ABSTRACT:
“Culture is the embodiment of Arts, Customs, Lifestyle, background, and habit that characterize humankind or
a particular society or nation. It is a summation of the beliefs, values, and behaviours. And of course the
material objects that constitutes a peoples way of life. Some authorities have viewed it, as, the
conventional conducts and ideologies of a community; the system comprising the accepted norms and values of
a society. Anthropologically, Culture is a denominate of any knowledge that is passed from one generation to
the next; it may not necessarily be in respect to human beings”.
We may not authoritatively speak of ‘Ozu’ as a “Cultural Semantics”, without a typical X-ray of the cultural particles that makes her a unique culture. ‘Ozu’, is a people of Arts and customs. They have a dominant possession of lifestyles and backgrounds, characteristic habits that has legendarily fused to give her the unique texture which have endured for centuries. Our beliefs are emblematic; the values we uphold are by measurement culturally interesting and by any standard acceptable. This is a people with symbolic totems that are believed to convey a deep-seated understanding of the people and that way of life that have endured for hundreds of centuries.
The word ‘Ozu’ is an ideology. It defines a conventional commonness which has persisted over the years. One of the golden norms and values of our fore-fathers is that idea of a people. They prided themselves on this because it was an enticing denominator. That knowledge of oneness, no doubt, has brought us to where we are today.
Today, we are called ‘Ozu’ people because our fathers bequeathed a rich cultural heritage which has bedecked national headlines. It is this norms and glorious values that have succeeded in making us a cynosure of attraction to several strangers who have discovered in us a people with an untainted record of hospitality and enviable spirit of accommodation. Strangers live amongst us unperturbed even as they go about their daily businesses without molestation.
It may be wise to enunciate some of the outstanding cultural particles which though primitive in out-look, have stood the test of time in historical records and have projected us to national lime-light in tourism. It may be necessary to mention some of these cultures. Events such as “Ibuo Ama”, “Orie Ugbogo”, “Eke Uri”, “Nkwo Abachi”, “Afor Ahu” and “Afia Ogo”, have remained extinct due to the passage of time.
IBUO AMA:
As the name suggests, “Ibuo Ama” coincided with the period of waiting for the arrival of the new season or
new yam period. Here all the popular spots are weeded and kept clean to give the community a new look. Women
and men alike, engaged in this activities to ensure that the village breathes a fresh air of beauty as the
community awaits the arrival of the New Year in ‘Ozu’ cultural calendar.
ORIE UGBOGO: (FESTIVAL OF THE PUMPKIN LEAVE)
Likewise, there was “Orie Ugbogo” which is the date in ‘Ozu’ cultural calendar that all families enjoy the
delicacy of the pumpkin leave particularly the fluted pumpkin. This festival is observed between the middle
of April and May when the gods and the goddesses of yam are still copulating to give us a bountiful yam
harvest. “Orie Ugbogo” heralds a new era in the cultural existence of the people of ‘Ozu’. It is the harvest
season of fruits and vegetables from the farm. It was a celebrated culture that this pumpkin festival
follows in conjunction with the usage of the gourd (Oba) or earthen ware natively called ‘Ochin’ (a type of
pottery stoneware that is fired at a high temperature and is dense, opaque and nonporous) which supposedly
preserved the hot temperature of the ‘Ezi Ugbogo‘ soup for a considerable long time. This soup was eaten
with “Utara Iwa” presently referred to as “Fufu” or “Akpu”.
EKE URI:
“Eke” in Igbo land is the first market day in the cultural calendar. Igbo has four market days- Eke, Orie,
Afor and Nkwo. These four market days constitutes ‘The Week’ in Igbo culture. “Eke Uri”, was also one of the
outstanding cultural particles which as the name suggest, was the day of beauty peagent in the land. Houses
(which were mostly muds) were painted with vagaries of beautiful and aesthetic drawings. Young maidens were
adorned with “Uri” the local name for beautiful and colourful paints extracted from some herbs and leaves.
This festival coincided with the arrival of the new yam season. Maidens also used the pitched colorations to
enhance their beauties as to be attractive to men. It was usually a moment of joy that mothers and
grand-mothers prepared their daughters and grand-daughters for marriage especially those of them that have
reached nubility.
NKWO ABACHI:
“Nkwo Abachi” was another memorable festival in ‘Ozu’ culture. “Nkwo” is the fourth market day in Igbo
culture. So the “Nkwo Abachi” festival was celebrated on “Nkwo” market day. The “Abachi” seed is one of the
most delicious seasoning while preparing a festival or traditional soup in Ozu culture. “Abachi” seed is
blackish in nature. It is usually one of the farm produce in ‘Ozu’ culture. It is usually very strong to
break so a hard object is applied to crack it oopen before it is boiled in a very high temperature to soften
it before it is pounded with pestle inside the mortar so that it could be added to the soup. It is a
hardener because it congeals the soup to enable thickness of the soup instead of being watery. Maidens are
taught by their mothers on how to apply the “Abachi” seed into their soups as watery soups are not
acceptable. “Nkwo Abachi” in ‘Ozu’ mythology, coincided with the “Omume Mgba” season. “Abachi” is commonly
used as a good adjunct to local melon “Elile”. So even during the “Afor Ahu” festival both are used
customarily.
