Abstract
Traditional music and songs are the soul and spirit of indigenous African societies, expressing historical memories and the indigenous value system of a people. Extant studies on Ibibio traditional songs most often examine women and satirical songs as tools for gender and social critique. However, almost no study exists on the songs of Ubokudom, especially the representation of Ibibio philosophy and the aesthetics of religious and sociopolitical commentaries in his songs. Therefore, this study investigates Ibibio cultural epistemology and examines the aesthetics of exploring religious and sociopolitical imaginaries in three songs of Ubokudom. Bronislaw Malinowski's functionalism is the theoretical framework deployed, while qualitative research design is used. Three songs were purposively selected because of their relevant leitmotif, and were afterwards subjected to literary analysis. The work reveals that the songs offer critical perspectives on indigenous Ibibio philosophies and values system, the core of Ibibio epistemology and cosmology. Also, the philosophical underpinnings in the songs are fundamental for shaping people's behaviour, thereby fulfilling their functional expectations as oral art forms, just as oral literature elsewhere in Africa. Through themes, akata tradition and repetitions as major discursive and aesthetic devices, the songs offer a critical lens through which societal ills can be seen. Similarly, they reflect the pervasive maladministration, corruption and religious hypocrisy in Nigeria, while holding corrupt regimes responsible for abject poverty amongst the citizenry. Hence, the study concludes that Ibibio traditional songs offer the medium for sustaining indigenous Ibibio cultural epistemology, and evaluate human life to return humanity to the path of morality, unity and progress.
Keywords
Introduction
Traditional music and songs significantly influence the politics of indigenous knowledge production, and efficiently facilitate the propagation and policing of cultural epistemology in indigenous societies like the Ibibio society. Traditional societies are founded on indigenous epistemologies that are often transferred orally from one generation to another (M. C. Onyejekwe and E.S.Ikeokwu, 2013, p.66). Indigenous epistemology serves as an instrument for regulating the desired behaviour and cultural practices of a people; therefore, oral performance or orality becomes the conduit for enshrining indigenous values in every traditional society. Cultural values, norms, gnomic sayings, traditional philosophy, observances and cosmology constitute the epistemological foundation of African societies. It is worthy to state that Ibibio indigenous philosophy, gnomic sayings and traditional values, amongst other things, constitute Ibibio cultural epistemology, often driven by orality.
Content
Walter Ong (1982) defines orality as a communication of any sort which is done with the voice and not written (p.11). For the scholar, orality means the use of spoken language, vocal performance and acoustic elements in communication, with specific emphasis on oral-aural tradition. Consequently, oral literature, to the scholar, does not necessarily mean the literature of the primitive age, but any form of literature of the locals performed verbally. This implies that oral literature encompasses oral arts like folktale, epic, legends, riddles, proverbs, and songs, amongst others. Beyond this, the Ong's distinction between primary and secondary orality offers insights into the preservation and dissemination of oral literature via various literate media. This form is what he describes as secondary orality; that is oral literature in the literate tradition. Paula McDowell (2012, p.172) sees orality '. . . as the quality of being oral or orally communicated; preference for or tendency to use spoken forms of language'. This definition indicates that orality is anything orally rendered, be it songs, tales, folklores, chants, rituals or speeches. According to Mark Ighile (2021, p. 49), orality is a practice, an experience and an event that is participatory. He argues that not all oral acts can pass for oral literature.
Consequently, oral literary performances such as songs, proverbs, dance and traditional music are the indigenous African and, indeed, Ibibio traditional 'technologies' for the
transmission of the cultural epistemology or the indigenous knowledge and values system from one generation to another. This is in synch withthe anthropological perspective on orality, which often conceives it in light of its influence on the identity, culture and norms of a people or society, emphasising how orality helps to shape society. It equally explicates the nuanced understanding of how cultural knowledge is transmitted from one generation of people to another (Ruth Finnegan, 2012 [1970]). Accordingly, Jan Vasina (1965, page/range) states that communication in the primitive age was oral, and so were the forms of literature, such as folktales, rituals, myths and legends, amongst others. This foregrounds the vital role of oral performances like songs in upholding the traditional value system and cultural epistemology of a people.
