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     

The unmaking of Abuja Carnival By Gloria Ikibah The 8th Abuja National Carnival with the theme, "Peace and Harmony" has come and gone, but it has left behind issues that cannot go easily. The annual Abuja Carnival has come to stay and it is expected not just to grow, but to show case the tourism and its potentials. Carnivals are not new in Nigeria, but as a national event, it is quit recent. Culturally and traditionally, communities, villages and organizations have organized carnivals in the past. States like Lagos had taken the Eyo festival to an international standard which is yielding dividends to the state as well as promoting the image of the country. The Calabar Carnival today stands as the most popular state organized carnival.  The one month long Christmas carnival attracts tourists from all over the world and the Cross River State government and people are already smiling to the banks from the tourist attraction. Same goes for the Argungun fishing festival in Kebbi State.  In Abuja, the occasion that started on the 24th to 27th November 2012 was supposed to be the grand finale of all carnivals in Nigeria, considering the status of Abuja as the Federal Capital City and the capital of the most populous Black nation on the globe. It was however not to be as the previous Abuja Carnivals could be said to have beaten this year’s by all standards. Though the organizers of this year’s carnival have not spoken up, the Abuja Carnival is clearly lagging behind all the state carnivals in the country. Abuja is supposed to be comparable with that of Brazil and Latin American carnivals were Blacks dominate, though Abuja is younger, it should not be that abysmally poor. The carnival did not have proper publicity, even within Nigeria, talk less of international awareness which should attract international tourists. Even residents of Abuja were oblivious of a carnival taking place in the FCT, thus making turnout and participation on the low side. The organisers claim that the reason for poor publicity was as a result of late release of funds for the carnival, which according to them made it difficult to advertise on the print and electronic media. Newsmen were also not formally invited and accredited to cover the festival. Sources had it that journalists were brought in from Lagos State, Nigeria to cover the event, but there was nothing to show that the events were covered. Earlier, in an interview with the Artistic Director of the Abuja Carnival, Prof. Ojo Bakare, he said that there was going to be enough security for participants. He also urged Nigerians to participate en masse. The question would be, was the security provision for the dignitaries or participants. Also according to Prof. Bakare, the estimated number of foreign countries to participate in the carnival was 13, but at the opening ceremony, less than six foreign countries participated, which was as a result of poor publicity. The day’s event started in the early hours of the day with a street parade of cultural floats. The Minister of Tourism, Culture and National Orientation, High Chief Edem Duke led the procession with the contingents following. The dancing and entertaining train commenced its movement from Area 1, en route the Eagle Square with residents along the carnival route turning out to appreciate the enthusiastic and artistic performances filled with colours.  Prof. Bakare during an interview prior to the carnival said that all the 36 states had declared interest in participating in the carnival. Some of the states did not turn up for the festival. About 23 states including FCT, Niger, Anambra, Oyo, Cross River, Ekiti, Gombe, Zamfara, Benue, Kogi and Bayelsa amongst others participated at the opening ceremony and the international contingents included Trinidad and Tobago, Cuba, South Korea, Egypt and Namibia. Of these only nineteen states marched to the sparsely populated Eagle Square to perform and attempted to interpret the theme, 'Peace and Harmony'. All efforts to ascertain the amount that was released for the carnival proved abortive as it was difficult to get the organisers. Calls were made to Director of Culture, Department of Culture in the Federal Ministry of Tourism, Culture & National Orientation, Abuja, and also a text message but to no avail. There was no response from him either. The Nigeria’s First Lady, Dame Patience Jonathan who declared the 8th edition of the Abuja National Carnival open, in her speech, urged women and youths to embrace peace and harmony. According to the Minister of Culture, Tourism and National Orientation, High Chief Edem Duke, in his opening remark, culture has always had its place in the socio-cultural landscape of Nigeria, the diversity and sheer creativity of Nigerians can't be found in other African countries. He urged all to do exploits in Abuja so that the world will see why it is the fastest growing city in Africa and that the youths' energy should actualize the development agenda. On Sunday November 25, five states were on parade for the Durbar performance, there was also food fair and bush bar alongside cultural night held at the Old Parade Ground in the evening. It was an entertaining night of cuisines from the different parts of the country while the artistes put on display interesting showpieces. While opening the Traditional Food Fair, Duke called on stakeholders in the hospitality industry to be creative in the utilisation of local food to expand the scope of Nigerian cuisines.Seven states took part in the traditional food fair, namely Benue, Ebonyi, Imo, Kano, Katsina, Kogi, and Yobe. Meanwhile, spectators at the venue were disappointed that states such as Akwa Ibom and Bayelsa, known for their traditional delicacies were not part of the fair. At noon, at the Jabi Dam which is the traditional home for the Boat Regatta, came alive as Rivers, Bayelsa, Ogun, Niger and Akwa Ibom states cultural boats (floats) entertained the audience through artful display of their mastery of the water. A command performance night was hosted by President Goodluck Jonathan; it was a night of glamour and glitz at the Banquet Hall of Aso Villa.  He was represented by the Vice President, Namadi Sambo at the colourful, entertaining and fun-filled event, which offered the audience the rich cultural treats and musical renditions from the foreign troupes and the National Troupe of Nigeria (NTN). The court sound specialist from Laventille, Trinidad and Tobago with their steel band stole the night  with rendition of popular Nigerian music, not to be forgotten too were the performances of the Imo and Kano states troupes. One of the most interesting parts of the carnival was the cultural night, various states came out with their different dances. The carnival would have been an avenue to woo investors and serve as a tourist attraction, just like Mr. President stated in his keynote address. All these would have helped to improve the standard of Nigerians. For now the Abuja Carnival seem to be a money guzzler rather than attract funds for the country. Residents of Abuja and the Nigerian economy have not got any positive impact of the festival. There are more questions for subsequent carnivals as it must truly be a national festival that befits a nation like Nigeria and not just any washy show. END