AFOR AHU:
“Afor Ahu” festival was one of the deeply publicized cultures of the land. Our fore-bears broached this
culture as a way of appreciating nature and thanking the gods for their favours and benevolence. Melon is
indeed one of the favorites in ‘Ozu’ food culture. During this festival, families prepare different sizes of
melon cake called “Ahu”. “Afor Ahu”, was celebrated remarkably same way the Christians celebrate Christmas
with exchange of gifts but in this case, mothers presents gifts of melon soup (Ofo Ahu), to their parents,
and grand-parents. Married or betrothed maiden’s takes the melon soup to their fiancé which in return
showers them with gifts of new clothes and wrappers, tubers of yams and stock fish.
AFIA OGO:
“Afor Ahu” festival was one of the deeply publicized cultures of the land. Our fore-bears broached this
culture as a way of appreciating nature and thanking the gods for their favours and benevolence. Melon is
indeed one of the favorites in ‘Ozu’ food culture. During this festival, families prepare different sizes of
melon cake called “Ahu”. “Afor Ahu”, was celebrated remarkably same way the Christians celebrate Christmas
with exchange of gifts but in this case, mothers presents gifts of melon soup (Ofo Ahu), to their parents,
and grand-parents. Married or betrothed maiden’s takes the melon soup to their fiancé which in return
showers them with gifts of new clothes and wrappers, tubers of yams and stock fish.
This culture was crafted in order to prepare the young maidens for motherhood. They learn how to go to the market to buy food condiments as to enable them prepare delicious soup for their husbands. When the young maidens sets for this festival, the young men of the compounds disguised themselves as maidens by putting on female dresses and most times, fixing artificial breasts to look like maidens in order to gain cunny entry into the “Afia Ogo” venue to steal or eat the market wares. Many times, this trick is botched and unraveled and the maidens would start beating the marauders to burst their enterprise.
The “Afia Ogo” festival was usually designed to take the nature of ‘barter’ system. Those maidens that came with a particular item such as “Azuma”, rice, or local salad “Ukazu”, would exchange same with other items not in their kitty. Coconuts “Akimekere” was one of the outstanding complements to the local beans “Azuma”, even palm kernels depending on the maiden’s economic measurement from the family. In the morning, the maidens returned to their homes with full gist of their experiences at the festival night to their parents especially their mothers. The significance of this culture was to prepare the maidens for motherhood, to train them on how to resist men who may like to sneak into them with tricks and debauchery. It was also to develop the maidens mentally and to sharpen their emotional psychology to quickly react to negative stimuli. The trade part of it was to train the maidens on how to bargain in a market condition and not to waste their husband’s resources. The barter aspect was to train the maiden’s on how to trust themselves and be content with what they have without necessarily being jealous of others.
There are some other cultures that have stood the test of time most of them because they were handed to age grades to sustain or that a particular kindred was mandated or volunteered to preserve it. Let us discuss this in seriatim:
OMUME MGBA: (THE WRESTLING FESTIVAL)
‘‘Omume Mgba’ festival is usually observed in the month of May. It is believed that when the business of
cultivation of the farm has gradually fizzled, men retired to their homes and often congregate at the
village square or compound square to while away time in certain local pleasantries such as playing chess
boards(draught) and cheap gossips. The wrestling match contest “Igba Mgba” among young men in the community
became one of the local pleasantries that our fore-fathers initiated to bring out the best out of our men
while waiting for the new yam season. Individual compounds had their compound square arrayed with the
“Ikoro” or “Ufien Mgba” which when drummed brings the young boys out to wrestle among themselves to produce
a champion. Likewise, in the larger village setting, the village square is also arrayed with the same wooden
object designed to produce a melodious rhythm that used to throw the village agog with merriment as the
young men gathered to slug it out in a wrestling contest to see which side would prevail.
While compounds did it separately, a day would be set aside that the whole village would gather at the village square to watch the youths in this contest. In the case of ‘Ozu’ as a community that is divided into two sections: ‘Ndi Uka’ and ‘Amaetiti’; each of the sections first gathers at their sectional square to do a heat (sort of a preliminary rehearsal to determine their representatives) As “Ndi Uka” would be preparing to produce their champions for the final contest, “Amaetiti” too would be doing same. On the final day of the “Omume Mgba” festival, all men and women, boys and girls, parents and visitors, all gather at “Ogo Ndi Okorukwu” square while both sections paraded their champions to face each other as the “Ufien Mgba” drum rolled out the melodious rhythm with the artistic drummers selected from the village sections.
