Yoruba language in Ijebu dialect; while the poetic setting is syllabic.

Song 2: Ko S'eni To Nf'Obi J'epo​

Ko S'eni To Nf'Obi J'epo song.

Example 2. Ko S'eni To Nf'Obi J'epo. Source: author.

Lyrics

Yoruba LanguageTranslation
Ko s’eni to n’fobi jepo layeno deity does eat kolanut with palm oil on earth
Ko s’eni to n’fobi jepono deity does eat kolanut with palm oil
Ko s’eni to n’fobi jeyono deity does eat kolanut with salt
Ko s’eni to n’fobi jepono deity does eat kolanut with palm oil
Esu nikan lo le fobi jepo layeonly Esu does eat kolanut with palm oil on earth
Esu nikan lo le fobi jepoonly Esu does eat kolanut with palm oil
Oun nikan lo le fobi jeyoit is only Esu does eat kolanut with salt
Oun nikan lo le fobi jepoit is only Esu does eat kolanut with palm oil

The song above was popularized by Tunji Oyelana in his musical album. The song is sung during the official ritual session of the worship of Esu (devil) and other gods by members of the Ogboni/Osugbo cult among the Yoruba. According to Bashiru Osinuga (oral interview, 2024), this ritual session must start with the worship of Esu in order to prevent bad incidence before other gods are worshipped. This is done with different incantations and praise chants for each traditional god. This song is performed in Yoruba language with Ijebu dialect. The text content and theme of the song focus on praising and telling the attributes of Esu (devil). The poetic form of the song is in long-verse form with poetic devise in chorus with verse form. The song was performed in Yoruba language in Egba dialect; while the poetic setting is syllabic in structure.

Song 3: Ogberi S'igba Awo​

Ogberi Sigba Awo song.

Example 3. Ogberi S'igba Awo. Source: author.

Lyrics

Yoruba LanguageTranslation
Ogberi s’igba awo sigba awonon-initiates dares open the cult’s secret pot
Sigba awo eh eh eh eh eh eeeehnovice dare not open it eh eh eh eh eeeeh
Ogberi sigba awo eh eh eh eeeehnovice dare not open it eh eh eh eh eeeeh
Sen sen sen sigba awohe dare no open the cult’s secret pot
Sen sen sen, sigba ayenovice dare not open odd world’s pot
Ogberi s’igba awo sure w’enkule orun oanyone who does will die instantly
Iba fun apani mayo ma yoda ohomage to the spiritual killers without weapons
Yeye awa apani ma yodaour spiritual mothers who kills without weapons

The song above was popularized by Hubert Ogunde in his musical album. The song is sung during the official praise session of the Erelu (women leader) and other powerful, highly spiritual and influential women members by other members of the Ogboni/Osugbo cult among the Yoruba. According to Bashiru Osinuga (oral interview, 2024), this praise session is to pay homage to the great spiritual mothers with supernatural powers among the members who have the powers to know, foresee and control powers in the universe. This is because without them being recognized and praised, the operations of the Ogboni/Osugbo cannot be auspicious and successful. The text of the music has its poetic form in long-verse form with poetic devise in chorus with through-composed style. The song was performed in Yoruba language in Oyo dialect; while the poetic setting is syllabic.

Song 4: Awo Ti Mo Mo Ni Mose​

Awo Ti Mo Mo Ni Mose song.

Example 4. Awo Ti Mo Mo Ni Mose. Source: author.

Lyrics

Yoruba LanguageTranslation
Awo ti momo ni mose oI belong to a dignified cult
Awo ti momo ni moseI belong to a dignified cult
Mi o sawo obunI don’t belong a stinking cult
Mi o sawo ekeI don’t belong to a mischievous cult
Mi o sawo odaleI don’t belong to the cult of the traitors
Awo ti momo ni mose oI belong to a dignified cult

The song above was popularized by various departments of theatre arts in some Nigerian universities in South-West. This song was part of the songs used for students’ initiation ceremonies into their department. The song is originally sung during the entertainment session of meetings of the Ogboni/Osugbo cult among the Yoruba. According to Lawal Sodiya (oral interview, 2024), this song is a solidarity song by members to the cult and its cause. It is performed to express love, belief and commitment to the cult as a dignified cult different from other cults. The text of the music has its poetic form in short-verse form with poetic devise in chorus with through-composed style. The song was performed in Yoruba language in Oyo dialect; while the poetic setting is syllabic.

Musical Analysis​

Musical Forms​

The basic musical forms observed in the popularized Ogboni/Osugbo cult music are mainly the Song form. The Song-verse constitutes about 100 percent of all the songs collected. The songs are accompanied with both local and western musical instruments.

Structural Form​

Music observed in the popularized Ogboni/Osugbo cult music are structured in both monostrophic, responsorial, and call and response. The songs in chorus with monostrophic and call and response style between the lead-singer and the chorus are performed repeatedly for as long as the singer wishes.

Rhythmic Structure/Text Settings​

The rhythm of songs are structured in call and response for two groups with a lead-singer followed by chorus response during performance. The setting of the melody is done in syllabic form. That is, a syllable to a tone.

Texture/melody​

The texture observed in the popularized Ogboni/Osugbo cult music are majorly monophonic in texture. This is because some in the chorus are purely monophonic. That is, only one single melodic line. Others are harmonized in parallel 3rds in African harmonic style. The melody was structured based on the tonal language of the people of Ijebu, Egba and Oyo-Yoruba dialect.

Musical Scale​

Due to the influence of Yoruba tonal language on the songs, the scale observed in the popularized Ogboni/Osugbo cult makes use of variant of pentatonic scales (d-r-m-s-l-) or (d-r-f-s-l) with different cadential modes depending on the dialect.

Melodic movement/contour​

It was observed that most of the popularized Ogboni/Osugbo cult music have the melodic movements in both upward and downward styles, depending on the words of the music. Therefore making the melodic contour to be undulating.

Cadential formula​

The cadential formula observed in the lyrics are in various modes. The music in song form have their cadences in reh to doh (supertonic to tonic) and lah to doh (submediant to tonic).

Research Findings and Conclusion​

The research findings have reveals that the musical practice among the Ogboni/Osugbo cult is secret to non-members or non-initiates except for few popular musicians who have decided to bring the music close to the people through singing and recording of some of these songs in CDs, VCDs and DVDs for commercial purposes. It is also revealed that these songs have short-verse poetic form originally in monophony before they were harmonized into voice parts by these musicians. The songs were observed to be in compound metre of 4/4 (8/8) and 12/8 time. The text content of the selected songs covers the ritual, entertainment, homage to the superhuman beings and loyalty and solidarity to Ogboni/Osugbo cult.

This study hereby concludes that music and musical instruments by the Ogboni/Osugbo cult have socio-cultural relevance because the music is a unique culture among the members of the cult and it should be appreciated and documented as part of Yoruba’s rich musical culture. Therefore, the popular musicians’ effort to make some of these songs popular to the public should be commended. This study has therefore highlighted and made a contribution to the study of Yoruba traditional music by making provision for the analysis and documentation of this selected popularized Ogboni/Osugbo music among the Yoruba people of Nigeria.

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Discography​

  • Hubert Ogunde and His Studio Band. 1979. ‘Sigba Awo’ from the “Aye “Film Sound track.
  • Jimi Solanke
  • Tunji Oyelana. 1996. ‘Ko Seni Ton Fobi Jepo’ in the Album “Cuban Connection” EMI Records
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