cultural reconstruction of iwa ji festival in igbo-ukwu

OriginalpaperUDC165:316.7(292.6)(045)doi:10.21464/sp33109

Received:May11,2018

Francesca C. Ukpokolo,1 Obiageli C. Okoye,2 Olatunde B. Lawuyi3UniversityofIbadan,FacultyofScience,AfricanusHortonRoad,NG-OY–[email protected],[email protected],[email protected]

Cultural Reconstruction of Iwa Ji Festival in Igbo-Ukwu, and Fractured Igbo Identity

AbstractIndigenous festivals in many African societies are under the threats of extinction as a result of modernisation and the impact of the Christian religion on the life of the people. In southeast Nigeria, IwaJi Festival, which is an annual yam festival celebrated to thank the Supreme Being and the gods for the provision of subsistence, has faced the challenge of abandonment in recent decades. Scholars have noted the cultural meanings associated with the festival and its potentials in the sustenance of the people’s cultural identity, as well as the promotion of tourism, and have consequently suggested the need for its reconstruction for general acceptability. This reconstruction has been carried out. This paper examined reconstructed IwaJi Festival as a fusion of the indigenous IwaJi Festival and modern practices and argued that the reconstructed festival is a reflection of Igbo fractured identity. Using TurnerSchechner Model of performance as social dramas for an explanatory model for this study, the authors argued that the advent of modernity and Christian religion created a breach in the people’s cultural experience. The redressed stage is represented in the reconstruction and repackaging of the festival for more acceptability. Reintegration stage set in as the festival gained more acceptability following its reconstruction, and subsequently, participants experience transformation. An ethnographic approach was employed for data generation. Data were analysed descriptively.

KeywordsIwaJifestival,fracturedreality,culturalreconstruction,fusionoftheoldandnew,Igbo-Ukwu

Introduction

Theword‘festival’derivesfrom‘feast’andconnotesatimeofcelebration.Variousscholarshavedefinedfestivalindifferentways.Falassi(1987),forinstance,definesfestivalasasacredorprofaneperiodofcelebrationmarkedby special observances.ToAdegbite (2010), festival can be considered asan event usually and ordinarily staged by a local community that focusesonuniqueaspectsofthatcommunity.Hemaintainsthatafestivalisaseriesofperformanceinvolvingmusic,plays,danceandsoonorganisedannuallyoratothertimesthatpeopleofaparticularcommunityassembletoeatanddrinktocelebrateandshareacommontradition.Inthesamevein,Okpoko(1990)presentsfestivalsasgenerallyencompassingspectaculardisplays,en-joyment of music, food and wine. People express their happiness throughdance, indicating the hedonistic characteristic of the festival. Festival pro-videstheopportunityforpeopletocelebratewithfriends,relativesandwell-wishers, leadingtoarenewaloffriendshipandtheformationofnewones.

https://doi.org/10.21464/sp33109

SYNTHESISPHILOSOPHICA65(1/2018)pp.(149–164)

F.C.Ukpokolo,O.C.Okoye,O.B.Lawuyi,CulturalReconstructionofIwa Ji…150

Mostreligiousfestivalsareindigenousfestivals.Thus,IyeandAluede(2007)describetraditionalAfricanfestivalsasproprietary,sacrificialandlaudatoryceremoniesduringwhichAfrica’sethnicgroupsrecognisetheblessingsoftheSupremeCreator,thelesserdeitiesandancestralspirits,manifestedingoodhealth,goodharvestandchildren.Ritualperformancescharacterisethecel-ebrationoffestivals,andthroughthese,thesupernaturalbeingsareappeased.AsLawuyi(2011)aptlyobserved,festivals impact thespacewithmeaningandidentityaswellasserveasameansofculturalreinvigoration,andformofvisualisingandimagingthecommunity,assigningthespaceorigin,lives,meanings, practices, and values for community bonding. It is through thisbondingthattheirhistoricalnarrativehelpstodefineandarticulateastateofbeingsuchthataculturalfestival,forinstance,predicatesanidentity.Thereareseveralmotivationsforfestivalparticipationwhichincludethefulfilmentofaculturalobligation,education,enjoymentofmusicanddance,andmostimportantlytoviewspectaculardisplays.Hefurthernoted:“Inanywise,thesenseofthedramatic,ofthespectacularisveryfundamentaltotheexistence,promotionandsustenanceofsomefestivalswhicharenowpatronised.”(Lawuyi,2011:168)

Recently, there has been a significant increase in festival attendance andcountrieswithuniqueculturalfestivalshavebenefitedimmenselyasaresultoftouristinflux.Therecentincreaseinfestivalsis,indeed,connectedtotheirtourismpotential.Thepotential,accordingtoQuinn(2009)hasbecomemajorcontributing factor for thegrowthandreinventionof festivals toprovideaseriesofdevelopmentoutcomesintermsofeconomicrestructuringandrevi-talisation,destinationrepositioning,inwardinvestmentandtourismrevenuegenerationFestivalsnowhavesignificanteconomic,politicalandsocio-cul-turalimplicationsonhostcommunitiesandnotonlycontributetoincreaseindomesticconsumptionbutimprovethebeautyofruralareaswhichhostthefestivals.New yam festival in Igboland is variously referred to as Ifejioku (Nzewi,1979),Iwaji(Okere,1996),orIrijiỌhuru (Ukachukwu,2007).BecauseofitscentralitytotheconstructionofIgboidentity,Iwa JiFestivalhasattractedquiteareasonablescholarlyattention.Lookingatthedimensionsthatcharac-teriseIwa Ji celebrations,Nzewi(1979)identifiestwoperspectivescommontothefestivalwhereveritisstaged:Thetheatrical,whichunfoldsaseventsintimeandspace,andtheideational,whichinvolvesthevalues,philosophiesandprinciplesembeddedin,andmanifestedasactionsandsymbols.Okere(1996)considersthefundamentalissuesofyamcroppingfromthedimensionofcosmology,cultureandtradition.HearguesthatyamisatthecoreofsocialandreligiouslifeoftheIgbopeopleand,therefore,occupiesalmostasacredpositioninIgbocosmology.ThisperspectivemighthaveledBasden(1983)torefertoyamas‘theIgbostaffoflife’.MissionisationandmodernisationhaveimpactedadverselyonIgboculturalpractices,includingtheyamfesti-val,whichhasbeencondemnedbysomeIgbopeopleasa‘heathen’feast,and,therefore,needstobejettisoned.On theotherhand, theclamour for the revivalof Igbocultureandvalues,adevelopmentwhich isattributable toglobalisationand identitydynamicscharacterisingthemodernworldisalsoechoingfromsomequarters.Thepro-ponentsposit that the Iwa Ji Festivaldeserves tobecelebratedamong theIgbowithpride.ThishasnecessitatedtheneedtoreconstructtheIwa JiFes-tivalforgeneralacceptability.Culturalreconstructionentailstheremodellingofculturalpracticesforvari-ous reasonswhich includemeeting current social realities andneeds.This



