The Yoruba people of Western Nigeria sang “Àpàlà.” The 1930s in Nigeria during the colonial era saw the development of the musical genre, which is a singing style supported by percussion. Àpàlà evolved and gained popularity in Nigeria under the influence of other genres, such as Cuban music. Apala was created as a form of cultural resistance to the British Empire’s colonial rule.
Without the use of any traditional western instruments, the music is sung to the accompaniment of a bell (agogo), two or three talking drums, a rattle (sekere), a thumb piano (agidigbo), and a thumb piano. However, the Ogido (a regional version of the conga drum), claves, and maracas were added as a result of Afro-Cuban music’s influence.
Apala’s deep philosophical and insightful lyrics, as well as the complexity of its rhythmic patterns, helped it gain popularity and widespread acceptance. It does, however, share Islamic roots with other traditional musical genres including Waka, Sakara, and Etike due to its style.
Apala Performers
Haruna Ishola was a well-known Apala performer who was also instrumental in spreading the genre‘s popularity. Backing vocalists, who frequently accompany Apala musicians on stage, are in charge of ensuring that each song maintains the traditional Yoruba call-and-response format.
Apala: Apala Groups in Nigeria 1967-70 is an album by London’s Soul Jazz Records that gathers the Apala music from the 1960s. The new compilation includes songs that were initially released by indie labels in Nigeria as well as Decca and EMI Records. The first collection of Apala music to be released outside of Nigeria is this new compilation and celebration of the genre by Soul Jazz. A pamphlet with information and pictures is also included.
Some of Nigeria’s popular Àpàlà musicians include Haruna Ishola, Ligali Mukaiba, Ayinla Omowura, Adebukonla Ajao, Rapheal Ajide, RA Tikalosoro, Adeleke Aremu, Kasumu Radio, Ayisatu Alabi and others.
