Ebira traditional marriage

by Gloria Ikibah

The Ebira’s (also spelt Igbira or Igbirra) are an ethno-linguistic group of Nigeria. Ebira (Tao) is a tribe in Kogi state in the Northern part of Nigeria with a population of about 1.5 million inhabitants.

The Ebiras are predominantly found in Kogi, Kwara, Nasarawa, Edo states and the Federal Capital Territory, Abuja.

Okene is said to be the administrative hub of the Ebira-speaking people in Kogi state, this is not far from the Niger-Benue confluence.

Okene is from the name Okerune which means the hills where antelopes are found. It is a rocky place, with a lovely the scenery. Because of such natural features many believe that there are bound to be volcanoes and that the magma underneath the land is the swirling temperamental type. But it is believed it is a miracle that there has been no eruptions and this is attributed to the sacrifices made by their ancestors, which have quietened the rocks and sent them to sleep.

The word Ebira according to source means 'behaviour' when translated literally, with ethics and hospitality as compliments. The Ebira people are peace loving and accommodating and their hospitality nature has been the reason why many people from different part of the country considered the area as their second home. Ebira land is a blessed area rich in solid mineral resources and economically viable for any type of business.

Ebira (Igbirra) people have unique features of their culture with its ethnic aestheticism that can be appreciated most in the event of traditional marriages.

Marriage Practice in Ebira land is carried out to the letter with the customs and tradition followed. It also involves the elders of the land. When a man sees a lady he intends to marry, he discusses his intentions with her, and if she is interested, asks him to bring his people to express his intentions to her parents.

In respect to the Ebira tradition, the man does not walk to the parents of the woman to disclose his intentions; his parents or elders mostly the women do this, by going to the lady’s parents to introduce themselves and also to inform them of their reason for coming to the house.

After this is done, the parents of the lady then conduct a thorough investigation on the upbringing, background, family history and so on, of the intending groom to unravel any history of madness, terminal diseases or criminality in the man’s family. This is with a view to deciding whether or not to give their daughter’s hand in marriage to a family with a tainted reputation in the society. If their findings are appreciable, an approval is given to the man to visit the bride-to- be from time to time to get to know themselves properly.

A date is chosen for the formal introduction of both families and this is called “Ise Ewere” which means ‘what has been in secret is now in the open’. During the celebration, there is usually the presentation of gift items made by the family of the groom to the family of the bride.

The gift items usually include: 42 tubers of yam, hot drinks/assorted wines/soft drinks, kolanuts, walking stick, dried fish or bush meat, 10 litres of palm oil, bag of salt, palm oil, groundnut oil, clothing materials, jewelleries and adornment for the lady in some boxes.

Money is also included for the clan members and family elders and finally the groom may also decide to present two wrappers to his bride-to-be but this is optional.

On the day of introduction, it is not necessary that the man attends the occasion as his family members do the necessary things on his behalf. The bride’s family in turn, entertains the groom’s family with food and drinks. The families interact with one another and formally introduce every member of both families.

After this is done, the date for the Traditional marriage is fixed. The tubers of yam and other items brought are distributed to neighbours and members of the extended family. A lot of significance is given to this, to solicit for their prayers for a happy marriage as well as to ensure the acknowledgement of the community that the lady now has someone she intends to get married to.

The amount to be collected as bride price is also agreed upon by the parents of the bride and it depends to a large extent, on the financial strength of the man. Apart from the bride price, there are other things like “ozemeiyi” that is “I am attracted to her” which a certain amount of money is attached to, and “otanuvogei” that is “joining hands together”. There is also “idoza” that is “farming price” paid to the bride’s family because Ebira people are predominantly farmers. In the olden days when every young man had to farm, the groom and his friends appoint a day to farm for the father of the bride but these days because most young men don’t farm any longer, they pay money instead.

On the day of the Traditional Marriage, women in the man’s family are seen singing and dancing carrying tubers of yams on their heads to the lady’s house. The singing and dancing continues at their arrival at the lady’s house where the ceremony kicks off. The ceremony is usually colourful with display of dances by maiden groups mostly the bride's friends and by women groups. A religious leader and the parents of the couple offer prayers for them to bless their marriage and a certificate is thereafter given to the couple by the religious leader.

Thereafter, the lady is escorted by her friends and other women to her husband's house with her belongings.

Ibibio Traditional Wedding


The Ibibio’s are predominantly found in Akwa-Ibom state, and are made up of the Annang, Ibibio, Eket and Oron Communities. 
"Ibio-ibio" means short or brief but this does not have anything to do with the height of the Ibibios. Source has it that the name was given as a result of the brief way the Ibibios do their things.

Getting married or picking abride from any of these aforementioned communities has a procedure which is been followed.

Traditional wedding or marriage in Ibibio begins when a man sees a girl he wants to marry, he then tells his family. The groom-to-be schedules a date for “Locating the In-Laws” referred to as “Ndidiong Ufok”.

In Akwa Ibom, this is the first stage in the process of getting married. The idea is simply to allow the groom to locate the house of the bride’s parents. In the words of a native, “to know the road to the bride’s family house” and relay his intentions to them. It usually was advised that the groom comes alone or with a friend and a bottle of wine because it is believed that if the parents were going to reject the groom, it could be done quietly and with very little family members present to avoid embarrassment. This is just a casual visit to the bride’s family and when the groom has been approved by the family, he is allowed to make formal his intentions. The date for this is entirely different from the day of the casual visit and is usually done whenever the couple deems fit.

After the family of the groom has gotten to know the house of the girl, they can come and knock on the door and officially ask for the lady’s hand. Door knocking is officially asking for the hand of the girl in marriage.

