On the Ubọ-Aka of the Igbo: An Interview with Gerald Eze^*

[Eze demonstrates the instrument]

[Eze demonstrates the instrument]

Carter-Ényì: Daalu nke oma. Biko gosigodu anyị iru ihe a ị kpọrọ,

Carter-Ényì: Thank you so much. Please show us what you just played,

gosigodu anyị ihu ya ka anyị fụ ya

show us the face let us see it

Kee ihe a na-akpọ ya? Kee ihe o bụ?

What is it called? What is it?

Eze: Ihe a m ji n’aka bu ubọ-aka, ubọ-aka

What I’m holding is called ubọ-aka, ubọ-aka

ọ bụ ngwa ndị Igbo

It’s an Igbo musical instrument

Oo ihe ndi igbo ji eme onwe ha obi añụri- ọ bụ ihe ...

It’s what the Igbo used to entertain themselves and be joyful in the past

Ee, o dịrịrị n’ala igbo na mbụ, o tego rii ọ dị

It has been in existence in Igbo land, it has been long in existence

Mana emechazii ọ dị ka ọ na-ana ana

But it appears it is now going into extinction

Carter-Ényì: ọ bụ ihe i na-ekwu kita bụ na ọ dị ya?

Carter-Ényì: From what you are saying now, is it still available in the society?

Eze: ọ dị ya, ọ ka dịrịrị

Eze: Yes, it is still very much around

Mana ndị na-eme ya, ndị na-akpọ ya erizighị nne

But the players, are not many

ọ kwanu ya ka munwa ji mụta ya, jiri ya na- akpagharị

That was why I learnt it, taking it to places

Na-enye ya ụmụakwụkwọ m, na-egosi ha ya

Giving it to my students, showing it to them

Naa, ndị otu egwu m ejirikwuo ya na-akpọ egwu

And my band also uses it to perform live music

O nwe ebe a kpọrọ m ka m kuzie piano, nke ndị ọcha,

Anywhere I’m called to teach piano, the Western piano,

Ka m kuziere ụmụazi piano,

To teach children piano,

M kuzie kuzie,

After teaching the piano for some time,

O zuo, o ruo ihe dị ka onwa nabọ,

Once it gets to about two months,

M were ubo-aka tikwuo,

I will add ubọ-aka to the lesson,

Si ha ngwa gotere ụmụazi a ụbọ-aka,

And then suggest to them to buy ubọ-aka for the children,

O na-aga

So, it keeps going

Emeketego ya, ọtụtụ ụmụazị amutago ya na ọka

Continuing this practice, a lot of children have learnt it in Awka

Ọtụtụ ụmụakwụkwọ amụtagokwa ya na UNIZIK,

Some students have also learnt it in UNIZIK,

Nnamdi Azikiwe University, ebe m na-akuzi

Nnamdi Azikiwe university, Awka, where I teach

M werekwa ya na-aga ihe dị ka orụ obodo,

I also take it to impact on the community,

Ihe ndị ọcha na-akpọ community service,

What the English people call “community service,”

N’Umuoji.

In a town called Umuoji⁽³⁾

Abụrọ m onye Umuoji,

I’m not from Umuoji,

Mana e nwere m (Dr. May Blossom Brown) onye nyere m ebe m na-araghu.

But someone (Dr. May Blossom Brown) gave me where to stay at Umuoji.

M bịa ebe ahu,

Each time I go there,

Mkpọkulota ụmụazi na akuziri ha ụbọaka

I bring children together to teach them ubọ-aka

Ndị nke ahu, ụmụazi ka uche m dị na ya

In this kind of teaching, I am more interested in teaching the young

Ihe m ji eme ya otu a bụ na onweghị otu ọzọ

This is because there is no other way to sustain the practice

M dee ya ede n’akwụkwọ,

But if I just write it in essays,

M na-edekwa ya ede,

I write essays about the ubọ-aka

Mana m mee so i de ya n’akwụkwọ

But when I just write only Academic essays

Ọ dị ka i sị:

It will be like saying:

“Hei! mmiri adịrọ mmiri , mmiri adịrọ mmiri adịrọ!”

“Hey! There is no water, there is no water!”

M nọkwa n’iru taapụ.

Yet, I am standing in front of the tap.

“Mmiri adịrọ”, meghenu taapụ ka mmiri dịrị.

Yes, “there is no water,” so just open the tap and let the water flow.