alsoentailschange,which,whenachievedmakesroomforcreativeexpres-sion,reinforcementofculturalidentity,andrestorationofconfidenceofthepeopleintheirtradition.ThisstudyexaminedthereconstructedIwa JiFesti-valandtheimpactofthereconstructiononthefracturedIgboethnicidentityand the preservation of the cultural identity of the Igbo using Igbo-Ukwupeopleofsouth-easternNigeriaasacase.

Study Context and Methods

The study was carried out in Igbo-Ukwu, a town located inAguata LocalGovernmentofAnambraState,Nigeria.Itisabout40kilometressoutheastofOnitshaand16kilometresfromAwka,thecapitalofthestate.Thetowncon-sistsofthreequarters,namelyObiuno,NgorandIfite.Accordingtothe2006Nigerianpopulationcensus, Igbo-Ukwuhadapopulationof75,000. Igbo-Ukwuoperatesapatrilinealsystem.Thus,inheritanceisthroughfather.Mem-bersofIgbo-UkwucommunityarepredominantlyChristiansthoughtherearefewmemberswhoareadherentsofIgboTraditionalReligion.Thearchaeo-logicalfindsexcavatedbyThurstanShawinthe1960sdatedto9thcenturyA.D. attested to the artistic expertise of Igbo people of southeast Nigeria.MembersofIgbo-UkwucommunitybelieveintheSupremeGod,Chukwu,ndiichie (ancestors), alụnsi (godsanddeities)andana (theearthgoddess).The people believe that sacrifices and supplications are offered to the Su-premeGodthroughtheautochthonousdeities,fortheybelievetheSupremeGodistooawesomeforthemtocontactdirectly.Theancestorsareinconstantcommunionwiththeliving.Indeed,theyappearintheformofmasqueradesduringtraditionaleventsinIgbo-Ukwu.Theyoffersacrificestothedivinitiestoensureabountifulharvest.Thispaperisanoutcomeofthefieldworkcar-riedoutinIgbo-Ukwubetween2012and2014.Participantobservation,interviewsandfocusgroupdiscussionwereutilisedindatacollection.Participantobservationwasusedinobservingandrecord-ing the festival events. Key informant interviews were conducted with 32community leadersofIgbo-UkwucommunityandfourmembersofMbidoIgboCulturalAssociation,and these include the traditional leaderof Igbo-Ukwu;thewifeofthetraditionalleader;thechairmanMbidoIgboCulturalAssociation;thechiefpriestofthefestival;thechiefpriestofUdodeity;9cabinetmembers;10membersofọzọinstitutioninIgbo-Ukwu;theleaderofụmụadaIgbo-Ukwu;thesecretary,treasurerandprovostofMbidoIgboCul-turalAssociation,3executivemembersofIgbo-UkwuYouthCouncil.ThesepeopleareknowledgeableaboutIwa JifestivalandthecustomsandtraditionsoftheIgbopeopleingeneralandtheIgbo-Ukwupeopleinparticular.Docu-mentarydatacomplementeddatafromtheprimarysources.Turner-SchechnerModelofperformanceas socialdrama isadoptedas theexplanatorymodel.RichardSchechner’stheoryexplorestherelationshipsbe-tweenpracticalandtheoreticalworkintheatreand,adoptingTurner’sModelofSocialDrama;hedevelopsatheoryandpoeticsofhistoricalperformances.Incontrast,Turner’sconceptofsocialdrama isbasedon theearliest20th-centuryworkofArnoldVanGennep(1960),titledRites de Passage,whichdevelopedthepre-liminal,liminalandpost-liminalstates.Turner(1974)ap-pliedthesephasestoperformanceintermsofseparation–transition–andreintegrationofsocialstatuses.ThemajordifferencebetweenTurner’s(1974)andSchechner’s(2004)theatricalapproachisthatTurnerlocatestheessen-tialofdramainconflictandconflictresolutionwhileSchechnerlocatesitin



transformation(Avorgbedor2004).Again,Turner’s(1974)modelcanberep-resentedasBreach–Crisis–RedressAction–Reintegration.AcombinationofTurnerandSchechner’models,referredtoasTurner-Schechner’smodelisoftheform:Breach–Crisis–RedressAction–Transformation.TheTurner-SchechnerModelis,therefore,acombinationofthetwoformsofrepresenta-tionsofperformance.Itadmitsthatthereisabreach.InthecontextofIwa ji festival, theadventofmodernityandmissionisation,bothofwhichhavebroughtaboutsocialtransformationinIgboland,andhasconsequentlyledtotheperceptionofthefestivalasaheathenfeastthatneededtobejettisoned,depictsabreach,acrisis,andhenceafracture.Theredressstageis,therefore,the reconstructionand repackagingof the festival tomake it acceptable topeopleofdifferentsocialgroups.There-integrationstagesetsinwhenthosethathadearlierstopparticipatinginthefestivalaredrawnintoparticipation,andsubsequentlyexperiencetransformation.

