The (Mis)Representation of Ejeagha's Folkloric Song on Social Media

Abstract

Cultural appropriation remains a critical issue in the online circulation of folkloric songs, often leading to the distortion of their original meanings and contexts. This paper investigates the representation—and misrepresentation—of Nigerian folk songs on social media, focusing on Mike Ejeagha’s Gwo Gwo Gwo Ngwo. While cultural appropriation has been widely discussed in global media, limited attention has been given to the ways social media reshapes the interpretation of Nigerian folk songs, creating a significant research gap. Anchored in Stuart Hall’s encoding/decoding theory, this study adopts a case study approach supported by content analysis to examine the 1983 track Ka Esi Le Onye Isi Oche from Ejeagha’s album Akuko N’Egwu (Vol. 1). The goal is to assess how social media platforms may erode or trivialize the culturally embedded messages in traditional folk songs. Findings reveal that the original song emphasizes values such as wisdom and intelligence over brute strength. However, its reemergence on social media—popularized by comedian Brain Jotter—centers largely on its danceable rhythm and comedic appeal, overshadowing its deeper cultural meanings. This trend exemplifies how social media’s pursuit of entertainment and virality often misaligns with the moral and cultural values rooted in folk arts. The study argues that such reinterpretations contribute to a broader erosion of cultural integrity, risking the loss of nuanced traditional messages. It concludes with a call for culturally sensitive digital practices that preserve the authenticity of Nigerian folk arts. To balance preservation with digital reach, deliberate strategies must be adopted to ensure that the messages inherent in folk songs are transmitted accurately, even as they gain popularity on contemporary platforms.