A Critique of Western Influences on Local Identities: The Case of Ekobe Music of Ibusa

Abstract

In the evolving landscape of Nigerian music, the encounter between local traditions and global influences has produced both opportunities and tensions. The spread of Western musical styles, instruments, and production techniques has created a vibrant cultural exchange, but at the same time, it has raised concerns about the homogenisation of indigenous genres. This study examines Ekobe music of Ibusa, a traditional ensemble with deep ritual and social functions, as a case through which to explore these dynamics. Ekobe, once performed almost exclusively during funerals and other community rites, has gradually incorporated Western elements such as drum sets, guitars, and electronic keyboards. These changes have expanded its visibility beyond Ibusa, allowing it to feature at weddings, festivals, and other secular events. Yet, they have also provoked debate within the community, particularly between older custodians who emphasise authenticity and younger musicians who embrace innovation. The research employed a qualitative methodology combining historical reconstruction, participant observation, semi-structured interviews, and review of secondary sources. Findings reveal that Ekobe now exists in a hybrid form that embodies both resilience and fragility. While adaptation has allowed the genre to survive in the competitive cultural marketplace, it risks losing the distinctive features that once grounded it in Ibusa’s identity. The study argues that the future of Ekobe—and by extension, other indigenous Nigerian forms—depends on striking a careful balance between preservation and innovation. It recommends greater emphasis on education, policy support, and community-driven archiving to ensure that traditional music remains a living heritage rather than a commodified relic. Ultimately, the study highlights the importance of conscious negotiation in sustaining cultural identity within an interconnected world.