Art Festival a Study of Oga Aga Agwuagwu in Arhi
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Transcript of Art Festival a Study of Oga Aga Agwuagwu in Arhi
ART FESTIVAL A STUDY OF OGA AGA AGWUAGWU IN
ACHI
Introduction
A festival or gala is an event, usually and ordinarily stages
by a local community, which centers on and celebrates some
unique aspect of that community and the Festival. Among
many religions, a feast is a set of celebrations in God or gods. A
feast and a festival are historically interchangeable. However,
the term “feast” has also entered common secular parlance as
a synonym for any large or elaborate meal. When used as in
the meaning of a festival, most often refers to religious festival
rather than a film or art festival.
Festival is an occasion for feasting or celebration,
especially a day or time of religions significance that recurs at
regular intends. Also a film festival is often regularly rearing
program of cultural performance exhibitions, or competitions.
In Nigeria, different tribes with different culture and
festivals. Some notable festivals in Nigeria include; Argungu
Fishing Festival which is a annual four days festival in north-
western Nigeria state of Kebbi. Other festivals include; the
Calabar Carnival, Durbar festival, Eyo festival, Imo Carnival,
Leboku, and Osun Oshogbo festival in Osun state. Also in the
Eastern part of Nigeria, we have the New Yam festival of Igbo
(Igo Iwa ji). It is an annual harvest festival by the Igbo people
held at the end of the rainy season in early August. The New
Yam Festival symbolizes the conclusion of a harvest and the
beginning of the next work cycle. The celebration is a very
culturally based occasion, tying individual Igbo communities
together as essentially agrarian and department on yam.
Art is the soul of Africa. This simply means that Africa cannot do
without Art. In otherwords. Art being the soul of Africa intells
that every artwork in Africa was made or designed for purpose
or function. Functionally, is a base point of African Art. To
clarify the above point Art serves many purpose in Africa such
as, utilitarian purpose easthestic role, religion, therapy and
aditural social role with symbolism attached to each of them.
Art may also serve purpose like ceremonial functions such as
child birth ceremony, naming ceremony initiations, marriage
ceremony; glorification of the kings and festivals.
Festival is an occasion for feasting or cerebration,
especially a day or time of religious significance that recurs at
regular intervals. A festival or gala is an event usually, and
ordinarily staged by a cocal community, which centers on and
celebrates some unique aspect of that community. Among
many religions, a fest is a set of celebreations in God or gods.
However the term “feast” has also entered common secular
parlance as a synonym for any large or elaborate meal. When
used as in the meaning of a festival, most often refers to
religious festival rather than a film or art festival. Also a film
festival is often regularly recurring program of cultural
performances, exhibitions or competitions.
In Nigeria, different tribes with different culture and
festivals. Some notable festivals in Nioena include, Argungu
Fishing Festival which is an annual four days Festival in north-
western Nigeria state of Kebbi. Other Festivals includes; the
Calabar Carnival Durbar Festival, Eyo Festival Imo Carnival
Leboku and Osun Oshogbo Festival in Osun State. Omenuwa
(2007) stated that in the Easthern part of Nigeria, we have the
New Yam Festival of the Igbo (Igbo Iwa Ji). It is an annual
harvest festival by the Igbo people held at the end of the rainy
season in early August. The New Yam Festival symbolizes the
conclusion of a harvest and the beginning of the next work
cycle. The celebrations is a very actually based occasion, tying
individual Igbo communities together as essentially agrarian
and department on yam.
Each town in Enugu state has its own way of celebrating
the New Yam festival. Achi in Enugu state has many festival,
which include Nnekeeji (New Yam festival), Isiogba Festival
Achihi Festival, Ajala festival and the famous Oga –Aga-Agwu-
Agwu festival.
BACKGROUND TO THE STUDY
Oga-Aga –Agwu-Agwu is one of the famous and the most
celebrated festival Achi. From lime immentail till date, it is
usually held in the 3hours intervals. Oga –Aga-Agwu Agwu
reminds the Achi people the unending emergency of wambrs in
Achi.
