Opinion

Consciousness And Traditional African Drama

Published

14 years ago

May 4, 2012

Traditional drama is rooted in the cosmology of ethnic peoples. Some of them dovetail with religion or ritual. Modern Greek drama derives from the festival of Dionysus or Bacchus, a wine-god. Sheldon Cheney remarks that choric groups performed singing and dancing; any group that won was given a goat as a prize. The evolution of Greek drama and subsequently Modern Western drama has gone farther to add several other elements to the form – plot, characterisation, action, dialogue, suspense, foreshadowing, conflict, climax and resolution. These started with the efforts of Aeschylus, Sophocles and Euripides.

The Ijaw Ozidi Saga is an oral text which started from a vision of the Priest of Tarakiri in Orua. He became restless until it was performed as drama. It is a performance which is done for seven days and nights; performers sing and dance. Dramatic action is developed through initial conflict in selecting a king; this develops through exposition to further crises of clan and family until cleansing is done and resolution takes place. Okabou’s oral version has become popular through J.P.Clark’s research, documentation and publication . The Ozidi story has become known through the efforts of Clark and Ganagana in their works Ozidi and Ozidi Avenges. It is possible for other versions to emerge in the future.

Greek and Ijaw experiences are traceable to religions of the peoples who through the inspirations given them by their gods evolved traditional plays for relaxation, entertainment and education of their peoples. Their consciousness is religious but it does not mean that other plays are rooted in religion; some have emerged from the efforts of various persons.

Ekpe festival is linked to the god of Njoku, yam-god, whom Ngwa people of Ibo venerate. The drama is linked to the plot of the season; its first stage is done after planting crops, the second stage is the ceremony of ‘yam-slicing’ and the third is the enactment of the drama.

J.N. Amankulor argues that Ekpe Festival transcends mere festival to drama. People form choric groups and dance to honour ancestors. They dance and move to the play ground backing the village shrine. The first choric group is led by a chief actor as well as the second. The second is given the role of decapitation of the head of a goat tied to a stake. The actor watches it and waits for it to stretch its neck. He is expected to strike it at that moment with one stroke of the machete. His action is symbolic; if he succeeds it means prosperity and future bountiful harvest; if he fails it connotes inauspicious future and poor harvest. This is religious consciousness of the people who pray to the god of yam for bountiful harvest. Drummers, singers and dancers mime and utilise elements of drama to make the festival successful.

The Kalabari people believe in the dead and the existence of gods. It is from this consciousness that Ekine society has evolved its drama which has been discussed by Janewari in ‘The Opongi Maquerade Festival of Kalabari Ekine’ and Horn in ‘Ikaki : The Tortoise Masquerade’. These scholars have established the presence of traditional drama among the people. The plays use characterisation, dialogue, action, symbolism and setting to convey cosmology, life and literature of the people; the actors entertain members of the clan, re-live their religious life; their performances are a means of socialisation. Aesthetics, entertainment, education, dance, song and drama are united in one breathe.

Mii Giaa festival of Barayonwa Dere people is a cultural performance that is done annually during the third quarter of the year. Various masquerades are displayed during the festival: Gbaratela, Varasuube, Piirakpaige,Tuutuna, Erusake, Tekioko and Kpogba. The masquerades play various roles during the festival. Libation is poured to the gods in Baranyonwa Dere before the festival begins.

Gbaratela is the sport masker who chases people during the festival; they run away from him and try to avoid his hitting them with a shaven stem of plantain. The runners hoot at him when he fails to reach them, establishing that they are better runners. If he succeeds in hitting anyone, the people scatter in different directions and hail him.

Varasuube is the drama of existence in relation to labour, harvest and striving to succeed in life. He leads the people to a plantain tree on which there is a ripe bunch; he touches it with the horn of the mask, symbol of authority used for delegating power to the people to harvest it. They rain blows on the trunk until it falls, not cutting the trunk down with a machete; it is a dramatic action of harvest. When it falls down, they struggle over the fingers of the plantain. Persons who get many are regarded to be stronger and luckier than others.

