Voices of Ibusa: The Evolution of Traditional Musicians and Their Vocal Craft

 Voices of Ibusa: The Evolution of Traditional Musicians and Their Vocal Craft

By Emeka Esogbue

Ibusa, an Anioma community in Delta State, enjoys a rich reputation for producing numerous traditional musicians. What began as Otu (musical groups) eventually evolved into solo performances, defining musicality in the community. Ibusa’s fame in music was such that when Dr. Nnamdi Azikiwe visited during his electoral campaign, he remarked, “Igbuzo bu Congo,” aptly comparing the people of Ibusa with Congo, a nation renowned for its musical excellence at the time.

Among the most remarkable of these musicians are the legendary John Nwanze Nwabuwa, popularly known as Nwanze Nwagbodi, leader of the Otu Ifechukwude Dancing Group of Ibusa and believed to be the first man from the community to record an album in 1970 after the civil war; Dana “Agility” Okonji, leader of the famous Otu Mbonsi Onyenwu Obulunjoa Dancing Group; Ogbogu Okonji, Etiti Okonji (his cousin), Onyeoma Diyoyo Okafor, Uche Nwalama, and Iweanya Nwalama, among several others too numerous to mention.

Each of these modern musicians possesses a distinct style, ranging from the earliest forms of Anioma traditional music to modern sounds often fused with highlife influences. The transition from traditional instruments such as agogo, ududu, gong, and isaka (maracas) to modern instruments like the guitar, drums, and keyboard reflects the evolution of Ibusa’s musical culture. Earlier musicians such as John Nwanze Nwabuwa specialized in Uloko, Idegbani, and Agbalani genres, while contemporary performers like Ogbogu Okonji have leaned more toward highlife though he still calls it Ekobe, a modernized Ibusa genre. Indeed, Nwabuwa appears to be the only Ibusa traditional musician to have recorded the Idegbani genre in an album.

Interestingly, despite being a relatively small community, Ibusa has produced many musicians who have performed together in Otu groups at various times before branching out on their own or collaborating across different bands. For instance, Onyeoma Diyoyo Okafor once had Chris Izuka Mozea, Austin Dumebi Nwokolo, and Atoh Okonkwo as his vocalists during his Akalusia Abana days. In his present Anioma Heritage Band, his backup singers include Chief Anthony Akpala, Ndubuisi Ogbuenyi, and the ever-consistent Atoh Okonkwo, his oldest vocalist.

It becomes even more fascinating to learn that Diyoyo Okafor was once a backup singer for Etiti Okonji, who himself had earlier served as a backup singer for Ogbogu Okonji. Similarly, Iweanya Nwalama, who began as a supporting vocalist to his legendary brother Uche Nwalama, rose to become one of the most admired modern Ibusa traditional musicians of his time. The late Ifechukwude Nwaokocha was another powerful vocalist who backed Ogbogu Okonji until his passing, just as Joe Okafor honed his vocal skills under Ogbogu before establishing his own band.

One of the beautiful aspects of Ibusa music is its cultural inclusiveness. Although the bands are Ibusa-based, their members often come from other Enuani communities, showing the deep cultural kinship shared among the Enuani people while distinguishing them from others around them. Joe Okafor, for instance, hails from nearby Asaba but was once a backup singer for Ogbogu Okonji. Chief Akpala from Ebu sings for Onyeoma Diyoyo Okafor. The Otu Mbonsi Onyenwu Obulunjoa Dancing Group of Ibusa was particularly known for its heterogeneous Enuani membership. In fact, Ibusa, Asaba, and Okpanam have long shared a strong bond in musical performances, making albums and the late Uche Nwalama's band is a testimony. Born to Ogboli-Ibusa parents, he was based in Asaba. There was also Nwadei Eseagwu with the album, Omalu Onye Na Egbua with the Delta Brothers Cultural Dance Band, populated with Ibusa natives.

Traditionally, a typical Ibusa musical ensemble featured three vocalists—the lead vocalist, the first supporting singer, and the second supporting singer. The lead singer carried the melody, the first supporting singer harmonized, and the second provided the akpata onu (commentary or interjectional response). This was the standard structure in earlier musical groups. However, in contemporary times, the duties of supporting singers have evolved beyond merely echoing the lead. They now enrich the overall sound with harmonies, storytelling, and rhythmic embellishments.

In the Enuani musical tradition, backup singers blend harmoniously with the lead vocalist to create a textured, layered sound. Together, they form a musical dialogue, as beautifully demonstrated in Ogbogu Okonji’s performances with his vocal ensemble. Many listeners, however, find special delight in the akpata onu interjections of Onochie, whose proverbial expressions evoke ancestral wisdom and spiritual nostalgia.

Within the Mbonsi Onyenwu Obulunjoa Group, listeners fondly recall the storytelling style of Mada, the Umueze backup singer known for his rich use of proverbs. For years after the release of their hit album Nkwuka Special, fans debated the meaning of his famous line: “Obu na chim kwu na ngaa la ogodor, oka je na ide gaa epu”—a phrase rooted in his personal experience and now treasured by his audience. In the same group, Otangwulor, the second backup singer, was famed for his chants, refrains, and call-and-response delivery in pure Enuani style. His spontaneous ululations, rhythmic interjections, and lively anecdotes such as recalling how they were once served rice during a performance at Akumazi gave the group’s music its cultural flavour and authenticity.

Perhaps Otangwulor stands out as one of the finest musical storytellers in Enuani music, embodying both musical and cultural roles, reinforcing the performer’s message while interpreting it through traditional expression. Over the years, Ibusa music has thrived on such memorable pairings: Agility and Mada, Ogbogu Okonji and Ifechukwude Nwaokocha, Ogbogu Okonji and Joe Okafor, each combination leaving its own legacy.

Yet, if one were to choose, the partnership between Ogbogu Okonji and Etiti Okonji arguably represents the pinnacle of Ibusa traditional music. Their collaboration, later reunited under the patronage of Alhaji Emeka Ajukwu, produced the unforgettable album Ajukwu Special, which revived the spirit of Otu Ife Onye Lolu Nwa Nmadu before their final split. It remains, to this day, one of the most played and celebrated Ibusa traditional albums, an enduring testament to the power of unity, artistry, and cultural pride.

About the Author

Emeka Esogbue is a historian, writer, and cultural researcher from Ibusa. Renowned for his documentation of Anioma history, he is dedicated to preserving the stories, people, and traditions that define Anioma and its heritage.