Despite series of anti-social vices policies and programmes initiated by governmental and non-governmental agencies, complemented by musical efforts of some proactive Nigerian women musicians to curb the threatening vices, the protracted menace still remains opprobrium. In view of this, a reflective nostalgia for impactful past musical works becomes essential to salvage the present time being ravaged by social vices in order to secure the future focus of a transformed society. Therefore, the present study intends to examine two (2) remarkable evergreen anthems ‘Ọmọ mi seun rere’ by Christy Essien Igbokwe and ‘Ọmọ de o ẹ gbọ oun ti mo fẹ sọ’ by Funmi Adams to reminisce or rehash motherhood Yoruba anthems for positive transformation. The research design employed in this study is ex-post facto to determine the motherhood instruction in the two selected anthems for positive transformation. The two (2) purposively selected anthems were analysed, pointing out the motherhood guide instruction therein based on Lewin’s 1940 Change Theory as used by Sherri (2012) and Petiprin (2016). In addition, discography and library materials such as books, journal articles and internet sources were consulted. Findings show that the hub of the two (2) songs is basically to prepare and mould children for future endeavour. More so, social vices were not only outrightly condemned in the songs, but consequences of venturing into them were exposed. The study concludes that being in the lives of children today is the surest way of being in their memories tomorrow. This is why the study recommends that musical works that condemn vices and commend virtue which have gone into oblivion especially by women musicians, need to be revived, so as to complement policies and programmes initiated by governmental and non-governmental agencies in curbing social vices in Nigeria.

It is observed that gender imbalance in Nigerian popular music studies, especially Juju music, over the years, was as a result of male chauvinism which is prevalent in popular music scene. This has contributed to the little scholarly attention paid on the female Juju artistes. Therefore, this paper assesses the emergence of female Juju artistes in Southwestern Nigeria. This is with a view to providing information on the involvement of female Juju artistes which has been largely neglected in research based on liberal feminist theory of Hook (1984). Both primary and secondary sources of data were employed for the study. The primary data includes unstructured oral interview with two purposively selected females and a male Juju artiste; Ayotunde Balogun, Titilayo Oguntoyinbo and Admiral Dele Abiodun. Interview conducted with the male Juju artiste, being one of the living legends of the genre, is to further unearth the period of emergence of the first female Juju artiste. The study also examines one song each of the two purposively selected female artistes. The secondary source in form of books, journal articles, magazine and the internet were also consulted. Findings show that the appearance of Queen Oladunni Oduguwa (popularly called Mummy Juju) and her Decency Unity Orchestra Juju band in the early 1970s, marked the period of emergence of female artistes in the Juju music performance. The study concludes that the presence of female Juju artistes in musicological studies had reflected gender equity in the Juju music scene, thereby increasing women’s opportunity for liberation in the African society.

 The cultural practices in many African societies are often misconstrued as idolatrous practices. While some of the cultural practices are counter-productive, many others intelligently showcase the science of the African forebears in the field of nature conservation, specifically, the sound management of landmass, water bodies, flora, fauna, and aquatic species. Adopting the PRISMA systematic review, Ninety-Six published literature on cultural practices and traditional ecological knowledge for natural resource management such as taboo systems, cosmological belief systems, and totems in some African ethnic societies were scholarly analysed and interpreted, with inferences drawn for contemporary use in the management of the scarce resources in Africa. The findings indicate that these productive cultural practices were cleverly formulated by the African forebears to prevent the wanton looting of nature’s resources while jealously and sustainably protecting them for the current and future generations. The study contends that the restricted times, number, and aspects of nature’s resources for harvesting, the affiliation of nature’s resources to vengeful deities and respected ancestors in the society as well as the earmarking of particular spots as sacred groves are scientific strategies set by the African forebears to sustainably manage the resources in their environment for posterity. Therefore, such traditional instruments for nature resource management must be constantly included in policies and strategies in modern biodiversity and environmental policies for African countries.

This paper examines the determining factors responsible for the idea of sacredness or secularity of a song, the relationship between the sacred and secular, and how the sacred and secular interplay in Ghanaian music. We focus particularly on the sacred and secular binary as reflected in what may be termed ‘Ghanaian Choral Highlife’, as both choral and highlife music initially emerged as distinct sacred and secular musical categories respectively. The research methodology in this work involves data from both primary and secondary sources including interviews, musical works and libraries. The musical elements of selected compositions are analysed, and compared to ascertain their relationship, areas of similarities and differences. Major findings in this study reveal the close relationship between the sacred and the secular in Ghanaian music and how both musical genres influence each other. It also reveals how this influence transcends into Ghanaian Choral  Highlife music. Based on our findings we argue that Choral highlife has come to stay as a result of the relationship between the sacred and secular, that is, between Ghanaian choral music and Ghanaian highlife music.