M na-ewegara ya ụmụazi

I actively take it (the ubọ-aka) to children

Na emekwa ya n’egwu m

I use it in my musical ensemble

Na-akpọkwa ya n’egwu

I perform it in songs

Mmekata mekata, ihe dị ka ndị BBC Igbo

From these practices, organizations like the BBC Igbo

Ma ọ bụ ụfọdụ ndị midia,

Or other media groups,

Afu ya,

Would see my work,

Ndị na ezisa ozi,

That is, media groups that spread news,

Sị ka ha zie ndị ụwa, ka ha makwara na ụdị ihe a dị

They share it with the world, so that people know it still exists

Ndi mmadụ a fụ ya sị heei! Nke a nke a

Then people will see it and express excitement, saying this and that

M sị otu a na-aga

This is how I keep progressing with the music

Mana ewezuga onye mụ na ya na-arụ ya

But apart from the person I produce the ubọ-aka with

Amakwaha m ebe m fugoro ya n’ala Igbo

I don’t know where I have seen it in Igbo land

N’Eke-ọka n’ọka,

At Eke-Awka Market in Awka,

Ọka Sautu Lokal Gooment nke Anambra Steeti

Awka South Local Government of Anambra State

Onweho ebe a na-ere ihe egwu ofu mkpuru

In the markets where traditional Igbo musical instruments are sold

Ụbọaka dị na ya

one cannot find any ubọ-aka.

O gosii na ndị mmadụ enwezighị ihee, uche ha adikebezi na ya

This shows there are not many people do with interest in the ubọ-aka

Carter-Ényì: ọya ka o ji dịrị gị mkpa ikuziri ụmụaka?

Carter-Ényì: Is this why it is important for you to teach children?

Ajuju m Chọrọ iju gị ọzọ bụ enwechara ihe ndị ọzọ ndị igbo na-akpọ,

There are other instruments the Igbo people play .

Mana kee Ihe ojiri dịrị gị mkpa ka i welite ụbọaka a, kpasaba ya?

why is it very important for you to showcase and promote ubọ-aka?

Eze: Mm, ka ndụ m dị,

Eze: Mm, in the natural flow of my life

Ọ bụ ihe ndị a dị mkpa uche ndị mmadụ anaghị agakebe na ya, bụ ihe na amasi m iche

It is these important things that people’s mind does not go to that interests me most

O tu a ha ka ndụ m dị

That is how my life is

Ụbọaka a, ka m fụrụ ya izizi,

when I first encountered the ubọ-aka, the sound interested me

Ọ ma mma n’anya, tọkwa m ụtọ na ntị

It was pleasant to my eyes and sweet to my ears

Mana a chọpụtara m na ya bụ Ife na-ewe ọtụtụ oge na ọtụtụ uchu, mmadụ imụta ya

But I found out that it takes a lot of time and commitment for one to learn it

I ma ọ bụ ihe ndị n’ee, ihe ndị n’epe mpe na-adị ka o nweghoo, ọ ragha ahu,

You know it is the seemingly small or easy things

Ọ ya bụ Ihe ndị na-ara ahu n’uwa

They are the things that eventually turn out to be difficult

M tinye uchu were mebe ya.

So, I committed myself to do this

M fụkwa na m menwụrụ ya.

And I found out I could do it.

Ebe ọtụtụ ndị emeghughị ya, ka m menwụrụ ya,

Since many people are not able to practice this, and I could do it

Ka m meruzie nụ ya gaba

Then let me keep on doing it

O nweziri oge o ruru, m sị mba noo munwa ya na akpọzị ya,

At a time, I firmly decided that I will be performing it, myself

M ga na-ebughari ya; m ga na akuzikwa, na-egosikwa ndị mmadụ

I will carry it to places, teach it, and show it to people

Na emekwa ihe ndi a m na-eme

And continue doing all these things I do,

Mana mụnwa gana akpọ ya

But I will be performing it as well

Ya bụ Ihe, o digho fechaa, o digho fechaa

It not easy, it is not easy

Ama m ihe m ji ekwu;

I know why I’m saying it;

Ọ garaadị fecha, ọ ka bụ ịpụta i ga na-afụ ya ebe nịịle

If it were easy, it could have been seen everywhere

O digho fechaa

It is not easy

Carter-Ényì: O nwekara ndị ọzọ n’Afrika na-akpọ ihe yiri ihe a?

Carter-Ényì: Are there other people in Africa who play what looks like this?

Kedụ ihe a na-akpọ ya and kedụ ka ha si emekọrịta?

What are they called and how do they interact with each other?

