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The word Juju has several meanings. On one hand, it connotes a spiritual belief system incorporating objects, such as charms, and spells used in religious practice, as part of witchcraft in West Africa. On the other hand, it is a style of Nigerian popular music, derived from traditional Yoruba percussion. We will focus on the later in this section.
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To put the word in proper context and according to Oluniyi (2014), the Juju music is a unique Nigerian popular genre and has many African phenomena inculcated into its performance though it has some western touches in its scale and some other features. It is believed that Juju music has its root in the Yoruba land and performed at functions called Ariya. Ariya among the Yoruba people is a party time which congregates the people to a venue to actually celebrate either some person (s) or something precious to them.
History also reveals that juju music is indebted to several musical traditions including soldiers' songs, minstrelsy western folk songs, church hymnody, European sea shanties, and Yoruba traditional music. Through social intercourse, these traditions amalgamated and produced what is now referred to as juju music. Further deep dive into history also reveals that the name for the music was originally adopted when Tunde King performed at the funeral ceremony of Sapara Akintola, a renowned Lagos traditionalist that was tagged juju man by the then colonial masters. Linking the music to the context of its first performance produced the contentious name. Worthy to note that until the early 1960s its patronage was within the Yoruba land and slowly transitioned into other parts of the country; and by 1970s it was a dominant popular music genre in Nigeria.
In the 1940s Juju performances were held in private events and 'the celebration of the events of the life-circle such as marriage and death constituted occasions for inviting Juju musicians especially by the Yoruba Christian community in Lagos who were usually people of means. But the context limited the client base and other benefits to the musicians so it was self-evident that the Juju musicians needed to expand their clientele to enable them subsist by music.
Thus, in addition to private events, they made recordings, played on radio and for the general public and these assured them of regular income than the indeterminate so as to allow the audience ample opportunity to enjoy the music.
However, the coordination of juju music performance is deeply rooted in the African spirit of performance. It is very akin to the style of coordination in the performance of Dundun music whereby the master drummer dictates the direction of the music for every other performer in the ensemble.
During the 1950s Tunde Nightingale (Tunde Thomas), J.O. Oyesiku, Julius Araba, and Ojoge Daniel (Daniel Ojoge Aleshinloye) were the stars. The Juju scene was dominated by I.K. Dairo until the mid-1960 when Ebenezer Obey and Sunny Ade emerged. Both of them remained the dominant Juju musicians throughout the 1970s and into the 1980s.
During the late1980s, Shina Peters became a major Juju musician until the end of the period under consideration. By 1995, Juju was on a steep decline following the emergence of gospel music and other neo-traditional genres at both local and national level.
Today, we still have notable Juju musicians rocking the Nigerian music scene, keeping alive this genre of music in Nigeria under the umbrella body of the Association of Juju Musicians of Nigeria (AJUMN), with Mrs. Queen Ayotunde Kofoworola Balogun as the president. Her 30-man band is named Ayo Balogun and Harmonic Voices.
Nicknamed the Commander, Ebenezer Obey began his professional music career in the mid-50s, working under the late highlife guru Fatia Rolling-Dollar, after which, he moved on to form his own band known as The International Brothers in 1964, which fuses highlife and juju in its rendition. They later produced hit albums in Juju form, under West African Decca musical label, going by the band name; Inter-Reformers.
Not left out is Yomi Peters, who hails from Ogun state. He is the brother to Sir Shina Peters and Gbenga Peters. He is a talented multi-instrumentalist; a talent which he claims has given him an edge as a successful Juju musician.
Juju, a celebration and exultation music of the Yoruba, extols the 5 rich cultural life of the people on such socio-cultural events as naming, burial, coronation and wedding ceremonies. Played by a band of about 10 persons including vocalists and instrumentalists, foremost Juju music was free of heavy instrumentation rather, it was a fusion of the sonorous voice of the lead vocalist, loud chorus of the backup singers and such native percussive instruments and effects like the dundun and Kumbe drums, Agidigbo, Sekere and Agogo (Ajirire, 1992). Juju music has changed greatly in modern times, incorporating up to date electronic instruments and gadgets. One of the new addition to Juju music is Afro-juju, the brainchild of Shina Peters. Shina Peters employs the use of heavy percussive sounds and loud singing in very fast tempo, a style that uniquely marked him out from other juju musicians. Other well-known Juju stars in no other are Tunde Nightingale, Ebenezer Obey, Julius Araba, Ayinde Bakare, Dele Abiodun, Sunny Ade, Ade Ade, I. K. Dario, Dele Ojo, Segun Adewale, etc.
Several gospel music artists have become famous through their production of musical albums. Some notable gospel artists are Panam Percy Paul, Niyi Adedokun, Prof. Femi Adedeji, Tope Alabi, Mama Bola Aare, Funmi Aragbaye, Ebenezer Obey, Lara George, Nathaniel Bassey, Sinach, Travis Green, Shola Allyson to mention but a few. Gospel music has greatly helped in propagating the gospel in Nigeria.
Praise & Worship Music
Praise and worship music is an expression commonly used for lyric airs or choruses performed during worship services. Praise and worship songs are the music of adoration, praise, thanksgiving, and petitions to God. God alone is the main central focus and attraction in worship. This is because God alone deserves to be worshiped. Consequently, praise and worship songs are usually simple and short choruses that can be sung from memory in worship. English and other languages are used for such composition. Worship leaders select praise and worship songs carefully and purposefully. They study their audience before choosing which songs to sing in worship. Multi-languages or blended songs are used in multicultural settings to carry all worshippers along and to communicate effectively.
Performance of anthem or choral music differs from context to context. Some churches encourage congregational participation when the choir is ministering in worship. Especially, when the program has to do with funeral, wedding, convocation, services of songs, etc. Members join the choir by dancing and moving forward to the podium to give their offering in some cases. However, some denominations frown at this practice. They forbid congregational involvement of dancing forward and backward or giving of offering while the choir is rendering their songs. They equate this period with the sermon period and believe that all members should pay attention to the message of the song.
Hymns
Hymns are ode of praise to God. They are spiritual songs composed by some European musicians and compiled in hymn books for use in Christian gatherings as churches, homes, schools, and seminaries. These hymns have been translated and transcribed into other languages for use across the nations. For instance, churches in Nigeria have attempted to translate their hymns into different languages such as Hausa, Yoruba, Igbo, Itsekiri, Urhobo, etc. The standard notated hymnals are used in some Nigerian Churches while printed lyrics are incorporated and used in other churches especially where there are not music experts who can read musical notations.
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