This usually attracted a mammoth crowd that cheered the wrestlers with their deafening noises that echoed across the village. At the end of it all the community wrestling champions emerge. “Ndi Uka section” would cheer their heroes’ home. Sometimes over excited men carry these champions on their shoulders while the maidens, children and parents cheered along. “Amaetiti section” would do the same in such an entertaining manner. Parents celebrated their sons who performed remarkably well in the festival by emerging champions at the final bout. It was a festival of sort which during the pre-colonial era, young maidens used to pick their spouses from these champions because it was a thing of joy to be associated with heroism. Fathers recommended such men to their daughters for marriage as it was considered a guarantee for security and protection to the maidens. Sometimes the village champions represented the village in an inter-village wrestling contest at the Abam level. This was how champions like Ben Mgbuje of Ozu and Allwell Okpi from Ndi Oji emerged at the Abam level.
“Omume Mgba” was a season of waiting for the arrival of the new yam. Village wrestling champions emerged at this period. The season keeps the male youths busy mentally as they kept thinking and devising best methods of outwitting their opponents in the championships. Such psychological build-up and mental maneuvers made the youths to stay away from troubles or creating nuisance in the community. Our fore-fathers knew that such an idle time could make the male youths to become ready tools in the hands of the devil to forment trouble in the society so they came up with the festival to bridge the interregnum and all its negative ups and downs.
IRI JI (NEW YAM FESTIVAL):
The word “ji” is the local name for yam in ‘Ozu’ and igbo land. Consequently, “Iri ji” implies the
celebration of yam in a given season. This is the mother of all festivals in ‘Ozu’ and by extension Abam in
general. This is a period of merriment because the “Unwu” (commonly used for the period between planting and
harvest) is said to have passed. After the planting season, there is usually a moment of artificial scarcity
in the land. This is the season of “Unwu” (that is scarcity). The yam is believed to be the mother of all
crops in the farm. “Nfijioku” and “Ochichirafor”; the two governing deities that is believed to be
responsible for yam and general fecundity are by this season appreciated with the mother of all
celebrations. The arrival of the new yam marks the beginning of the New Year in ‘Ozu’ mythology. There was
this belief that any year “Nfijioku” goddess and “Ochichirafor” the husband had a good mating process, that
the land would yield bountifully. Ajaonwu’s grandmother, in a discussion years ago, attributed the fecundity
of ‘Ozu’ soil to this conjugal experience between these two deities. According to her, “that is the more
reason why the people initiated the new yam festival as the mother of all cultures as a way of showering
appreciation to the fertility deities”.
During this period, farm roads are cleared. The community is cleaned up location to location. The arrival of the yam is also accompanied with some rituals and sacrifices at the chambers of “Nfijioku” deity and “Ochichirafor” as a way of appeasement and gratification. Night before the harvesting day of the new yam, the “Nze ji” cult group observes a solemn night dedicated to the gods so that the day of harvest could be free and peaceful. There is the belief that the “Nze ji” cultists usually harvests their yam before the masses but this loosed belief has over the years been subjected to interrogations as there have been no serious verification on that.
Be that as it may, a night before the new yam day is usually believed to be agog with subterranean activities; rituals. Since some of these sacrifices and rituals are done or performed under the shady cover of the night so much is not known by the ordinary man. The “Nze ji” cult group is an assemblage of all those yam farmers whose prowess have enabled them to tie the “Ovu Oba” yam barn or believed to have staked up to four hundred (Unu) yams in their barn. It was not a cult for all. It was the guild of the influential yam farmers who are believed to have demonstrated distinctiveness and agility in yam cultivation. These are farmers who are regarded as community champions in the skill of yam cultivation. All the Nze ji’s, were believed to have their separate signs (Egbu ji) at the head of their yams to distinguish them from others in the case of any accidental mix up or sudden loss. Some were marked with [X] and some were marked with two parallel lines [//] as the case may be.
The new yam day was another memorable day. The society bristles with joy and happiness as the period of
hunger and scarcity “Unwu”, is said to be over. Children gather at the village square to witness the
appearance of the new yam as fathers took their elderly children to the farm to launch the first harvest.
Our fore-fathers developed a poem to accompany this unprecedented joy at the sight of the new yam. One could
hear children in those days, reeling out songs like:
“OREI Moo, Moo, Moo!!!
JI-A-NNAM NORI UBI NA AMU NWA O!
ANATA MO, KPORIKPO O;
AKAM ERIGI JI O!
ERI LA-MI-JI O!!!!!”
This is a poetic verse dedicated to the season to welcome the arrival of the new yam. As little children, this poem carried the day on that popular day of the first harvest. One could see basins of yam upon several heads arriving home in colours with beautiful tubers adorning and dotting the atmosphere. Mothers and newly married maidens made the fire to cook the first yam of the season for the pleasure of the expectant children who eagerly have been waiting for this glorious moment.
