Bibliographical Sources on Music Therapy in Nigeria

By Charles Onomudo Aluede

Introduction

Nigeria is situated in the western part of the African continent. It has a population of about one hundred and forty million people (National Population Commission, 2007) spread unequally over thirty six states and a federal capital city. Nigeria is believed to have over three hundred and fifty ethnic groups with separate cultural identities. It is bounded on the North by Niger Republic, South by the Atlantic Ocean, East by Cameroon and West by the republic of Benin. Below is a map of the study area, Nigeria.

Figure 1: Map of Nigeria indicating the region of the researcher.

There is paucity of information in music therapy in Nigeria. The use of music for healing purposes can be attested to by many Nigerians. There is therefore, no need to be ignorant of the contributions of Nigerian scholars in this area. There appears to be a slow growing body of literature on the therapeutic potency of music today which is written by Nigerians and Nigerians in the Diaspora.

The purpose of this review is to provide an up to date data on the studies so far done in the field of music therapy in Nigeria. By doing this, resource materials would have been provided which will serve as introductory reference materials for reference persons genuinely interested in the field.

The methods used in this research are diverse. In the first case, manual library search for relevant materials was done, chance talks with certain individuals were held and this later led to some interviews, which were held physically and through the telephone. To enrich the quality of information gathered, an intense electronic search was carried out to elicit information on current works by Nigerians on music therapy. In the same vein, electronic mails were sent to members of the Association of Nigerian musicologists using the current directory to make enquiries on their levels of research studies in music therapy. What follows below is the evaluation of the literature gathered and its subsequent evaluation.

This bibliography cannot claim to be very comprehensive. After all, as this work is being compiled right now, a lot of people are still on their desks, viewing and reviewing old and new aspects of the different music healing traditions in Nigeria. With very few exceptions, works provided are those authored in the last three decades. It is hoped its users who wish to find more information on specific aspects of music healing will find interest in them.

Before dwelling on the subject matter of this work, it is vital to first of all define music therapy. Music therapy, as for instance the Canadian Association for Music Therapy (CAMT) has defined it, is the skilful use of music and musical elements by an accredited music therapist. It is a discipline which combines the use of music with the personal qualities of the therapist as a treatment for rehabilitating, maintaining, and improving the lives of persons with emotional, cognitive, social, spiritual, psychological and physical needs. The use of music for healing in Nigeria is a very old tradition. This music healing tradition has been in oral form and it is practised primarily by the traditional people. Nigerian researchers are often taken aback at the paucity of information relative to music therapy in a country where every one has one or two instances to give on how music was used in rehabilitating or healing a neighbour, friend or relation. Beyond the fact that over half of Nigerian population is illiterate persons whose records are hardly ever documented, the dearth of materials on music therapy is further worsened by a lot of people who feel that music therapy is illusionary. This view is often expressed in comments such as: Are we not over stretching the potency of music? Can music do all these that are being ascribed to it? If music is used along side any oral item like anointing oil as used in most Pentecostal churches, can’t the oil be seen as material medica? If music accompanies any healing ritual, how do we measure the level of contribution of the music used or the ritual in healing? Put differently, canÂ’t what is thought of as material medica be placebo? That issues of these magnitudes are being raised in Nigeria is indicative of a burning desire to further carry out investigations into music healing tradition of a people which have about three hundred and fifty ethnic groups (Elugbe, 2000). In appreciation of the issues mentioned above, this paper documents research studies reports, essays and experiments so far carried out in the field of music therapy. It is the view of this researcher that this step will broaden horizon, reduce duplication of ideas, enhance scholarship and further unveil the available literature in this field. What follows below in this segment are brief author bios and summaries of the references in terms of context and content of work.

Annotated List of Bibliographical Sources

Adedeji, F. (1998). The Theology and Practice of Music Therapy among Nigerian indigenous Churches: Christ Apostolic Church as a Case Study. Journal of Arts and Ideas, 1, 34-55.

Dr. Femi Adedeji obtained a PhD in Ethnomusicology from the Institute of African Studies, University of Ibadan, Nigeria. He is a lecturer in the department of Music, Obafemi Awolowo University, Ile-Ife, Nigeria.