The knocking on the door is more or less the same as in the Yoruba tradition or the Igbo tradition, where family of the groom comes and asks for the girl that they are looking for in the house and in turn collect the "list" provided by the Father and elders of the girls family. Here the groom does not talk as his father and kinsmen would do the talking on his behalf.

The “Door Knocking called Nkong Udok/ Nkong Usong”, is the formal declaration of intentions. Here, the groom-to-be after being approved by the bride’s family comes over to the bride’s family house again. This time with elderly members of his paternal family, and in cases where no such person exists, an elderly man from the clan can take stead. The elder makes their intentions known formally to the lady’s family and thereafter, presents a few bottles of drinks. After this is achieved, the groom’s family is invited for the introduction ceremony and a list of things to be presented at the ceremony is given to the groom’s family. The list will usually contain drink items and a few other things to aid the introductory ceremony.

In the Ibibio tradition the grooms family has to buy some things for the family of the bride, the items on the list include things for each member of the lady’s family from the youngest to the oldest.
The day that the things or items on the list are to be delivered is called the ‘Uno Mpo’, which means to “to give something”. 
Traditionally, it is believed that the list is a way of compensating the family of the lady by the family members of the groom, for taking away a member of their family, thus reducing the number of hands that would have helped in the farm or with cooking and taking care of the house. Even though in recent times there are no more farms to help out with but in most cases, but tradition must be adhered to. The date of the delivery of the items is usually settled on at the ‘Nkong Udok/ Nkong Usong’.

Once the date for the Introduction “Mbop” is set, the groom and his entire family or able representatives as well the bride’s family assemble themselves in a chosen venue. Here, both families present a spokesman, with the bride’s family spokesman doubling-up as the moderator.

In Akwa Ibom, the natives are very particular about food, they believe that all guests must be served food upon arrival in their homes especially in-laws. However, the decision to serve the prospective in-laws food before or immediately after the introduction is entirely up to you. Most families would rather serve the food first. This is done because they believe that when a guest comes to your home, you welcome him/her, give food and ask, “You came to our house, we welcomed you, we fed you, now what are you here for?”

It is at this point that the ceremony commences, both families get to know one another by questioning each other. Family members also advice and pray for the couple. Once all the formalities are over with, the items that were requested are presented to the bride’s family for crosschecking and approval. Once the items are approved, another list is drawn up for the groom’s family to be presented at the traditional marriage. The bride price is also negotiated.

The next that follows all these events is the traditional wedding. The traditional Marriage “Usoro Ndo” is the wedding proper. The items on the list ought to have been presented prior to this day to ensure that everything requested for is provided before the date. On this day, the groom and his family make their way to the bride’s village. Of course they may have arrived sometime earlier, but that it is said that they arrive that day. Upon their arrival, the women and children of the village barricade the entrance with road blocks. The women and children make their request known to the groom’s family and it is the duty of the groom and his people to provide whatever they request on the spot. It is said that this is done because the women cut the grasses on the roadside and children sweep the road, so they must be paid for their services. When this has been settled, all the invited guests move to the marriage venue except the groom and his friends who are taken to a separate location.

This is where all the hair and clothing that you would probably have seen in pictures or videos are donned; the bride and groom dress in full traditional regalia sometimes like a prince or princess, depending on their own tastes of course. The ceremony takes place more or less like the Igbo Traditional wedding, the father of the bride gives her palm wine in a calabash to search for her husband and show the whole world by giving him the drink, the bride then goes around looking for her husband where he is seated. As soon as she sees him, she kneels in front of him and gives him the calabash of palm wine and he drinks. This singular act indicated that she has shown the people who her husband is.

All these events are handled according to the purse size of the families involved, and in recent times, people choose to do all or some of these events together and sometimes skip some parts all together in a bid to reduce the length of the whole ceremony.

Here is an example of what a list might look like, and please note that these lists are negotiable and are according to the wealth status or purses of the families involved.

Traditional List to be purchased by Grooms family for the bride’s family:

Father MBUP: A square bottled hot drink, native gin, head of tobacco, he goat, machete with sheathe, some cash, wrappers (wrapped on the 4 corner hot drink), jar of palm wine, singlets, pants, traditional attire, hat, shoes, crates of beer, soft drinks, whiskey, walking stick, cognac e.t.c (the list can be more extensive depending on the area).

Mother: A She goat, basin of pepper, bag of salt, blouses, wrappers, box of assorted clothing pressed down, basin of crayfish, pants, bras, crates of soft drinks, cartons of wine, cash etc…

Village Women: Crates of soft drinks, wine, malt, brooms and cash.

Youth: Football, crates of beer, jar of palm wine, native gin, cash.

All these are dependent on the different dialects/areas or villages, in some areas, the grandparents from both sides are included, cousins, in-laws etc…

Combating evil with egbesu the god of warfare

By Gloria Ikibah

The Ijaws, are predominantly indigenous people in the Niger Delta region of Nigeria, they moved to the Delta over 7,000 years and have a distinctive language.

The Niger Delta covers an area of about 70,000 square kilometres and is spread across eight of the 36 states in Nigeria. These include, Bayelsa, Delta, Rivers, Edo, Akwa Ibom, Ondo, Abia and Imo, which are endowed with immense natural resources, particularly crude oil.

Egbesu is the god or deity of warfare of the Ijaw people of the Niger Delta region, and egbesu is the spiritual foundation for combating evil. The egbesu force can only be used in defence or to correct an injustice, and only by people who are in harmony with the universe. The symbol of the divine force is the leopard.

