Speaking from the Middle Ground: Contexts and Intertexts
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Okanga Royal Drum: the Dance for the Prestige and Initiates Projecting Igbo Traditional Religion Through Ovala Festival in Aguleri Cosmolgy
Global Journal of Arts, Humanities and Social Sciences Vol.8, No. 3, pp.19-49, March 2020 Published by ECRTD-UK Print ISSN: 2052-6350(Print), Online ISSN: 2052-6369(Online) OKANGA ROYAL DRUM: THE DANCE FOR THE PRESTIGE AND INITIATES PROJECTING IGBO TRADITIONAL RELIGION THROUGH OVALA FESTIVAL IN AGULERI COSMOLGY Madukasi Francis Chuks, PhD ChukwuemekaOdumegwuOjukwu University, Department of Religion & Society. Igbariam Campus, Anambra State, Nigeria. PMB 6059 General Post Office Awka. Anambra State, Nigeria. Phone Number: +2348035157541. Email: [email protected] ABSTRACT: No literature I have found has discussed the Okanga royal drum and its elements of an ensemble. Elaborate designs and complex compositional ritual functions of the traditional drum are much encountered in the ritual dance culture of the Aguleri people of Igbo origin of South-eastern Nigeria. This paper explores a unique type of drum with mystifying ritual dance in Omambala river basin of the Igbo—its compositional features and specialized indigenous style of dancing. Oral tradition has it that the Okanga drum and its style of dance in which it figures originated in Aguleri – “a farming/fishing Igbo community on Omambala River basin of South- Eastern Nigeria” (Nzewi, 2000:25). It was Eze Akwuba Idigo [Ogalagidi 1] who established the Okanga royal band and popularized the Ovala festival in Igbo land equally. Today, due to that syndrome and philosophy of what I can describe as ‘Igbo Enwe Eze’—Igbo does not have a King, many Igbo traditional rulers attend Aguleri Ovala festival to learn how to organize one in their various communities. The ritual festival of Ovala where the Okanga royal drum features most prominently is a commemoration of ancestor festival which symbolizes kingship and acts as a spiritual conduit that binds or compensates the communities that constitutes Eri kingdom through the mediation for the loss of their contact with their ancestral home and with the built/support in religious rituals and cultural security of their extended brotherhood. -
Początek, Zderzenie, Ghana '58
Ryszard Kapuściński HEBAN Początek, zderzenie, Ghana '58 Przede wszystkim rzuca się w oczy światło. Wszędzie - światło. Wszędzie -jasno. Wszędzie - słońce. Jeszcze wczoraj, ociekający deszczem, jesienny Londyn. Ociekający deszczem samolot. Zimny wiatr i ciemność. A tu, od rana całe lotnisko w słońcu, my wszyscy - w słońcu. Dawniej, kiedy ludzie wędrowali przez świat pieszo, jechali na wierzchowcach albo płynęli statkami, podróż przyzwyczajała ich do zmiany. Obrazy ziemi przesuwały się przed ich oczami wolno, scena świata obracała się ledwie-ledwie. Podróż trwała tygodniami, miesiącami. Człowiek miał czas, żeby zżyć się z innym otoczeniem, z nowym krajobrazem. Klimat też zmieniał się etapami, stopniowo. Nim podróżnik dotarł z chłodnej Europy do rozpalonego równika, miał już za sobą przyjemne ciepło Las Palmas, upały El-Mahary i piekło Zielonego Przylądka. Dzisiaj nic nie zostało z tych gradacji! Samolot gwałtownie wyrywa nas ze śniegu i mrozu i jeszcze tego samego dnia rzuca w rozpaloną otchłań tropiku. Nagle, ledwie przetarliśmy oczy, jesteśmy wewnątrz wilgotnego piekła. Od razu zaczynamy się pocić. Jeżeli przylecieliśmy z Europy zimą- zrzucamy palta, zdejmujemy swetry. To pierwszy gest inicjacji nas, ludzi Pomocy, po przybyciu do Afryki. Ludzie Północy. Czy pomyśleliśmy, że ludzie Północy stanowią na naszej planecie wyraźną mniejszość? Kanadyjczycy i Polacy, Litwini i Skandynawowie, część Amerykanów i Niemców, Rosjanie i Szkoci, Lapończycy i Eskimosi, Ewenkowie i Jakuci - lista nie jest tak bardzo długa. Nie wiem, czy obejmuje ona w sumie więcej niż pięćset milionów ludzi: mniej niż dziesięć procent mieszkańców globu. Natomiast ogromna większość żyje w cieple, całe życie grzeje się w słońcu. Zresztą człowiek narodził się w słońcu, jego najstarsze ślady znaleziono w ciepłych krajach. -
Retailing a Forgettable Tale Akin