His article traced the historical development of music therapy to the antiquity period as it is discovered in the Bible to have been used by the Jews and Greeks. The paper further analyses the doctrinal beliefs and practices in an indigenous church, Christ Apostolic Church (CAC). While itemising the ailments often treated in the church, he remarks that God uses diverse means to heal in the church and that prayers, music, water and anointing oil are used to bring healing.

Agwu, K.K. & Okoye, I.J. (2007). The effect of music on the anxiety levels of patients undergoing Hysterosalphingography. Radiography, 13(2), May 2007, 122-125.

Dr. K.K. Agwu is of the Department of Radiography and Radiology, College of Medicine, University of Nigeria, Enugu Campus. Dr. I.J. Okoye is of the Department of Radiation Medicine, College of Medicine, University of Nigeria, Enugu Campus.

In this paper the researchers posited that music has the propensity of reducing anxiety in patients undergoing Hysterosalphingography – an invasive radiodiognostic procedure.

Dr. C. O. Aluede was trained at the then Bendel State university Abraka campus and the University of Ibadan, Nigeria where he had his Ph.D in Ethnomusicology.

In his assessment of healing in traditional practices and Pentecostal churches, he remarked that the principles are the same. In the first case, the church members are products of the same African culture. Today in such churches, there are elements of syncretism; these elements are seen in music healing, the use of anointing oil or palm kernel oil, use of holy water, water baptism in the river and occasional river visiting and prophetic pronouncements during worship.

“Music therapy in traditional African societies” addressed issues relating to the historical genesis of the art of music healing in Nigeria and points out from the researcher’s community how it was then common knowledge among even children in their early lives. This work can be accessed through www.krepublishers.com.

In “Music and Dance Therapy in Nigeria” the author duo examined the present status of music therapy in Nigeria and offered some suggestions on the immediate needs or what is required of potential Nigerian music therapists. This contribution could be accessed from http://www.voices.no/mainissues.

Music as Therapy by The Iyayi Society of Edo Sate, Nigeria is a PhD Thesis submitted to the Institute of African Studies, University of Ibadan, Nigeria. It a descriptive account of how music and some other rituals are used by the Members of the above named traditional religious society in bringing about healing for members and non-members. The research reported case studies such as insomnia, spirit possession, labour pains, barrenness and other general debilities and the role of music in the healing exercise.

In “Healing in The Bible” the authors used many excerpts in the Bible to show how music was therapeutically used. They discussed the musical instruments used and explained what may have informed such choices. At the end they gave suggestions to Nigerian music therapists on the lessons to learn from such Biblical accounts in organising music therapy activities. This work could be accessed from www.krepublishers.com .

The last paper by C. O. Aluede and E. O. Eregare investigates the text of the songs in Iyayi Society and examines its relationship with therapy. Through an in depth textual analysis of some of their songs, the paper concludes that beyond the personality of the healer, the nature of the musical instruments and the symbols used in healing, words with which songs are crafted also have therapeutic potency. Consequently, learning from the examples of the Iyayi society and in an effort to promote music therapy in the country, music healers need to know that words of songs are psychotherapeutic and should be put in good use to improve the well-being clients.

Elder, J.D. (1976). African Traditional Music and Ritual Healing: A matter for serious research. Symposium on Nigerian Traditional Music, Institute of African studies, University of Ibadan.

Dr. J.D. Elder was a Tobagonian scholar whose work was on promoting the historical and cultural links between Africa and the African Diasporas. He was a visiting scholar to the Institute of African Studies, University of Ibadan Nigeria at a time. It was during his visit as a research fellow that he presented this paper in a symposium held in the same institute.

In this paper, he says that the ritual healing of disease in black society is widespread and that the Island of Tobago has retained the art just as it is in Africa. He observes that the roles and relationships of music in the healing of diseases ought to receive more attention than the existent texts seem to suggest. Consequently he says the implication of the observation is that the music ethnographer should either himself be trained in behavioural psychology or have at his disposal the services of a psychiatrist with whom he works in close collaboration.