Furthermore, orality in this paper alludes to the oral literary performances like the songs of Prophet Ubokudom and his Akata Cultural Troupe. It bears no connotative interpretation for the communication in primitive or non-literate societies. In this sense, oral literature and the songs of Ubokudom are inevitably part of Ibibio oral literature. Uche Nnyagu (2017,p.1149) buttresses this when he states that oral literature '. . . may include ritual texts, curative chants, epic poems, musical genres, folk tales, creation tales, songs, myths, spells, legends, proverbs, riddles, tongue-twisters, word games, recitations. . .' All these belong to different generic oral forms and have underlying relationships. Oral literature could be narrative (like legends and myths), poetry (like riddles and cultural songs) or drama. Nevertheless, it has to be noted that unlike the sub-genres of written literature, the distinction amongst the generic forms of oral literature in most often blurry, particularly the difference between drama and the remaining genres. Finnegan (2012 [1970]), John Afolabi (2004) and Oluwatoyin Jegede (2023) recognise poetry, prose and drama as generic forms of oral literature. However, Afolabi (2004) and Jegede (2023) specifically point out that there is no oral art form that does not contain performance (drama) and that there are overlaps amongst the various genres. For instance, there performative acts in rendering of chants, songs and poetry through gestures and demonstrations. According to Afolabi (2004, p.21), '. . . the generic forms in oral literature are performance-oriented. The forms flow into one another in a manner that almost obliterates the generic boundaries in some performances.' Therefore, the taxonomy of oral literature could be very problematic when considering African oral literature as performance-based. The challenge notwithstanding, the characteristics of the generic forms are decipherable in African oral literature and indeed, Ibibio oral art forms.
Oral literatures erves as a cultural or historical memory of a people. It is significant in upholding the indigenous value system of society and transferring the culture and tradition of a people from one generation to another. This is corroborated by Alessandro Portelli (1991), who asserts that oral literature enhances the preservation of the culture and tradition of a people. Moreover, Bruce Rosenberg (1987) observes that even in literate societies, the passing of instruction to younger ones is done face-to-face. Invariably, the customs and traditions of the people are preserved and taught to subsequent generations orally or through oral literature. This underscores the critical role of oral literature in the preservation of indigenous philosophy and value systems. Afolabi (2004) argues that it is disheartening that most societies abandon their oral art forms at the advent of technologies, stressing that oral literature offers the most efficient means of expressing man's innate, intellectual and spiritual experiences. Thus, cultural epistemology is expressed or taught through oral performances. Mark Turin (2013, p.174) corroborates this by stating that 'For societies in which traditions are conveyed more through speech than through writing, oral literature is often an important medium for the transmission of ideas, knowledge, and history. ‘Thus, oral performances like the songs of Ubokudom not only preserve Ibibio indigenous tradition and culture but also express the ethics, indigenous epistemology and core values that define the Ibibio people.
Consequently, oral literary performances such as songs, proverbs, dance and traditional music are the indigenous African and, indeed, Ibibio traditional 'technologies' for the
transmission of the cultural epistemology or the indigenous knowledge and values system from one generation to another. This is in synch withthe anthropological perspective on orality, which often conceives it in light of its influence on the identity, culture and norms of a people or society, emphasising how orality helps to shape society. It equally explicates the nuanced understanding of how cultural knowledge is transmitted from one generation of people to another (Ruth Finnegan, 2012 [1970]). Accordingly, Jan Vasina (1965, page/range) states that communication in the primitive age was oral, and so were the forms of literature, such as folktales, rituals, myths and legends, amongst others. This foregrounds the vital role of oral performances like songs in upholding the traditional value system and cultural epistemology of a people.
Furthermore, orality in this paper alludes to the oral literary performances like the songs of Prophet Ubokudom and his Akata Cultural Troupe. It bears no connotative interpretation for the communication in primitive or non-literate societies. In this sense, oral literature and the songs of Ubokudom are inevitably part of Ibibio oral literature. Uche Nnyagu (2017,p.1149) buttresses this when he states that oral literature '. . . may include ritual texts, curative chants, epic poems, musical genres, folk tales, creation tales, songs, myths, spells, legends, proverbs, riddles, tongue-twisters, word games, recitations. . .' All these belong to different generic oral forms and have underlying relationships. Oral literature could be narrative (like legends and myths), poetry (like riddles and cultural songs) or drama. Nevertheless, it has to be noted that unlike the sub-genres of written literature, the distinction amongst the generic forms of oral literature in most often blurry, particularly the difference between drama and the remaining genres. Finnegan (2012 [1970]), John Afolabi (2004) and Oluwatoyin Jegede (2023) recognise poetry, prose and drama as generic forms of oral literature. However, Afolabi (2004) and Jegede (2023) specifically point out that there is no oral art form that does not contain performance (drama) and that there are overlaps amongst the various genres. For instance, there performative acts in rendering of chants, songs and poetry through gestures and demonstrations. According to Afolabi (2004, p.21), '. . . the generic forms in oral literature are performance-oriented. The forms flow into one another in a manner that almost obliterates the generic boundaries in some performances.' Therefore, the taxonomy of oral literature could be very problematic when considering African oral literature as performance-based. The challenge notwithstanding, the characteristics of the generic forms are decipherable in African oral literature and indeed, Ibibio oral art forms.