Piirakpaige is the sport of fencing. Two persons engage in a duel fencing against one another with a referee standing by to separate them, when the game becomes dangerous; he ensures that no one is wounded in course of the play. One person carries a pot of fire on his head while fencing against his opponent; he also puts a green leaf in his mouth – he neither talks nor greets anyone, he demonstrates the serious action of combat practically and facially. The people watch the tense action anticipating the winner depending on the entrants into the competition because they are people they have known- their bravery, valour and competence. These are the criteria they use in judging but a battle is never over until it is seen on the play ground; members of the audience are co-judges with the referee. It is easy to know when one of the persons is always running away from the other or, he is the one who is always defending himself, while the other person is steady.

Kpogba mimes the action of motherhood. The masker is pregnant with child, carries an old raffia basin used for carrying kitchen utensils to farm. The masker is the symbol of mother heading to her farm to plant crops – a double role which the masker plays: mother of children, a means of procreation for the continuity of the race and, mother of the earth – earth being mother and a source of regeneration and fertility of crops.

Tekioko mimes the action of people exchanging fisticuffs. He carries an empty stem of crustacean with which he defends himself against the opponent’s blows. Any time the opponent attempts to hit him hard on any parts of his body, he wedges it off with the empty stem of crustacean. He is also a comedian who makes humorous remarks but, everyone watches him carefully to avoid his wrath or jovial hard knocks which he often directs to the head.

Young persons who grow into the culture learn the consciousness through listening to the songs of Gbaratela, participating in the festival as drummers, singers, dancers, runners, maskers and audience. It is a period of conviviality, re-union and relaxation of all interested persons from the community, who have not lost interest in the festival because of Christianity, education and urbanization.

Barine Saana Ngaage

Opinion

Ndifon’s Verdict and University Power Reform

Published

3 days ago

November 24, 2025

The Tide

Quote:”But beyond the courtroom victory lies a pressing question: What next? How do we ensure that Nigerian universities no longer serve as hunting grounds for predatory academics? How do we guarantee that students—especially young women—can pursue education without fear of victimization?”

The conviction of Professor Cyril Ndifon, suspended Dean of Law at the University of Calabar, to five years in prison by the Federal High Court Abuja, provided a rare moment of relief amid the week’s troubling national events. Beyond punishing one individual, the judgment signaled that accountability—especially regarding sexual harassment and abuse of power in Nigerian higher institutions—may finally be gaining traction. For years, many students, especially young women, have quietly endured intimidation, coercion, and the misuse of academic privilege. Reports and surveys have consistently shown the depth of this problem. A 2018 World Bank survey estimated that 70% of female graduates had faced some form of sexual harassment in school, while a Nigerian study recorded sexual violence as the most common form of gender-based violence on campuses.

Ndifon’s case has therefore become symbolic—challenging the belief that powerful academics can act with impunity. Justice James Omotosho’s ruling went beyond the conviction; it exposed the systemic rot that enables abuse. His description of Ndifon as a predator highlighted how institutions fail when they lack strong, independent structures for accountability. Although the Independent Corrupt Practices and Other Related Offences Commission (ICPC) proved its case beyond reasonable doubt, many similar cases never reach court because victims remain afraid, discouraged, or convinced that the system will not protect them. A major difference in this case was that a government agency fulfilled its responsibility rather than letting the matter fade, as often happens with campus scandals. Too often, allegations arise but internal committees stall, victims lose hope, and the accused quietly escape consequences.

This time, however, the judiciary refused to allow such evasion. The court’s decision to center the victims and dismiss attempts to discredit them set an important precedent at a time when survivors are often blamed or pressured into silence. Yet the bigger question remains: What next? How can Nigerian universities become safe spaces where students, particularly young women, can pursue education without fear? First, reporting systems must be overhauled. Traditional structures—where complaints pass through heads of departments or deans—are inadequate, especially when senior officers are the accused. Independent, gender-sensitive complaint bodies are essential. Some institutions, such as the University of Ibadan and Godfrey Okoye University, have already taken steps by establishing gender-mainstreaming units. Other universities must follow suit, ensuring confidentiality, protection from backlash, and transparent investigations.

Second, proven cases of harassment must attract real consequences—not quiet transfers or administrative warnings. Sexual exploitation is not a mere disciplinary issue; it is a crime and should be promptly escalated to law-enforcement agencies. Treating criminal behaviour as an internal matter only emboldens perpetrators. Third, students must feel safe to speak up. As a senior lecturer at the University of Abuja advised, silence fuels impunity. Students need to believe that justice is attainable and that they will be supported. This requires consistent sensitization efforts by student unions, civil society groups, gender advocacy organizations, and ministries of women affairs. New students, in particular, need early guidance to understand their rights and available support systems. The recent approval of the Sexual Harassment of Students (Prevention and Prohibition) Bill, 2025, prescribing up to 14 years imprisonment for educators convicted of harassment, is a step in the right direction.