Gbadegesin, E.O. (2003). Textual interpretation of therapeutic songs used in Nigerian hospitals: a case study of Obafemi Awolowo University Teaching Hospitak Complex, Ile-Ife. Nigerian Music Review, Volume 4.

Mr. E.O. Gbadegesin holds a Master of Arts degree in Religious studies and is presently on a doctorate programme. He lectures at the Obafemi Awolowo University, Ile-Ife, Nigeria.

His study examined texts of music in healing.

Idamoyibo, A.O. (2007). Therapeutic Songs used in Yoruba Christian Healing Homes: The Cherubim and Seraphim Church of Oshogbo as a Case Study. Nigerian Music Review, 7&8, 13-25.

Dr. A.O. Idamoyibo lectures music at the Delta State in University, Abraka, Nigeria.

Just as it is with GbadesinÂ’s work, this paper also presented a repertoire of therapeutic relevance used in an African spiritual church in western Nigeria.

Iyeh, M.A. & Aluede, C.O. (2006). An Exploration of the Therapeutic Potency of Music in Ichu-Ulor Festival of Asaba People. Nigerian Journal of Musicology, 1(1), 124-142.

Dr. (Mrs) M.A. Iyeh holds a doctorate degree in Dance Studies from the Institute of African Studies, University of Ibadan, Nigeria. She teaches dance studies currently at the Ambrose Alli University, Ekpoma, Edo State, Nigeria.

In this study of Ichulor festival, the duo reveals that beyond music healing for individuals, music is also used as a tool of ritual cleansing of impurities in the land. Some selected songs were notated and translated.

Dr. A. E. Mereni lectures music at the Department of Music, University of Lagos, Akoka - Lagos Nigeria. He was trained in Florence – Italy, Austria and Germany. Dr. A.E. Mereni absolved his music therapy practices under Frau Dr. Posch in the Salzburg Neurological hospital, Austria. He is a member of British Society for Music Therapy and Association of Nigerian musicologists to mention but a few.

Mereni observes that African world views on disease causation are in no way connected with modern western scientific notions of aetiology. As a result Africans have developed ways of coping with ailments which reflect the socio-cultural and ethical – religious dimensions of their accepted origin. He observed that these traditional music healing rituals have successfully worked in relation to Ci rima syndrome – an affective disorder among the Irigwe women of Plateau state, Nigeria and Agwu syndrome, which is similar to Mami water-spirit possession. His two books: Music therapy in medical history and Music therapy, concept, scope and competence are major contributions to the literature in Nigeria. In the former he addresses the history of music therapy from the earliest times to twentieth century, where he discusses dimensions of music therapy, indication for music therapy and the training needs. In the latter, he addresses the nature of the discipline, the diagnostic tools, and fields of application.

Mokwunyei, J.N. (1997). A Comparative Profile of Music and Healing in Two African Locations: Nigeria and Ghana. International Centre for African Music and Dance. University of Ghana. Sept. 3 - 5.

Dr. J.N Mokwunyei lectures music in the department of Theatre and Mass Communication, University of Benin, Edo State Nigeria.

Her work deals with the comparative study of music healing tradition in Akan Society in Ghana and the Igbo society of Eastern Nigeria. She came to the conclusion that both societies have common beliefs in their concept of illness and spirit medium. She suggests that Music therapy in Africa requires a critical review so that its positive attributes could be channelled into constructive use in contemporary contexts.

Nwokenna, E.N. (2006). Music Therapy Intervention in the Emotional and Behavioural Difficulties of the Child: A Social Commitment in Nigeria. A paper Presented at the Sixth Annual Musicological Society of Nigeria Held Between 9th to 13th May, 2006 at The Nnamdi Azikiwe University, Awka, Nigeria.

Mrs. E.A. Nwokenna is of the Department of Art Education, University of Nigeria, Nsukka.

Her paper says music therapy is an established arm of health profession which addresses the physical, emotional, cognitive and social needs of individuals of all ages. The work suggests how the music therapist should use music to facilitate positive changes in the behaviour and emotional well being of individuals.