Yam is exchanged as gifts on this day. Little children pay honourable visits to their grandfathers to receive this gift that have ushered a new era in the life of the society. Husbands purchased stock fish and other big coil of fishes to adorn their homes and hearth where the fishes are smoked with “Ngiga”(which is a well-crafted wire netting carefully designed to store the fishes while being smoked to avoid careless compromise by rats and other domestic rodents).
There is an avalanche of unprecedented joy in the entire community on the day of the new yam harvest. All the compound’s ‘Obi’ or square witnesses the gathering of men celebrating the yam as the mothers cooked it and made a public presentation of it in the gathering of the men where they eat the yam with palm oil spiced with “Evure”, “Utazu”, (this two are local seasonings plugged from the forest), fresh pepper, and several other local seasonings. Widows and the helpless in the compounds are gifted with yams to alleviate their misery. Celebrated yam farmers make a public display of their big tubers in appreciation to the gods and the ancestors. In a way, the whole thing made a very appreciative spectacle as the season comes with joy and gladness. The celebration and festivity continued endlessly.
IGBA EKPE OR EKPE FESTIVAL:
“Ekpe festival” is a special dedication to the gods and goddesses of fertility and fecundity. It is a
continuation of the new yam festival because both festivals coincide in commonality. The initial objection
was that “Ekpe” masquerade was borrowed from Efik people whom multiple of our fathers sojourned in their
midst for a very long time. The idea was that since yam was the mother of all crops that something unique
must be orchestrated to add further glamour to the yam festival. Before the advent of the “Ekpe” culture in
‘Ozu’ cultural polity, the new yam festival was celebrated only on the atmosphere of communal conviviality;
exchange of gifts by families and friends, paying each other a ceremonial homage, eating the yam together
and paying the “Nze ji’s, a ceremonial visit of appreciation. All these were in existence before those
travelers came home with this culture to be attached as an appendage to the new yam festival to enhance the
tradition. Etymologically, the word “Ekpe” in Efik means ‘Lion’. Our people does not have a separate meaning
for it. The advent of this tradition into our culture package is assumably a coincidence of culture which
our people have no explanation to. Nevertheless, cultural diffusion has always been in vogue. People infuse
foreign cultures to their existing ones especially when they believe that such novelty could improve theirs
to a large extent. Assiga people, in Yakkur, Cross River State, borrowed “Leboku” festival from Nko Clan,
and since then, the Leboku festival has endured in the cultural history of Assiga as subsequent generations
have kept the culture alive with zest and zing.
“Ekpe” festival is celebrated in the month of August and September in ‘Ozu’. These two months are indeed very important in the cultural taxonomy of the land. While “Nde-a- Uka” section of the community celebrates theirs in August; “Ama-Etiti” observes theirs in September. The new yam festival and all its commemorations take turns in this all important calendar season of the year.
“Ekpe” masquerade is a very unique effigy. It has very dreaded features that scare children because it is a masquerade. It has different costumes which are fused together to give the effigy a physical distinction. From the head down to the toes of the masquerade registers several iconic symbols that mark the masquerade as a sacred object. There is the “Isi Ekpe’ which is a carved wooden figurine accentuated with all the human features of eyes, nose, ears, mouth and sacred artificial hairs. At the top extreme of the head is an emblematic attachment of three cylindrical long feathers believed to be that of the Eagle (Abiba Ugo). At the body of the masquerade is the “Ngweyi Ekpe” (a well knitted thread or yarn which is pieced into a fabric. The loops are pulled through each other). It seems to be done by hand from a mere look. This yarn is knitted like a bikini because it stretches down to the foot at whose helms tiny hollow-gourd rattles are attached. At the waist is “Ugbu Ekpe” (a sort of raffia fabric that is well-padded in folds to allow a thickness and a length that could go round the waist of the human spirit bearing the effigy). At the waist also is another attachment called “Ujara Ekpe”. This is like a maracas designed as a local percussion instrument consisting of hollow-gourd rattle containing pebbles or bean seeds and often played in that pair, as a rhythm instrument. “Ujara Ekpe’, is tied round the waist of the masquerade and is held by a second party (Onye Ujara) who holds and pulls it with tenacity to serve as an impediment to violent frenzy by the masquerade.