Iwa Ji Festival: The Ideological Context

YamisastaplefoodthatishighlyreveredamongtheIgbopeople.Itoccu-piesalmostasacredpositioninIgboland.Thus,CourseyandCoursey(1971)contendthatamongthepeoplesofWestAfrica,“noneissodedicatedtothecultivationofyamsastheIgbo,andthecropisoneoftheirmostimportantreligiouscults”,andnotedtheimportanceoftheNewYamFestivalamongtheIgbo”(CourseyandCoursey,1971:452).Therearecertaintaboosandabomi-nationsassociatedwiththeyamcrop,whichaccordingtoaninformant,IchieDominicOgbueli,andanindigeneofIgbo-Ukwu,include:e jighi nkita ebụ ji, ada atụpụlụ mmadu ji, eje enye ya n’aka. Oge gboo onye zuo ohi ji akụwuo ye(“Youdon’tcarryyamwithanordinarybasket,orthrowitatsomeone.Youdirectlygivetheyambyhandtotheperson.Intheoldendays,whoeverstoleyamwasclubbedtodeath.”)(PersonalCommunication,July22,2013).Inthesamevein,Basden(1982)affirmedthatamongtheIgbo:“Theplantingof theyamisseriousandimportantbusinesstothenative(…),andundertheold system of government any breach of the farming etiquette led to grave consequence asyamstealingwhetherof freshlyplantedseedor thematuredrootwaspunishablebydeath.”(Basden,1982:36)

Inalanddispute,thepartythatcultivatesseedyamfirstonthelandpossessesthe land temporarilyashisopponent,even ifhe is theactualownerof theland,mustwait for theyamcrop tobeharvestedbeforehecan reclaim it.Thus,peoplesay:Agbalụ aka naazọana, onyejiji a naakọnye(“Ifonefightsoverapieceoflandempty-handed,thepersonwithseedyamwillcontinuetocultivatetheland.”).Thecultivationofyamisthemajortraditionalsourceofwealthandsocialsta-tusinprecolonialIgbosociety,asthesizeofthebarnandthenumberofyamtubers an individualpossessedwasused tomeasure aman’swealth.Mostmenmarriedmanywivestobegetchildrenwhowouldhelpoutonfarmwork.ThetitleassociatedwithyamincludesEze Ji (Kingofyam),andDi Ji (Hus-bandofyam)wasconferredonaccomplishedyamfarmerswithlargebarns.In Igbo-Ukwu,yamwasand is stillusedalmost inevery religious, social,andculturaleventsuchasritualactivities,appeasementandappreciationofautochthonousgods,marriageceremoniesandforThanksgivinginchurches.Tubersofyamaregivenasgiftstowomenafterchilddeliveryandareusedintraditionalmarriagesasgiftstothebride’sfamily.Throughthesevariousso-cialactivities,yamserveswealthredistributionpurposeinIgbocommunities.Asaresult,Iwa Ji FestivaliscelebratedinallIgboland.InIgbo-Ukwu,Iwa Ji



Festivalisanintegralpartofthepeople’scultureandhasbeencelebratedfromtimeimmemorial.ThechiefpriestofUdodeityinIgbo-Ukwudescribesthefestivalasọsọ ọkụ,thatis,a‘relayrace’.Likearelayrace,Nwankwo(1988)maintainedthatitholdsmeaning“fromthepast,runsthroughthepresentandisgearedtowardsthefuture,theactualisationofthelifeofanIgboman”(Nwank-wo,1988:19). Iwa Ji Festival engenders social consciousness andpromotesIgboculturalheritage.Despitecertaincommonbeliefsaboutthefestival,thereareareaswherethefestivalisperceiveddifferentlybyindividualsandcommu-nities.Forinstance,itisgenerallyperceivedasaculturaleventcelebratingthepositionyamoccupiesinIgboculture,andsecondly,itisseenasacelebrationofthesuccessfulharvestoftheyamcrop,andawelcomingofnewyam.Thesemeanings are captured in the statements of an informant, Ichie EzechukwuUmeokwonna,thesecretaryofọzọ societyinIgbo-Ukwu:

“TheNewYamFestivalisorganisedtocelebratetheharvestofallcrops.Theydidn’tneedtobegintomentionallthecrops.Theysimplymentionthekingofallcrops,yam.”(PersonalCom-munication,August20,2013)

Duringthefestival,appreciationisshowntotheautochthonousgodsforthekingofallcrops,andbyextension,othercrops.TheyamcropissymbolicinthecontextofkingshipaswellasbeingindicativeofGod’sgifttomankind.Asthekingofcrops, it issuperior toallothercrops,anditsfestival is thecelebrationoftheharvestofallcrops.Ontheotherhand,someIgbopeopleseeitasaheathenpractice.Generally,Iwa Ji FestivalisaperiodofthanksgivingtoGodforHisguidanceandprotectionthroughouttheplantingseasonandtheautochthonousgodsforabumperharvest.Aninformant,CharlesUghalah,astaffofNationalGalleryofArt,Igbo-Ukwu,statesthatitisdonetoappeasethegodsoffertilityandalsotothankGodforkeepingthefarmersthroughoutthefarmingseason(In-terview,August16,2013).Iwa Ji festivalisdoneatthebeginningofharvestwheneverybodyisfreefromfarmwork,andthewarinthecaseofOhafiawarriors.ThisviewcorroboratesArua(1981)positionthattheceremonyismajorlyaboutThanksgivingaswellasreckoningwithothersocialfactors.Inprecolonialtimes,heargued:

“TheyamceremonieswereheldinOhafiaattimewhenmenarebackfromwar,andwereanoccasionforgeneralfestivityandthanksgivingtoỌbasi di n’elu(theSupremeBeing),justastheyarenowoccasionforfamilyandcommunityreunion.”(Arua,1981:695)

