19th and 20th century's artistic highlife voices that promoted Igbo Language

19TH AND 20TH CENTURY'S ARTISTIC HIGHLIFE VOICES THAT PROMOTED AND CONVEYED THE IGBO LANGUAGE/CULTURE ACROSS THE ATLANTIC AND PACIFIC OCEANS: WHO THEY ARE AND WHAT THEY HAVE DONE.
By

Okoro Mark Ogbonnaya (Maazi Ogbonnaya)

Before the coming of the colonial masters, we had our ways of expressing our innermost happiness through songs. The white didn't teach us how to sing. Singing is a natural gift. You need not be educated before you start singing. Babies began to sing as soon as they arrived from their mother's belly. Yes, when the baby cries, "ụwa ee ụwa ee" to show the kind of scam world it has landed into, it is a song. Even when people cry, it is a song because it has rhythm. Hahahahaha (my philosophy).

All the highlife exponents of Igbo did not attend various universities where they studied Igbo before making use of it in songs and thereby projecting Igbo culture, voices to the world. As Igbo scholars were busy fighting about orthography and how to write Igbo in Owere, Ụmụahịa, Ọnịcha, later in Nsụka; Igbo musicians singing in Igbo were busy singing, producing albums, performing in England, USA, Australia, etc. making their money and becoming more famous. 

Yes I always tell my fellow linguists that studying a language without its application is akin to life with no purpose. No need bothering yourself to go to school when you know you can't do anything with it. In fact, controversy which our language has been immersed to was caused by so called Igbo educationists who have nothing to give or produce rather than bringing confusion to the Igbo language. Our musicians who did not study Igbo did greater than the so called scholars. They sang in different voices, the instruments used were all authentic and naturally awesome. Despite the variations in the dialectal voices they used to sing, we understood them all. We nod to the rhythmic patterns and directions of their songs. The variant medium of dialects which they sang in turn exposed the ingredients and sweetness of our language. 

Their songs are philosophical, didactic and directional unlike the present day depiction of immorality in songs. Everywhere you go, you will hear "Ukwu Nwaanyị Owere" (The waist of an Owere woman) "Ara dara ada adago" (the sagging breast has been fallen) "Ukwu" here and there. "Nwata nwaanyị ka anyị laba n'ụlọ" (Young lady let's go to the room) I don't blame anyone, it is contextualism and the interests of this generational audience.
But who are these outstanding Igbo highlife exponents?

1. Chief Stephen Osita Ọsadebe: Born in Atani, Anambra State 1936-May 11, 2007. His record labels: Polygram Records Nigeria.He started his career fully in Lagos in 1958 and went on writing over 500 songs. His musical styles are: calypso, samba, bolero, rumba, jazz and waltz. He is popularly known as Ọsankwa. I love "Ebezina" and "Kedụ America".

2. Sunday Oliver Akanite (Oliver De Coque): From Ezinifite, Nnewi South, 1947-2008. Oliver started playing music at the age of 17 with ekpili. He recorded 73 albums and became most popular Highlife King of Africa. Oliver learnt how to play guitar and lead from Congo. Gotcha, his way of playing is second to non. His musical band is known as Ogene Sound Super of Africa. Oliver had tour the world with his band to sing not in English but Igbo. "Nwa bụ nnwa" is bae. If you want to learn Igbo proverbs, listen to Oliver's songs.

3. Christogonus Ezebuiro Obinna (Dr. Sir Warrior): Born in Owere (1947-1999) was the leader of Oriental Brothers International Band. He joined the Oriental in 1970.

4. Oriental Brothers International Band: It comprised the following musicians who later long separated and formed their musical bands and record labels:
–Godwin Opara
–Moniker Kabaka
–Aloysius Anyanwu
–Ichita
–Livinus Akwila
–Dansatch Opara
–Ferdinand Emeka Opara
–Dr. Sir Warrior.