The celebration of “Ekpe” festival is the mother of all festivities in ‘Ozu’ nation. This definition underscores the reason why a forensic analysis should be made regarding the etymological explanation of the original Efik meaning of this cultural concept called “Ekpe”. Why Lion? And why was it brought into our cultural diary? So it should be called the Lion masquerade because it is the chief of all masquerades in our culture. It is usually celebrated on ‘Afor market’ day. Since ‘Ozu’ observes her market in ‘Afor market’ calendar, care is taken to ensure that the celebration falls on the big ‘Afor market’ day not the small one which usually holds every four days. ‘Afor Uku” ‘Ozu’ is usually a day to reckon with. It falls every eight market days. Here is the market that attracts too many people across the spectrum especially our near neighbours of Ohafia, Bende, Umuahia, Abiriba, Arochukwu and other numerous Abam communities. “Afor Ekpe” in ‘Ozu’ mythology is a very memorable day. A night preceding the day is shrouded with activities ranging from several pockets of rehearsals and accompanying rituals. “Kalu Afia” deity that is believed to be the custodian and keeper of the popular ‘Ozu’ market venue is appeased with sacrifices to enable a successful celebration. The shrine or the oracular chambers of the deity is neatly situated at the eastern corner of the market even at the close of the 20th century. Ihuokwe people or kindred are the principal custodians of this deity and are always responsible for the sacrifices and the traditional maintenance of the market. In the same vein, Umu-Uka kindred are the principal custodians of the entire paraphernalia of the “Ekpe” masquerade. It is at their ‘Obi’ that the masquerade is arrayed on the “Afor Ekpe” day under a veneer of secrecy at the waiting arms of the youths, Uke “Ekpe” (i.e., the Age Grade responsible for the celebration at that given season), dressed in their well branded singlet and George wrappers with their lion caps adorned and crested with feathers of different sizes and colours for the men while the women in the Age Grade dressed in the same singlet with their George wrappers as well as their uniform head-gears. In the waiting list also is the “Ikpo” and “Iri Aha” dancing troupes. Enthusiastic children waiting to catch a glimpse of the “Ekpe Masquerade” would also queue eagerly at “Ihu-Ezi” compound the traditional venue for the arraying of the masquerade.
The celebration of “Ekpe” festival is the mother of all festivities in ‘Ozu’ nation. This definition underscores the reason why a forensic analysis should be made regarding the etymological explanation of the original Efik meaning of this cultural concept called “Ekpe”. Why Lion? And why was it brought into our cultural diary? So it should be called the Lion masquerade because it is the chief of all masquerades in our culture. It is usually celebrated on ‘Afor market’ day. Since ‘Ozu’ observes her market in ‘Afor market’ calendar, care is taken to ensure that the celebration falls on the big ‘Afor market’ day not the small one which usually holds every four days. ‘Afor Uku” ‘Ozu’ is usually a day to reckon with. It falls every eight market days. This is the market that attracts many people across the spectrum especially our near neighbours, Ohafia, Bende, Umuahia, Abiriba, Arochukwu and other numerous Abam communities.
“Afor Ekpe” in ‘Ozu’ mythology is a very memorable day. A night preceding the day is shrouded with activities ranging from several pockets of rehearsals and accompanying rituals. “Kalu Afia” deity that is believed to be the custodian and keeper of the popular ‘Ozu’ market venue is appeased with sacrifices to enable a successful celebration. The shrine or the oracular chambers of the deity is neatly situated at the eastern corner of the market even at the close of the 20th century. Ihuokwe kindred are the principal custodians of this deity and are always responsible for the sacrifices and the traditional maintenance of the market. In the same vein, Umu-Uka kindred are the principal custodians of the entire paraphernalia of the “Ekpe” masquerade in Ndi Uka. It is at their ‘Obi’ that the masquerade is arrayed on the “Afor Ekpe” day under a veneer of secrecy at the waiting arms of the celebrants, Uke “Ekpe” (i.e., the Age Grade responsible for the celebration at that given season), dressed in their well branded singlet and George wrappers with their lion caps adorned and crested with feathers of different sizes and colours for the men while the women in the Age Grade dressed in the same singlet with their George wrappers as well as their uniform head-gears. In the waiting list also is the “Ikpo” and “Iri Aha” dance troupes. Enthusiastic children waiting to catch a glimpse of the “Ekpe Masquerade” would also queue up.
The Age Grade at the front-line of the celebration leaves no stone unturned in ensuring that the festival wears an unprecedented colour even before the “Afor Ekpe” day. “Ekpe” Masquerade wielded some mystic influence as it was believed that by touching a child who had been suffering from convulsion then suddenly the malaise would go. To this effect, mothers insisted on the Masquerade touching their babies with a warmth hug and cuddle as the Masquerade passes by. One act is common here; the man bearing the “Ujara Ekpe”, usually parts a thread out of the “Ugbu Ekpe” and hands it over to the mother of the baby which instantly would be tied around the wrist of the child thenceforth.
As the Masquerade emerges from the hut wherein which it is arrayed, the waiting crowed bursts up in a cheerful euphoria. Some would do metonymic wave of their dancing sticks (Nkpaa) tied at the head with handkerchiefs often shorting: “Ekpe-wo! Ekpe-wo!! Ekpe mi-ra-Nnam wo!!!”Others would be making and displaying some panegyric signs in praising the Masquerade often reciting words such as “Imomo!” and “Ojojo-nkwu!”. All these are local eulogies echoed in praise of the “Ekpe” Masquerade. At “Onu Achi” traditional village square of “Umu Uka” Kindred, one would be hearing the blaring of “Nkwa Ekpe” (a special drum which is arranged in sizes of five with the lead drum ‘Nne-Nkwa Ekpe’ often initiating the tunes whilst the others follow in unison. The sonoric tunes are weaved in legato to produce a music which is danced in steps by various groups. The Masquerade itself blends to this music with an artistic style depending on who adorned the Masquerade in the given period. ‘Nkwa Ekpe’ is moveable. It is displayed at various squares in the community following the movement of the Ekpe Masquerade both in the morning rally and the afternoon.