AnIgboadagestatesEtoodikenankeomere,omekwa ọzọ.(“Ifabravemanispraisedforwhathedid,hedoesmore.”).Anexpressionofgratitudetothesupernaturalistoattractmoreblessings.Thefestiveperiodisanopportunityforfamilyandcommunityreunion,forsocialisingandcelebratingwithfriendsandrelatives.Hence,Eboh(2012)submittedthatthecommunalcelebrationsportraythespiritofAfricancommunalism;theybringaboutgoodtidingsofgeneralmerrimentandgoodwishestoeverybodyinthecommunity.InIgbo-Ukwu,lineagesusetheopportunityofthefestivaltoorganisefamilyandvillagemeetingsforthepeace,unityanddevelopmentoftheirrespectivevillages.Iwa Ji Festivalisalsoregardedasatimeofmerrimentandsocialisationasitisaperiodthatushersinabundanceofnewcrops.Everybodyishappythatụgani(famine)isover.Aninformant,IchieDominicOgbueli,amemberofIduu’scabinetdeclares:

“Iri ji bu age iji wee ghụa ụgani, maka na ọ wụrụ na ji kọọ, ụgani adaa ụgani a bụgh i ezigbo ihe. Oge iri ji, e nwee anụri na ji a pụtago. Oge ahụ bụ oge mmekọrita because na obi anụri adigo na ji apụtago.”[“Itisafestivalcelebratedtomakejestoffaminebecauseifthereisscar-



cityofyam,therewillbefaminebyJune,Julyandthisperiodisnotahappyperiod.So,duringtheNewYamFestival,therewouldbejoythatnewyamisout.”](Interview,22July,2013)

Thus, the period marks rites of passage, passing from lack and hunger toabundanceoffood,andaperiodofoldnesstonewness,aritualthatbringsaboutatransitionorchangesfromoldnesstonewness.Interestingly,tosomeIgbopeople,Iwa Ji Festivalisnzukọ ekpere, thatis‘aprayermeeting’.Thisis traceable to the fact that the festival ischaracterisedbyprayer sessions,particularlythosemadeduringkolanutrituals.Householdheads,chiefpriestsandtraditionalleadersofcommunitiesprayforgoodhealth,longevity,bump-erharvestinthecomingseasonandsuccessforthepeopleinallendeavours.AsIchieEzechukwuUmeokwonna,thesecretaryofnze na ọzọ Igbo-Ukwucommunitysubmits:“Iwa Ji Festival,formerlyIgwansiisaritualaccordingtohistory,tobegGodincasethereisanypoisonassociatedwithnewcrops,thatitshouldharmnobody.Afterwhich,thereisfeasting.”(PersonalCommunication,August20,2012)

Thereisageneralbeliefthatnewcropscomewithsicknesses,anditisnec-essary topray forgoodhealth for thepeoplewhowillconsume thecrops.Moreover,IntheIgbo-Ukwucommunity,Iwa Ji FestivalwasformallyknownasIgwa Nsi (‘neutralisingpoison’),basedonthebeliefthatthefestivalritu-als neutralise the poison in new crops.Among the Igbo people, there is aprohibitionontheeatingofyamsbeforethefestivalcelebration.CourseyandCoursey(1971)giveanexplanationforthis:“[T]heearlierpartofthegrowingseason,theyamtubersarepoisonousor,otherwise,inherentlyharmfulowingtothepresenceofalkaloidsandorsteroidalsapogenins.Severalspeciesareactu-allyusedforthepreparationofpoisonsforhunting,fishingorcriminalpurposesinvariouspartsoftheworldincludingAfrica”(CourseyandCoursey,1971:474)

WewouldagreewithEboh(2012)thatthepeopleusethefestivaltocelebratetheexperientialphenomenonofharvest,plenitude, recreation, renewal,ac-complishmentandfreedomfromhunger.Inthenextsection,welookatthe‘traditional’Iwa JiFestivalwhichistheformuntaintedbymodernityandChristianreligion.ThisformisstillobservedbytheadherentsofIgboTraditionalReligion,arelativelysmallnumberofpeopleandconstituteasmallfractionoftheindigeneofIgbo-Ukwu.

Elements of ‘Traditional’ Iwa Ji Festival: Performativity

TraditionalIwa JiFestivalinIgbo-Ukwu,whichhasbeencelebratedinIgbo-Ukwufromtimeimmemorial,isstillcelebratedbymembersofIgbo-UkwucommunitywhosubscribetoIgbotraditionalreligion.Byallintents,thefes-tive ceremony is a performance. ‘Traditional’ Iwa Ji Festival is celebratedintwoparts:I wekpu ji na mụọ (PresentationofNewyamtothedeity)andIkpọ ji na Nkwọ(MockyamsaleatNkwoMarketsquare).Thefestivalinallitsformischaracterisedbyaseriesofperformances.Performance,accord-ingtoSchechner,isa“restoredbehaviour”presentintheatre,ritualstrances,shamanismandmasquerades.Culturalperformance,accordingtoMcKenzie(2001),includesthestudyofallmanifestationsofperformanceorperforma-tivebehaviourinculture.Schechner(2004)submitsthattheseperformativeactivitiessharefeatures,whichincludeaspecialorderingoftime,aspecialvalueattachedtoobjects,non-productivityintermsofgoods,rulesthatguidetheprocessesandoften,specialplaceswhichmeansnon-ordinaryplaces,aresetasideorconstructedtoperformtheseactivities.‘Traditional’Iwa Ji Fes-



tivalpossessesalltheattributesofperformance,characterisedbyaseriesofactivitiesthatmusttakeplaceinsequentialorderandatspecificplaces.

I wekpu ji na mụọ

BeforetheconsumptionofthenewyaminIgbo-Ukwu,thechiefpriestofthecommunitymustperformI wekpu ji na mụọ whichmeansthepresentationofyamtothedeity(seePlate1).TheritualperformancetakesplaceattheshrineofUdo NkwoIgbo-Ukwu,andareattendedbytheadherentsofIgboTraditionalReligion.ThechiefpriestofUdodeityandtheỌzọ amụmatitleholderpresideoverthisritual.Onthedayofthisevent,thechiefpriestofUdodeitylightsin-censeandplacesitatstrategicpositionsintheshrine.Heplaysdifferentmusicalinstrumentsforawhile,useswhitechalktomakeinscriptionsontheflooroftheshrine,andkneelinginfrontoftheshrine;heinvitestheautochthonousgodstocomeandpartakeinthefestival.Heofferssacrifice,pouringlibationandin-vokingvariousautochthonousdeitiesinIgbo-Ukwutocomeandpartakeinthesacrifice.Thesedeities,thepeoplebelieve,havecontributedtofruitfulfarmingseason.Ifejiọkụ(godofyam),isparticularlyappreciatedforthenewyamandotherblessings.Thecontentofthethanksgivingincludesgoodhealththrough-outtheplantingseasonandtheharvesttime,longevity,harmoniousco-exist-enceamongmembersofthecommunity,andsuccessfulfestivalcelebration.Heofferedspecialprayersfortheunmarriedandchildlesswomen.Hepresentsthesacrificialitemstotheautochthonousgodsandcontinuesimploring:

Doo, asi na ugo chalụ acha ada echuechu.

