Ijaw Music War! King Director Kokou Breaks Silence As Critics Challenge His ‘King’ Title

By Passman Akpos

YENAGOA, Bayelsa State — Ijaw musician Prosper Tamunoemi, popularly known as King Director Kokou and Junior Barrister, has addressed growing public criticism surrounding the use of the title “King” before his name, insisting that the designation was given to him in recognition of his musical identity in Kolokuma/Opokuma Local Government Area of Bayelsa State.

The musician made the clarification in a public message following an online debate over the appropriateness of the title, with social media users expressing sharply divided opinions about whether Ijaw musicians should adopt royal titles.

In his statement, Director Kokou said he respects traditional rulers, cultural values and established institutions, stressing that he has no intention of disrespecting anyone through the use of the title.

According to him, the name reflects how he is identified as the king of Ijaw music in the Kolokuma/Opokuma area.

“I respect our traditional rulers, culture, and institutions, and I have no intention of disrespecting anyone,” he stated.

He appealed to members of the public to understand his identity and intentions rather than judge him unfairly, urging everyone to promote peace, love and mutual respect instead of unnecessary criticism.

The musician also called for an end to the controversy, expressing appreciation to those who have supported him.

“I believe it is time to put this matter to rest,” he added.

Social Media Debate Divides Ijaw Music Fans

The clarification has generated mixed reactions among social media users, particularly over whether the title “King” should be associated with individual musicians and whether such recognition should be determined by fans, music associations or particular communities.

Some commenters defended Director Kokou, arguing that he did not necessarily confer the title on himself and that his recognition by people in Kolokuma/Opokuma should be respected.

Others, however, questioned the growing popularity of royal titles among Ijaw musicians, asking whether the music industry should have clearer distinctions between entertainers and traditional rulers.

One commenter argued that musicians should be careful about accepting titles that could be interpreted as competing with established traditional institutions.

Another maintained that the word “King” could be used as an artistic or honorary designation, depending on the context in which it was conferred.

The debate has also raised questions about the criteria for recognising musicians as kings of particular genres, communities or musical traditions.

Questions Raised Over Other Ijaw Music Icons

The controversy has brought other established Ijaw musicians into the discussion, with some commenters mentioning King Karito of Arigbo, King Teacher of Igbema and King Pius.

Marvelous Nathan Kigigha questioned what such titles mean for other musicians who have also contributed to the development of Ijaw music.

The comment reflects a broader concern among some fans about whether the increasing use of the title “King” could create confusion over musical recognition and status within the Ijaw entertainment industry.

However, supporters of Director Kokou argued that the recognition of one musician does not automatically diminish the contributions of others.

Some also maintained that different communities may recognise different musicians based on their influence, musical contributions and relationship with their people.

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The discussion has therefore extended beyond Director Kokou’s personal identity to questions of cultural recognition, artistic achievement and the significance of honorary titles within Ijaw society.

Supporters Rally Behind Director Kokou

Several supporters have publicly defended the musician, describing him as an important figure in the musical culture of Kolokuma/Opokuma.

One supporter said Director Kokou had earned recognition within his community and urged critics to respect the decision of those who identify him with the title.

Another supporter, referring to his musical background and association with the lineage of the Great White Eagles Band, called on the community to promote its own cultural talents.

Other commenters urged the musician not to allow negative reactions to distract him from his career, arguing that public criticism often accompanies visibility and recognition.

One supporter described Director Kokou as a superstar and encouraged him to continue making music, while others thanked him for clarifying the circumstances surrounding the title.

The comments demonstrate that the controversy has also become an occasion for fans to express loyalty to their preferred musicians and debate how Ijaw musical heritage should be celebrated.

Director Kokou Promotes His Music

Beyond addressing the controversy, Director Kokou used his public message to encourage fans to listen to his music.

He shared an Audiomack link to a track featured in the background of the video accompanying his statement, inviting listeners to stream the song.

The move places the debate alongside his efforts to promote his musical work and encourage greater attention to his catalogue.

Listen to King Director Kokou’s music on Audiomack:
https://audiomack.com/Director-kokou-prosper-tamunoemi/song/6ad71b22b4ace

The Bigger Question: Who Deserves The Title Of An Ijaw Music King?

The controversy highlights a wider cultural debate about the use of royal titles in the entertainment industry.

For some fans, titles such as “King” represent community recognition, musical influence and the affection of supporters. For others, the growing number of musicians using such designations raises questions about the criteria for awarding them and the need to distinguish artistic recognition from traditional authority.

The issue also raises questions about the role of music associations and cultural organisations in recognising musicians who have contributed to Ijaw music over the years.

However, the comments circulating online represent the views of individual participants and should not be taken as the position of the entire Ijaw community.

Director Kokou’s clarification makes his position clear: he says the title was given to him and that he does not intend to disrespect traditional rulers or cultural institutions.

Whether the debate will end following his explanation remains to be seen.

For now, the discussion has placed the musician, the significance of honorary titles and the recognition of Ijaw musical talents at the centre of an ongoing public conversation.

Tarakirivoice will continue to promote constructive discussions on Ijaw culture, music and the preservation of Niger Delta heritage.