Next in this music totem, is “Nkwa Atu”. It is a mixture of dry tortoise shell and metal gong. The tortoise shells are beaten with buffalo horns. The drummers insert the tortoise shell in-between their laps while applying the buffalo horns on the shells in such a mastery manner to develop a lyric that emblazon the atmosphere with a mystical euphoria. This dance has a union step which is demonstrated by all simultaneously. The right leg does the back and forth pacing while the left leg marks the shift. It is usually a spectacle of sort. It is during the “Nkwa Atu” display that the “Ekpe” Masquerade engages in what is traditionally called “Ikwo-ofia-Iyi”. This is a melodramatic display often depicting a fishing mime. The Masquerade surrounded by the curious eagerly waiting crowd uses the sand in the available spot to create an imaginary boundaries to lock up a specific quantity of water to avoid the trapped fishes from escaping and after bailing the pool by using hand or an imaginary bowl to force out the jailed waters, the Masquerade would start picking the fishes one after another and dropping them in an imaginary basin or basket. All these are performed in mime; soundlessly, brilliantly, artistically, ingeniously amidst a deafening cheer by the spectators.
The “Afor Ekpe” day is divided into two commemorative sections- morning and afternoon. As early as seven o’clock (Anti Meridian), the morning round has already begun lasting throughout the morning hours. During this time, the Masquerade, with all the retinue of different dancing groups; youths and teenagers and children, often carried by their fathers, brothers or uncles, marched in grand colours across the community with the Age Grade, whose turn it is to celebrate the “Ekpe” festival for the year. They file in colours with their well crested uniforms, customized lyrics and rhymes coupled with well-rehearsed dancing steps. The Age Grades are usually the chief celebrants of the festival because it is their turn as the tradition and culture demanded. Songs such as “Uke Ekpe yo-yo, Gbanyoro-gbanyoro!” assumes a melodious air. Earlier in the 70s, ‘Onyiwa’ Age Grade, been the chief celebrant of the year, made a special musical dedication alluded to “Elile” (Melon) and “Iwa” (Cassava). “…Kama elile ya ewesi-anyi oge, Onyiwa, egbu yi-je Iwa…”
HOW OUR EKPE MASQUERADE RELATES WITH THE NEW YAM SEASON?
Before now, the new yam festival in ‘Ozu’ was celebrated without the “Ekpe” Masquerade. Later generations
may not have known this fact. It was originally a naked event that was surrounded with certain local
activities before, during and after the season. Events turned as soon as some of our natives who sojourned
at “Elu Anyim” (Across the big River) came home bearing some of the cultural handouts of the Efik and Ibibio
people. As stated earlier, majority of the cultures we applaud as native in our land today were invariably
borrowed due to diffusions which came into us in the forms of trade and inter-marriages. “Ekpe” Masquerade
or “Ekpe” was one of these importations. The reasons of incorporating the dance or display into the cultural
catalogue of ‘Ozu’ nation could be to add additional verve to the normal new yam festivity or to ensure
longevity of both events.
To ensure that synergy was observed, the Masquerade on the procession, stopped over at the sight of “Nfijioku” chamber either on the road, or as it passes through compounds in the process of the dancing and marched its two heels at intervals at the stone formations in front of the deity in appreciation to the gods and goddesses of yam and fecundity which “Nfijioku” and “Ochichirafor” symbolized. With this singular ritual, it is without doubt an acceptable notion that the “Ekpe” Masquerade is made for the new yam in ‘Ozu’ mythology just like in every other clime or culture around us.
The afternoon rally of the “Ekpe’ event on the “Afor Ekpe” day is the mother of it all. The entire society is agog with air of fun as the noise of a cheering crowd made up of males, maidens, children, women and visitors troop out in droves along the procession route of the Masquerade flanked by the beautiful Age Grades in colours. The youths in their traditional George Wrappers, “Ikpo” dancing group often supplying the drumming lyrics dressed in unique gears as marching for war with the flutist (Onye Eremere) who supplies the panegyrics though in flute sound to energize the space.
It is usually a spectacle to behold as enthusiastic youths embraces this dance with unprecedented energy and zeal. The afternoon rally commences after the break of the morning rally wherein the Masquerade retires at Ihu-Ezi compound an enclave of “Umu-Uka Kindred” who are natively the custodians of the “Ekpe” paraphernalia. The afternoon rally lasts longer than the morning show because it takes the whole day to elapse. The Masquerade throws the broom it holds to the cheering crowd dispersing the booing maidens and children and running after them for them to receive a disciplinary or admonitory flogging. The show goes on and on till evening with the zest unmitigated.
