MUSICODYNAMICS OF NEGOTIATION IN ALÁGA ÌDÚRÓ ANDALÁGA ÌJÓKÒÓ PERFORMANCES DURING YORÙBÁ TRADITIONAL MARRIAGE CEREMONY IN SOUTHWESTERN NIGERIA

Abstract

In the past, housewives were anchors of Yòrùbá pre-marriage musicodynamic performances where the groom’s family members would be introduced and the bride price paid (ìdána). In contemporary era, Alága ìdúró and Alága ìjókòó have taken over the musicodynamic performances of housewives. Alága ìdúró and Alága ìjókòó (mostly women) are strategic conductors in contemporary traditional marriage ceremonies among the Yòrùbá. While several studies have discussed nuptial poetry and the processes of Yòrùbá traditional marriage, sufficient attention has not been paid to studying musical aspects of Alága ìdúró and Alága ìjókòó traditional marriage performances. This study, therefore, examined the musical dialogues that take place between Alága ìdúró and Alága ìjókòó, their musicodynamics negotiation styles and their use of song texts and drama in the negotiation. It analysed their musical structure, style and form.

Rowel’s negotiation and Preston’s continuity and change theories provided the framework, while an exploratory design was adopted. Twenty-eight engagement ceremonies were observed using non-participant observation. A total number of 120 interviewees within Southwestern Nigeria were randomly selected: Ibadan (22), Eruwa (six), Ogbomoso (eight), Abeokuta (four), Ijebu-ode (eight), Ondo (six), Akure (six), Owo (four), Osogbo (six), Ife (six), Ado-Ekiti (ten), Alimoso (eight) and Agege (six), Lagos Island (20). Interviews were conducted with 13 key informants (eight older women, 60 years and above, who had taken part in musicodynamics performances of housewives in the past and five Alagas who are executive of the Association of Professional Wedding Engagement Consultants), in-depth interviews with 51 informants (47 female and four male Alágas), and 56 guests at marriage engagement ceremonies. Eight sessions of Focus Group Discussions were conducted with Alágas. One hundred songs were sampled and notated, while recorded performances were interpreted, songs were transcribed and translated into English. Data were subjected to structural, content and ethnographic analysis.

The Yòrùbá traditional marriage ceremony is generally referred to as engagement. Alága ìdúró is the marriage chairperson for the groom’s family, while Alága ìjókòó is the marriage chairperson for the bride’s family. Alága ìdúró and Alága ìjókòó employ music negotiation styles of reticence, collaboration, competition and compromise. Their performances involved songs, dance and drama. Through these media, they communicate with, and entertain the audience. Commonly used instruments in performances are gángan, àkúbà and dùndún drums. Songs are used as means of dialogue to reveal different stages of engagement ceremonies (arrival of the groom, arrival of the bride, presentation of marriage proposal and acceptance). Structural analysis of their compositional techniques reveals forms and structures such as; rhythm, scale patterns, vocal styles, speech patterns and harmonic principles. Alága ìdúró and Alága ìjókòó songs are solo, call and response, and antiphonal forms. Scales employed are pentatonic, hexatonic and hemiotonic. The melodic contours are oblique, cascading, ascending, sequential and irregular contours, while the rhythmic structures are trochaic and iambic.

Alága ìdúró and Alága ìjókòó are agents of musicodynamics in Yòrùbá traditional marriage. Their performances are essential in the preservation of Yòrùbá traditional marriage institution.