Quick presidential assent and domestication by states will strengthen legal protection. As Nelson Mandela said, “A society that fails to protect its women cannot claim to be civilized.” This principle must guide Nigeria’s legislative and institutional reforms. The legal profession has its own soul-searching to do. Law faculties are expected to model ethics and justice. When a senior law academic betrays these values, the damage extends beyond the victims—it undermines confidence in both higher education and the justice system. The judiciary’s firm stance in this case therefore reinforces the idea that the law exists to protect the vulnerable, not shield the powerful. Yet, this moment should not end with celebration alone; it must ignite a broader institutional awakening. Universities must begin to review their staff appraisal systems to include behavioural ethics, not just academic output.

Governing councils should strengthen oversight mechanisms and ensure that disciplinary processes are free from internal politics. Alumni associations and parents’ forums can also play a monitoring role, demanding higher standards of conduct from staff and administrators. Importantly, the government must provide universities with the financial and technical support needed to establish functional gender desks, counselling units, and digital reporting platforms. Only when all stakeholders take ownership of the problem can lasting reform be achieved. Professor Ndifon’s sentencing represents justice for one victim, but it must inspire justice for many more. It should mark the beginning of a nationwide resolve to reclaim Nigerian universities from those who misuse authority. The future of education in this country must be shaped by knowledge, dignity, and integrity—not fear or manipulation. The judgment is a call to action: to build campuses where students are safe, where lecturers are held accountable, and where power is exercised with responsibility. Only then can Nigeria truly claim to be nurturing the leaders of tomorrow.

By: Calista Ezeaku

Opinion

As Nigeria’s Insecurity Rings Alarm

Published

3 days ago

November 24, 2025

The Tide

Quote:”President Donald Trump’s designation of Nigeria a Country of Special Concern and further threats to intervene in countries experiencing religious persecution reflect a growing international concern regarding Nigeria’s deteriorating security situation.”

In recent years, Nigeria has witnessed an alarming evolution of insecurity that threatens not only the stability of the nation but also the broader West African region. Bandit attacks on schools, farms, mosques, and Christian worship centers have become distressingly commonplace, painting a grim picture of a country under siege from multiple fronts. The rise of kidnappings for ransom, coupled with the persistent threat of terrorism from groups like Boko Haram and ISWAP, has ignited fears among communities and hampered economic activities. As neighboring Sahel countries grapple with coups and the spread of extremist ideologies, Nigeria finds itself at a precarious crossroads that demands urgent attention and action.

According to media tally, about 2,496 students have been abducted in 92 school attacks since the Chibok saga of 2014. And prompted by recent incidents in Kwara, Kebbi and Niger states, where hundreds of pupils were abducted, state governments across northern Nigeria are shutting down, or relocating schools. Even the federal government last week, via the Federal Ministry of Education hastily ordered principals of 41 unity schools across northern Nigeria, to shut-down.The increasing frequency and audacity of bandit attacks highlight a troubling trend in Nigeria’s security landscape. Schools, once seen as sanctuaries for learning, have become targets for kidnappers seeking to exploit vulnerable students. These attacks not only disrupt education but also instill fear in families, leading to mass withdrawals from schools. Should we raise a generation of children deprived of their right to education?

Similarly, farms and places of worship have not been spared. Communities that once thrived on agriculture and faith, now live in constant dread of violent incursions. The targeted killings of Christians and attacks on mosques further exacerbate religious tensions, threatening to disrupt the social fabric that holds Nigeria together.The situation is compounded by the unsettling developments in the Sahel region, where coups and the rise of jihadist groups have created a volatile environment. The spillover effects of this instability are palpable in Nigeria, as extremist ideologies proliferate and armed groups gain confidence. The porous borders of the region facilitate the movement of militants and weapons, making it increasingly difficult for Nigerian authorities to contain the threats. As Nigeria struggles to secure its territory, the consequences of failure become more pronounced, with the potential for a broader regional crisis looming on the horizon.