Eze: Ndị Zimbabwe, mụ na ọtụtụ n’ime ha dịkwa na mma

Eze: I know some Zimbabwe people

Ndị Mbira Center na Zimbabwe,

The Mbira Center in Zimbabwe,

Mụ na ha na-arụ ọrụ eri, ee, anyị bidoro afo gara aga

I have been working with some of them since the beginning of last year (2020)

Ihe a na-akpọ Mbira Festival

In events like the Mbira Festival

O nwekwa nke ọzọ ha na-akpọ Pan African Mbira Festival

There is also another event that is called, Pan African Mbira Festival

Hanwa (ndị Zimbabwe) na-akpo ya “Mbira”

They (the Zimbabweans) call it (the ubọ-aka) “Mbira”

Ha elego anya fụ na m bụ nwaikorobia ihe a na-amasi na-akpọ ya

They saw that I’m a young man who is interested in this ubọ-aka music

M ghotakwa ka esi eji igwe eji ekwu okwu (fonu na komputa) were na-ezisa ụdị egwu ụbọaka a

And that I understand how to use the new media to spread awareness of this ubọ-aka music

Ha e wee kpọtụrụ m, m na ha a na-arụ

So, they called me to work with them

Ha nwa na-akpọ ya Mbira

They call it mbira

Be ha, ọ dị ri’nne,

It is popular in their place

Ọ na-adị m ka ọ dị be ha, ka Mbira ahu o dị be ha karia guitar.

It appears that mbira is more popular and available in Zimbabwe than the guitar.

Maka o di rinne,

Because it is found in many places

Ha ejidighị ya egwu egwu

They do not play with it

And ha na ndị mmuo na-eji ya akpakari ụka.

And they use it to communicate with the spirits

Ndị Shona na Zimbabwe, ha chọrọ ifu ndị nna nna ha ndị ochie gagoro aga,

When the Shona people of Zimbabwe want to commune with their departed ancestors,

Ọ bụ mbira ka ha na etinye aka na ya.

It is mbira that they use

O nwekwa ndị na-akpọ ya Kalimba, ndị Cameroon

Some people call it Kalimba, people of Cameroon

O nwekwa ndị na-akpọ ya Ilimba (ndi Tanzania)

Some people call it Ilimba (Tanzanians)

Nwekwa ndị na-akpọ ya, I think o na-adi m ka o nwekwaa ndị na-akpọ ya Marimba

Some others call it, I think that there are some people who call it Marimbạ

Mana nke doro m anya bụ Mbira, Ilimba, na Kalimba

But I’m sure of mbira, ilimba and kalimba

Ilee anya, chee ka ndị a si akpọ ụbọ (ụbọaka) nke ha, ọ dịwagaa iche

when you look to see how they play their ubo (ubọ-aka), it is unique

O buho otu e si ahazi, eee, ụda, ihe igwe a eji akpọ ụbọaka anyị, ka ndị Zimbabwe si hazi nke ha

It is not the same way that we arrange the metal prongs of our own ubọ-aka that the Zimbabweans arrange theirs

Ihe a na-akpọ tuning,

What we call tuning,

Tuning ya dị iche n’iche

Their tuning system is unique from ours

O tu anyị si hazi nke anyị dị iche, e tu ha si hazi nke ha dị iche

The way we tune ours is unique, the way they tune theirs is unique

Ọ bụ ya ka o ji a bụ mgbe ụfọdụ akpọ ya Thumb Piano, ọ ra ahu

That is why it is confusing to generalize all as Thumb Piano

Ị sị Thumb Piano, kedụ nke i na-ekwu maka ya

When you say Thumb Piano, which of them are you referring to

Ọ bụ mbira, ka ọ bụ ụbọaka ka ọ bụ ilimba ka ọ bụ kalimba?

Is it the mbira, or ubọ-aka or ilimba or kalimba?

Ihe a bụ afa digasi iche iche a na-akpọ. . .

These are different names they are called

O nwekwalụ ebe ihe a dị n’Ikwere,

You can also find this (ubọ-aka) in Ikwere

Ọ dị rinne

It is popular there

Ihe a na-akpọ ya bụ Eri ọbọ

They call it Eri Obo

N’ikwere, ee, ebe wụbụ Igweocha, Port Harcourt

In ikwere, the place that is formerly Igweocha, now Port Harcourt,

A na-akpọ ya rii nne

It is a common practice to play it (ubọ-aka/Obo)

Jimi Conta, eee, Jimi Conta bụ ofu n’ime ndị ama ama n’akpọ ya

Jimi Conta, eee, Jimi Conta is one of the popular performers of the Eri Obo

Obo, Eri ọbọ ka a na-akpọ ya

Obo (ubo) they call the music Eri Obo

Nke aha kwa, ka e si ahazi igwe eji akpọ ya dị iche na ụbọaka nke ndị Enugu, Anambra, Imo

Their tuning system is also different from ubọ-aka of Enugu, Anambra and Imo people

Carter-Ényì: Gwam e tu o si bụrụ ndị Igbo bụ ndị na akpọ ụbọaka a nunwa?