AFIA MMI-UKWU:
It is not yet known what this particular tradition tends to imply. But according to the name, it is a market
that seems to suggest that people suffering from Arthritis (Mmi-Ukwu or Mmi Okpa) who by reason of that
ailment cannot climb the “Afor Ozu” market hill (Ogbogbo Afia) stops at the foot of the hill on that market
day to observe normal marketing business.
Another prudent supposition is that “Afia Mmi-Ukwu” is the market day preceding “Afor Ekpe”. This event is legendary. Speculations are pointing to the view that the deity in charge of “Afia Ozu” venue popularly known and addressed as “Kalu Afia” deity often wishes to be given a market day to cleanse the market before the “Afor Ekpe” festival date. This could be true owing to the empirical sacrifices which are made around the chambers of the deity which is situated at the eastern tip of “Ogbogbo Afia” Ozu. The chief priest of Kalu Afia deity in conjunction with Ihuokwe Kindred, the supposed custodians of the Kalu Afia deity performs this sacrifice to purify the market before the all-purpose “Afor Ekpe”.
On “Afia Mmi-ukwu” day, “Afia Ozu”, is vacated by all and the market shifted to “Ogo Nde Uka” which extends to the foot of “Ogbogbo Afia”; a miniature hill introducing “Afia Ozu” market venue that has been for ages. On “Afia Mmi-ukwu” day, market women and other sellers, constructs temporary market huts and stalls across “Ogo Nde-Uka” stretching towards the main-road inside the popular Ozu football field or field ‘Nde Fada’. “Afia Mmi-ukwu” is not expected to flow into “Afo Ozu” market venue as such spill over may warrant a very retributive repercussion from the gods and the ancestors as such is a sacrilege. So the main boundary of the market spot “Ogbogbo Afia” becomes the contour that must be respected from end to end. On that market day, the popular “Afia Ozu” that is vacated becomes a ghost station only for the gods to navigate for the preparation of “Afor Ekpe” which would come on the next “Afor market” (Four days after). “Afia Mmi-ukwu” usually falls on “Afor Nta” while the “Afor Uku” which is the ‘Big Market’ day would play host to “Ekpe” festival.
In ‘Ozu’ tradition, two market days are observed at intervals. There is first one called “Afor-Nta” and the other “Afor-Uku”. This has been an existing culture for centuries in the anal of the people’s history. Usually, it is believed that much business or marketing activities does not take place on “Afor-Nta” because very many neigbouring communities does not patronize this day as they do on the “Afor-Uku”. Again, it is speculated that much farm produce especially ‘Garri’ which happened to be the main produce of the people does not muchly grace the “Afor-Nta” market day as many Garri farmers, may not have processed their Garri for sell on that market day.
“Afia Mmi-Ukwu” is observed once in every year. It is a special market set aside for the cleansing of “Afia Ozu” preparatory to “Afor Ekpe” festival. After this day, market women and men are by law expected to relocate to the main market venue as it is believed that the gods or the market deity “Kalu Afia” must have done the needful in the purification process.
IKU MMANU FESTIVAL:
“Iku Nmanu” as the name suggest, is a festival of the gathering of palm oil. This festival is usually
observed four days or eight before “Afor Ekpe”. This is a very unique culture particle of ‘Ozu’ in the sense
that it makes the populace to be up to speed on the arrival of the eventful “Afor Ekpe” which to some extent
is the mother of all other festivals. “Iku Nmanu” festival is a culture that has been anchored by Ihuokwe
Kindred. Usually, the “Iku Nmanu” warriors take off from “Oduenyi” which is the traditional enclave of the
Ihuokwe people. Their deitical chamber “Ofia Opi” is situated at this post very close to the brink of Igwu
River.