Please,itissaidthatamaturedeagledoesnotfade.

Ekenelu m gụ na etu isi welụ bia nye anyi

ji nke afọ a.

Ithankyouforthegiftofthenewyam

thisyear.

Nee ji, nenee okeọkpa kaanyi ji n’aka, nee. Thisisayam.Seethecockwehaveinourhands.

Doo anyi nọọ n’ihu gi naayọ, naekene gi

na I chekwalụ anyi ji anyi kọlụ.

Please,weareinyourpresenceinprayerand

thanksgivingforprotectingtheyamswecultivated.

Ji I melụ anyi kọọ gwute. Yamsyouhelpeduscultivateandharvest.

Anyi anwụhụ anwụ wee gwute anyi nọ ndụ gwute ji nine wee pụta be gi naegosi

gi ya taa.

Wearenotdeadbutalivetoharvestallthesetubersofyamandhavecometoyourhouse

toshowthemtoyoutoday.

Onye egwutehu, jee gwutekwo. Hewhosecropdidnotdowellwilldowell.

Onye chukwaa ya rie. Whoeverworkedhardshallenjoythefruitofhislabour.

Onye kọọ ya gwute. Whoevercultivates,shallharvest.

Onye chukwaa ya rie. Whoworkedhardshallenjoythefruitofhislabour.

Ya gazie. Sobeit.



The chief priest offered sacrifice to ndiichie (the ancestors) because theystartedthefestivalandarebelievedtocommunewiththelivingwhenevertheritualisperformed.Hepresentedtubersofji ọcha(whiteyam),andji asiri (wateryam),kolanutandpalmwinetothedeity.Asapriest,heisamedia-torbetweenthepeopleandthespiritualbeings.Theyaretoberespectedandconsultedonthisandotheraccounts.

Ikpọ ji na Nkwọ (Mock yam sale at Nkwọ Market)

ThisisalsoorganisedbyadherentsofIgboTraditionalReligionreferredtoasỤmụụtụ.Itisintendedtoinformallandsundrythattheyamcropismatureandfitforconsumption.Ontheeveofthisoccasion,thechiefpriestfirstper-formedkolanutritualasmembersconvergeattheshrinebeforeproceedingtothemarket.ThemarketinIgbobeliefsystem,accordingtoUkpokolo,2011)besidesbeingaplaceofexchangeofgoodsandservices,isalsoaspaceforinformationdissemination.Intraditionalsociety,messagesaredisseminatedthroughthe towncrier to themembersof thecommunityonamarketday.Becausespiritualexchangesalsotakeplaceinthemarkets,marketsareas-sociatedwithonedeityortheother.LittlewonderthatthechiefpriestandtheadherentsofindigenousreligionneededtomovetoNkwomarket,themostimportantmarket in Igbo-Ukwu.Gunshotswere fired twice as theproces-sionofsixmasquerades,representingthepresenceoftheancestors,thechiefpriest(theritualelder),andtheỌzọ amụma titledmenproceededfromtheUdo shrinetoNkwọMarket,withmusicaccompaniment,Ọzọ amụma titledmensupplyingmusicwiththeirflutestosustainthemoodoftheoccasion.Membersofthecommunitygreetedtheboomingofgunshotswithshoutsofjoy.Astheprocessionmarchedtothemarkettheysang:

Omenana bụ ka ọ di mma, mee ya gazie n’ọfọ. (2x)

Cultureisforgood.Doitanditshallbewell.

Ọdinana bụ ka ọ di mma, mee ya gazie n’ọfọ.

Traditionisforgood.Doitanditshallbewell.

Nwanne m kwere e, kweren’okwu chukwu.

Brotherbelieve,believethewordoftheAlmightyGod.

Kwere ka ọ gazie n’ọfọ. Believeanditshallbewell.Omenana bu ka ọ di mma, mee ya gazie n’ọfọ.

Cultureisforgood,doit,anditshallbewell.

Totheparticipants,theperformanceofthisritualisforthewell-beingofthecollective.At Nkwọ Market garage, the Ọzọ amụma titled men distributednzụ(whitechalk)totheadherentsofIgboTraditionalReligionwhoflockedthearenaenthusedbytheactivitiesoftheday.WhitechalkinIgboculturesymbolisesgoodwillandpurity,indicatingthattheyareperformingtheritualwithgoodintention.Eachman,dependingonhissocialstatusmakesparallellineswiththewhitechalk,prayingwithkolanutinhishand.InIgbo-Ukwu,anokoro (untitled man), is known as Nkwọ izụ. Nkwọ is one of the tradi-tionalIgbomarketdaysandanizụcomprisesfourtraditionalmarketdays.Anokoro,therefore,makesfourlines.Anagwụinitiate,forinstance,chiefpriestofautochthonousdeitiesmakesfivelines,theadditionalonelineisbecauseasanagwụinitiate,hehasanadditionalresponsibility.Anọzọ titledmanisequivalent to two untitled men.An ọzọ titled man, therefore, makes eight