Tell me how it is only the Igbo that play this ubọ-aka

Eze: Ndị igbo. . . n’izizi afa ya bụ ụbọaka

The Igbo people, first of all, it is called ubọ-aka

Aka bụ aka mmadụ,

Aka means someone’s hand,

Nee aka m leenu aka m,

Look at my hand, look well at my hand,

Ụbọ bụ ihe a na-akpọ akpọ,

Ubo means something that is plucked

Ndị Igbo nwere ụbọ-akwara

The Igbo has ubo-akwara

Ụbọ, nke eji akwara were kwe

Ubo that is made from the strings of palm tree

Nke ahu alago laa pii

That one has completely gone extinct

O teene m chọbara ya na achọ onye ga-egosi m ka ọ dị

For long, I have been looking for it, looking for one who will show me how it appears

Maka na afubeghị m k’o si ada na ntị

Because I have not come to know how it sounds

M nụ ka o si ada na ntị, egosi m ka ọ dị, ọ ga-adaba

Once I hear how it sounds with my ears, if I am shown how it is, it will be great

Egosi m ka ọ dị, o ga-adaba

If I am shown how it is, it will be great

Nke ahu bụ ụbọ-akwara

That one is called ubo-akwara

Ụbọ bụ ihe a na-akpọ akpọ

Ubo is something that is plucked

Ọ bụrụ na ọ bụghị ndị Igbo nwe ya ọ gaghị aza afa ahu na mbụ

If it did not originate from the Igbo people, it would not have that name

Nke mbu bụ na ọ ụbọaka,

First thing is that it is ubọ-aka

Gosi na o ihe ndị Igbo were tinye be ha

To show that it something the Igbo have put in land

Were ya na-agwa onwe ha okwu

And they contemplate life in conversations with it

Were ya na-anọrị ọnọdụ

They use it for social purposes of relaxation

Were ya na-atughari uche

They meditate with it

Ọ bụ ndị Igbo nwe ụbọaka

It is the Igbo that owns ubọ-aka

Carter-Ényì: E tu a nunwa i siri mata maka ụbọaka a nunwa,

Carter-Ényì: From the way you have come to know this ubọ-aka,

O nwere ihe gosiri gị e tu ndị Igbo si wee nwekọrịta ya, With ndị ọzọ nọ n’Afrika?

Is there anything that shows you how the Igbo people own it together, with other people in Africa?

Kedụ ife o jiri bụrụ sọsọ ndị Igbo na ndị gbasara ụmụ afo Igbo dị ka ndị a ị kpọrọ afa kita n’Ikwere,

Why is it that it is the Igbo people and those connected to the Igbo, just like those you mentioned now who are from Ikwere,

Ha bụkwa ndị Igbo bụ ndị na akpọ ihe a

Who are also Igbo and also play this ubo

Ndị Yoruba anaghị akpọ ya?

Does the Yoruba people not play it?

Ndị awusa anaghị akpọ ya?

Does the Hausa people not play it?

Ha nwekwe nke ha?

Do they have their own?

But ka m gwara gị gwa m ndị ọzọ na-akpọọ ya,

But, when I asked you to tell me other people who play it,

Ị sị na ọ bụ ndị nọcha outside Nigeria

You mentioned those who are outside Nigeria

So, o nwe ihe i mutara. . . ?

So, have you learnt anything about. . . ?

O nwe ihe ọ bụ kọnetiri anyị na ndị ahu?

Is there any connection between us and those people (outside Nigeria)?

Eze: Haaa Ndị Yoruba nwekwara Agidibo, ha nwere Agidibo

Eze: The Yoruba people have Agidibo, they have agidibo

Ee, ọ dị n’ụdị nke ya

Eh, it is in its own unique style

Ọ bụkwa ofu ihe a e tu ndị Zimbabwe si nwe nke ha a na-akpọ mbira

They are all the same type of instrument, the Zimbabweans call their own mbira

Na Shona, na Zimbabwe, Mbira ka a na-akpọ ya

In Shona, in Zimbabwe they call it mbira

Na Yoruba, Agidigbo

Yorubas call it Agidigbo

Ndị be anyị nwe ya

Our people also have it

Nke bụ eziokwu bụ na ndị gboo e jeka ije

The truth is that our ancestors traveled a lot

Ndị oji ndi gbo, echiche ha tọrọ atọ

Our ancestors possessed enduring thoughts

Anya rulu ha ana.

They were down to earth.

Akọ na uche akọrọ ha.

They do not lack wisdom.

Ọ na a bụ ha na-eje njem,

It happened that when they travel,

Ọ dị m ka ọ site na njem

It seems to me that it is through traveling,

Ka ihe a si gazuo Afrika

That this music spread through Africa.

Maka ndị nke wete nke ha

Because when each community, collects their own

Ọ dị n’ụdị ha

It is in their own unique style

Ha agaghị eje wete ya otu ahu, wenata ya, ọ di.

They do not bring it back the way it is in another place, to make it available

Mana ihe mu a maa kọwazi bu,

But what I cannot explain is,

Ndị si na aka ndị we mụrụ.

Who learnt from the other

Mana nke dolu anya

But what is clear enough,

Bụ na o site na njem

Is that it is through traveling,

Ka ihe a si gbasa

That this knowledge spread.