President Donald Trump’s designation of Nigeria a Country of Special Concern and further threats to intervene in countries experiencing religious persecution reflect a growing international concern regarding Nigeria’s deteriorating security situation.

While such attention can bring much-needed awareness to the plight of affected communities, it also underscores a significant truth: the responsibility for addressing these challenges ultimately lies with the Nigerian government. The inaction and apparent inability to protect citizens from violence and ensure justice for victims send a troubling message about the state’s commitment to safeguarding its populace. The economic ramifications of this evolving insecurity are dire. Foreign investment, a critical driver of economic growth, is deterred by the pervasive violence and instability.

Investors are wary of committing resources to a country where the risk of loss is heightened by kidnappings and attacks on businesses.Additionally, agricultural production suffers as farmers abandon their lands, fearing for their safety. The recent upsurge in insecurity coincides with a crucial harvest season, when farmers need to recoup investment to finance the next round. A decline in harvests this year would reverse recent gains of recovery in food production and exacerbate poverty, further straining the nation’s resources. Socially, the implications of failing to tackle insecurity are profound. Mistrust in government institutions grows as citizens witness a lack of effective response to violence and crime. This erosion of faith can lead to civil unrests, as frustrated populations demand accountability and action.

Moreover, the vulnerability of young people in conflict-affected areas increases the risk of radicalization, as they seek identity and purpose in extremist movements that exploit their disillusionment. The South-East crisis is peculiar in this regard. The evolving insecurity in Nigeria is not merely a national crisis; it poses a significant threat to regional stability and international interests. The convergence of banditry, terrorism, and political instability in the Sahel creates a complex security environment that requires a coordinated response. The Nigerian government, in partnership with regional allies and international partners, must adopt a comprehensive strategy that addresses the root causes of insecurity, strengthens law enforcement, and fosters community resilience.

It’s time Nigerians address all regional grievances with reconciliation and empathy, rather than with coercion. As citizens, civil society, and international stakeholders, it is crucial to advocate for effective policies that prioritize security, justice, development and inclusiveness. A collective effort is needed to ensure a safer, more stable future for Nigeria and the West African region. Ultimately, Nigeria stands at a critical juncture. The path forward demands decisive action to restore security, rebuild trust, and ensure that all citizens can live without fear. The time for complacency has passed; the stakes are too high, and the consequences of inaction are too grave. A collective effort is essential to navigate this challenging landscape and forge a safer, more stable future for Nigeria and the West African region.

By: Joseph Nwankwor

Opinion

The Girl Who Didn’t Dance

Published

1 week ago

November 19, 2025

The Tide

Quote:”

This piece is, primarily, the story of the girl who refused to dance during my first public performance as a pop musician. The event was the birthday party of Okechukwu Ogbowu at the residence of Chief Moses Nma Ogbowu at Omoku in February 1968. Secondarily, it is the story of a group of Ogba/Egbema youths who the chiefs considered rebellious and should, therefore, be watched very carefully. These two anecdotes are woven together by the story of my foray into music as a career in my youth. In 1958, I went on holidays to the home of my uncle Eze JNA Nwachuku at Ahoada. There, I heard a very strange music that tickled my preteen fancy to the point I started singing it using words I made up; I was eight. Back to Alinso Okeanu (Beach) after the holidays, the kids in the cosmopolitan community were wowed by my air and swag while singing the very strange song.

Years later, I learned the real words of the jazz classic “Hit the Road Jack” by Ray Charles. At fifteen, I was arraigned before a juvenile court in Omoku for singing a love song that contained the word “kiss” to the princess of Ogbaland at Ahia Orie market square; though discharged and acquitted, I was bound over to be of good behavior for six months. At sixteen, I got de-robed from the choir of St. Michael’s Church, Omoku for buying a guitar and audaciously changing my name from Enoch. At seventeen, I had my debut at Okechukwu’s birthday party where the girl, who is the primary focus of this piece, did not dance. During the party. I performed three songs: (1) “All My Loving” by The Beatles, which was the song that took me to the juvenile court, (2) “Midnight Hour” by Wilson “Wicked” Pickett and (3) “Please Don’t Tease” by Cliff Richard.