lines.Withthekolanutinanoutstretchedhand,theỌzọ amụmatitledmanofferedthanksgivingtoGodforeveryonepresentandthegiftofthenewyam.Hedeclared that the ritualwas to informallandsundry that theyamcrophadmaturedandheconcludedbyprayingforlongevityandgoodhealthofmembersofIgbo-Ukwucommunity.Toensureaproperrepresentationoftheentirecommunity,threemen,eachfromthethree-quartersofIgbo-Ukwualsoperformedkolanutritual.Protectionfromevilspiritsandwelfareofmenandwomen,thanksgivingtoGodandthesustenanceofthefestivalwerethesub-jectmatteroftheirprayers.Theyreinstatedthestrongrelationshipbetweentheearthandhumanity.Humansderivetheirfood,wealthfromtheearthandwilleventuallybecommittedtoearthafterdeath.Ana(Earthgoddess)des-ecrateswhoeverdesecratestheearthandprotectswhoeverrespectsher.Fi-nally,oneoftherepresentativesannouncedthatnewyamswouldbebroughttothemarketnextNkwọ day.Hestatedthattheoldandthenewarealwaystogether,butduetoshame,theoldgiveswaytothenew.Thisemphasisedthetransitionthatwouldoccuraftertheritual,thatis,thetransitionfromoldnesstonewnessastheritualisaformofritesofpassage.ThechiefpriestannouncedthetimefortheMockYamSaleandinvitedindi-vidualswhodonothavemoneytopricethetubersofyam,probablybecausetheyarenotintendedforsalebuttobringtothenoticeofallandsundrythefactthenewyamismaturedandsuitableforconsumption.TheỌzọ amụmatitledmendisplayedtheeighttubersofyamforsale.Awomanofferednnu ego itọ(N120).Anothersaidakpa ego ise(N1000),andyetanotherohu akpa ego(N4000).Thetitledmanrefusedtosellandpackedthegood.Thechiefpriestrequestedthepeopletoclaptheirhandstoexpressjoyatthesuccessfulcompletionoftheevent.Hethankedallpresentattheevent,statedthattheritualperformancewasaculturalheritagefromtheancestors.AdherentsofIgboTraditionalReligioninIgbo-Ukwuperform‘traditional’Iwa Jifestivalritualstoappeasetheautochthonousgodsandancestorstoensureabountifulharvest.Thegroupretreatedtotheshrinethroughanotherroute,singingandplayingthefluteas theywent.Backin theshrine, theyfeastedonthenewyam,amidstsinginganddancing.‘Traditional’Iwa Ji Festivalisaperformance,withritualscomprisingmanyprocessesduringpreparation,whichinvolvesnotifyingadherentsofIgboTra-ditional Religion of the date of the festival. Other details are clearing andcleaningtheshrineoftheUdo deityandobtainingmaterialsfortherituals.Neededmaterialsincludedtubersofyam,palmwine,cocks,andwhitechalk.Yam is the most valued object in these rituals. Secondly, the performancespaces are uniquely organised. The chief priest of Udo deity and the Ọzọ amụmatitleholdersarekeyperformerswhilethetraditionalists,sometradersandbuyersinthemarketformtheaudience.Allareactiveparticipants,ortheperformancewillbeincomplete,andinfact,willnottakeplace.PerformancesembeddedinIwekpụ ji na mụọ(presentationofyamtothedeity)includetheritualinvocationstotheautochthonousdeitiesatthebeginningoftheritual;otheraspectsarethekolanutrituals,killingandofferingofobjectsofsacri-ficetotheautochthonousgods.ForIkpọ ji na Nkwọ(MockyamsaleinNkwọ Market),theperformanceincludestheinvocationsbythechiefpriestbeforetheprocessiontoNkwọmarket,theprocessionandsingingtoNkwọgarage,thekolanut ritualbefore themocksale, themocksaleofyamby theỌzọ amụma titleholder,clappingofhandsbytheaudienceattheendoftherituals,andmasqueradedisplayduringtheprocessions.Theprocessionreturnedtotheshrineof Udodeity.Thereistransformationattheendoftheritualwhenthefestivalushersinthenewyam.Attheendofthisperformancemembersof



Igbo-Ukwucommunityarefreetoconsumethenewyam.NewyamcanthenbeboughtandsoldinNkwọ Market.

Reconstructed Iwa Ji Festive Ceremony: The Fusion of the Old and the new

The reconstructed Iwa Ji Festival is of two forms.The first is theoneor-ganisedbythemembersofIgbo-Ukwucommunity,andthesecond,theoneorganizedbytheMbidoIgboCulturalOrganisation,whichisanationalbodymandatetodevelopanyIgboculturalpracticetopromoteIgboculturethroughtourismdevelopment.Duetospaceconstraint,ourfocusinthispaperisthereconstructedIwa JiFestivalcarriedoutbythemembersofIgbo-Ukwucom-munity.Thesecondformwillreceiveattentioninanotherattempt.Iwa JifestivalinIgbo-Ukwuinvolveselaboratepreparations,especiallybyIgbo-UkwuDevelopmentUnion(IDU),theorganisersoftheevent.Severalmeetingsareheldtodiscussthefestival’sbudget,selectingthead hocorgan-isingcommitteemembers,sendingout invitationcards tofriends, relationsandwell-wishers,andmakingthenecessaryarrangementforkolanuts,foodanddrinksandculturalentertainments.Rainmakersarecontactedtoensurefavourableweatherduringthecelebration.Thevenueofthefestival,whichisthepalaceofthetraditionalruler,(Iduu’spalace)ispreparedfortheoccasion:cleanedthoroughly;roadsleadingtothecompoundareclearedbyIgbo-UkwuYouthCouncil.Thepalacebuildingisrepainted,thecompounddecoratedtoenhanceitsaestheticappeal.Thefestivaldateisannouncedseverallybefore-handandontheeveofthefestivalfurtherannouncementsaremadetoremindmembersofIgbo-Ukwucommunityofthecomingevent.UrbandwellersandmembersoftheIgbo-Ukwucommunityindiasporareturnen massetopar-ticipateintheoccasion.Thedayofthenewyamfestivalisremarkable,andfestivityfillstheatmos-phere.Thearrivalof thetraditionalleaderandhisentouragerepresentstheofficial commencementof theday’s event.Flankedbycolourfullydressedmembersofhiscabinet,thetraditionalleaderisarepresentativeofthevoiceofhispeople.PrayersandsupplicationstotheSupremeBeingaredoneus-ingthekolanutasaninstrumentofcommunicationtoGod.Theessenceofkolanutpresentationatthisstagesuggeststhetraditionalnatureoftheeventandasignofhospitalitytoallpresent.ThepeakofthemomentsinthenewyamfestivalcelebrationinIgbolandisthecuttingofroastedyam,whichisconspicuouslyinthemiddleofabeautifullycarvedwoodenboardplacedonatablebeforethetraditionalleaderandhiscabinetmembers.Likethekolanutritual,itisasolemnoccasionwhereallmustbesilentexceptthevoiceof the traditional leaderechoingand invoking thesupernaturalpowers.Heat thismomentrepresents thecollectivity,andstandingin thegapbetweenthe livingandtheancestors in theoldorder,and in theneworder, the liv-ing and Jesus Christ. Cutting off a roasted yam is a solemn occasion andallpresent listingandparticipateas theechoof‘Aaameeen’ isheardsomedistancefromthearenawhileheprays. In theoldorder, thepeoplewouldrespond‘iseeee’,meaning‘sobeit’.Asthetraditionalleadercuttheroastednewyam,hesaid:

“Itakethisknifeinthenameof[onbehalfof]Igbo-Ukwucommunity,asIcutthisyam,maythedevilbedefeatedinthenameofJesus.Amen.Mayhefleefromourcommunityforwehavenothingincommon.MaytheangelofGodcomeandstaypermanentlyinourcommunityinJe-susname.Amen.AsIcutthisyamtoday,wewouldalwayscutiteveryyear.Sobeit.Wewould



cultivate,harvestandfeedwell;nextyear’sharvestwouldbemorethanthisyear’s.InthenameoftheFatherandoftheSonandoftheHolySpirit,IcutthisyaminJesusname.Amen.”

ReferencetoJesusrunsparalleltowhatobtainedduringthe‘traditional’fes-tivalcelebrationatthemarketsquarewherethechiefpriestofthecommunitycalledon theancestors.Herewesee the inclusionof‘Jesus’, ‘Amen’, ‘theangelofGod’,HolySpirit’,Jesus’name’.Theseareindicationsofculturalcontactanddiffusion.Ratherthan‘iseeee’or‘ofooooo’,‘Amen’isused.Ashecutthenewyam,themusicfromtheflute,followedbyỤhie (specialmusicforọzọtitledmen),conveyedthesignificanceoftheoccasion.IwaJiFestivaliscelebratedwithaparticularspeciesofyamknownasJi adaka(Dioscorea rotundata)forsomereasonswhichincludethefactthatthespeciesiswhiteinside, matures earlier than other species, the most popularly-cultivated inIgbo-Ukwucommunity(andinIgbolandingeneral)andfinally,itisprestig-iousbecauseofitssize.TheHolyBiblewasplacedbesidethenewyamcutbyIduu (traditionalleader)asanindicationoftherebirthofthefestival.TheBibleplacedside-by-sidewiththeyamcanalsobeinterpretedasanattempttoreplacethevalueplaceontheyaminIgbocosmologywiththeBible.Ofcourse,theyamcropissacredtothepeople.Undoubtedly,thecelebrationofIwa JiFestivalinIgbo-Ukwuisnolongerintendedtoreconcilethepeoplewith the cosmos. It hasbecomeabout community integration fordevelop-ment.Thepresenceofthethreetraditionalprimeministersbesidesthetradi-tionalrulerashecutsthenewyamindicatesthesupportoftheconstitutivecommunity.WhentheIduucutstheyam,heisassumedtohaveseveredanyentanglementthecommunityhaswiththeDevil.Tothepeople,Iwa JiFesti-valhasbeen‘Christianised’.Authorityandsocialhierarchyarerespectedinthedistributionandconsump-tionoftheroastedyam,whichisservedwithlocalcondiments,preparedwithpepper,palmoil,saltandlocusbeans.Thetraditionalleaderfirsttastesthenewyam,followedbythecabinetmembers.Tubersofyamarethencutintosmallerpiecesandservedwiththelocalsauce,usingseveraltrayswhicharemovedaround,andpeoplepickfromtheonenearesttothem.Thissymbolisesthecommunalityoftheoccasionandgivesasenseofequalityofallhumans.LittlewonderthatBolinandDunstan(1985)notedthatfestivalsaffordindi-vidualstheopportunitytointeractwithothercommunitymembersregardlessofclassaffiliationsorsocial,religious,politicaloreconomicstatus.Theseconddayofthefestivalmovedtheeventtotheụmụnna (patrilineage)level.Beforetheday,philanthropicmembersofgroupsdonatetowardsthefestival.When themembersofa lineagedonotgetsufficientdonation forthesuccessful festival, they task themselvesandcontribute to realising theamountofmoneyneeded.Patrilineagewivesareinchargeoffeeding.Theydotheshoppingforfoodstufflikeyam, abacha(tapioca)andothercondi-ments,cookandensurethatallattendeeshavesomefoodduringtheoccasion.ItisonthisdaythatallnewbabiesbornafterthepreviousIwa Jifestivalareofficiallyregisteredasmembersofaparticularlineage.If thebabyisafe-male,theparentspresenthertothelineagewithahenandtwotubersofyam.Ifitisababyboy,theparentspresenthimwithahe-goat(iftheycanaffordit)oracockandtwotubersofyam.Itiscompulsoryforeverymemberofthelineage(adultsandchildren)toparticipateinthiscelebration.Thepeopledis-cussissuesconcerningtheirgroupandsometimesmakedonationstoimprovetheirwelfare.Duringthisevent,meatissharedaccordingtoage.Inthecaseofmarriedwomen,theysharethehipsofalltheanimalsslaughteredthatdayandtooktheirshareinturnaccordingtotheirtimeofmarriage.



