
IQRA JOURNAL: Theological and Religious Studies 

Volume: 3  Issue: 6  December 2023 

www.iqrajournal.net 
  

The Influence of African Traditional Religion on Modernity: A Case Study of Ifá 

Divination and Contemporary Gospel Music in Yoru ̀bá Society, Nigeria  
 

 Olálẹ́ye ̣ Samuel Káyọ̀dé, PhD 

Department of Religious Studies, 
University of Ìba ̀dàn ̩ 

and 
Olúwátóyìn Adébó̩lá Gba ̀dàmó̩s ̩í 
Department of Religious Studies, 

University of Ìba ̀dàn ̩ 
  

  Abstract 

  This paper seeks to examine the influence of African traditional religion on modernity 
in relation to music which is a universal language that everyone, old and young understands. 
Regardless of the population, every community in the world can boast of one form of music or 
the other especially traditional music. It is a social and religious activity that fosters and 
reinforces communal unity. Unfortunately, the attitude the contemporary Yorùba ́ people are 
displaying towards traditional music is not favourable enough, most especially gospel music in 
Yoru ̀ba ́ society. They are either unaware or pretending to be unaware that elements of these 
African traditional music form the basis of and can still be found in their music, particularly Ifa ́ 
music and verses. However, the most unfortunate aspect of the issue is that if these songs are 
rendered by the traditionalists, they are frowned at but nothing seems bad if they are found and 
sung in gospel music. The questions one may ask then are: why the critique that these songs are 
‘Orin ayé’[worldly music] when these same songs are found or sung  in a different forms and 

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atmosphere? Are they not passing same message across to the same audience? These are some 
of the questions that this paper tries to address. Textual analysis of some selected Ifá verses and 
songs were done. Also, ten Ifá priests and ten gospel singers were interviewed and their 
responses content-analysed. The study discovered that, though music is in multicolour form 
(different religious perspectives), yet, it should be realised that music, regardless of its 
background is out to achieve the goal of communicating moral teaching and educate the society 
in diverse ways beyond entertainment as shown in some of the examples cited in the paper. 

  Keywords: African Traditional Religion, Gospel Music, Ifá Divination, Modernity, 
Yoru ̀ba ́ Society   

 
Introduction 

Music is one of the instruments that are used togladden and lift the soul of man 
particularly when the spirit of man is depressed. It can also be used to supplement joy 
and happiness in the life of man. Music can also produce both positive and negative 
results during wars. It can be used to uplift the spirit of the fighters to the level that 
they would be ready to die for their communities. Also, it can be used to dampen the 
morale of the opponent to the level of defeat. There are countless examples of this in 
Yoru ̀bá intra-wars. A very good example was Ijaye and Ibadan wars. The Egba people 
were assisting Kurunmi, the Aare Onakakanfo to win the war. When the oníra ́ràand 
Ọ̀yo ̣́ drummers realised that Egba people were winning the war, they went into the 
midst of Egba warriors, and started drumming and singing with their talking drums 
that; Ìjàkótokòtonìja ̀ E ̣̀gbá.When Egba people heard this, they thought it was Ijaye 
drummers/singers that were abusing them. As a result, they reduced the tempo of 
their fight and the war ravaged Ijaye. Yorùba ́ music is believed traditionally to centre 
on folklore and spiritual/deity worship, utilising basic and natural instruments such as 
clapping of the hands, gong and Apoporo, a kind of ordinary wood.Playing music for a 
living was not something the Yorùba ́ did and singers were referred to in a derogatory 
term as Alágbe [beggar]. It is this derogation of musicians that made it not to appeal to 
modern Yorùba ́ at the time (https://en.m.wikipedia.org, 2021). However, today, music 
is a core of the entertainment industry, which is lucrative especially in big cities like 
Lagos, Ibadan, Akure, Ado Ekiti, Ondo and other cities in Nigeria.  

 
The Role of Music in the Yorùbá Society: Past and Present 
From time immemorial, music has been part of human society particularly in 

Yoru ̀báland. The saying, ‘inúdi ́dùnníím’óríya ́tàbíníímárayá wá’ sums it up because it is 
who that is happy that can sing and dance. Many things can call for celebration such as 
marriage, naming ceremony, promotion, burial of aged parents, traditional festivals, 
victory in battles, house-warming, installation of a new king, chieftaincy, and every 
success in human endeavour that calls for celebration. All these and many more are 
what the Yorùbá would celebrate with songs and dance. Although as earlier said 
above, playing music for a living was not a serious business in the past because 
initially, such people were looked at derogatorily as unserious and lazy types and were 
called Alágbe which is equivalent to beggars. However, as time went on, music became 
a profession of which some families took interest in. These are the Àya ̀n families in 
Yoru ̀bá society and they bear names like Ayantayo, Ayandele, Onilude, Onigbinde, 
Ayankojọ, Ayanwale and so on (Adeoye, 1979: 122).  