Professor Meki Nzewi studied Ethnomusicology at QueenÂ’s University, Belfast. He is presently in the department of Music at the University of Pretoria.

In the works above, he says that music in Africa is healing and what is music therapy other than some colonial import? Why is music therapy separate from music – making? Why is it calling itself thus in South Africa, instead of imbibing African music healing traditions? He discusses African knowledge of sickness and the role of initiatory sickness in trying to become an African healer. He posits further by saying that music in Africa could serve as preventive medi-care (prophylactic treatment) and could also be used to heal the land if it is polluted.

Omibiyi-Obidike, M.A. (1998). Music and Healing Among the Yoruba. Arts in The Service of Medicine, African Notes. 22 (1x2), 1-53.

Professor, M.A. Omibiyi-Obidike studied at the University of California, Los Angeles and had her PhD in 1972. She is fondly called Mama – mother, because of her academic mentorship. She has served in very many capacities in the uplift of musical arts in Nigeria, her country. Over half of the present day Nigerian music scholars were at different levels her student. She has also served as the director of the institute of African studies, University of Ibadan, director, Nigeria secretariat of the International Centre for African Music and Dance (ICAMD) and president Association of Nigerian Musicologists.

Her work examines the use of music, chants and associated rituals in bringing about healing. Selected songs were notated and translated into English to enhance the readerÂ’s appreciation of to song texts so as to be able to have a good idea of their relevance in healing. The Yoruba community of western Nigeria was used as a case study.

Welton, M. (1968). The Functions of the Song in Olokun Ceremony. Nigeria Magazine Sept/Nov. 98, 226-228.

Just like J.D. Elder, M. Welton was a foreigner who did a lot of ethnographic studies in Benin, Nigeria. In his study of Olokun songs, he analysed the songs under the categories of praise, supplicatory and didactical. He however remarked that it is difficult to neatly classify them as some of the songs contain elements which may make them fall into more than one of the categories. In what he classifies as praise songs, he translated the native text in English thus:

Text in Bini   Uwu ghi gbe mwen; Emiamwen ghi gbe mwen; Do, orimwian do orimwian

Text in English   Death will not kill me; sickness will not kill me; hail Olokun

He gives further clarification when he says, the Bini believe that evil spirits cause sickness and Olokun is able to protect one from ill health. The song above is used to restore healthfulness prophylactically, heal ones environment and more importantly, this song is also one of OlokunÂ’s healing songs for people troubled by spirit possession.

Some General Observations

Arising from the references above, certain issues require some good measure clarifications, they are:

1. The leanings or tendencies of authors in the literature
2. The relationship between music healing and music therapy and
3. The most pertinent areas of future development.

The Leanings or Tendencies of Authors in the Literature

In discussing the tendencies in literature, a critical assessment of the references so as to know where their researches tilt is important. Studies on the use of music to heal in Nigeria are still at the embryonic stage. Of the works documented in this paper, all but one of them dwell on: (a) The historical and sociological accounts of the use of music in healing among some ethnic groups in Nigeria. (b) Song texts and their relevance in music healing rites. In addition there are also a few case study reports on traditional music healing activities and music healing in some African churches. The work of Agwu and Okoye (2007) may be considered as the only quasi-scientific study on the use of music therapy so far in the literature. However, these co-authors did not synergise with any music personnel and this too leaves one in some doubt, because beyond the numbers of contact sessions and musical types performed factors such as choice of instruments and the cultural backgrounds of the patients would also have been necessary to take into consideration.

The Relationship between Music Therapy and Music Healing

Mereni (2004, p. 1) says that the key word in the definition of music therapy proposed by Juliette Alvin, who is the founder of British Society for music therapy, is that it is the controlled and reasoned use of music in the treatment and rehabilitation of those affected by physical, mental and psychic ailments of various sorts. He says controllability is one of the principal marks of scientific process and that controllability is one of the major differences between the chance healing one can gain from a musical activity and a music therapy intervention. He remarks further that it is also one of the major differences between music therapy as a scientific practice and the traditional music healing practised in various cultures of the world today. From the remarks above, it could be said that professional music therapy is scientific while music healing as it is presently is yet to lend itself to scientific process. It is important to add here that the arts have always been the foundation of science and so within the framework of this discourse, the scientific process should be seen to include the humanities and the social sciences since the clientÂ’s cultural values and social practices are important components in music healing.

