Masquerades are highly venerated in parts of West Africa, especially in Igbo of southern Nigeria because of their immense importance to the society. Different aspects of masquerades exist in Africa and each of the masquerades has characteristic features and the roles they play in the society. Masquerades had in the precolonial era, existed in the traditional African society for the purpose of entertaining the audience and for societal reformation. In the contemporary era where western civilisation has become the order of the day, African adherents of the western religion who abhor this indispensable aspect of the African folklore preach for its extinction. Attempts by the colonial masters to extinct masquerading have profusely proved abortive as masquerading had before colonisation, been an integral aspect of the African folklore and cannot easily be annihilated in the society. Many varieties of masquerades exist particularly in Igbo and Africa in general. Many of the masquerades are beautiful, others ugly. In all, masquerades perform varied functions in the African society. The origin of masquerading in society, Igbo in particular and Africa in general, is a mystery not meant to be demystified. In the society, the uninitiated are meant to go with the impression that masquerades emanate from ant holes when certain rituals are performed by the elders. Among the many types of masquerades in Igbo, Ajofia is seen as one of the most mysterious. This paper does not aim to attempt demystifying masquerades; it is an attempt to analyse the songs of Ajofia in line with the Igbo folklore.