Achi is a town located in Enugu State in Nigeria. However,
it is the largest town in Oji-River local Government area of
Enugu State. Achi town is made up of 12 village –isli na ulo, isii
na agu” as the native say. That phrase literally means that
there are 6 villages in the northern section of the town and 6
village in the southern section (if one imaginarily divide the
town into two sections) nnaedozie (2009) state that Achi dan
occupies an area of about twenty-five square miles. He also
noted the achi is bounded in the north by Nachi, Umuagu,
Umuabi all in Udi local government area, the River Oji and
Agbundu in Augu local governemtn area. In the east it is
bounded by the towns of Mmaku, Amoh, Ugbo, Awgu-nta, Nkwe
and Ezere in Agwu division. In the south it is bounded by Awlaw
and Inyi and in the west by Ugwuola.
Ogagagwugwu Achi, now vcelebrated every 3 years dates back
to Achi History but was made popular in 1914, when the 12
distrct villages in Achi (Ishi Iabu) raised 12 standing armies,
that defended Achi for 4 years (1914-1981) against the
invasion by West African Frontier Force led by British Mac
Grego Laid. According to the Ogaagagwugwu Achi Ishi L’Abu
(2011) the people of Achi were able to train their own soldiers,
manufacture their own war weapons (including egbe cham) and
kept the invaders at bay until August 1918, when the colonial
Authority commanded their soldiers to set the surrounding
bushes on five since Achi people were then living in grass
houses.
It further sited that the re-enforcement order of the 12
standing Armies was that there must be a changing force in the
war front per time. Always having standby force to relief the
charging force. It was it was this unrending charging force that
was refered to as Oga-aga-Agwu-Agwu (continals
OGAGAGWUAGWU reminds Adu people about their enormous
strength, when they come together, reason together and act
together.
Statement of the problem
Achi as a town lacks some developments. According to
Mbaekwe (2009), Achi for granted. No roads, no water, no
electricity, no industry, no tertiary institution, no scholarships,
no market development no directives and encouragement, in
agriculture and commerce. Ogagagwuagwu Achi Ishilabu
(2011) sited that the celebration of Ogagagwuagwu reminds
Achi people about their enormous strength, when they come
together and act together. This time Achi people shall use the
same OGAGAGWAGWU unbeaten formual to attack and
conquer economic advancement.
The researcher therefore wish to carry out proper research
on the Oga-Aga-Agwu festival. But it seems not much detail
work have been done on the costumes used during the festival.
The researcher therefore wish to carry out proper research
on the Oga-Aga-Agwu Agwu festival; especially on its costumes
used during the festival.
To help the researcher direct the course of this study.
Some research questions will be raised, such as
1. What is the origin of Oga-Aga-Agwu festival?.
2. What is the concept behind the activities in Oga-Aga-Agwu
festival.
3. What are the types of costumes worn during the Oga-Aga-
Agwu-Agwa festival.
4. What value those the people of Achi attach to these
costumes in terms of symbolism, function and use.
5. How does it relate to Art and Culture.
Objectives of the study
The general purpose of this research is to undertake a historical
and development role of Ogagaagwugwu festival in Achi?
1. To account for the origin of Ogagaagwugwu festival in Achi
and to provide an insight into its journey so far?
2. To explore the rendition fothe festival accounts and its
funding.
3. To trace and bring into limelight the projects to be
embarked upon by Achi and action programme on them.
Scope of the study
The scope of this project will be limited to the Achi clan
dealing directly with the Nze na Ozo’s and elders from the
twelve villages in Achi.
Also, chaimen and secretaries of
RESEARCH METHOD
The reeracaher intends to collect data for the research
work basically through primary or field data
Primary Data
The resracher intend to go to the research area and little
beyond to collect data through oral interview,live videos,audio
recorder and fields photographs will taken by the direct source
SECONDARY DATA
The researcher also intents to collect secondary or textual
data drawn from articles,journals,books and internet materials.
LITERATURE REVIEW
Analysing Festivals within the context of Artistic features is
not entirely a new scholarly enterprise. Dionysian Festival of
the ancient Greeks, for instance, formed the nucleus of a
vibrant theatre culture in Greece, which now serves as a
reference
point for world Art culture and the emerging new radical Art
forms. There have been raging arguments on whether African
festivals qualify as drama or artistic form. Eloquent voices that
contributed to these arguments include Mahood (1966),
Kirby (1974), Ogunba (1978), Adedeji (1978), Clark (1981) and
Rotimi (1981).Others are Echeruo (1981), Horn (1981),
Amankulor (1981) and Ibitokun (1993). Itis not the intention of
this project to further excavate, rehash and reposition these
claims and counter claims.