The ancient egbesu cult of the Ijaws declined after the successful British occupation of the Ijaw lands in the late 19th century, and for some time most Ijaws only knew of the cult through folklore and traditional war songs. But has now awaken to fight the cause of injustice in the Niger Delta region as regards its resources and the usage in development of the area by the government of Nigeria.

Egbesu as the ancient war deity is believed to have been entrusted to the Ijaw ethnic nation by the Almighty God to defend ourselves in times of oppression and war.

According to source, this brings about the presence of the deity egbesu in all the 64 Ijaw speaking communities and clans from Arogbo-Appoi in Ondo state to the territories and boundaries of the Ijaws in Eastern Ibeno in Akwa-Ibom state and in the core south of Federal Republic of Nigeria.

Egbesu is also known by other names in Ijaw language, such as Agadagba-oru, Ako-oru, Dirimo-oru or Dirimo-asain, to name a few; it is the offensive and defensive power of God used to protect righteous people from the forces of evil.

For the Ijaw person, egbesu is the spiritual foundation for combating and overcoming evil, it is used to enforce the divine order in the natural realm, so that all things coming into being can take place in their own space and time without infringing upon other things.

It is also the belief that a study of the function of angels will give us an understanding of why the Ijaw invoke egbesu anytime their society and environment is at risk of annihilation.

It is believed by the Ijaws that for Egbesu to be at work or effective there must be cooperation or rather togetherness among its people, the law of chastity must be obeyed, which mean you must not commit adultery, fornication or defile yourself with a woman and also you must not have blood on your hands, meaning you have not killed an innocent person(s).

The corrective force therefore of the deity of warfare to the layman can only be applied by the righteous or upright beings through wise guidance wage a war that is just. It cannot be called upon by evil doers or be used for dubious purposes because as the angel of warfare it is not called upon to start a war, but to end injustice, conflict and confusion.

It can only be called upon in exceptional situations one of which might be when an individual or community is under attack from other communities with evil or diabolical intentions i.e evil forces and the communities themselves must be innocent and blameless.

For instance if you are somebody who consistently infringes divine law i.e. the laws of natural justice or commits wrong, then you cannot call upon egbesu to help you in times of strife. That is why egesu priests would require all persons who seek its protection to confess their sins sincerely and a vow to uphold righteousness and truth in times of conflict.

Egbesu is said to be the offensive and defensive power of God used to protect the righteous or upright people from the forces of evil. Egbesu is the corrective force of God used to restore order when there has been an infringement within a unified natural system such as an ecosystem, which as we said earlier is ultimately a part of the divine order created by God. Egbesu is the divine enforcer and executioner which can also be interpreted as ‘you reap what you sow’, egbesu furthermore believed to be the divine security agent of God, securing the social order of societies that abide by the laws of nature, securing the minds of individuals who uphold divine law, from negative psychic influences or attacks released by other minds.

Seeking the assistance from the deity for acts of injustice or infringement of one’s fundamental rights means living in harmony with the laws governing the universe, the egbesu priest and the men who will carry out the defensive work will undergo a training programme that will harmonise their being with the offensive and defensive power of God. After the training programme, and in accordance to the sincerity of the individuals undergoing it, egbesu will protect them and help them carry out their task of restoring law and order in the land or making right a wrong.

In an emergency situation an egbesu priest can invoke the corrective forces of God to help a community in a conflict situation where they are clearly innocent and are being victimised. All men or soldiers engaged in physical combat must as a matter of priority confess their sins, while at the same time make a sincere commitment to fight according to divine law. This means that innocent people are not victimised in a warfare situation, even if your own people are.

The Ijaw man who believes in egbesu has it that calling upon the benevolent forces of God in times of conflict, where it is clear that you are not at fault or guilty of infringing the divine order, you must not give in to fear. Any time you give in to fear, you deny God dwelling within and he will not come to your aid in times of crises.

According to our source, you must learn the signs and symbols that correspond to egbesu and use them as energy conduits to channel the energy of egbesu through the initiate in any warfare or conflict situation.

A brief summary of the signs and symbols of egbesu are as follows;

The symbol of the leopard, representing the natural aggressiveness needed to overcome your enemies. The leopard’s teeth are used for ceremonial purposes.

The symbol of Black representing the essential nature of God, formless and invisible, and the death like state that consciousness must experience in order to come face to face with the essential nature of God. Black is also the symbol of the omnipotent or spiritual power of God. All things, all colours come out of and return to the infinite and eternal Blackness that is at the beginning of time.

The symbol of White, representing the clear and clean conscience or mind that must be in harmony with the divine laws and order so that one can receive protection against the forces of evil. If there is a blood stain, representing wrong doing, it will be seen on the white garment. All priests wear white garments.

The symbol of Red representing the fiery fire energy that must be generated in order to be successful in battle and generate a protective energy shield while in action; it also represents danger, which means that egbesu is a danger to evil doers. It also represents blood, as it is believed that blood will be shed so long as it is not an innocent blood or you will be liable.

These symbols are believed to be used by an egbesu priest to generate a warrior type personality in it initiates.

This indeed is the reason why egesu is been called upon or rather invoked by concerned Ijaw people in the protection of the Niger Delta environment which they believe if their home, against those who seek to destroy it through ecological and environmental degradation caused by oil exploration, and against those neighbouring towns who come to invade the region by violating their God given right.

Rojenny: A tourist village in the heart of Igboland

Rojenny Holiday Village, the single largest tourism resort in South-East Nigeria, is located in the serene town of Oba, Idemili South Local Government Area of Anambra State; it is on the outskirts of the commercial city of Onitsha, along Owerri-Onitsha Expressway.