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Generally, music is a combination of drumming, singing and dancing in Yoru ̀bá 
society. Although each and every one of this amalgamation can stand independently, 
however, to get the best out of them all, the three must be combine. Again, the kind of 
song always dictates the kind of dancing steps. As there are different kinds of drums, 
so also there are many categories of songs and dance. Among the Yorùba ́ drums are 
Dùndu ́n, Sákárà Gángan, Òsírìgì Abebe Ajé, Àpíi ̀rì, Ìjẹbú, Àge ̣̀rẹ̀, Òs ̣ùgbó, Sàbáríkoto, 
Ki ̀rìbótó, Bàtákito, Kete, Ḳe ̣rẹ, Aràbà, Iya Ilu, Kẹri ́kẹrì, Kánna ́ngo ́ Gúdúgúdú, S ̣e ̣̀kẹ̀rẹ̀, Ìpe ̀sè, 
Ba ̀tá, AfereÀràn, Àgídi ̀gbo, etc (Daramola & Jeje, 1975: 171-178) 

Again, there are different kinds of songs such as Ikinrírọ́, Ra ́ra ̀ sísun, Ẹkúnìya ̀wó, 
I ̀jálá, E ̣̀sà pi ́pè, Igbálásísan, Aro ̀ dída ́, Olelemímú etc (Adeoye, 1979: 132-133). The brand of 
drumbeat and song determines the kind of dance that goes with the two. This also 
determines the kind of music that would be produced. In the past, there were 
Àpa ̀là,Dùndu ́n ati Sákárà, Wákà, S ̣e ̣nwe ̣lẹ, Eré Agogo, Bo ̣̀lọ̀jọ̀ and so on 
(https://en.m.wikipedia.org, 2021). In this modern time, there are other types of music 
like Fujithat emerged as an offshoot of Wéré music popularised by SikiruAyinde 
Barrister, Ayinla Kolliton, Dauda Epo Akara and GaniIrefin. There is also Juju 
Musicians like Tunde King, Tunde Nightingale, AyindeBakare, Orlando Owoh, Dele 
Ojo, I.K. Dairo, Moses Olaiya and also the likes of King Sunny Ade, Ebenezer Obey 
Fabiyi. We also have Afrobeat music where we found Fela Anikulapokuti. We also 
have highlife where Orlando Julius, Victor Owaifor and Victor Olaiya belong.  There is 
also reggae music of Bob Marley, Peter Touch, etc. In modern time, there is a kind of 
music known as hip-hop that we have the likes of Davido, Naira Marley, etc. 

As a result of foreign contact, other musical instruments were and are 
introduced to the Yorùba ́ music profession such as brass instruments, tambourine, 
electric guitar, accordion, saxophone, organ, trumpet, and vibraphones 
(https://www.umi1.com.uk,). As earlier said, each and every branch of music and 
musicians have their unique dance steps and styles dictated by the sound and songs 
from traditional music to the present hip-hop.     
 

The Elements of African Traditional Religious Music in African Modern 
Gospel Music  

Yoru ̀bá music is believed to be traditionally centred on spiritual and revolved 
round the deity worship. This may be true because this is evident in the types of drums 
mentioned earlier. For example, Òs ̣írìgi ̀ is the kind of drumbeat that chiefs dance to 
when celebrating chieftaincy titles. Abebe is used during Ọ̀s ̣àra ̀ festival. In Ondo city, 
Ùgbajì is the drum of Òs ̣emàwé’s Ìwàre ̣̀fà while Kunnbe is for the elders. Apiiri is for 
the traditional burials in Ekiti State and Òs ̣ùgbó is for the Ògbóni. Àge ̀re ̀ is the drum 
that the hunters dance to during rituals of Ìṣi ́pà Ọdẹ. Bata is for Sango worshippers 
while Agbogbo is used for Agbogbo festival in ArigidiAkoko. Araba is drummed for 
Ere festival, rites of passage and chieftaincy celebration in Akoko. Agba is for 
masquerade festival in Ilaje while Ajagbo is meant for Ajagbo festival in Akure. Gbedu 
is to announce the demise of a king and high-ranking chiefs. Ìgbìn is used in the 
celebration of Obatala festival. Ipese, Aran, Afére ́ and Agogo are instruments for Ifá́ 
worship and celebration (Olaleye, 1991: 99).  