A festival is a periodic feast, a celebration of an event. It
includes forms of entertainment and performances and which
are often held at a particular time of the year. African festival
theatre brings together ideas, actions, aesthetics which are
partly sacred (religious) and partly secular (sometimes profane)
(Meki 1981)
For instance, there could be a new yam festival to thank a
particular god or pay homage to him for a good harvest and
pray for a better yield in the following year. A man sets out with
this noble intent but along the line, gets drunk, molests people
or indulges in other unwholesome acts. You see now that there
is a mixture of the sacred and the profane in his action. Festival
theatre is different from theatre festival. The former is a theatre
produced as festival. The latter is a conscious attempt to
declare theatrical productions in a given environment. Festivals
are important in the Nigerian traditional society because of the
following reasons:
• Festivals uphold and promote solidarity and collective
consciousness among a particular people.
• They are characterized by collective euphoria where the
sacred and the profane are interwoven. Usually there is a
suspension of the rules and norms of ordinary life.
• They are characterized by non-work posture. Leisure is the
central element in festivals so people look forward to festivals
as a period of enjoyment and relaxation. There is usually a
gradual change of occupational activities. Many festivals take
place during the period of ‘rest’ for the people when there is
less to be done in the farms. Festivals provide a forum for an
entertainment and recreation for the people. (Ogunbiyi,1981)
In most traditional African societies, masquerades are seen as
gods or heroic ancestors. They take different forms and there
are many varieties depending on the region, the purpose, the
content and the pattern( Adedeji, 1981)
They are usually masked figures of various kinds. A mask is a
covering or a disguise used to transform the identity of the
individual or the wearer into that of another character. So there
is an element of impersonation. In traditional African societies,
we can identify different types of masks according to their
functions based on the areas of the body covered( Echeruo,
(1981).
Oga-Aga –Agwu-Agwu festival is a ritualistic enactment of
myth, legend and traditional socialevents meant to mark the
end of the year and usher in a new one.
Mmanwu, that is the masquerade, is one major aspect of Igbo
traditional drama. The masquerade is ordinarily the
representation of the ancestors in the human world. The
masquerade operates as the ancestor and so has the protection
of manipulating man as a source of entertainment, social
controller, religious reflector etc. Nwabueze (2002:45) supports
the above claim: In the earliest period of Igbo history, the
ancestors were consulted through divination, but later their
physical presence became necessary when rituals were
evolved. The need for physical representation of the ancestor
created the
necessity to devise ways of representing the physical presence
of the ancestral
spirit. It was this situation that led to the evolution of the
masquerade as an artistic character.
Nwabueze (2003:45) says that it is an aspect of Igbo drama in
the sense that it displays various theatrical performances for
the audience at the village square. The gigantic masquerades
like Ijele, Akwunechenyi, Agboghommo and other gracious ones
that do not whip people create attractive sights that people
leave
whatever they do to watch such masquerades. They are always
in spectacular regalia and dance to music. The music could be
played by other masquerades or human beings. Masquerades
like this make their outings annually, especially during festivals.
Masquerade performances are described as dramatic due to
certain reasons. The masquerades have costumes as
dramatists do and their performances are scheduled at certain
dates, periods of time and venues, just as dramatists perform
in theatres,
masquerades perform at village squares or arenas specially
marked out by the people. They have their own costume room
and green room combined in oda. Oda is a make-shift shelter
for housing the masquerade. It goes out of it and returns into it
after
the performance. Amankulor (1982) and Ogunba (1978) in
Nwabueze (2005:83) argue that the masquerade drama does
not
have enough lines to build up adequate plots of its plays. But it
is pertinent to remark that many performances have the sing-
and-refrain activities between some masquerades like Atumma
or other singer masquerades on the one hand and their
followers on the other. Even when there are not many lines for
the masquerades’ performances, the dramatic styles take the
shapes of dancing to music sung and played for them. In
addition, they mime a lot. The old mother masquerades
demonstrate their
ages, while the maiden masquerades demonstrate pride and
the sense of selectivity of husbands whereas the young male
ones portray energy as their fathers control their household
with jealous guards against the public glare at their wives.