It occupies a long stretch of land estimated at 8 sq. km; Rojenny is undoubtedly a dream destination for holiday-makers from across the world.

A stop at the gate gives you no idea of the buzz of activities that go on inside the premises.

Even the ROJENNY HOLIDAY VILLAGE engraved boldly on the gate does not reveal much but as you step into the compound, you are amazed.

First, the gentle breeze caresses your face, as if to say ‘welcome to our world', this sure is the home of African hospitality. Looking straight ahead of you, is a massive expanse of land, long stretch of trees, beautiful lawns, and gigantic structures dotting the length of the compound.

This is where your tour begins. A walk around is even more eye-opening. You discover immediately that a day is not enough to see everything that there is to see. Where do you start?

The tourist attractions are too numerous and they include the lush-green fields; the zoo (which habours such wild life as baboon, python, the green monkey, tortoise, lion, etc; rare birds such as peacock, eagle, flamingo, ostrich, etc; aquatic animals like turtle, alligator, crocodile, etc); the Ozo Village and Museum; the Rojenny International Stadium, which was said to have hosted seven continental matches involving Nigeria, Algeria, Angola, Egypt, Morocco, and Cote d'Ivoire during the time of Jasper United and Udoji United Football Clubs.

It has also camped Nigeria's Golden Eaglets under Fani Amun for two years and three months during the time of Ibrahim Babangida as Nigeria's Military President; the over 1000-capacity conference hall; the amusement park for children; the joy rides; the lawn tennis court; the basketball court; the volleyball court; the Olympic-sized swimming pool with elaborate and fully developed poolside; the Paradise Nite Club; among others.

More interesting is the fact that you never perspire while you are walking around. Though a manmade tourist centre, Rojenny has a natural feel, which makes it an all-year-round tourist delight. Coconut and other trees line the two sides of the avenues and ensure a regular supply of cool and gentle breeze, giving the environment the feeling of a temperate climate.

In case you get hungry, there is the newly developed Angelic Garden and Restaurant (which has sprung on the ashes of the African Restaurant and bar) for your quick relaxation and refreshment, and there is also the English Bar for assorted wines.

And iIf you decide to stay the night, which of course is the ideal thing in a place like Rojenny, there is the Nwaezeora Lodge which has beautiful and tastefully-furnished rooms for all guests, plus the new guest house well furnished.

Besides these, there are also neighbourhood hotels which work in partnership with Rojenny to accommodate any number of visitors.

Again, Rojenny is a tourist destination modelled closely after Disney World in the United States of America, it provides at once all the things necessary for a tourist to stay busy as long as his tour lasts.

It is developed in such a way to serve as a base for tourists wishing to visit other tourist sites in South-East Nigeria, like the Ogbunike Cave, the Umuahia War Museum, the Agulu Lake, the Igboukwu archaeological sites, the Njaba River, and so on. The position of Oba is also an added advantage. It is said to be at the centre of Igboland, whether from Agbor in Delta State, from Nsukka in Enugu State, from Ndoni/Ikwerre in Rivers State, or from Ozuitem Abriba in Abia State.

Rojenny is also a place for spiritual tourism, irrespective of one's religious conviction. The Blessed Michael Cyprian Tansi Memorial Chapel provides a place of worship for Catholics and Christians of other denominations.

There is also the African traditional shrine for adherents of African Traditional Religion; and there is the Mosque for the Muslim brethren.

The quiet atmosphere of Rojenny makes it conducive for writers and researchers from any part of the world. The tourist sites are enough inspiration to any writer and can eliminate the so-called writer's block. Sitting very close to Tansian University, Oba, and just few kilometres away from Madonna University Okija, Rojenny is certainly the destination of many research students who may wish to use the library facilities of both universities.

Moreover, research students working on Igbo culture may have no better place to go.

Conceived and developed by Chief Rommy Amandi Ezeonwuka, a native of Akpo in Aguata Local Government Area of Anambra State, Rojenny is indeed a wonderland, a multipurpose centre with a complex mix of African culture and western civilisation. It is a choice destination for excursions, sports recreation, relaxation, picnics, conferences and seminars, research, cultural entertainment, and so on.

This tourist haven, constructed between 1983 and 1986 and opened to the public in November 1986, will soon host a Diaspora Tour, which is aimed at giving African Americans, whose ancestors were taken away from Nigeria as slaves, an opportunity to visit Nigeria and have a feel of the land of their ancestors.

Fascinating wonders of Erin Ijesha Waterfalls

Also known as Olumirin Waterfalls, Erin Ijesha Waterfall is a natural sauna.

It’s a site to behold & appreciate the wonders of nature.

Olumirin Waterfalls is located in Erin Ijesha, Osun State Nigeria, according to a study carried out on the site, the water is situated within 7°30’ and 8°45’ North and longitude 4°31’ and 5°East, it is one of the very few water bodies where fresh prawns thrive and which has some feel of wildlife.

The waterfall is 2km off Erin Ijesha town, which lies 20km east of Ilesha on the Ilesha-Akure Road in Osun state. When it was first discovered, the waterfall was said to have the appearance of a mysterious creature so that no one dared move near it for fear of being swallowed up. It was believed to be a living spirit through whose several mouths water gushed out; a very tall and huge spirit whose height reached to the high heavens. The inhabitants thereafter named the fall “Olumirin” meaning another god whose power over the whole area was only similar to Akinla, the founder of Erin Ijesha town.