Maka ị checkie, ị nee anya,

Because when you think about it,

Ofu ihe a ka ọ bụ.

It is the same thing.

ị nee anya, ofu ihe a ka ọ bu.

If you observe, it is the same thing.

Ndị Igbo, munwa onwe m ji ụbọ a, akpakọ, ee

Igbo people, I also, holding the ubo,

Mu onwem, mụ na ndị mmụọ ji ụbọ akpa.

I myself, I communicate with the spirits through ụbọ (ụbọaka)

Ị nekwa, ịfụ na ọ bụ ofu ihe a a na-eme na Shona, na Zimbabwe.

If you observe, it’s the same thing the Shona people of Zimbabwe do.

Ọ dị m ka ọ bụ njem.

It seems to me like it’s through traveling.

Ndị be anyị mgbe ahu, ndị gboo awụghọ

Our people then, our ancestors do not

Ha jee njem, ha eje kọpilụ ka ndị si eme, tọ na ya

Travel to copy the way of life of other people and stick to it.

Ọ ha jee, ha amụta, nọta n’ụnọ,

The case is that when they travel, they learn, come back home,

Tọ ntọ ala ya e me

Create structures that will make

Ka ihe aha dimma ha muta, bulụ nke ha, kpọm kwem.

What they learnt to be good, to become theirs specifically.

Ọ bụ ya ka ha jiri were ụbọaka, ọ bụlụ nke Igbo.

This is why they have adapted the ubọ-aka to be for the Igbo

Ị nekwa ya anya, ifu ihe dị iche.

If you observe, you will see the uniqueness.

Ọ nwe akụkọ akọrọ m n’obodo anyi,

There is a story told in my hometown

Na eji ya (ụbọaka) eduje ndị. . .

That it is used to accompany. . .

Anụtachaa nwanyị, ị bịa n’Umichu nụọ nwanyị

After the wedding ceremony, if you come to Umuchu to marry a woman

Ndị Ibughubu Umuchu ka ha si na-akpọ ya rinne mgbanwu.

It is said the Ibughubu people of Umuchu played the instrument a lot then

Ị bịa n’umuchu nụọ nwanyị,

If you come to Umuchu to marry,

Abani mgbọsi ahu, makana ka mkpọtụ we benata,

The night after the marriage, for the noise to be less

Ka sound ya we na agami kwu agami,

So that the sound will be audible and travel far

Ụbọ ka ha ye-eji kpọlụ nwoke ahu bia nụta nwanyi na ndi ọgọ,

They use the ubọ-aka to accompany the groom and in-laws to the wedding

Kpọghalia be ndị nwanyị ahu,

Around the house of the bride’s relatives,

Egosi cha ha, ha a naa, mgbọsi n’esote ya.

After showing them around, they leave the next day.

Ihe ihe a pụtara bu; ọ dị ụzọ ihe n’abu,

What this practice means is; it means two things,

Ị jekata ịje, pụta ihe dika n’Uga, tọ,

When you are traveling and you come to a place like Uga⁽⁴⁾

Chi jinarị gị,

And the night has come upon you,

ị jisizie ike rute n’Umuchu,

Once you manage to get to Umuchu⁽⁵⁾

Ị malụgo be ndị ọgọ gị, ebe i ya-eje zuo ike.

You already know the house of your in-laws where you can go and rest.

Ị ba be ofu onye.

You just enter the house of one of them

Ifugo ya; hotel, hospitality.

You see it; hotel, hospitality

Ọ dị rii na ani Igbo.

It has always been natural to the Igbo

Ọ ka ndị mbụ si debe ndụ.

This is how the ancestors planned life

Ụbọaka a bụ ihe a na-akpọ, na-agụ egwu,

ubọ-aka is the musical instrument that is played, while people sing

Wee na agaghari ụdị agaghari a.

While the in-laws are shown the bride’s relatives

Ndị b’anyi na-abụ ha puo mgbe ahu,

When our ancestors travel in the olden days

Ha mụta ihe, ha nọta, e jiri ya na-ahazi ndụ.

When they learn something, they return, and employ that thing to make life better

Kita dizi m ka ọ. . . .anyi puọ,

Now it seems to me that. . . when we travel,

Anyi atunata ihe ahu atunata otu ahu ọ dị.

We import things the way they are from the place we have traveled to

A nadighi eche ya n’echiche.

No one hardly applies thought to it

Atu nata ya, a fanye ya na ndụ anyi,

When we import it back, we impose it on our lives

Ọ mairi fanye onwe ya.

And it ends up imposing itself

Ọ dikwa m ka o so n’ihe na-etisa obodo.

I feel it is one of the things that disintegrates the (Igbo) society.

Carter-Ényì: Afuru m ka I na hazi ihe a,

Carter-Ényì: I saw you tuning the instrument.