“Iku Nmanu” festival is observed once a year in ‘Ozu’ mythology. It usually falls on a market day. On that day, the Ihuokwe people with their youths, gathers at their traditional enclave “Oduenyi” where they march in files unannounced to the market and starts picking fruits and vegetables belonging to unsuspecting marketers in a very admiring speed and rushes to their shrine “Ofia Opi”, to deposit their loots and thereafter prepares same for consumption. “Iku Nmanu” festival proceeds the “Afor Ekpe” day. There would be no celebration of “Ekpe” festival without this preceding festival. The festival is a forerunner that announces the “Afor Ekpe” festival. Sometimes, depending on the year and season, this festival may fall on “Afia Mmi-Ukwu” day and it would be observed unimpeded. It is a culture of pride and panic. Pride, because it announces the arrival of the long expected “Ekpe” festival that is the mother of all festivals. And of panic, because the market women and men on this day are thrown into confusion as their wares especially fruits, vegetables and above all Palm oil are forcefully sequestered unchallenged and same loots dragged to the chambers of their deity at “Oduenyi” to be poured as sacrifices to their gods and ancestors. “Oduenyi” warriors are led by a chief warrior who appears as a symbol of their authority because he carry’s the pot of charm representing the Kindred. The lead warrior is usually in front bearing the symbolic pot of charm while the other warriors follow behind in a single file from “Oduenyi” to the market center. They usually appear unannounced in the market and at this point, marketers would be running helter-skelter to conceal their wares to avoid sudden loot in a broad-day-light as the custom prescribed. Sometimes, when there is a signal of their coming and market wares are hid, these warriors would stay in the market for a long period of time searching for the vegetables and Palm oil. If they did not succeed in seeing the Palm oil which is their chief sacrificial item, the market may be shut down until there is a release of that item voluntarily by the marketers. The year they succeeds faster, they’ll retreat back to their deitical headquarters at ‘Oduenyi’ faster and the year there is a delay because their arrival was botched or divulged, they would remain in the market longer than usual.
There is this historical belief that tends to argue that Ihuokwe people executes the “Iku Nmanu” festival as a way of showing their ownership of the market center and uses that culture to assert such prerogative. They also use that season to gather tolls from the market women and men in forms of the loot of fruits and vegetables to appease their gods. They are the Kindred that is traditionally saddled with the responsibility of purifying the market; pouring all the libations, casting the oblations and making the necessary invocations to “Kalu Afia” deity. They are the custodians of the “Iku Nmanu” tradition. From origin, they have been the purveyors and conductors of this festival and the sole handlers.
One of their chief warriors in history was the popular Onyeani “Oduenyi”. He had a very hideous costume which made children to dread his appearance in those days. He was notorious for the act of tying white wrapper around his loins, usually naked bodily, cladded with a brownie wig that seemed beaded; with “Omu” in his mouth. Throughout the close of the 20th century, Onyeani “Oduenyi” distinguished himself in this service having been regularly spotted as bearing the traditional pot of charm symbolizing their identity. It was customary that no member of this trail would utter a word throughout the adventure in the market: it was a taboo to do so and sacrilegious to obliterate that rule.
METHOD OF COMMUNICATION:
Communication is a vital element of society. Individual societies adopted several methods of ensuring that
information which is for the societal consumption was disseminated evenly as to command corresponding
compliance. In Ozu, the culture of town criers and the institution thereof made an in-road in the cultural
fabric of the land from the ancient times. Both sections of the land had their respective town criers who
disseminate information that are of sectional value. They were known as “Nde Ichi-Uka”. The person that
executes this trade is called “Onye Ichi-Uka” in our parlance. They were several of these actors who were
skilled in the trade and were easily identified when they were in the drive of going round the community to
pass vital information. Some of them used different instruments to draw the attention of the society while
wanting to pass info. These instruments ranged from wooden gongs (Ekwe) and metal gongs (Ogele). It was one
Mr. Okorie who was popularly known as Okorie-a-Korofo that stylishly deployed the “Ikpirikpe” drum to
disseminate his information. He had a way of beating the drum that made people to associate him with that.
He was contacted whenever there was a serious emergency in the land that required people to stay at home
without going to farm. His drum would sound thus: “Timkpom Tim, Egbele Ubi Eji Tim”. He would be drumming
this rhythm across the lengths and breadths of the community thus alerting the people that there was an
emergency that required all and sundry to stay back at home without going to farm. One of them Mr. Mark Agwu
Ebulu was noted for his introductory slogan while passing the message. After sounding the metal gong, he
would continue: “O-Ozu na echi”. Not long after, that slogan became his ethnic sobriquet and his children
inherited the appellation “O-Ozu na echi”. Others were also noted for their introductory remarks such as:
“Unu Ge Nchi wo” and after the passage of the information, they would conclude by saying “Onuru zia ebe
ya-o” or “Onuru kpairi Ibe ya o” (please help tell others).
Nde Uke Ekwe was also part of this scheme. Theirs was primarily centered on the women. They were always
going round the community alerting women on certain matters and craving their indulgences or soliciting
their compliance. This is because information management was the most lucrative cultural particle in the
ancient Ozu mythology. Everyone was always giving listening ears to the town criers when they were carrying
out their assignment. It was a cultural taboo in Ozu then, for a town crier to be passing out a message for
the generality of the citizenry and someone would be making a distracting noise. Even people that were
fighting then would halt their fisticuff when the town crier was on stage. It was as serious as that! A
woman pounding pepper or Fufu (Utara) would at that time halt the task to get the information first.
Sectional messages were only disseminated across the sectional borders. The various sections had their
customized town criers who were accustomed to local usage. Those were considered minor disseminators while
issues relating to the community in general, were handled by the acclaimed professionals. They were exempted
from community labour and were given portions of land to cultivate in the community lands. Private
individuals who wished to engage the services of these men at various points of need had to pay for that
private service.