Erin Garden is a thick forest, which houses Olumirin Water Falls. According to one of the custodians of the waterfall, it was discovered by a woman called Akinla, founder of Erin-Ijesha town and a granddaughter of Oduduwa, the progenitor of the Yoruba nation, in the year 1140 AD during the migration of Ife people to Erin-Ijesa.

Amazingly, when you arrive at the falls, it doesn’t look like anything out of this world until you begin climbing the seven levels of the ascending plains of the waterfalls.

The view at all levels is wonderful and the freshness of the water is energizing. However, the last and seventh level is definitely the most intriguing, well that’s if you ever dared the torturous climb.

For most tourists and fun seekers, climbing up to the third level can best be equated to traipsing the snowy steeply mount Everest. Obviously, being at these different levels and just basking in the invigorating freshness of the falls is an unforgettable experience, but guess what?

Olumirin waterfall has about five layers and only few visitors can climb beyond the second layer. The area can also well serve for mountaineering exercise. The breeze at the waterfall is cool and refreshing. The water flows among rocks and splashes down with great force to the evergreen vegetation around. The whole scenery is fascinating. The full flow of the waterfall could be seen during the rainy season.

The place to be is definitely the seventh level. Why? Not only does it lie at the peak of the falls, it is also hosts a settlement where many of its inhabitants have lived for several years.

Visitors to Olumirin Water Falls go away not only appreciating the work of nature, but also wondering how Nigeria could possibly be sitting on such a goldmine without making efforts to explore and indeed dig up the gold. 

Apart from the beautiful site, present at the Erin Ijesha Water fall are also fresh water prawns which belongs to the infraorder Caridea family, Atyidae and genus Caridina (biological terms).

Erin Garden is a thick forest, which houses Olumirin Water Falls. According to one of the custodians of the waterfall, it was discovered by a woman called Akinla, founder of Erin-Ijesha town and a granddaughter of Oduduwa, the progenitor of the Yoruba nation, in the year 1140 AD during the migration of Ife people to Erin-Ijesa.

It is commonly said that “the taste of the pudding is in the eating”. So, it wouldn’t be enough to just read this piece, you need to schedule a vacation to Erin-Ijesha waterfalls. I tell you, it’s indeed a sight to behold.

Olumirin is open to tourists throughout the year and the water is said to be capable of healing many ailments such as headache, stomach-ache and skin diseases. People are said to come from all over the country to fetch the water, which they use for curative purposes.

Ukwata: The metamorphosis of a rich cultural heritage

By Gloria Ikibah

Ndokwa West is a Local Government Area of Delta State, Nigeria. Its headquarters are in the town of Kwale. It has an area of 816 km² and a population of over 149,325 at the 2006 census.

Ndokwa, like any other ethnic group in Nigeria, has her culture, norms and social values which are expressed in annual festivals.

The Ukwata festival is the major feast of the Abbi people of Delta State of Nigeria. It is an important annual festival which is usually celebrated in the month of February.

The festival marks the end of the year's farming activities and ushers in another farming year and other activities. During the period of festivities, people do not engage in farming as they remain at home and enjoy themselves and make merriment.

From the day the festival date is fixed, yam tubers are harvested and stored in barns till after the festival when new farm are made as part of the new farming year's activities.

It is the right of the Okpala-Uku (the traditional ruler) or the Uko-Okpala (the Regent) as the case may be to fix and announce the date of the festival. This is done by summoning the elders (Ikpala), chiefs (Inotu), Oyiwa and the Otu-Ole age grades to a meeting in his palace, on a particular Eke-Nta Market Day. It is in this meeting that the duration and date for the festival is decided. The duration is usually either 17 days ("OGE-ISE") or 25 days ("OGE-ESA"). Once a date and duration has been agreed upon, it is first announced in the Palace and later in the town.

Agha-Ukwata begins the social aspect of the festival; it is usually a one-day package of fun and fun, featuring mock war performances of groups of young men from each of the two sections of the community, Ebilije and Ikosa.   The groups dance along the village square bearing mock dane guns, blunt wooden machetes and spears, chanting real traditional war songs and displaying like real warriors.  Side attractions of the Agha-Ukwata include the “odogogwu” and the “Nmanwu” masquerade dances of the boys and young men of the village.  Ladies and young girls, in their groups, also contribute to the fun as some of them dress like country clowns and court jesters to amuse spectators.  This scenario continues till dusk when youths, in their groups, retire to All-Night Disco (in modern times) and the elderly retire to make merry in their houses, some till dawn.

After the Agha-Ukwata on Afor, the following day is Nkwo (native market day), it is called Nkwo-Nde-Ebiai (the strangers’ day) because it is wholly dedicated to receiving and entertaining strangers who have come to share in the festival.  Not much public entertainment is made on this day because almost every household is busy receiving and entertaining its strangers.

After Nkwo-Nde-Ebiai, the next day is Eke (native market day) which is the real Ukwata day. Nine days before this day, the Otu-Olile Age group would have withdrawn from society and retired to camp (Uno Ukwata) to practise the ukwata dance, groom the potential ukwata artiste and prepare the ukwata bowl (Abo Ukwata) which is a flat wooden object carved round and shallow; with two handles in front of it.  The bowl is covered with a piece of white cloth and decorated with Nzu (riverside white chalk or kaolin) and strings of knotted fresh palm-fronts.

A white life eagle-symbolic of the bowl is provided by the Otu-Olile Age group every year. The Climax of events of this Eke day is the public performance of the Ukwata dance by the young man who had been groomed in the camp (Uno-Ukwata) to carry the ukwata bowl.  The dance lasts the whole day, carrying the jubilant crowd of ukwata enthusiasts wherever it goes. From their camp, the ukwata troupe proceeds first to the palace to pay homage to His Royal Highness, the Ezemu of Emu Kingdom, then to the Okpala-Uku of Emu, from where it comes to “Obi-Ogwa” to display for Chiefs (Onotus) before it goes public, to visit individual personalities, as it likes.