The fate of music healing in Nigeria is compounded by a lot of factors such as absence of an ideal name of this potential body, absence of a registered professional body, absence of standardised training and development of members, etc. These issues are discussed in detail in the segment below which is captioned the most pertinent areas of future development.

The Most Pertinent Areas of Future Development

The Need for an Ideal Nomenclature

Music therapy in Nigeria has been closely knitted with religious practices. This is why one can easily see the different shades of African music performing healing functions. Reporting Meki; Pavlicevic (2001, p. 1) says that music in Africa is healing and what is music therapy other than some colonial import? Why is music therapy separate from music-making? Why is it calling itself thus in South Africa, instead of imbibing African music healing tradition. In Nigeria, more than a few variables in disease causation must be recognized. Music therapy as a general nomenclature is not bad but if the name is to be adopted in Nigeria, its scope must be enlarged to entail culture cum clinical approaches. In Nigeria, there are some forms of musical retreats to cleanse the land and strengthen its dwellers. This action is seen as prophylactic treatment for inhabitants of a particular locale. Sharing a similar opinion, Nzewi (2002, p. 2) remarks that:

Preventive health includes scheduled and mandatory environmental cleaning avoidance rites to ward of evil forces (human and of spirit mien), as well as constant musical arts theatre that coerces mass participation, annual group spirit purgation music-drama (New year rites, compound hygiene etc.) (Nzewi, 2002, p. 2).

The quest for an acceptable nomenclature of what music healing should be called in Nigeria and the need for the training of the music therapist will be major determinants in the definition and development of the curriculum for the training of the individuals who will function in the society. The said real needs should embrace the cultural realities of the people the music therapist is to serve. Human resources application demands the evolution of culturally relevant models of training. This aim has become very vital because of palpable lapses/differences in western/African ideas of disease and its causation if put side by side.

The Need for Professional Registration of Nigerian Music Therapists

There is a need for a professional body to regulate or moderate the activities of practitioners, aside regulation of activities, the professional body should strive to assume a status as high as the Nigeria medical or Dental association. This body should have a directory of all its members and areas of specialty, identify the latest trends and techniques in the field and also share with its members through seminars, workshops and conferences as often found with most professional bodies. Provisions should also be made for professional members and student members to take part and gain from its activities.

Examining the state of Music and Dance therapy in Nigeria, Aluede and Iyeh (2008) advocated the formulation of substantive healing theories of and practice in music/dance therapy, government support in the design of curriculum for training potential music therapists and establishment of centres or institutes for music therapy. However, we must be seen to have started something before looking for government, private and public sector assistance. To avoid duplication of efforts and unnecessary parallelism in researches, as may have been noticed presently, every music therapist should endeavour to be information communication technology (ICT) compliant. If individual break through are hoisted on the net, other potential researchers will be abreast with the works so far done, what stage we are and what has been undone. To attest to the therapeutic potency of music is important but to carry out researches to substantiate the therapeutic potency of music in Nigeria is more important.

References

Adedeji, F. (1998). The Theology and Practice of Music Therapy among Nigerian indigenous Churches: Christ Apostolic Church as a case Study. Journal of Arts and Ideas, 1. 34-55.

Agwu, K.K. & Okoye, I.J. (2007). The effect of music on the anxiety levels of patients undergoing Hysterosalphingography. Radiography, 13(2), May 2007, 122-125.

Aluede, C.O. (2005). An Assessment of healing in Traditional African Belief and Modern Day Pentecostal Churches. Nigerian Journal of Christian Studies 1.(1), 93-106.

Aluede, C.O. (2006). Music therapy in traditional African Societies: Origin, Basis and Application in Nigeria. Journal of Human Ecology. India. 20 (1), 31-35.