Today, many of these drums and songs used for one traditional religious 
purpose or the other have found their ways to some of the foreign religions in 
Yoru ̀báland, especially, in Christian gospel music.  Among such drums are Bata, 

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Dundun, Gángan, Omeleako, Omele abo, Ìya ́ Ìlu ̀, Ku ́dí, Ke ̣ríkẹrì, Gu ́dúgúdú, I ̀s ̣aájú, Ka ́nnángo ́, 
Ṣe ̣̀kẹ̀rẹ̀, Be ̣̀mbẹ́ and Agogo.(Opadotun,1986:79-98). Also, among the songs that have found 
their ways into the gospel music is the one sung by the Christ Apostolic Church good 
women choir led by Mrs D.A. Fasoyin tagged ‘Ọdúnnlọ so ́pin’(Fasoyin, 2017).It is an 
evergreen song that almost every home in Yorùba ́land has the cassette or the CD that is 
usually being played even by Radio and Television stations across all the Yoru ̀bá states 
when Christmas is approaching. Part of the song rendered in the album is purely 
incantations that are used during Ìwúre in any of the Yorùbá traditional religious 
settings. The last four lines of the song are purely traditional ways of rendering Ìwúre 
in Yorùbá traditional religion. 
Ọdúnnlọ so ́pín ò baba rere   The year is running to an end good father 
Ba ̀bá má ṣo ̣́mí o tọmọ tọmọ   Father Protect me and my children 
Ountío ́ pami lẹ́kún o ̀ lọ́dúntitun   What will make me cry in the new year 
Mà jẹ kó ṣe ̣lẹ̀ sími ò baba rere   Don’t let it happen to me, good father 
Ba ̀bá ẹle ̣́runíyìnwa ́ súrefúnwa   Father with bountiful praise come and 
bless us 
Àni ́ karọ́na ̀ gbegbà lọ́dún tó wọlé  Pave the way for us in the New Year 
Tùwọ́n nínu ́, Olúwatùwọ́n nínu ́  Comfort them, God Comfort them 
Àga ̀ntíkò rọ́mọ gbé po ̣̀n tùwọ́n nínu ́ Olúwa Barren woman that has no child to back, 

comfort them 
Re ̣̀wọ́n lẹ́kún, Olúwa rẹ̀wọ́n lẹ́kún  Pacify them, God pacify them  
Àwọn tó da ̀ bíi Hannah rẹ̀wọ́n lẹ́kúnOlúwa Those who are like Hannah pacify them 

God 
Ọdo ̣dún là nrórógbó    It is every year that we see bitter kola 
Ọdo ̣dún là nráwùsa ́    It is every year that we see walnut. 
K’ọ́dúnkó sa ̀nwa ́ sówó    Let this year be fruitful in terms of money 
K’ọdúnkó sa ̀nwa ́ sọ́mọ….   Let this year be fruitful in terms of 
children… 
 
Another part of the song that is laced with incantations begins from line thirteen to line 
seventeen below. 
 
Háléluyà ló mú mi gòkè modúpẹ́   It is halleluiah that assisted me to the top 
Háléluyà ló mú mí go ̀kè nínu ́ ewu  Halleluiah assisted me to escape evil 
Háléluyà ló mú mí go ̀kè máwọn ọ̀tá lọ́wọ́ Halleluiah assisted me to escape from my 

enemies  
Háléluyà ló mú mí go ̀kè odo ̀. Halleluiah assisted me to escape to the 

other side of the river 
Ọ̀tá àlọ̀re ̣ tó nfọ̀rọ̀ mi wẹ́lọ̀ kiri   My enemies were asking people about me  
Wọ́n relé adáhunṣe    They went to ask herbalists  
   
Wọ́n relé oníṣe ̀gùn    Thy went to the home of medicine men 
S ̣u ̀gbo ́ ̣n e ̀pako ̀bo ́ro ́mo ́ ̣   Unfortunately, it was too late 

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Wọ́n pe ̀tepèro ̀ wípe ́ kómi ayé gbémi lọ They gang up together for the river of life 
to cart me   