Another very interesting aspect of the Ukwata festival is the Maiden Outing Ceremony. This time, all the young girls who were circumcise within one lunar month to the day of proclamation of Ukwata, perform the traditional outing ceremony, known as “Ipu-Olile. The procession begins at about 5pm but does not in any way disturb the Ukwata dance. Rather, it heightens jubilation and adds grace and colour to the festival.

The maiden performing the ceremony is lavishly dressed in rich apparel, wearing on her head, the prestigious traditional women’s ceremonial black hair-do (Akpa-Ntu) artistically woven with small ornamental coral beads (Esu-Kilikili). On her neck are looped strings of bigger coral beads (Ugbala-Aka and Nkpulu-Esu) hanging down to her navel, with lockets of coral beads to match. Her ears, fingers and wrists are bedecked with glittering gold rings and bangles to match her gorgeous outfit.

Her maids (Umu-Ufie, mostly four girls) are smartly dressed in the traditional bare-body outfit with fanciful silk head ties and scarves tied on their waists. Looped strings of small ornamental coral beads (Ugbala-Aka) hang from their shoulders, across their breasts, reaching down to their ankles. Their bare-bodies (front and back) are decorated with patterns drawn with cam wood (Ufie) and “Ulie”.

Most prominent in the maids’ outfit is the “Ego-Isi” which they carry on their heads like crown with long bright ostrich feathers flying on top. Ego-Isi is an art work made from perforated gourds – well-cut and trimmed to sit on the maid’s head without falling. It is tightly covered round with strings of big cowry shells (Ego-Mgbadamgbu) and decorated with cam wood (Ufie).

Led with dance and fanfare, the maiden and her maids emerge from their dressing room and proceed to do the traditional outing procession, which takes them to

The Ukwuata Dancer carrying the Ukwuata (a white eagle seat on some local craft) dances to the public square and back to their place. The merriment that follows after the procession on the Eke day ends the social aspect of the Ukwata festival.

The religious aspect of the festival begins on the following Olie (native market day) with rituals and the worship of the gods by members of the community. Most prominent of the events of this period is the traditional homage (Ifo-Ibu) which sons-in-law pay to their fathers-in-law.

The homage consists of ten sizeable yam tubers, fish, drinks and kolanuts. The wife carries these materials to members of her family on the day of their ancestral worship and receives the blessing of the officiating head of her family.

It is a serious breach of marriage obligation for a son-in-law not to pay the annual homage to his father-in-law. For expediency sake, all aspects of Ifo-Ibu have been monetize so that sons-in-laws who live abroad can use money to pay their Homage.

The most interesting feature of the religious aspect of the Ukwata festival is the Egwu Igba and Ukele dancers, which feature towards the end of the festival.

The masquerades dress in unique costumes bearing designs of fish and the marine colours of aquatic animals like the Crocodile, Alligator and Iguana; their outfits and dance pattern suggest their aquatic origin and that the dance is a dance of mermaids.

The famous “Elisi-Ugbo” dance of Aboh people which features at the Oje-festival is a modified replica of the Olu masquerade dance of Anayma people of whom their legend says that one of their fishermen captured the dance from mermaids. Through long association, social interaction and culture-mix, it is probable that Emu acquired Olu dance from Aboh who on the other hand, must have copied it from Anyama.

“Ogonya” and “Echinel” are Emu river-goddesses of virginity, purity and fertility. So that their appearance at the end of the Ukwata festival is not only to entertain people but also to purify the land and restore her fertility for the on-coming farming season which Ukwata presages.

Ukwata festival ends after seventeen days with the ritual ceremony of Ich-Nmo which takes place early in the morning. Women make bon-fires at the village square “to excise evil spirits which they believe had come to share in the festivity”. Then, they carry the fire-brands to the burial-ground (Amuzo) where they drop them, and return to their houses.

By this ritual, they believe that they have driven evil spirits back to their abode, the spirit world.

Atilowgu and its rhythmic bravura

By Gloria Ikibah

Music and dance are fundamentals to the African way of life. Beyond a simple means of artistic expression, dances are sacred, holding deeply symbolic meanings and significance. Furthermore, a wide variety of musical patterns form the basis of dance in Africa.

In Nigeria, the Eastern part is endowed with a rich cultural heritage, traditional festivals and dances which proclaim the coming and exit of the various seasons of the year. These include major celebrations like the Ofala, Iri ji, Oku Owa-Ito, Okochi, Udu-Mii, Mgba Ndi-Omu, Mgba Une n’Une and Mgba Ogwu to mention a few.

Some of the most famous Igbo dances include, Atilogwu, Abigbo, Egwu Amala, Egwu Ogene, Ode, Odebara, Nkwa, Mkpokiti, Akwunechenyi, Nkwa Umuagbogho, Nkwa Nwite, Ikorodo, Egwu Ubo, Okanga, Egedege, Adamma, Mgbaga, Agbacha Ekuru Nwa, Egwu Ijele, Ntukpo, Odegelu, Igede and Igba-Udugongo.

One of such dances is the Atilogwu dance, regarded as the national dance of the Igbo people. It is a vigorous dance which literally means “Is this magic?” and combines elements of gymnastics with foot-stomping rhythms and brilliant costume colours. Atilogwu is Fast and energetic, it is done with acrobats.