Oral literatures erves as a cultural or historical memory of a people. It is significant in upholding the indigenous value system of society and transferring the culture and tradition of a people from one generation to another. This is corroborated by Alessandro Portelli (1991), who asserts that oral literature enhances the preservation of the culture and tradition of a people. Moreover, Bruce Rosenberg (1987) observes that even in literate societies, the passing of instruction to younger ones is done face-to-face. Invariably, the customs and traditions of the people are preserved and taught to subsequent generations orally or through oral literature. This underscores the critical role of oral literature in the preservation of indigenous philosophy and value systems. Afolabi (2004) argues that it is disheartening that most societies abandon their oral art forms at the advent of technologies, stressing that oral literature offers the most efficient means of expressing man's innate, intellectual and spiritual experiences. Thus, cultural epistemology is expressed or taught through oral performances. Mark Turin (2013, p.174) corroborates this by stating that 'For societies in which traditions are conveyed more through speech than through writing, oral literature is often an important medium for the transmission of ideas, knowledge, and history. ‘Thus, oral performances like the songs of Ubokudom not only preserve Ibibio indigenous tradition and culture but also express the ethics, indigenous epistemology and core values that define the Ibibio people.
Conclusion
The study examines Ibibio cultural epistemology and the poetics of reconstructing sociopolitical dialectics in the selected songs of Ubokudom alongside his Akata Cultural Troupe. Ubokudom's songs are not ordinary oral literary compositions, but rather artistic, cultural, and anthropological iconography that embodies the worldview and traditional value system of a people. The songs offer critical perspectives on the indigenous philosophy of the
Ibibio. This philosophy includes a core belief in Akwa Abasi Ibom (the Almighty God) who oversees the affairs of man, as well as principles that include respect for due process and divine timing, intolerance toward fraud and other crimes that hinder human progress, and discouragement of greed, a strong support for hard work, contentment, respect for elders and unity. These philosophical underpinnings shape the conduct of people in both private and public affairs in the Ibibio land. Thus, the songs fulfil their functional expectations as oral art forms in Ibibio land, just as oral literature elsewhere in Africa. Beyond this, there is a characteristic probing into the activities of individuals and government, and how such activities affect human progress. For instance, maladministration and corruption of the post-colonial Nigerian regimes are noted as factors responsible for abject poverty in Nigeria. Also, religious hypocrisy among Christians is critiqued as a contributing factor for the continuous social vices in society.
This study concludes that through the akata music tradition, the artist boldly probes society, condemns evil, and calls out government and members of society, particularly Christians and political and religious leaders. Through the songs, individuals, private and corporate bodies are warned against greed and other crimes that impede societal development. In terms of literary poetics, the themes and aesthetic appeal created by repeating important verses through a call-and-response technique situate the songs of Ubokudom within the paradigm of African oral literature. Therefore, the akata genre itself becomes a discursive model and aesthetic framework through which the artist deconstructs and reconstructs religious and sociopolitical imaginaries in Nigeria. The choice of words and repetition of important verses in the songs not only emphasise the kernel idea and philosophical imports in the songs but also offer an efficient boost to the aesthetics of the oral performance. Hence, Ibibio oral literature offers a critical medium for sustaining African indigenous philosophies and the cultural epistemology of Ibibio.
Ibibio. This philosophy includes a core belief in Akwa Abasi Ibom (the Almighty God) who oversees the affairs of man, as well as principles that include respect for due process and divine timing, intolerance toward fraud and other crimes that hinder human progress, and discouragement of greed, a strong support for hard work, contentment, respect for elders and unity. These philosophical underpinnings shape the conduct of people in both private and public affairs in the Ibibio land. Thus, the songs fulfil their functional expectations as oral art forms in Ibibio land, just as oral literature elsewhere in Africa. Beyond this, there is a characteristic probing into the activities of individuals and government, and how such activities affect human progress. For instance, maladministration and corruption of the post-colonial Nigerian regimes are noted as factors responsible for abject poverty in Nigeria. Also, religious hypocrisy among Christians is critiqued as a contributing factor for the continuous social vices in society.