Igi à bafẹ̀yìntì,      The tree we could rest our back 
Gbogbo ẹ̀ ẹ̀gún ló jẹ́    Is all full of turns 
Ẹni a ní kó fẹ́ní lóju ́ tún fata sẹ́nu The person we could have asked to blow 

one’s eyes puts pepper in the mouth 
Òwú ki ̀í là, kínu ́ o ́ bólóko, Cotton does not sprout in the farm for the 

farmer to be sad  
Gbígbó ajá kìí pajá    Yapping of dog does not kill the dog  
Ki ́kàna ̀gbò kìí pa ̀gbò    Jerking of ram does not kill the ram 
Ẹ jẹ́ njís ̣ẹ́ bàmi     Let me deliver the message of my farther 
I ̀tàkùn to ́ ní k’érin má gòkè a ̀lọ̀ ó titẹ́ The rope that prevents elephant from 

climbing has been put to shame  
Ọba tó gbeMósè níja ̀     The king that fought for Moses 
Òun ló mu ́ waborí…..    Was the one that made us overcome… 

 
Also, (Adegbodu Twins, 2013) in Bojuwomi presentations of chants of praise 

names of Olodumare rendered nothing more than the Oríkì of some of the gods in 
Yorubaland. The reason is, there is no one, even among the gods themselves that has 
seen Olodumare the Creator face to face before. Therefore, no one knows how God 
looks like, where He/She lives, His/Her beginning His/Her end. (Tope Alabi: 2021) in 
Oríki ̀ Ọlọ́run also rendered oriki of some Orisa-gods. Her recent àbọru ́ àbo ̣yè (Tope 
Alabi, 2023)song that is trending now is a form of greeting Babaláwo-Ifá priests among 
themselves and by the general Yorùba ́ populace. Again, if we believe in what the Bible 
says in ‘Luke…that God is a spirit and he that will worship His/hers should do so in 
spirit, the question one may then ask is, where did these singers/musicians see God to 
know how He looks like?’ The fact remains that we have heard stories and descriptions 
of many of these gods of the Yorùba ́land, like Ọba ̀tála ́, Ọ̀rúnmìla ̀ and so on were 
always in white, S ̣àngó is associated with red colour, Olo ́kun in her splendour of malty 
colour dresses, etc. Today, we can see evidence of this in the lives of the devotees of 
these gods on how they look like and how they dressed of which these Oríkì are in 
tandem with many of them (Adeoye, 1985: 295). Many of these songs are rendered 
with modern beats. A very good example is Ṣe ̣nwe ̣lẹ that (Bukola Akinade: 2013) 
(Ṣẹnwe ̣lẹ Jésu ̀) rendered in Ọ̀run ṣí. 
 

The Element of Ifá Divination in Contemporary Gospel Music in Nigeria 

Ifá, as a repository of knowledge is placed in an important position in the life of 
the Yorùbá people. This is the reason why in the past, nothing is done by the people 
without the knowledge of Ifá (Daramola & Jeje, 1975: 250).May it be marriage, naming 
ceremony, chieftaincy, selection/election and installation of a new king, choosing a 
vocation, in sickness and joy, building of houses, in fact, in one thousand and one 
things, Ifá is not left behind (Idowu, 1982: 5). Generally, the Yorùbá and the Babaláwo 
in particular believe that Ifá is the word of Olodumare, God in Yorùba ́ belief and 
Ọ̀ru ́nmìlà is assumed to be the custodian. However, some schools of thought alleged 
that Ifá and Ọ̀ru ́nmìla ̀ are the same maybe simply because of their closeness. Therefore, 

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whenever they talk of Ọ̀rúnmìla ̀, they are equally referring to Ifá (Abimbola, 1968: 11). 
Adeoye also shares similar view when he says there is no difference between Ifá and 
Ọ̀ru ́nmìlà (Adeoye, 1985: 173).  Again, there are several places in Ifáwhere the two 
names are used interchangeably. One can see example of this usage in Ogunda Meji 
(Abimbola, 1968: 101) where Ifásays; 
Ifá lólòní     Ifa owns today 
Ifá ló lọ̀la     Ifa owns tomorrow 
Ifá lól’ọ̀túnlapẹ̀lú e ̣̀,    Ifa owns the third day 
Ọ̀ru ́nmìlà lónijọ́ mẹ́re ̣̀e ̣̀rinÒo ̀s ̣ád’áye ́…. Ọ̀ru ́nmìlà owns the four days the world 

was created 

Also, in Òsá Méjì (Babayemi & Adekola, 1987: 64), Ifásays; 
I ̀sánsá méjì ló pa ̀dé arawọn lọ́na ̀   Two runaways met themselves on the way 
Wọ́n kí raawọn jẹ́ jẹ̀ jẹ́    They greeted themselves gently 
Ó di ́fá fún Ọ̀ru ́nmìlà    Cast divination for Ọ̀rúnmi ̀là 
Ifá́ nsunkúnpóun o ̀ lówó,   Ifa was crying for lack of money 
Ó di ́fá fún Ọ̀ru ́nmìlà    Cast divination for Ọ̀rúnmi ̀là 
To ́ nsunkúnpóun o ̀ l’obìnrin…   Who was crying because he has no wife… 
 