IVERYBODY WAS having a lunchrime drink in a bar in Kampala, Uganda one hot afternoon in November 1961. Then a 22-year-old man with a big head and lots of hah- entered, his arms saddled with copies of a new magazine he was trying to sell. As the hawker wended his way to a table, an angry Englishman bolted from the din of the afternoon, dashed in his way, snatched one of the magazines from him and ripped it in shreds. He couldn't have stopped at that. 'That's what I think of your trash!' he spat at the young man. In the Lugogo Retailing a Forgettable Akin Tale Adesokan Black Orpheus & Transition revisited Sports Club, another venue in taking his first shot at marketing, this reaction the city where the journal was was enough intimidation. ButRajatNeogy, the being peddled to members of a young man, was not an appretice hawker, not even an accomplished one. The journal he was jazz club, the manager vending, Transition was his brainchild, an threatened to eject the club for idea he had taken so seriously he staked his allowing what someone also personal convenience for it. He had returned called 'nasty left-wing to Uganda a year before, just married, with literature'. a degree in political science, with the intention For a prospective newspaper vendo of introducing his wife, a Swede, to his parents, African Quarterly on the Arts Vol.11 NO 5 take her round Kampala, then head for wanted from her was straightforward, journal and been impressed by its success. -
File Download
Fashioning the Modern African Poet Nathan Suhr-Sytsma, Emory University Book Title: Poetry, Print, and the Making of Postcolonial Literature Publisher: Cambridge University Press Publication Place: New York, NY Publication Date: 2017-07-31 Type of Work: Chapter | Final Publisher PDF Permanent URL: https://pid.emory.edu/ark:/25593/s9wnq Final published version: http://dx.doi.org/10.1017/9781316711422 Copyright information: This material has been published in Poetry, Print, and the Making of Postcolonial Literature by Nathan Suhr-Sytsma. This version is free to view and download for personal use only. Not for re-distribution, re-sale or use in derivative works. © Nathan Suhr-Sytsma 2017. Accessed September 25, 2021 6:50 PM EDT chapter 3 Fashioning the Modern African Poet DEAD: Christopher Okigbo, circa 37, member of Mbari and Black Orpheus Committees, publisher, poet ; killed in battle at Akwebe in September 1967 on the Nsukka sector of the war in Nigeria fighting on the secessionist side ...1 So began the first issue of Black Orpheus to appear after the departure of its founding editor, Ulli Beier, from Nigeria. Half a year had passed since the start of the civil war between Biafran and federal Nigerian forces, and this brief notice bears signs of the time’s polarized politics. The editors, J. P. Clark and Abiola Irele, proceed to announce “the poem opening on the opposite page”–more accurately, the sequence of poems, Path of Thunder – as “the ‘last testament’ known of this truly Nigerian character,” reclaiming Christopher Okigbo from Biafra for Nigeria at the same time as they honor his writing. -
A Portrait J.P. Clark Was Born at His Maternal Grandmother's Home in the Urhobo Village of Erhuwaren on the 6Th of December
A Portrait J.P. Clark was born at his maternal grandmother’s home in the Urhobo village of Erhuwaren on the 6th of December 1933 into two old Izon families, Bekederemo and Adomi, of Kiagbodo, now in the Burutu Local Government Area of Delta State, Nigeria. After his early education at the Native Administration Schools, Okrika and Jeremi (Otughievwen), in the western Niger delta, he went on to Government College, Ughelli and the University College, Ibadan, both by entrance examinations, as a Government Scholar and State Scholar. The poet, playwright and scholar early showed his genius and calling in life. At Ughelli, distinguished for sports and scholarship under the legendary V.B. V. Powell, he earned himself a reputation for reading every English literature title in the school library, and so his next principal, Major Cyril Carter, kindly allowed him the use of his personal library as he received new titles from the Readers’ Union in London. But it was at Ibadan, where Clark read English, that the bud bloomed into the flower that immediately caught the eye of the public. He became editor of the Students’ Union magazine The Beacon, and then, most significantly, the first editor of The Horn, the poetry journal at the University College, Ibadan, that launched modern Nigerian poetry in English. It introduced Christopher Okigbo and Wole Soyinka, Clark being the major contributor. His poem Ivbie, on the wrong of imperial power, beginning with the slave trade, created a great stir among staff and students. Others like Abiku, Agbor Dancer, Fulani Cattle, Ibadan, Night Rain, Olokun, Streamside Exchange and The Water Maid, were recited at sight across faculties on the campus, later becoming favourites in anthologies. -