This study concludes that through the akata music tradition, the artist boldly probes society, condemns evil, and calls out government and members of society, particularly Christians and political and religious leaders. Through the songs, individuals, private and corporate bodies are warned against greed and other crimes that impede societal development. In terms of literary poetics, the themes and aesthetic appeal created by repeating important verses through a call-and-response technique situate the songs of Ubokudom within the paradigm of African oral literature. Therefore, the akata genre itself becomes a discursive model and aesthetic framework through which the artist deconstructs and reconstructs religious and sociopolitical imaginaries in Nigeria. The choice of words and repetition of important verses in the songs not only emphasise the kernel idea and philosophical imports in the songs but also offer an efficient boost to the aesthetics of the oral performance. Hence, Ibibio oral literature offers a critical medium for sustaining African indigenous philosophies and the cultural epistemology of Ibibio.
References
Afolabi, J. (2004). “The Functionalist Perspective of African Oral Performance”. Lwati: A Journal of Contemporary Research. 1, 20-30.
Akande, S. (2024). “The Functionality and Performance Practice of Indigenous Yoruba Music in Ago-Iwoye' Egungun festival”. Journal of African Studies and Sustainable Development. 7(2), 140-149.
Akpan, O.& Akpan, A. (2022). 'Significance of Indigenous Songs in Ibibio Cultural Heritage.' InEkpenyong, M.E.& Udoh, I.I. (eds). Current Issues in Descriptive L i n g u i s t i c s a n d D i g i t a l H u m a n i t i e s . S p r i n g e r , S i n g a p o r e . https://doi.org/10.1007/978-981-19-2932-8_26.
Anene, J., Mba, A U. & Mba, C. A. (2024). 'Leadership and poverty reduction in Nigeria.'
West African Journal of Interdisciplinary Research. 2(3), 46-56.
Carter, D. (2006). Literary theory. Harpenden: Pocket Essentials.
Egglezou, F. & Nakas, T. (2014). 'Figures of repetition in the performance of the Italian folktale.' Mediterranean Journal of Social Sciences. 5(1), 621-633.
Etuk, J. (2021). “Signification and Cultural Projection in 'Akwawood'.” Unpublished PhD Thesis of the Department of English, University of Ibadan. pp. 22-25.
Etuk, J. & Akpan, I. (2023). 'Language and Gender Ideology in Tekno's 'Woman.”Sapientia Global Journal of Arts, Humanities and Development Studies (SGOJAHDS). 6 (4), 69 – 80.
Finnegan, R. (2012).Oral Literature in Africa.Cambridge, UK: Open Book Publishers. http:// dx.doi.org/10.11647/OBP.0025.
Ighile, M. (2021). 'Re-constructing the Theory and Practice of Oral Performance in Africa.'
UTUENIKANG: Ibom Journal of Language and Literary Review. 1(1), 47-59.
Ikeokwu, E. (2007). “Functionalism and Pedagogy of Igbo Folktale.”Journal of Igbo Studies. 2. 21-25.
Inyabri, I., Offong, I. & Mensah, E. (2022). 'Satire, agency and the contestation of patriarchy i n I b i b i o w o m e n ' s s o n g s . ' A f r i c a n S t u d i e s , 8 1 ( 1 ) , 2 3 – 4 4 . https://doi.org/10.1080/00020184.2022.2057922.
Jegede. O. (2023). Basic Topics in Oral Literature. Ibadan: Toyin Ventures.
Kipyegon, K., Wanyama, M. &Mapaya, M. (2025). 'Epistemics of African Music Performance: Navigating Knowledge, Tradition, and the Digital Frontier.'African Musicology Online. 14 (2): pp.14-24. https://doiorg/10.58721/amo.v14i2.1107.
Malinowski, B. (1960). A Scientific Theory of Culture and Other Essays. 1944. US: The University of North Carolina Press.
McDowell, P. (2012). 'The Ong Concept of Orality.' Religion & Literature, 44 (2), 169-178.
Mensah, E., Rowan, K., & Ekpe, M. (2024). 'The Representation of People in the Ibibio Anthroponymic System: A socio-onomastic Investigation.' Languages.9 (6), 1-21. https://doi.org/10.3390/languages9060188.