Another school of thought is of the opinion that though Ifá and Ọ̀rúnmìla ̀ are 
very close, yet there is a line of demarcation between the two. They argue that 
Ọ̀ru ́nmìlà is the deity in charge of Ifá, the word of Olodumare. In short, whether the 
two are one or they are separate individuals, they are related and one cannot do 
without the other. As explained before, Ifá is a knowledge that consists several 
branches of human life: science of nature, physics, biology, botany, incantation, 
divination, medicinal plants, history, etc (Makinde, 1988: 6)). Music, an integral part of 
human society is not left out. It can be said that music is one of the bridges that link the 
old and new, the past and the present together. This is the reason why in the 
contemporary music, particularly gospel music element of traditional religious music 
can still be found. Though despised by these new found religions, yet they still find it 
difficult to severe themselves from the past possibly as a result of strong moral 
teachings that can be found in OduIfá and other ethical teachings in traditional religion 
or probably because it is difficult Africans to do away with African culture regardless 
of their belief. (Isaac Kehinde Dairo, 1992), popularly known as Baba Aladura 
displayed this in his album titled Òs ̣ùpá Roro. One of the songs there goes thus; 
Òwè, o ̀wé aré ò    Owe is a play 
Ọni Ì balóri ́kì ó mà kú ù yà ara rẹ̀ It is unfortunate for those who has no praise 

chants 
I ̀jùo ̣bamọ̀ I jú arò ó o ̀ ó   Ijuoba is a dirge  
Ọbuntun o mò kúodò ó   Bride greetings of the river   
Wàmu ̀ lẹ̀lẹ̣̀ gbámú lẹlẹ́ lẹ̀ Make your breast quiver, make your breast 

quiver, 
Mikọ́ o ̣́ múgbá bomikò mí  Dip me some water with your calabash 
Wàmu ̀ lẹ̀lẹ̣̀ gbámú lẹlẹ́ lẹ̀   Make your breast quiver, make your breast quiver 
Ugbá komú mọ̀ tán be é ò  The calabash got finished 

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Wàmu ̀ lẹ̀lẹ̣̀ gbámú lẹlẹ́ lẹ̀ Make your breast quiver, make your 
breast quiver, 

Mikọ́ o ̣ máo ̀ bomikòmí    Dip me some water with your plate 
Wàmu ̀ lẹ̀lẹ̣̀ gbámú lẹlẹ́ lẹ̀ Make your breast quiver, make your 

breast quiver, 
Ào ̀ komú mọ̀ tán be é o ̀    The plate got finished 
Wàmu ̀ lẹ̀lẹ̣̀ gbámú lẹlẹ́ lẹ̀ Make your breast quiver, make your 

breast quiver, 
Mikọ́ o ̣ mọ́o ̣́ bomikòmí ò    Dip me some water with your hands 
Wàmu ̀ lẹ̀lẹ̣̀ gbámú lẹlẹ́ lẹ̀ Make your breast quiver, make your 

breast quiver, 
Tugbá tomigbìnrìngíndín o ̀   Both calabash and hands gbìnri ̀ngíndín ò 
Wàmu ̀ lẹ̀lẹ̣̀ gbámú lẹlẹ́ lẹ̀ your breast quiver, make your breast 

quiver, 
 

The song was taken or copied from Ogbè Rosu ̀n (Bascom, 1969: 208-211)where 
Ifá says; 
Apárí, Awo Ẹ̀gbá    Bald headed man, the diviner of the Egba 
Ọ̀s ̣o ̣̀ṣo ̣̀níru ̀gbò ,AwoÈsà Pointed beard, the diviner of the town of 