Aluede, Charles O. & Iyeh, M. A. (2008) Music and Dance Therapy in Nigeria: The Task before the Potential Nigerian Music Therapists in the Twenty First Century. Voices: A World Forum for Music Therapy. Retrieved April 3, 2008, from http://www.voices.no/mainissues/mi40008000257.php

Aluede, C.O. (2008). Music as Therapy by The Iyayi Society of Edo Sate, Nigeria. Ph.D Thesis at the Institute of African Studies: University of Ibadan, Nigeria.

Aluede, C.O. (2009). Healing in The Bible: Its Scope, Competence and Implication for Nigerian Contemporary Music healers. Journal of EthnoMedicine.

Aluede, C.O. & Eregare E.A. (2008). Music Therapy and Language: An Examination of The Therapeutic Potency of Selected Iyayi Songs of The Esan, Edo state, Nigeria. A conference paper presented at the 8th National Conference of the Association of Nigerian Musicologists (ANM) department of Music Adeniran Ogusanyan College of Education Otto/Ijanikin on 2nd – 6th June 2008.

Elder, J.D. (1976). African Traditional Music and Ritual Healing: A matter for serious research. Symposium on Nigerian Traditional Music, Institute of African studies, University of Ibadan.

Elugbe, B.O. (2000) Nigerian Pidgin: Background and Prospects. Ibadan: Day Star Publishers.

Gbadegesin, E.O. (2003). Textual interpretation of therapeutic songs used in Nigerian hospitals: a case study of Obafemi Awolowo University Teaching Hospital Complex, Ile-Ife. Nigerian Music Review, Volume 4.

Idamoyibo, A.O. (2007). Therapeutic Songs used in Yoruba Christian Healing Homes: The Cherubim and Seraphim Church of Oshogbo as a Case Study. Nigerian Music Review, (7&8), 13-25.

Iyeh, M.A. & Aluede, C.O. (2006). An Exploration of the Therapeutic Potency of Music in Ichu-Ulor Festival of Asaba People. Nigerian Journal of Musicology, 1(1), 124-142.

Mereni, A. E. (1997). Philosophical Foundation of Traditional Music Therapy in African Culture. Conference paper: International Centre for African Music and Dance. University of Ghana. Sept. 3 - 5.

Mereni, A.E. (1997). Kinesis and Kartharsis Traditional African concept of second/motion: its implication for and application in music therapy. British Journal of Music therapy. 10. (1&2), 78-90.

Mereni, A.E. (2004). Music Therapy, Concept Scope and Competence. Lagos: Apex Books Limited.

Mereni, A.E. (2004). Music Therapy in Medical History. Lagos. Apex Books Limited.

Mokwunyei, J.N. (1997). A Comparative Profile of Music and Healing in Two African Locations: Nigeria and Ghana. International Centre for African Music and Dance. University of Ghana. Sept. 3 - 5.

National Population Commission (2007) www.population.gov.ng. Retrieved 20th June 2008.

Nwokenna, E.N. (2006). Music Therapy Intervention in the Emotional and Behavioural Difficulties of the Child: A Social Commitment in Nigeria. A paper Presented at the Sixth Annual Musicological Society of Nigeria Held Between 9th to 13th May, 2006 at The Nnamdi Azikiwe University, Awka, Nigeria.

Nzewi, M. (2002), Backcloth to Music and Healing in Traditional African Society. Voices: A World Forum for Music Therapy. Retrieved April 3, 2008. http://www.voices.no/mainissues/Voices2(2)nzewi.html

Nzewi, M. (2006). African Music Creativity and Performance: The Science of the Sound. Voices: A World Forum for Music Therapy. Retrieved December 3, 2007, from http://www.voices.no/mainissues/mi40006000199.html.

Omibiyi-Obidike, M.A. (1998). Music and Healing Among the Yoruba. Arts in the Service of Medicine. African Notes. 22 (1x2), 1-53.

Pavlicevic, M. (2001). Music Therapy in South Africa Compromise as Synthesis? Voices: A World Forum for Music Therapy. Retrieved April 3, 2008. http://www.voices.no/mainissues/mitext11pavlicevic.html

Welton, M. (1968). The Functions of the Song in Olokun Ceremony. Nigeria Magazine Sept/Nov. 98, 226-228.