Ngugi, T. (1981). Writers in Politics: Essays. Ibadan: Heinemann Publishers.
Nnyagu, U. (2017). 'The Nature of Oral Literature: Concepts and Genres.' Scholars Journal of Arts, Humanities and Social Sciences. 5 (9A), 1149-1155.
Okon, F. & Udoinyang, I. (2021). 'Aesthetics in Five Annang Folksongs: An Oral Literary Approach'. Journal of Literature, Languages and Linguistics. 78, 47-55.
Ong, W. J. 1982. Orality and Literacy: The Technologizing of the Word. London, UK: Routledge.
Onu, O. and Ugwoke, E. (2022). 'Analysis of Language and Linguistic Features in Igbo Traditional Marriage Songs: A Functionalist Approach.' Spring Journal of Arts, Humanities and Social Sciences,1 (104), 215-225.
Onyejekwe, M. and Ikeokwu, E. (2013). 'Social Commitment in Female Song: A Functionalist Study of Agbachaa-Ekuru-Nwa Oral Performance of Mbaise Igbo.' Research on Humanities and Social Sciences. 3 (10), 66-75.
Oyetimi, K. (2024). M.A Class Notes on Theories of Oral Literature. Department of English, University of Ibadan, Ibadan.
Portelli, A. 1991. The Death of LugiTrastulli and other Stories: Form and Meaning in Oral History. Albany, NY: State University of New York Press.
Rosenberg, B. (1987). 'The Complexity of Oral Tradition.' Oral Tradition. 2(1), 73-90.
Tönnies, F. (1957). Community & Society. Loomis, C. P. (trans.). US: Michigan State University Press.
Turin, M. (2013). 'Orality and Technology, or the Bit and the Byte: The Work of the World Oral Literature Project.' OralTradition, 28 (2), 173-186.
The Punch (Online). 'Address Lecturers' 'Poverty Pay.” September 1st, 2025. https://www.google.com/amp/s/punchng.com/address-lecturers-poverty-pay. Retrieved Sept. 2, 2025.
Umanah, V. (2021). 'Uko Akpan Music and Anaañ Arts and Crafts: Socio-religious andCultural Lessons.'https://www.researchgate.net/publication/286108861. Retrieved Aug. 25, 2025.
Usoro, R. & Udoette, M. (2014). 'Authenticating Performance with Oral Forms: The Case of Uko Akpan Cultural Troupe.'LWATI: A Journal of Contemporary Research, 11(2), 60-74.
Usoro, R. O. (2018). 'Ikwo Ibaan Ibibio: Expression of Womanhood mong Offot People of Akwa Ibom State.' In Osisanwo, A., Adebiyi-Adelabu, K. & Mosobalaje, A. (Eds.).Literary and Linguistic Perspectives on Orality, Literacy and Gender Studies.
This Paper is Published Without Open Access Publication Charges Courtesy the NLNG
Akande, S. (2024). “The Functionality and Performance Practice of Indigenous Yoruba Music in Ago-Iwoye' Egungun festival”. Journal of African Studies and Sustainable Development. 7(2), 140-149.
Akpan, O.& Akpan, A. (2022). 'Significance of Indigenous Songs in Ibibio Cultural Heritage.' InEkpenyong, M.E.& Udoh, I.I. (eds). Current Issues in Descriptive L i n g u i s t i c s a n d D i g i t a l H u m a n i t i e s . S p r i n g e r , S i n g a p o r e . https://doi.org/10.1007/978-981-19-2932-8_26.
Anene, J., Mba, A U. & Mba, C. A. (2024). 'Leadership and poverty reduction in Nigeria.'
West African Journal of Interdisciplinary Research. 2(3), 46-56.
Carter, D. (2006). Literary theory. Harpenden: Pocket Essentials.
Egglezou, F. & Nakas, T. (2014). 'Figures of repetition in the performance of the Italian folktale.' Mediterranean Journal of Social Sciences. 5(1), 621-633.
Etuk, J. (2021). “Signification and Cultural Projection in 'Akwawood'.” Unpublished PhD Thesis of the Department of English, University of Ibadan. pp. 22-25.
Etuk, J. & Akpan, I. (2023). 'Language and Gender Ideology in Tekno's 'Woman.”Sapientia Global Journal of Arts, Humanities and Development Studies (SGOJAHDS). 6 (4), 69 – 80.
Finnegan, R. (2012).Oral Literature in Africa.Cambridge, UK: Open Book Publishers. http:// dx.doi.org/10.11647/OBP.0025.