Esa 
Abàs ̣oṣoorí rá̀ríra ́rí, AwoÒdeÌjẹ̀bú Too big a tuft of hair on the head, the 

diviner of the town of Ijebu Ode 
A dífa ́ fúnÒlòlo ̀lóhùn Were the ones who cast divination for 

quavering voice  
Tíi ́ s ̣eọkọ o ̣buntun    Who was engaged to be married 
Wọ́n ni ́ kí Òlòlòlóhùnrúbọ They said thatquavering voice should 

offer sacrifice   
Ki ́ aya rẹ̀ wúndía ́ ìta má báa ̀ kú   Lest his bride to be should die 
Ki ́ gbogboiṣẹ́ a ̀tiwàhálà eléyí lo ́rí Obìnrin náà So that all his labour over the woman  
Má bá gbé     Will not be in vain 
Òlòlo ̀lóhùngbọ́ bẹ́ní kò ru ́bọ Quavering voice heard but refused to offer 

sacrifice  
Ko ̀ lọ́jọ́ kò lós ̣ù     Shortly afterward,  
AyaÒlòlòlo ́hùna ̀fẹ́so ̣́nà kó igbá The would be bride of Quavering voice 

pack all her calabashes and plates 
Ó dorí kọ odò lọ fọ̀    She made way to the river to wash them 
Ko ̀ sì mọ̀ pé o ̣jọ́ na ́à niàwọnIrúnmọlẹ̀  Not knowing that it was the day for the 

gods 
ÀtiàwọnEégún     And the masquerades 
Nti ọ̀run bọ̀ wá síle ́ ayé    Were coming from heaven to the earth 
Nígbàtí wọ́n balódò    When they met her at the river 
Wọ́n bẹ̀re ̣̀ sí kibáyí pe ́;    They began to greet her thus: 

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Ọ̣buntun o mò kúodò yí    Bride greetings of the river 
Ṣo ̣̀mù lẹ̀lẹ̣̀ s ̣ómu ́ lẹlẹ́ lẹ̀ Make your breast quiver, make your 

breast quiver, 
Mikọ́ o ̣́ múgbá bomikò mí   Dip me some water with your calabash 

Ṣo ̣̀mù lẹ̀lẹ̣̀ s ̣ómu ́ lẹlẹ́ lẹ̀ Make your breast quiver, make your 
breast quiver, 

Ugbá komú mọ̀ tán be é ò   The calabash got finished 
Ṣo ̣̀mù lẹ̀lẹ̣̀ s ̣ómu ́ lẹlẹ́ lẹ̀ Make your breast quiver, make your 

breast quiver, 
Mikọ́ o ̣ máo ̀ bomikòmí    Dip me some water with your plate 

Ṣo ̣̀mù lẹ̀lẹ̣̀ s ̣ómu ́ lẹlẹ́ lẹ̀ Make your breast quiver, make your 
breast quiver, 

Ào ̀ komú mọ̀ tán be é o ̀    The plates got finished 
Ṣo ̣̀mù lẹ̀lẹ̣̀ s ̣ómu ́ lẹlẹ́ lẹ̀ Make your breast quiver, make your 

breast quiver, 
Mikọ́ o ̣ mọ́o ̣́ bomikòmí ò    Dip me some water with your hands 

Ṣo ̣̀mù lẹ̀lẹ̣̀ s ̣ómu ́ lẹlẹ́ lẹ̀ Make your breast quiver, make your 
breast quiver, 

Tugbá tomi gbùnrùngúndu ́n o ̀   Both calabash and hands gbìnri ̀ngíndín ò 
Ṣo ̣̀mù lẹ̀lẹ̣̀ s ̣ómu ́ lẹlẹ́ lẹ̀... Make your breast quiver, make your 

breast quiver… 
 
  From line four to the end of the highlighted lyrics, there is similitude between 
I.K. Dairo’s song and Ifá́ song in Ogbè Rosùn, especiallybeginning from line nineteen to 
the end.   

In the same manner, (Prince Debo Ojugbuyi, 2021) also has this to say. The song 
goes thus: 
Ọ̀ro ̣̀ Ọlọ́run dà bí owe    The words of God is like proverbs 
Ọ̀ro ̣̀ Ọlọ́run dà bí owe ò    The words of God is like proverbs 
Àgbèragá e ̣ lọ ṣo ̣́rayín    People with pride be careful 
Alági ́dí e ̣ lọṣo ̣́rayín    Stubborn people be careful 
Òjò e ̣sánko ̀ ní gbé sókè                                          Rain of revenge will not seize without 

falling   
Òjò e ̣sánko ̀ ní gbé sókè yío ́ ro ̣̀  Rain of revenge will not seize without  

falling   
Ọ̀ro ̣̀ Ọlọ́run dàbí owe ò….   The words of God is like proverbs 
 

In the album, (Ewo L’ewo Golden Jubilee, Ilaje Gospel) there he cited proverbs 112 
where the Bible says “when pride comes, then comes shame: but with the lowly is 
wisdom”. He went ahead to narrate the story of how Àkókó-woodpecker (which was 
the traditional Ifá version of what the Bible states in that verse) who proudly said 
before the gathering of other birds that whenever his mother died, he was going to dig 