These songs are laden with amorous innuendos and have the words “kiss” and “love”, which were considered sacrilegious in those days. The veiled explicitness of Wicked Pickett’s lyricism didn’t help matters either; it added to the excitement, which became more palpable and the connection between crowd and artiste grew more profound, when Innocent Masi (now Dr. IA Masi mni) placed a five shillings note on my forehead. Everyone at the party virtually summersaulted on the dance floor, which was the interior balcony of Ogbowu’s house, the most beautiful house in Omoku then. The next day, the chiefs held an emergency meeting at the home of Chief S.O. Masi who was Commissioner of Onitsha Province during the First Republic; that province is now Anambra State. The single item on the agenda was the worrisome activities of the youths.

At the end of the meeting, a chief, whose name and the first book of the Gospels would tango smoothly to the rhythms and rhymes of poetry, threatened to shoot me if he ever saw me near his house with my jita. I perfectly understood his predicament; he had many pretty daughters. Poor fellow, unbeknownst to him, I was yet to know the difference between the birds and the bees. The next evening, Monday Wokocha (late Professor Addison), Gary Omo-Odi and I dared the chief in a daredevil episode that belongs in another narrative. He shot…in the air. That day, my parents seized my guitar and grounded me. Subsequently, my uncle Nwachuku whisked me off to Port Harcourt. Back to the party; yes, everyone at the party virtually summersaulted except a girl from Obite who didn’t step on the dance floor. She was slim, beautiful and quite tall for girls (even for boys) of that era; so, she stood very elegant.

Beyond the call-response greetings that characterize the socio-culture of the people of Ogba and Egbema, she was almost taciturn; she was shy and rarely spoke except when spoken to. However, she had a smile that lit up the environment as it contrasted with her ebony skin that glowed with the radiance of youth. I think Kamala Harris placed an order for that specific smile from the warehouse of the Divine on her way to this dimension. The girl who didn’t dance was Ngozi Elemele; daughter of Chief Samuel Elemele, a devout Christian, business man and highly patriotic Ogba man from Obite. Ngozi’s refusal (or was it inability?) to dance made us tease her that she has “two left legs” hence she couldn’t move them to the pulsating and compulsive rhythm of pop music. She just kept on smiling and that was an impregnable armor against our social arrows.

That calmness under relentless peer pressure earned her the moniker “Nwanjinwa” (Girl Nextdoor) amongst us; it contrasted with “Okoronwangbogbo”(prodigal son), which the vicar at St. Michael’s tagged me as he de-robed me from the choir. Those were the heady days of our lives. In 2024, a social commentator subjected the youths of Ogba/Egbema of that era to a critique. He observed that, irrespective of their youthful exuberance with a dose of mischief, that generation of Ogba/Egbema youths effectively took advantage of the ample educational opportunities provided by government immediately after the civil war. Also, he noted that that party produced four medical doctors, two lawyers, one architect, two general managers of parastatals, two chairmen of local government, three permanent secretaries, one head of service, three professors, and a deputy governor.

Concluding the analysis, the critic held that while many in the group held more than one position in the categorization, Ngozi Elemele, the girl who didn’t dance, held more top level public positions than the rest. She was Permanent Secretary, Commissioner, became Professor and is now Deputy Governor. Today, the Obite girl who didn’t dance at the party in 1968 is gracefully and elegantly waltzing at the center stage of Rivers State politics as Her Excellency, Prof Mrs. Ngozi Nma Odu DSSRS, the Deputy Governor of Rivers State. Her excellent performance in public office is a product of decades of fierce focus on the future, dedication and devotion to duty, resolute resilience, humility and simplicity; years spent climbing the arduous ladder of mainstream bureaucracy from Grade Level 08 to the apex of the pyramid, serving as Commissioner and thereafter venturing into the intellectually challenging trajectory of academics and also peaking at the apex of professorship and, eventually, clenching the coveted position of Deputy Governor of Rivers State.

Naturally, I was very delighted and humbled by the honor and privilege of being chairman of the occasion where Akabuka Community honored Her Excellency with a grand reception on October 25, 2025. It was very gratifying that her boss, His Excellency Sir Siminalaye Fubara GSSRS, supportively graced the occasion as Special Guest of Honor, a reflection of humility and simplicity in high profile office, which is uncommon in our society. Who says focus, determination, drive and hard work do not pay? They did then; they do now and they always will. Are the youths of today listening? “He that hath ears to hear, let him hear” (Matthew 11:15).

Akparikolamo!!!

By: Jason Osai