Some Errors in the Article Glendora
The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. 'Some errors in Artist Obiora the article in Udechukwu with Ulli Glendora Nr3' Beier Nigeria and actually pres- ing in schools. I had little con- lished an Indian poet. People I H E sured me to ask him to write tact even with the staff of the thought contacts across bor- I heard of Peter this piece! University. The only expatri- der lines and cultures. And a Benson's work on the magazine is a good vehicle ate teaching in Nigeria who AsforMartinEsslin:hewasat subject was when he was helpful in this respect for that! the ti me the authority on Brecht sent me the completed was Gerald Moore. There and the Theatre of the Absurd thesis to read. He was, of course, the vast The trouble seems to be: Akin in Britain- in fact in Europe. If never interviewed me archive of Janheinz Jahn to Adesokan has obviously made Nigerian playwrights wanted and I have never met draw on. Remember that his a thorough study of Peter to be performed in Britain him. My letter may anthology of African poetry Benson's book and other sec- (and they did!) why should have been a response (in German) appeared in ondary sources. (Congratula- they resent a review by a to that thesis - but it 1 954! Otherwise most of the tions on a good piece of re- British critic? Or are you im- was obviously too late authors found me. -
International Journal of Vocational and Technical Education Research
International Journal of Vocational and Technical Education Research Vol.2, No.2, pp.15-35, May 2016 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) IMPACT OF VOCATIONAL AND TECHNICAL EDUCATION ON LIVELIHOOD SUSTENANCE AND ECONOMIC DEVELOPMENT IN NIGERIA: THE ART WORKSHOP EXPERIENCE Dr. Ayo Elebute1 and Mashood, O. Shagaya2 1Department of Mass Communication, Igbinedion University, Okada, Edo State, Nigeria 2Department of Industrial Design, Ahmadu Bello University, Zaria, Kaduna State, Nigeria ABSTRACT: The focus of this study is basically on the impact that vocational and technical education has on livelihood sustenance and Economic development in Nigeria, using the art workshop training centres as a case study most especially the one established by the Nigerian foremost printmaker: Bruce Onobrakpeya in his home town at Agbarha-Otor, in Delta State of Nigeria. The vocational and technical education opportunities were divided into three broad categories the first is the training offered in private institutions under the entrepreneurship programmes, the second is the training established by governments through formal tertiary institutions such as: the Polytechnics and Colleges of Education and the third is the training sponsored by non-governmental organizations (NGOs), private individuals and/or religious organizations-the art workshop experiments organized in Nigeria at Oye-Ekiti, Osogbo, Ile- Ife, Lagos and Agbarah-Otor fall under the last category. It has been observed that the non- payment approach adopted by the organizers under the third category has been making vocational training programmes more effective, efficient, competitive, flexible and responsive in any community where they are being organized. The conclusion is that the organizers of vocational/art-workshop centres in Nigeria have been focusing on how to satisfy the basic physiological needs of the participants while training, mentoring and motivating them for self development and self fulfilment. -
Book of Proceedings