Various scholars acknowledge the existence of masquerade
dramatic performances. They include Ugonna (1981:495) that
states that “the term mmanwu, is generally used in two
different senses
either as a general concept for all forms of plays involving
masking or as sacred mask drama, in which traditionally
concerned masked spirits perform various dramatic activities
with speeches and dialogues, on an open air arena or stage”.
Further, Ugonna (1981;53) observes that “the development of
Mmanwu drama among the Igbo further illustrates how
widespread and well developed, in its own realistic way, is the
indigenous African dramatic tradition”. Amankulor (1986:53)
not only acknowledges the existence of the masquerade drama
of the Igbo people but also states that there are peculiarities to
the masquerade drama against human drama.He elaborates
thus:
The supernatural and mythic characters, in their own actions,
must portray traits which are strange and not ostensibly
human. Their patterns of speech, movement, and other
behaviour are required to match that which can only be
experienced in the
nightmare or dream state rather than reproduce ritual human
behaviour. Their guttural voice projections, side to side and
front to back movements and uncanny behaviour are meant to
accentuate their supernatural existence which their masks
aptly demonstrate. Anagudo-Agu (2008:460) studies the night
masquerade and concludes that it is dramatic. He describes the
night masquerade and its activities thus: Take Ayaka for
instance, composed of strong men armed with spears and
medicine, they come out at night at about11.00 p. m. and
disappear again before dawn. They summersault in the air,
climb
trees, beat drums and sing in disguised voices from heights in
order to create the impression of being air-borne ghosts.
In Igboland, there are various traditional festivals and
anniversaries of installations of traditional rulers. In a
community, there would be up to four festivals that are
celebrated annually. Festivals are mostly celebrated at the time
of plenty. That is during the dry season when the people are
yet to begin planting crops. The festivals are normally
celebrated in honour of different deities. The festivals have
seasons and the chief priests of the deities and some other
traditional authorities gather to schedule dates of the festivals.
When the dates are
announced, people began to make preparations of keeping the
shrines of respective deities clean. They also repaint the idols
and buy the items for thesacrifice. They would include fowls,
goats or cows, kola nuts, food items and palm wine as the case
may
be. On the appointed date, the chief priest officiates
at the shrine.. One has now seen that there are so many
aspects of Igbo tradition that are very much artistic . These
aspects are artritisc in their own rights because they are all
re-enactments of events that took place in the past and are
performed periodically. The original people involved in the
events have died and gone.
These aspects are artitics because those that performed them
are mere actors who emulate the first performers of each
event. The first performers were sacred and acted unplanned or
unarranged. Some of the events were accidental because they
saw the needs for their actions and would not have seen
through the tunnel that those acts of theirs would for ever be
remembered and re-enacted. The aspects are also dramatic
because they have their lines and plots that are peculiar to
themselves. The plots which may mostly involve miming are
understood by the
Audience .The performances of these aspects are not
accidental. They are arranged. There are rehearsals or training
of performers for immediate performances. Some of the
performances are carried out on the bases of rehearsals done
in the past and
stored for future performances. The performances are prepared
with dates, periods of
time scheduled and venues. The audience knows all these
pieces of information and attends with the hope of watching
the performances accordingly. At the mvenues, their rooms for
changing costumes for example, traditional rulers at the
anniversaries of their installations walk round the arena on
more than one occasion and in each case they put on different
regalia. From all the artistic qualities observed in the
conclusion above, one strongly believes that Igbo people, nay
Africans, have aspects of tradition that are dramatic. No matter
how much Euro-centric mentality adversely described them as
non-dramatic, the fact remains that there are aspects of African
traditional drama.
FUNCTIONAL VALUES
Sociologically, Oga-Aga –Agwu-Agwu festival serves a wide
variety of functions in Achiland. Scenes in the festival mirror
the society, preserve its legends, its lores and ethos, explore its
problems and criticise its weaknesses. In terms of form and
content, therefore, the festival, like drama, evolves from the
society; it is not imposed upon it. This is why the significance of
the audience cannot be played down. Oga-Aga –Agwu-Agwu
fes-
tival attracts a very large audience from the immediate locality,
neighbouring vil- lages and from other remote areas. For the
Achi people, the festival serves as the core of their existence. It
has become an annual magnetic force, which attracts many
Achis to their roots from all over the country and even beyond:
If an Achiman goes home only once in a year, it is mostly likely
for the purpose of participating in the festival. In fact, people
are known to have travelled back home from abroad for the
purpose of the festival .Oga-Aga –Agwu-Agwu festival is the
most eagerly awaited and the most remembered throughout
Achiland. This is because it engenders togetherness and
brotherhood and fosters ethnic cohesion among the Achi
people. It is also a stock taking period for an aver- age
Achiman,when life’s travails and successes are reflected upon:
Whatever you do during the year, it is during this time of the
yearthat people come to
Traditionally, less attention is given to the aesthetic qualities of
all the theatre ele- ments identifiable in the performance of the
singing masquerade during Oga-Aga –Agwu-Agwu fes-
tival. The general air of civilisation and modernisation
pervading the whole universe has also over-taken the
organisers of this festival performance.