Atilogwu is a traditionally spirited youth dance from the Igbo ethnic group of Nigeria that focuses on vigorous body movement and often includes acrobatics.

The name stems from rumours that bewitchment or magic potions had to be involved if the children of the village could perform so exuberantly and energetically, while making it look so effortless. The tempo of the dance matches the tempo of the music, which is dependent on the beat of the drum and “ogene,” a metal gong instrument.

The dance is usually performed during festivals and the festivity will also include exotic dishes created from authentic Nigerian recipes, served buffet style.

Atilogwu is an amalgamation or montage of five dances namely; Anam, Ogwulogwu, Anaku, Ochanja and Adunjanja but for some others, it is that of Mgbaga, Ogwulogwu, Otiokpokpo, Ochufulu and Egwu-Igba. It dominates every other dance in Igbo land because of its superlative tempos and physical energetic movements formed from embellishments and adjustments of the afore-mentioned dances.

It is a dance of the youths in the society who undergo rigorous training before presenting the dance in public. Once approved, the dance is performed during important festivals and great social occasions.

Since dance offers as much variety as the music and traditional delights, African dancers are earth centred; dancers repeatedly return to the earth as they give themselves to the rhythmic pulse. This is one of the features of the Atilogwu dance. The dance is not also complete without wiggling, a common characteristic of a typical Nigerian dance.

This is another dance reputed to be one of the oldest in Igbo land. This dance like many other popular dances of Igbo-Ukwu such as Ohuekwe, Ubogazi, Akite and Ilighi-ili is an indigenous dance. No one can give reliable account of how the dance came to Igbo-Ukwu, but over the years it has undergone modifications from its original form. The dance in recent times has won both local and international recognition. It is magnificent in rhythm and physical Acrobatic movement. Particularly of interest is the role of the flute player who dictates the pace of the dance. Watching the dance presents a tourist with an insight into the spirit of perseverance and ability to surmount obstacles by the Igbo people.

The Atilogwu dance is perhaps the most intense African cultural dance form performed as a group, as can be seen in the dance, the Nigerian youth are still very much in love with the Igbo traditional music.

It is evidence that the so-called hip-hop youths of our days are still very much in love with the Atilogwu dance-step. You would notice how the tempo of the dance increases when the tempo of the music increases. You could also hear the flute-like wind instrument known as the Opi playing in the background of the traditional music, the ogene instrumental and the drum.

This is a way to show how much people think that the Atilogwu dancer is possessed with a supernatural spirit that made him or her dance with such extra-ordinary energy and fluidity.

How this energetic and fluid dance steps known as Atilogwu did came about?

Research has shown the Atilogwu dance step to be among the oldest dance step in Igbo land. Ezeagu Atilogwu (Atilogwu Ezeagu) was born in 1947, in Lagos. One Clement Onwumelu of the Nigerian Railways returned home and bought all the instruments of the Atilogwu for the Ezeagu Improvement Union, Lagos. This was possible because, according to history of atilogwu  , a youth organization of Aguobu Iwollo had travelled to Ebenebe in Awka in 1942 to learn the Atilogwu.The dance style became very popular everywhere, gaining both local and international recognition

To attain perfection in the art of performing the Atilogwu, two experts were invited from home to Lagos to teach the dance.

There was a policy that all the male children of Ezeagu up to the age of 14 years, living in and around Lagos metropolis, must take part in the weekly rehearsals. Students, wards, workers, apprentices, etc., were all “conscripted” into the Atilogwu.

Thus, the Atilogwu became a passport for gaining employment by Ezeagu people.

Ezeagu Atilogwu became so popular in Lagos that it was called the “Famous Ezeagu Atilogwu”. It became a pride of Ndigbo as well as an identity, and also gained the support of many prominent Nigerians.

The Atilogwu became the most talked about traditional dance in Nigeria. The style, sequence and eloquent movements of the dancers thrilled spectators who wondered whether there was magic in the dance. Newspapers, Reporters, and Commentators saw and reported the dance in different ways. Atilogwu dancers’ pictures were used for both postcards and Christmas greeting cards. Any occasion that was not ended with the Atilogwu was regarded as unsuccessful.

The international-famed of the Atilogwu dance remains the cynosure at traditional dance jamborees in the eastern part of Nigeria.

Atilogwu dance has been elevated to a dazzling art form, simply put; Atilogwu has become a celebrated signature of Nigerian culture, performed around the world.

NEA not a reality due to disorientation/disorganization

Chief Joe Musa a professional artist and erstwhile Director-General of the National Gallery of Arts in an interview with Pilot correspondent Gloria Ikibah throws more light on the National Endowment for the Arts and why it has not become a reality.

Excerpt

Nothing is more appropriate at this time in Black and African history than the re-discovery of those cultural-economic possibilities through a deliberate well contrived system for the benefit of the entire sector. And the setting up of the NEA plays a major role.

What is the National Endowment fund for Arts and how did this come about?

The National Endowment for the Arts (NEA) is not truly in all sincerity a novel national idea. There is already one existing in the United States of America. It is supposed to be an independent agency, a public agency actually that ought to offer support and funding for projects exhibiting artistic excellence. Its operational scope ought to cover providing for the new and established; bringing the arts to all Nigerians; and providing leadership in arts education. Conceptually, it is an excellent idea structured to fund the various aspects of the arts; it is supposed to be the largest national funder of the arts. Take particular note of my deliberate choice of words “it is supposed to be” and “it ought to be” meaning, in the Nigerian sense of it, we are still hoping and dreaming that it may become a reality.