Book of Proceedings: the 6th Academic Conference of Hummingbird Publications and Research International on Paving Way for Africa Unique Opportunities for Sustainable Development in the 21st Century Vol.6 No.1 on 30th September, 2015- University of Ibadan Conference Centre,U.I, Ibadan, Oyo State, Nigeria DIRECTORIAL CONCEPTS AND TECHNIQUES ON THE NIGERIAN STAGE IN THE 21ST CENTURY OGUNGBESAN, OLUSEYI ABIODUN Department of Performing Arts, Olabisi Onabanjo University, Ago-Iwoye, Ogun State, Nigeria Abstract The Nigerian stage is an arena where human beings are presented in a cosmic totality, acting and reacting to forces around them and within them perceiving and being preceded by those interacting with them and by those in the audience who experience the enigma that is the common lot of humanity. It is not an ideal situation which is a very rare occurrence in the theatre where representations of what life should be is re-enacted. Since this ideal situations are not possible, the position of the director then becomes prerogative especially when his directorial styles and techniques are put into recognition for sustainable development on the Nigerian Stage in the 21st Century. As the Nigerian stage is inseparable from the Nigerian theatre so is there no stage without theatre. As play scripts differ, so also the concepts and techniques of each director. It is based on all these that this paper reviews the directorial concepts and techniques of directors on the Nigerian stage especially in the 21st century with the aim of comparing and analyzing their directorial skills and approaches. For the expression of the relationship between man, society and nature, the Nigerian theatre arose out of fundamental human needs in the dawn of human civilization and has continued to express those needs ever since, which is to say Nigerian theatre and drama originated with Nigerians themselves. -
Wole Soyinka
Distinguished Lecture Series Wole Soyinka Art, Tradition and Modernity NIGERIAN INSTITUTE OF INTERNATIONAL AFFAIRS Photo. Kelechi Amadi-Obi The Drummer 1978, bronze CO N T EN T S Biography of Prof. Wole Soyinka Opening remarks by Chief P.C. Asiodu, CON Lecture - Art, Tradition and Modernity Related Resources THE BEN ENWONWU FOUNDATION Distinguished Lecture Series Delivered on the May 2, 2006 at THE NIGERIAN INSTITUTE OF INTERNATIONALAFFAIRS, LAGOS Prof. W ole Soyinka Art, Tradition and Modernity under the distinguished chairmanship of Chief Philip Asiodu, CON Izoma Onyaa of Asaba Guests of Honour Chief (Mrs) Opral M. Benson MON , CSA Iya Oge of Lagos Chief Tayo Akpata Ogiesoba of Benin BIOGRAPHY OF W OLE SOYINKA Prof. Oluwole Akinwande Soyinka is the Elias Ghanem Professor of Creative Writing at the English Department of the University of Nevada, Las Vegas and the president's Management Institute Professor-in-Residence at Loyola Management University in Los Angeles, California. Soyinka has been a consistently courageous voice for human rights world over and a force in national politics. He is the author of over thirty titles in all genres. In 1986, he became the first black African to win the Nobel Prize in Literature. Wole Soyinka was born on July 13, 1934 and holds a B.A from the University of Leeds, UK and has held several positions in the academia. From 1969-71 was Head, Department of Theatre Arts, University of Ibadan, Professor of Dramatic Literature, University of Ife, 1972 and visiting Professor in Drama, Sheffield University, UK. In 1975, Soyinka was appointed Professor of Comparative Literature at the University of Ife, Nigeria. -
TRANSACTING the MODERN Ulli Beier, Black Orpheus, and the Mbari International
Chapter 4 TRANSACTING THE MODERN Ulli Beier, Black Orpheus, and the Mbari International IN SEPTEMBER 1956, the First International Congress of Black Writers and Artists opened at the Sorbonne, Paris.1 Organized by Alioune Diop (1910– 1980), the Senegalese teacher and entrepreneur and the publisher of the cul- tural journal Présence Africaine, the congress brought together some of the best-known black writers, critics, and artists from Africa, the Caribbean, the United States, and Europe. Following on the heels of the Bandung Confer- ence of 1955, where leaders of several colonized and newly independent Afri- can and Asian countries resolved to push for the end of colonialism and establish a network of nations unaligned to either the nato or Soviet power blocs, the Sorbonne congress set out to rethink the cultural implications of decolonization, as well as the role of artists and writers in the process. It was, as the organizers imagined it, the first major platform for spreading the artistic and political ideas championed by the founders of negritude. In his opening address, the Haitian writer Jean Price-M ars (1876–1969) declared that the participants were responding to the “fervent appeal of Présence Afri- Downloaded from https://read.dukeupress.edu/books/chapter-pdf/132628/9780822376309-005.pdf by UNIVERSITAT BAYREUTH user on 23 May 2018 chapter 4 — 132 caine, this glowing fire of black culture,” and that the objective of the congress was the affirmation, exaltation, and glorification of the culture of the black peoples of the world.2 The Paris conference is important to the making of artistic modernism in Nigeria precisely because it catalyzed and to a large extent shaped the ideas and critical vision of Ulli Beier (1922–2011), a Jewish German instructor of Eng lish in the extramural program at the University College, Ibadan, who (so this chapter contends) was the single most influential figure in articulat- ing this modernism. -
Ryszard Kapuściński Ébano
Ryszard Kapuściński Ébano Traducción del polaco de Agata Orzeszek Escaneo – Elanio Azul EDITORIAL ANAGRAMA BARCELONA Título de la edición original: Heban Czytelnik Varsovia, 1998 Diseño de la colección: Julio Vivas Ilustración: foto © Sergio Caminata, de Himba, Federico Motta Editore Primera edición: octubre 2000 Segunda edición: diciembre 2000 Tercera edición: enero 2001 Cuarta edición: marzo 2001 Quinta edición: abril 2001 Sexta edición: noviembre 2001 Séptima edición: enero 2003 Octava edición: marzo 2003 Novena edición: julio 2003 Décima edición: octubre 2003 Undécima edición: febrero 2004 Duodécima edición: noviembre 2004 © Ryszard Kapusciñski, 1998 © EDITORIAL ANAGRAMA, S.A., 2000 Pedro de la Creu, 58 08034 Barcelona ISBN: 84-339-2545-8 Depósito Legal: B. 47224-2004 Printed in Spain Liberduplex, S.L., Constitució, 19, 08014 Barcelona INDICE EL COMIENZO, EL IMPACTO, GHANA 1958 ...............................................................................5 CAMINO DE KUMASI ......................................................................................................................9 LA ESTRUCTURA DEL CLAN ......................................................................................................13 YO, EL BLANCO..............................................................................................................................18 EL CORAZÓN DE UNA COBRA....................................................................................................22 EN EL INTERIOR DE UNA MONTANA DE HIELO ....................................................................26 -
Ikolo: an Igbo Idiophone of Indigenous Religious Sacred Sound Among
IKOLO: AN IGBO IDIOPHONE OF INDIGENOUS RELIGIOUS SACRED SOUND AMONG THE AGULERI PEOPLE OF ANAMBRA STATE, NIGERIA. BY MADUKASI FRANCIS CHUKS Thesis is submitted in fulfilment of the requirements for the Doctorate Degree of Philosophy in African Theology SCHOOL OF RELIGION, PHILOSOPHY AND CLASSICS UNIVERSITY OF KWAZULU-NATAL PIETERMARITZBURG, SOUTH AFRICA JANUARY , 2016. DECLARATION I, Francis Chuks Madukasi, declare that: 1. The research reported in this thesis, except where otherwise indicated is my original research. 2. This thesis has not been submitted for any degree or examination at any other university. 3. This thesis does not contain other persons’ data, pictures, graphs or information, unless specifically acknowledged as being sourced from other persons. 4. This thesis does not contain other persons’ writing, unless specifically acknowledged as being sourced from other researchers. Where other written sources have been quoted, then: a. Their words have been re-written but the general information attributed to them has been referenced. b. Where their exact words have been used, then their writing has been placed in italics and inside quotation marks, and referenced. 5. This thesis does not contain text, graphics or tables copied and pasted from the Internet, unless specifically acknowledged, and the source being detailed in the thesis and in the References sections. Signature:............................................. Date:.......................... Student: Francis Chuks Madukasi Signature:............................................... Date:........................... Supervisor: Dr F. G. Settler i DEDICATION TO THE DEITIES AND FALLEN HEROES OF AGULERI. ii ACKNOWLEDGEMENTS I would like to express my deepest appreciation to the Faculty and Staff of the School of Religion Philosophy and Classics, Faculty of Humanities, at the University of KwaZulu-Natal.