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hole inside stone and bury her there.  Unfortunately, he couldn’t bury her there. The 
same narration was given in OdùO ̣̀wọ́nrínRosùn (Odegbola, 2014:289)where Ifá says; 
Orí a ̀lésínu ́ nikamá lé    We should let our promises be in our heart  
K’éni má lé t’òde    And not in our mouth 
A dIfá fúnÀkókó    Cast divination for Akoko-wood pecker 
Tíi ́ s ̣eolórí gbẹ́na ̀gbẹ́nà e ̣yẹ oko   The head of all caver birds in the bush  
Wọ́n ni ́ gbogboohun tó bá ns ̣e   They said whatever he was doing 
Inú nikó má a fi ṣe ́ They said he should be doing them 

inwardly 
Àkókó gbàgbé ìkìlọ̀    Wood pecker forgot the warming 
Ó ni ́ tí ìya ́ òunbá kú,    He said when his mother died  
Àpa ́talòun o ́ fi gbẹ́ po ́sí fúnun   He was going to use stone to carve coffin 
Torípé igi ló fi ngbẹ́ pósí a ̀wọnyókù.                     Because he was using wood to carve coffin 

for others 
La ́ìpe ̣́, ìyá re ̣̀ kú     Shortly after that,his mother died 
Àkókó gbìyànjú àti fi Àpa ́tagbẹ́ pósi ́ bí i ̀lérí rẹ̀     Wood pecker tried all means to fulfil his 

promise 
Dípò kí o ́ rí Àpa ́tagbẹ́,     Instead of him to be able to carve the stone 
Ẹnu rẹ̀ ntẹ́ ni ̀     His mouth (beak) started bending 
Ni ó bá padà lọ fi igigbẹ́ pósí i ̀yá re ̣̀.  He went back to use wood. 
 

Looking at the two stories, they are touching on the same subject matter; Pride, 
which both the bible and Ifá despised. However, people do not see anything bad in 
dancing to and singing along provided it is either coming from Christianity or Islam. 
But if it is traditional religion, there will be backlash from the majority because of the 
angle it is coming from. Yet both genres of music are passing across the same message 
to the same society but from different religious backgrounds.  
 

The Future of Traditional Religious Music in the Contemporary Yorùbá 
Society 

With the embrace of Yoru ̀bá traditional religious music by all and sundry, 
including secular musicians like Juju, Fuji, Afrobeats, Sakara, Waka, even Hip-hop are 
not left behind is an indication that there is a bright future for traditional religious 
music. According to (Fadumo, 2022) in a telephone interview, traditional music 
instruments, incantations and songs can be found in all these branches of music in 
Yoru ̀báland. Many of these songs can be found in the albums Saheed Osupa, a Fuji 
musician, king Sunny Ade, a Juju musician, Wale Glorious, Dele Ojo, Fatai Olowonyo, 
Ayinla Omowura, Aruna Isola and a host of others. Such songs like below were taken 
from Ifá by some of these secular musicians. 
Reremidé̀ o ̀ mà dúró de ̀mí o ̀, Reremidè̀  Reremidè wait for me, Reremidè 
A mà mọ́mọ Í bò’rókò Olóju ̀do ́ ò, Reremidè We don’t sacrifice childrento IrokoOlojudo 
Ẹru ́ la mà mú Í b’ọ̀rókò Olójùdo ́ o ̀, Reremidè It is slaves that is sacrifice to IrokoOlojudo 
Reremidè olúṣe ̣̀s ̣ẹ̀kí i ̀kán o ̀, Reremidè  Reremidèolusesekiikan, Reremidè 

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Á mà mọ́mọ Í bọ̀’rókò Olóju ̀dé o ̀, Reremidè 
However, the song originally can be found in Odu Ìdi ́ Kànràn (Lijadu, 