Gwam e tu ndị Igbo si a hazi nke ha.

Tell me how the Igbos tune their ụbọaka.

Eze: Mmm, Onye mee ka ụbọ a gazuo,

Eze: Mmm, the person who made the ụbọ popular

Igbo nịịle, n’ụwa nịịle,

Across the Igbo land and the world,

Bukari Obiligbo.

Is mostly Obiligbo

Obiligbo agbaka mbọ.

Obiligbo did a lot

Ezigbo Obiligbo, onye Nteje.

Ezigbo Obiligbo. From Nteje.

Ọ na-abụ, ị gee egwu ya,

If you listen to his music,

I ya-anụ ihe, I nụ ka ọ si hazi ya

You would hear something, how he tunes it (ubọ-aka).

M kpọ egwu ya, kpọtaya,

When I play his music, and play it well,

M wee kpọzie nhazia

I will now play the scale

Site na, nke mbụ, igwe nke mbụ, ruo n’igwe nke ikpeazu.

From the first, the first prong, to the last prong.

(Proceeds to pluck the ụbọaka; lowest pitch first, then the highest pitch)

(Proceeds to pluck the ụbọaka; lowest pitch first, then the highest pitch)

Mana m ga-akpọgodu k’egwu Obiligbo na-adi.

But first of all, I will play Obiligbo’s music the way it is.

M nwete ya, m ma na m hazite ya.

When I get the music, I will know that the tuning is correct.

Ọ ka e si ahazi ihe gbo

That is how tuning is done in the olden days.

Ị hazie ya, ọ bụlu n’ichọ iji ya kwuo okwu,

When you tune it, if you want to do speech surrogacy with it,

Ị hazicha ya, ị kwuonu okwu ahu

After tuning it, you use it to say what you want to say

Ihe ị kwuru dabaa, ị ma na ị hazitego ya.

If what you say sounds correct, then you know that the tuning is correct.

(O na-akpọ egwu eji mara Ezeigbo Obiligbo na ụbọaka)

(He plays Ezeigbo Obiligbo’s musical standard on the ụbọaka)

O tua ka egwu Obiligbo na-adịba.

That is how Obiligbo’s music normally is.

Ị nezie anya, ị fụ na ụbọ a, ihe ọ ga enye gị bụ. . . .

When you listen, you will notice that the ubo gives you. . .

(Scale ascending and descending)

(Scale ascending and descending)

(Continues playing the Ezeigbo Obiligbo ụbọaka standard)

(Continues playing the Ezeigbo Obiligbo ubọ-aka standard)

O tu a ka ndị Igbo si hazi ya.

That is how the Igbos do it.

Mana emeketezi,

But after some time,

Mụ na enyi m nwoke, Emmanuel Nwankwo,

My friend, Emmanuel Nwankwo and I,

Wee fụkwa na, e nwekwa ike

Noticed that, it is possible

Agbakwunye ihe n’enu ya.

To add some prongs on top.

Nke ndị Igbo gboo, anaghị adị ota a.

This was not the Igbo Ubo-aka was in the olden days

Mana a sị ndị Igbo, ndị Igbo abụrọ ndị tochago nu,

But when you talk about Igbo, the Igbo people are not done with progress,

Ndị Igbo bụ ndị ka n’eto eto

The Igbo people are still progressing

Ndị nwere akọ n’uche

They are a people with deep thoughts

Ndị na-etinye onwe ha, tinye uche ha n’ọlu

They are a people who apply themselves and their thoughts to work

Na-eme ka ihe onye jekwudo,

Ensuring that the practices anybody encounters

Ihe Agburu obuna jekwudo

The practices each generation encounters

Eme ya, ọ ka mma,

Is enhanced to be better,

O wee na-aga.

Therefore, the growth continues.

E jeghị m asi, na nke a awuhọ nke ndị Igbo.

I would not say that this one is not the Igbo ubọ-aka.

Maka ọtụtụ ụmụ Igbo akpọwago ya.

Because some Igbo people are playing it already.

Mụnwa, na-eme ya.

I perform with it

Ọ bụ mụ na enyi m nwoke, Emmanuel Nwankwọ

It is I and my friend, Emmanuel Nwankwo

Bido, tinyebe nke a;

That started putting the additional prongs;

Tinye ya, anyị wee na-akpọ ya.

We fix it, we then play it

(Plays the two octave ụbọaka)

(Plays the two octave ubọaka)

Ngwa nee ka anyị si hazi nke a.

Okay, now observe how we tuned it.

(Plays the scale of the two octave ubọ-aka, ascending and descending)

(Plays the scale of the two octave ubọ-aka, ascending and descending)

(Continues playing tunes on the two octave ubọ-aka)

(Continues playing tunes on the two octave ubọ-aka)

Mgbe ụfọdụ, ọ na-enye m ohere ikpọ ya, dị ka mụnwa na-akpọ piano.