. If the organizers take a full advantage of modern theatre
practice, the entire festival is a potential major tourist
attraction with outstanding economic and material values for
the peo-
ple.
REFERENCES
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Anagudo–Agu, O., “Igbo Night Masquerade Theatreas a Prototype of the Modern Radio “Eds. Eyisi J. I. Odimegwu and A. Asigbo. Paradise in the Arts Celebrating Prof C.C Agbodike. Awka: Fab AniehNigeria, pp 457-68.
Adedeji, J. A. (1981). “Alarinjo: The Traditional Yoruba Travelling Theatre” in Yemi Ogunbiyi (ed) Drama and Theatre in Nigeria: A Critical Source Book. Lagos: Nigeria Magazine.
Nzewi, Meki (1981) “Music, Dance Drama and the Stage in Nigeria” in Yemi Ogunbiyi (ed). Drama and Theatre in Nigeria: A Critical Source Book. Lagos: Nigeria Magazine.
Ogunbiyi Yemi (ed) (1981) Drama and Theatre in Nigeria: A Critical Source Book. Lagos Nigeria Magazine. Taiwo, Oladele (1985 ed) An Introduction to West African Literature. Nairobi: Nelson Finnegan, Ruth.(1977).Oral Literature in Africa. London: Oxford University Press.
Echeruo, M.J.C (1981). “The Dramatic Limits of Igbo Ritual” in Yemi Ogunbiyi (ed) Drama and Theatre in Nigeria: A Critical Source Book. Lagos: Nigeria Magazine.
Enekwe, Ossie (1981). “Myth, Ritual and Drama in Igboland” in Yemi Ogunbiyi (ed) Drama and Theatre in Nigeria: A Critical Source Book. Lagos: Nigeria Magazine.
Echeruo, M. J. C “The Dramatic Limits of Igbo Ritual” Ed. Ogunbiyi, Y. Drama and Theatre in Nigeria: A Critical Source Book. Lagos: Nigeria Magazine, pp 136-48.
Nneke, C. A. An unpublished M. A. Thesis, Dept of Igbo, African and Asian Stufies, Nnamdi Azikiwe University, Awka, Nigeria, 2011.
Nwabueze, E. (2003) Visions and Re-Visions: Selected Discourses on Literary Criticism. Enugu:ABIC Publishers.
Nkala, N. O “Traditional African Drama (An Ancestral Deformity) “Ed. Nsofor, M.C Ugo Magazine, November 1990:1;15.
Nwankwo, C “Igu Aro: Festival of Traditional Drama at Nri,” Odinani: Journal of the Odinani Museum,Nri, Anambra State of Nigeria, No 2, September 1977, pp 85-97.
Okodo, I. “New Yam Festival: The General Prayers of Igbo People of Nigeria, Essence Inter-disciplinary and International Journal of Philosophy. Vol. No 1, 2009, pp 79-91.
Orji, M. O (1999) The History and Culture of the Igbo People: Before the Advent of the White Man. Nkpor: Jet Publishers.
Ugonna, N. “An Introductory Study of the Mmonwu Theatre of the Central Igbo,” Ikenga Jorunal of African Studies. Vol. 5 No 1, July 1981, pp 53-58.
Ikechukwu Okodo(2002) African Traditional Drama: The Igbo-Nigerian ExperienceDepartment of Igbo, African and Chinese Studies Nnamdi Azikiwe University, Awka
©
2011 OGAGAAGWUAGWU, ACHI CEREBRATION FOCUS
Achi Development,Union,Achi
Nnadozie Elias.C (2009) ACHI CLAN, Yertaerday, Today and
Tommorrow,Enugu:Rabbon Publishers International