If it is well structured, it ought to exist as an independent agency. However due to the insincerity of those who ought to birth it along these lines, they continue to throw spanners in the works. Hence it continues to stall. The Federal Ministry of Tourism, Culture and National Orientation has since the time of Ms. Boma Bromillow-Jack instituted a committee towards the realization of the noble idea. However, all such meetings and ad hoc sessions towards this goal have unfortunately not left the planning to the implementation stage.

Should this become a reality, projects seeking for such artistic intervention will range from artist residencies in schools to museum exhibitions, Internet initiatives, literary fellowships, national tours, international exchanges, theater festivals, design competitions, folk arts, historic preservation, and much more. The NEA will provide critical seed funds to develop art organizations across the country.  Through direct grants, partnerships, research, and initiatives, the NEA will act as a catalyst and take a leadership role in arts education for pre-K through grade 12 students, increasing opportunities outside of school settings for additional arts learning. On how it has come to be, my response is that, it has never come to be. It is still a pipe dream in Nigeria. But believe me it is a laudable idea.

Why has the National Endowment fund for art not started and what could be the possible reasons?

It has not been implemented due to the disorganization and disorientation within our system. Many call it the Nigerian factor. But I do not think so. It is simply the promotion of mediocrity that continues to hinder growth. It is debilitating and this shows the implementer’s lack of sincerity of purpose. The main issue is that the Federal Ministry of Tourism, Culture and National Orientation want to create the programme; NEA as department and shove it in one corner. This is a very wrong and gross approach. What the Ministry need to do in all honesty to first institutionalize the NEA through the relevant laws as an independent public agency. The NEA can never operate under any existing agency within the Ministry of Culture, but rather must be set up independently to stand alone on its own and run parallel. To avoid the deadening and cancerous development noticeable within that sector, you must be wise to distinguish it from its parent ministry or else the cancer will kill it before it is birthed. From there you may now go further to the issue of a good hand to set it up along the initial guidelines proffered by Prof. Duro Oni and his team, of course with slight modifications.

Another way of seeing this from a different stand point on why the NEA is not yet on stream is this; borrowing a leaf from one of my old banker friends, Mr. Basil Ezegbu that when you see two men fighting, it is simply the issue of money that is at stake. Now with all the structures ready and on ground for the programme to go full steam, should the Culture and Tourism Ministry warehouse it, it then means that a chunk of their annual 5 - 6 Billion Naira will be reduced. Let’s say 2 Billion is given to the NEA if the Ministry plays host, then the Ministry’s money is considerable halved. The Ministry does not want this. Hence the NEA file continues to dance atilogwu any time this discussion crops up.

A good funding programme of N7bn should be instituted. This then means that N5bn of that amount is given out annually as grants to the artists for the first 4 years. This should be raised another 100% in another 5 years. Certainly there will be performance indices to measure the development process.

How can these help in the growth of arts in Nigeria and what are the possible benefits?

The International Monetary Fund (IMF) Report of 1999 revealed that in terms of Global export earnings in 1988; International Culture and Tourism topped the table with an income of US $504 billion. Petroleum and allied products generated US $435 billion and ranking fifth behind automobile, chemicals and food. Current statistics indicate that the rising profile of culture and tourism will remain unstoppable for the foreseeable future.

Should this great idea be implemented, then the NEA grants will have a powerful multiplying effect. With each grant typically generating up to seven times more money in matching grants. No other federal agency or private organization can facilitate nationwide access to exceptional art. The ricocheting effect will be phenomenal.

Nothing is more appropriate at this time in Black and African history than the re-discovery of those cultural-economic possibilities through a deliberate well contrived system for the benefit of the entire sector. And the setting up of the NEA plays a major role.

What do you think has been the reason for the low/bad performance in the art industry so far?

In one word let me use the quote from Enotie Ogbebor as reported by Uwaezuoke Okechukwu of Thisday: “the sector must shed its lackluster image to be seriously reckoned with”.

Historically, recall that in 1977, African leaders gathered to celebrate the second world black and African Festival of Arts and Culture, (FESTAC) with the expectation that their objectives with this festival will help obliterate the cultural values of the Black and African race, that is, that the abandonment of the “museum approach” to African culture; in terms of pre-historic objects to be occasionally dusted, displayed, and studied instead of as a living thing containing and portraying the ethos of our peoples.

Since we are dwelling on the visual arts, this argument agrees with the now common maxim of the visual art profession maintaining the underdog tag among other professional bodies. The sub-sector unfortunately was not seen to be doing anything purposefully to advance itself. Worst still is that government has not deliberately designed favourable policies for the sector in its national developmental programmes, like the 1988 Cultural policy we just talked about. The lack of concern and apathy for this sub-sector is still very strong!

Would you say that the institutions responsible for the growth of arts/artist in Nigeria have failed?

A major contending challenge of Parastatals in the arts and Culture subsector is the square-peg-round-hole syndrome: an issue that is bedeviling most Nigerian agencies. Added to this is the group-factor mitigating against the speedy development of the agency itself. The existence of strong groups has continued to have a detrimental effect on the organisation.  Groups put forward their own interest at the expense of the organisation as a whole and most times use this deliberately to slow the engine process.

Art appreciation is on an all-time low in comparison with what is taking place in other developed climes. Parents would rather prefer their children and wards to opt for the Sciences than the Arts. Educating the public on the relevance of the sector becomes more paramount.  Additionally, there are some general principles of organisation, but the application of them is constantly interrupted by short-term political considerations. In my experience politicians have contempt for good organisation. Yes they have failed in this respect.

What is the way forward if the Nations art industry must grow?

Artists must take control of the driver seat of their various sub sectors for better assertion and the avoidance of social polarization.

END