Often, it allows me to play it like the piano.

Dị ka m a na, e, e, a na, a na. . .

Just like I am, eh, eh, I am, I am. . .

Egwu mụ ete aka, nwee nkeji dị iche iche

My songs become longer, and have different sections

Doo anya, tọ ụtọ.

Become clearer and sweet.

(Plays the two octave ubọ-aka)

(Plays the two octave ubọ-aka)

Ihea bu egwu (mmonwu) anyi na agu n’umuazi,

This is a (masquerade) folk song we sang when I was a child,

“M ma emekwa ebere”

“I will not have mercy”

“Ebere, ebere”

“Mercy, mercy,”

“M ma emekwa ebere”

“I will not have mercy”

Carter-Ényì: ọ otogbuo onwe ya, Daalụ (laughter)

Carter-Ényì: It is really sweet

Ajụjụ ọzọ m ga-ajụ gị bụ,

Another question I would ask you is,

Ọ kwa ị ma ndị Gambia,

You are aware of the people of Gambia,

E tu ahu ha si we nwee ‘Kora’,

How they have the kora,

Ọbụhọ mmadụ nịịle na-akpọ ya.

It is not everyone (in Gambia) that plays it.

Ọ bụ ezinaulọ and ndị mụtalụ ha,

It is only specific families and the parents in such families

Ndị so ha, bụ ndị nwe ike ikpọ ya.

And their apprentices that can play it

Carter-Enyi: ọ ofu ife, n’ihe gbasalu ụbọaka,

Carter-Ényì: Is it the same thing for the ubọ-aka,

Ka ọ di iche?

Or is it different?

Eze: Mmm, ọ bụcharo ofu ihe.

Eze: Mmm, It’s not exactly the same thing.

Mana ọ nwekwa ihe yitelu ya.

But there are similarities.

Ị nee anya,

When you look into it,

Kora ndị Gambia,

The kora of Gambia,

Ihe ha na-akpọ onwe ha bụ ‘Jali’

What they call those who play it is ‘Jali’

Ndị na-akpọ ya, Jali; Minstrels.

Those who play it, the Jali; Minstrels (Griots)

So, and ha na-akọwa na, o nwelu ihe dị iche

So, and they are show that there is a difference

Minstrels na musician.

Between minstrels (griots) and a musician.

Na Gambia ị bụ a Minstrel,

To be a minstrel (griot) in Gambia,

Dị ka ihe omimi

Is a deep thing

Ọ dị ka onye. . . onye ma akwụkwọ rinne.

It is like a person with great intellect

Maka ọ ha ka a na-akuziri k’obodo si bido;

Because it is the minstrel (griot) who knows the history of the community.

“Kee onye, onye chiri mbu?”

“Who ruled the community first?”

“Onye chiri, onye chiri ka a chichalu?”

“Who ruled next?”

Ihe nịịle gbasara obodo aha,

The entire history of that community,

A na-akwuzilie. . . a na-akuzilu ya ụmụ ụmụ n’egwu.

They teach this history to generations in songs.

Ya wụ ihe yara ahụ.

It’s not a common practice.

Ọ dị ọnọdụ ka, na Jali na Gambia dika dictionary.

The ‘Jali’ of Gambia are like a dictionary.

Ọ dị ka library.

He/she is like a library.

Ị kpaghaa ya na music, ọ gụsisiba.

Once they are asked to perform music, they render historical accounts.

So, ihe dị na ya bụ,

So, the thing about it is,

N’ala Igbo, nke dị be anyị yitelu ya bụ,

What resembles it in the Igbo land is,

Onye na akpọ ụbọ,

A person who plays the ubo,

Ụmụ ihe nịịle a na dịkwanụ n’ọbara.

Things like this are mostly in the bloodline.

Onye na akpọ ụbọ mụta nwa,

Once a person who plays the ubo has a child,

Ndụ o biri,

The life he lived,

Ka o si che echiche,

How he thinks,

Ka o si meso mmadụ omume,

How he treats his fellow human beings,

Udị ọru ọ nọ na-arụ,

The kind of work he does,

Udị egwu ọ nọ na-ege,

The kind of music he listens to,

Ọ ya aba nwa ya n’ọbara.

Will be in that child’s blood.

Ọ ihe a na-akpọ DNA.

That is what is called DNA.

So, ọ dị nwa ya n’ahu, karia ka ọ dị nwa onye ọzọ.

So, it becomes a part of his child more than the child of another person

Nwa ya aha na-etokwa, jekwude ya ka ọ na-eme ihe a,

When the child grows and encounter him in performances,

Ọ na-ene, maka asi nne ewu na-ata agba ya,

He will be observing, because our people say: When the mother goat is chewing,

Nwa ya a na-ene ya anya n’ọnu, na-amụta.