2001:138)where Ifá says; 
Àra ̀ nlá ns’Ọlọ́fin    A terrible sickness befalls Olofin 
Èkùrẹ́ dàsi ̀ngbà     Ekure became a pun  
Babaláwo ní,     Ifa priest says, 
Tí a bá wi ́pé k’Ọ́lófin má ku ́,   If we are saying Olofin should not die 
Ka ́ mú a ̀kọ́rà e ̣ru ́ ẹ̀ okùnrin They should take his first male bought 

slave 
Lo ̣ bọ Ìro ́kò Olóju ̀dó    And sacrifice him to IrokoOlojudo 
A délé wí fu ́n Ọlọ́fin    We got home and told Olofin 
Pe ́ àkọ́bí ọmọ rẹ̀ niẹbo ̣ mú….   That his first son was the sacrifice… 
 
Also, this; 
Ẹ wi ́ f’A ́lárá a ̀, moríre    Tell Alara, that I saw good thing 
Ẹ wi ́ f’A ́jerò moríre ò    Tell Ajero that I saw good thing 

Mo rírelòròmọdìe ̣ ndu ́n    I saw good things is the way chicks sound 
Ire tó sọnu ̀ iré dé o    The good that is lost has come back 
 
The song was taking from Ogbe Tura (Lijadu, 2001: 545)where Ifástates that; 
Ogbètúlé Alára ́     Ogbe dismantled Alara’s house  
Ó se ̣̀hìnbọ̀ wá tú t’Ajerò                                        He came back to pull to pieces Ajero’s 

house  
A dIfá fọ́lọ́mọ mẹ́ta    Cast divination for a mother of three 
Ó bíkanf’Álárá,     She gave birth to one for Alara 
Ó bíkanf’Ájerò     She gave birth to one for Ajero 
Ó bíkanf’Ọ́ràngu ́n.    She gave birth to one for Orangun 
Ọ̀ra ̀ngúnni ̀kan ló ru ́bọ     It was only Orangun that offers sacrifice 
Nínu ́ gbogbowọn,    Out of them all 
Njẹ́...      Therefore… 
 
Yet another one: 
Taní ngbìmò dèmí o    Who is ganging up against me 
Igbaajá kìi ́ gbìmọ̀ dẹkùn Two hundred dogs cannot gang up 

against tiger 
Ẹkùn baba ẹranko.    Tiger the father of all animals 
Taní ngbìmọ̀ dèmí o    Who is ganging up against me 
  
Igbaẹs ̣inṣin kìí gbìmọ̀ dọwọ̀   Two hundred flies cannot gang up against 
broom 
Ọwọ̀ baba eṣiṣin.    Broom the father of flies 

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This was taken from Oyeku Fu(Lijadu, 2001: 97)where Ifá says: 
 
Ko ́kó iginíi ́ ni’gilára It is the knot of the tree that gives three 

pains 
Ọ̀pa ́ agogoníí niagogolára It is the stick of the gong that troubles the 

gong 
I ̀kekeàránni ́í niàra ́nlára    It is the stick of Aran that is its dilemma   
A dIfá fún Ọ̀ru ́nmìlà    Cast divination for Ọ̀rúnmi ̀là 
Ọ̀tá mẹ́ta  rọ̀gbà ká a    Three enemies surrounded him 
A ni ́ kó rúbo ̣ egbèje owó He was asked to offer sacrifice of one 

thousand four hundred cowries 
Ọ̀ru ́nmìlà gbọ́     Ọ̀ru ́nmìlà heard 

Ó ru ́bọ, o ́ ṣe ̣́gun wọn.    He offered the sacrifice and overcame 

Ó wá nkọrinwípe ́     He started singing that; 
Taní ngbìmò dèmí o…    Who is ganging up against me… 
 

Conclusion  

From the evidences shown in the analysis, music, like religion is a universal 
language spoken by all. It is a social activity in which everyone participates in. Its 
beauty is seen in its sound moral teachings through its traditional roles of storytelling, 
showcasing ceremonies and festivals, ethnic identifications and symbolic 
representation to edify the society particularly in religious settings. Through this 
means, one would realise that religion is like a big pot of water that everyone in the 
society goes to with different kinds of cups to quench his/her thirst spiritually. Again, 
culture and tradition are very difficult to forget regardless of the religion one might 
belong. An indication that religion is not worth defending because it is the same God 
that created all. If He wanted everyone in the world to practise one particular religion, 
He would not give people the knowledge of other religious orientations.  

Rather than see music in its multicolour form (different religious perspectives), 
it should be realised that music, regardless of its background is out to achieve the goal 
of communicating moral teaching and educating the society in diverse ways beyond 
entertainment as shown in some of the examples cited in this paper.  
 
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