Ighile, M. (2021). 'Re-constructing the Theory and Practice of Oral Performance in Africa.'
UTUENIKANG: Ibom Journal of Language and Literary Review. 1(1), 47-59.
Ikeokwu, E. (2007). “Functionalism and Pedagogy of Igbo Folktale.”Journal of Igbo Studies. 2. 21-25.
Inyabri, I., Offong, I. & Mensah, E. (2022). 'Satire, agency and the contestation of patriarchy i n I b i b i o w o m e n ' s s o n g s . ' A f r i c a n S t u d i e s , 8 1 ( 1 ) , 2 3 – 4 4 . https://doi.org/10.1080/00020184.2022.2057922.
Jegede. O. (2023). Basic Topics in Oral Literature. Ibadan: Toyin Ventures.
Kipyegon, K., Wanyama, M. &Mapaya, M. (2025). 'Epistemics of African Music Performance: Navigating Knowledge, Tradition, and the Digital Frontier.'African Musicology Online. 14 (2): pp.14-24. https://doiorg/10.58721/amo.v14i2.1107.
Malinowski, B. (1960). A Scientific Theory of Culture and Other Essays. 1944. US: The University of North Carolina Press.
McDowell, P. (2012). 'The Ong Concept of Orality.' Religion & Literature, 44 (2), 169-178.
Mensah, E., Rowan, K., & Ekpe, M. (2024). 'The Representation of People in the Ibibio Anthroponymic System: A socio-onomastic Investigation.' Languages.9 (6), 1-21. https://doi.org/10.3390/languages9060188.
Ngugi, T. (1981). Writers in Politics: Essays. Ibadan: Heinemann Publishers.
Nnyagu, U. (2017). 'The Nature of Oral Literature: Concepts and Genres.' Scholars Journal of Arts, Humanities and Social Sciences. 5 (9A), 1149-1155.
Okon, F. & Udoinyang, I. (2021). 'Aesthetics in Five Annang Folksongs: An Oral Literary Approach'. Journal of Literature, Languages and Linguistics. 78, 47-55.
Ong, W. J. 1982. Orality and Literacy: The Technologizing of the Word. London, UK: Routledge.
Onu, O. and Ugwoke, E. (2022). 'Analysis of Language and Linguistic Features in Igbo Traditional Marriage Songs: A Functionalist Approach.' Spring Journal of Arts, Humanities and Social Sciences,1 (104), 215-225.
Onyejekwe, M. and Ikeokwu, E. (2013). 'Social Commitment in Female Song: A Functionalist Study of Agbachaa-Ekuru-Nwa Oral Performance of Mbaise Igbo.' Research on Humanities and Social Sciences. 3 (10), 66-75.
Oyetimi, K. (2024). M.A Class Notes on Theories of Oral Literature. Department of English, University of Ibadan, Ibadan.
Portelli, A. 1991. The Death of LugiTrastulli and other Stories: Form and Meaning in Oral History. Albany, NY: State University of New York Press.
Rosenberg, B. (1987). 'The Complexity of Oral Tradition.' Oral Tradition. 2(1), 73-90.
Tönnies, F. (1957). Community & Society. Loomis, C. P. (trans.). US: Michigan State University Press.
Turin, M. (2013). 'Orality and Technology, or the Bit and the Byte: The Work of the World Oral Literature Project.' OralTradition, 28 (2), 173-186.
The Punch (Online). 'Address Lecturers' 'Poverty Pay.” September 1st, 2025. https://www.google.com/amp/s/punchng.com/address-lecturers-poverty-pay. Retrieved Sept. 2, 2025.
Umanah, V. (2021). 'Uko Akpan Music and Anaañ Arts and Crafts: Socio-religious andCultural Lessons.'https://www.researchgate.net/publication/286108861. Retrieved Aug. 25, 2025.
Usoro, R. & Udoette, M. (2014). 'Authenticating Performance with Oral Forms: The Case of Uko Akpan Cultural Troupe.'LWATI: A Journal of Contemporary Research, 11(2), 60-74.
Usoro, R. O. (2018). 'Ikwo Ibaan Ibibio: Expression of Womanhood mong Offot People of Akwa Ibom State.' In Osisanwo, A., Adebiyi-Adelabu, K. & Mosobalaje, A. (Eds.).Literary and Linguistic Perspectives on Orality, Literacy and Gender Studies.
This Paper is Published Without Open Access Publication Charges Courtesy the NLNG