The kid goat watches her mouth, and learns.

Ọ nwerọ ụlọ akwụkwọ a na-akụ

There is no school where one knocks

Kpọm kpọm kpọm kpọm,

“Kpom kpom kpom kpom kpom” (knocking sound)

Bịa mụta ụbọ,

Come and learn the ụbọ,

Bịa mụta ọja,

Come and learn the ọja,

Bịa mụta ufie.

Come and learn the ufie.

Ọ ị nọlụ n’obodo,

The point is, when you are in the community,

Ị na-amụta ya.

You learn.

Nwatakiri, nna ya na-akpọ ụbọ,

A child whose father plays the ụbọ,

Ka nwere ohere ị muta ya karia

Has the chance to learn more than

Nwatakiri nna ya anaghi akpọ ụbọ.

The child whose father does not play the ụbọ.

Mana ọ dichaghọ otu aha nke ndị Gambia di.

But the family system is not exactly like that of Gambia.

Nke wụ na ị ga-amacha akụkọ nịịle aha

Where you would be formally “trained” in all their history and stories.

Nke ndị Gambia dị rii ka,

For the people of Gambia,

Otua ka omenala ha dị.

That is how their tradition is.

Nke anyị adịchaghị out a.

Ours is not exactly the same.

Maka mgbe Obiligbo na ahanye Ajani nwa ya egwu,

Because when Obiligbo was passing on his music to his son Ajani,

Mgbe Obiligbo na-ahanye Ajani nwa ya egwu

When Obiligbo was passing on his music to his son Ajani,

O nwekwa ebe ọ bịa si,

There is a place he said,

‘Onye emekwana ka Obiligbo n’egwu’.

Let no one do like Obiligbo in his music,

Ndị Igbo, ị ma,

For the Igbo, you are aware that,

A bịa na ihe gbasara ndọrọ ndọrọ ọchịchị,

When it comes to politics for instance,

Anyị dị, Republican.

Our system of government is Republican.

Onye owụna, anyị nwere ofu obi,

Everyone, we all have one heart,

Mana onye ọbụna wụ onye Igbo nwe obi nke ya.

But everyone who is Igbo also has their own unique nature.

Obiligbo wee dọ aka na-nti mgbe ahu si,

Obiligbo now made it clear in his music, saying,

‘Onye emekwana ka obiligbo n’egwu.’

‘Let no one do like Obiligbo in music.’

Nya pụta, onye mụta ụbọ a,

What it means is that, when a person learns the ụbọ,

Ya mụta ya n’udi nke ya, kpọba.

He learns it in his own style and performs it.

So, ọ bụchaghọ ofu ihe na kora ndị Gambia.

So, it is not exactly the same with the kora in Gambia.

Carter-Ényì: Ihe ọzọ m chọrọ ị mata bụ,

Something else I would like to know is,

Kedụ ụdị n’ụdị egwu e nwelu ike iji,

What kind of songs can you

Ụbọaka a nụnwa kpọ?

Play with the ụbọaka?

E nwelu ike iji ya kpọ egwu ndị oyibo?

Can it be used to play non-African songs?

Eze: Ihe nịịle dị n’echiche.

Eze: Everything is in the mind.

Ebe uche gị rudebe,

Where one’s mind can extend to

Ka I ga-erudebe.

That is the limit of what one can do.

A ga-ejinwụ ya kpọ egwu oyibo.

You can use it to play non-African songs.

E mego m ya rinne.

I have done it so many times.

Ị je na Instagram mụ,

If you go to my Instagram page,

I ga-afu ebe m ji ya kpọ,

You will see where I used it to play,

Egwu Bob Dylan;

A Bob Dylan song;

‘Blowing in the wind.’

‘Blowing in the wind.’

A ga-ejikwa ya kpọ,

It can also be used to play,

Ma egwu ndị Igbo eji ekpe ekpere.

Even songs the Igbo use to worship in Christian churches

Ma ihe anyị na-akpọ gospel music.

Including what we call gospel music.

M’egwu ana agụ n’ụnọ ụka.

Indeed, songs that are performed in the churches.

Egwu dị iche iche.

Different songs.

E mechago m ya.

I have done all these

M’egwu choir, a ga-ejinwụ ya.

It can also be used in choral music.

Onye chọ kita, o tinye ụbọ na choir ya.

If a person desires, he can use the ụbọ in his choir.

Ọ na echiche.

It is in the mind.

O nwerọ ebe ede na anaghị etinye ya na ya.

It is not written anywhere that you cannot apply it there (the ụbọ)

Ị che ya, si ka e tinye ya, e tinye ya,

If you think creatively about how to use it, you apply it,

ọ daba, ọ mebe.

if it makes sense, then that is it.

Ọ tọba ndị mmadụ ụtọ, ọ gbasa siba ebe nịịle.

When people like it, then it becomes popular.