ThereconstructionoftheIwa JifestivalbythetraditionalleadershipofIgbo-UkwustartedasaresultofthebreachthatemergedwiththeadventofChris-tianreligionandmodernisation.Inreconstructingthefestival,theaspectscon-nectedwiththeautochthonousdeitiesandancestorsareassumedtohavebeenremovedandreplacedwithChristiansymbols inorder tomakethefestivalmore acceptable topeopleofvarious religious leanings. It is significant tonotethatthetraditionalchiefpriestofthecommunityhasbeendropped;hencehehasnoroleinthenewdispensation.Igbo-UkwuDevelopmentUnion(IDU)playasignificantroleintheorganisationoftheevent.Ironically,rainmakersare still contacted to ensure favourable weather condition. Rainmakers arespecialistsinAfricanTraditionalreligionandareassumedtoemploysuper-naturalforcestomanipulatetheweatherandsuspendrainfall.ContradictionssuchasthesearewhattheIgbopeoplehavetolivewithdespitethereconstruc-tionofIwa Ji Festival,aproductoftheirfracturedculturalidentity.

Reconstructed Iwa Ji Festival and Fractured Igbo Identity

AsAfricans conform to the processes of modernisation, synonymous withWesternisation,imposedontheminthenameofprogress,theyareincreas-inglylosingtheirrichculturalheritagealongwiththeir identity.AsOwen-Ibie(2008)observed,culturesofnationsaretheiridentityandsignofnationalpride.Theygiveasenseofidentity,dignity,continuity,andbindpeopleto-gether(Fridah,1998).Similarly,Ejiofor(1984)contendsthattheonlyremedythatmayeventuallyreversethetrendofcenturiesofwhiteprejudiceagainsttheblackraceisaculturalrevival.Doesculturalrevivalentailbringingbackthepast in theirundilutedform?The traditionalIwa JiFestivalaswepre-sented above is a case in point. From our discussion, it is obvious that itwaslosingacceptabilityandpatronagedespiteitsrichculturalcomponents.Reconstructionwascarriedouttomakesurethatitconformstothecurrentsocialrealities.AsthefestivalisaviableculturalpracticeofanyAfricanso-ciety,theneedforitsreconstructiontorestoreAfricancultureandidentityhasbecomeimperative.Enrichedwithawiderangeofrituals,whicharevehiclesbywhichthepeople’sculturalheritageistransmitted,Iwa Ji festivalamongtheIgbopeople,asacriticalcomponentoftheirculturalidentity,standsabet-terchanceofbeingretainedbutcertainlynotinthe‘traditional’form.WiththeincreasingwaveofglobalisationwhichGiddens(1990)explainedas“thein-tensificationofworldwidesocialrelations,whichlinkdistantlocalitiesinsuchawaythatlocalhappeningsareshapedbyeventsoccurringmanymilesawayandviceversa”(Giddens,1990:64)nosocietyorculturecanaffordtocontinuetoholdontothepastassacrosanct.Thus,Steger(2003)ascitedinAdegbola(2006:3–4)maintainedthatthefourcorefeaturesofglobalisationare:

1. ‘Globalisationinvolvesthecreationofnewandthemultiplicationofexist-ingsocialnetworksandactivitiesthat increasinglyovercometraditionalpolitical,economic,culturalandgeographicalboundaries;

2. Globalisation is reflected in theexpansionandstretchingofsocial rela-tions,activitiesandinterdependencies;

3. Globalisation involves the intensification and acceleration of social ex-changesandactivities;

4. Globalisationprocessesalsoinvolvethesubjectiveplaceofhumancon-sciousness.



Adegbola contended that from different dimensions that globalisation hasbeen viewed, one could conclude that globalisation is “a set of processesthatmanifest incultural, economic,political, technological, ecologicalandmanyotherdimensions”(Adegbola,2006:4),whichhasunderlyingbeliefs.Againstthebackdropofcertainbeliefsunderlyingglobalisationsuchasthattheassumptionthatitbenefitseveryone,theideologicalcomponentisoftenundermined(Adegbola,2006).Thisideologyisaproductof‘classicalsys-temsofbeliefs’uponwhichneo-liberalcapitalismisbuilt(Adegbola2006,citingSteger,2003).Ofcourse,Adegboladoesnot seem toagreewith theargumentthatglobalisation‘benefitseveryone’.UsingAfricanlanguagesasacaseinpoint,hemaintainedthatthe‘spaceofflows’andtheICThadde-privedAfricanpeopleofequalparticipationintheknowledgeage.AsmanyAfrican languages remainunwritten, theirparticipation in ICT, thedrivingforceoftheknowledgeeconomy,ishampered.He,therefore,advocatedforthereviewoflinguisticsprogrammesinuniversitiesinAfrica,andtheadop-tionofamultidisciplinaryapproachtothestudyoflinguistics.Onalargerculturalscape,whileweholdthatglobalisationisinitsselfisafluxingconcept,itscapacitytoaccommodatemultivocalityisnotindoubt,andcan,therefore,beexploitedbynationalculturestorevitalisetheirculturalheritagetofaceotherculturesand,atthesametime,achieveculturalhomoge-neity.Globalisationhelpsindigenouspeoplesbringtheirculturestothemar-ketplaceofideas.Culturalproductsintermixandbecomeenrichedthroughmigrationorborrowing.Theemergingculturalmixingcanengenderanewglobalcultureandtheendofspecificculturalvaluesandpractices(El-OjeiliandHayden,2006).Ontheotherhand,anotherschoolofthoughtholdsthatratherthanleadingtothehomogeneityofcultures,whatemergesisheteroge-neityintheculturalsphereofwidespreadculturalintegration.Proponentsofthisargument,besidesglobalisation,alsouseconceptssuchashybridisation,indigenisation and creolisation as replacement of local culture by a singleWesternculture.Theissuehereisthatindigenouspeoplecanthroughappro-priationandindigenisationinheritaspectsofWesternculture,andintegratessameintotheirindigenouscultures.Forinstance,wetalkof‘Englishes’,andthen‘NigerianEnglish’,aversionofEnglishLanguagethatincorporateNi-gerianexpressionsandworldview,structuraladjustmentofancestralEnglishor insomecases,Englishwords thatmeandifferent things in theNigeriancontext.TheargumentisthattheEnglishLanguageasspokeninBritaincan-notaccuratelyconveythemeaningsinherentinAfricanworldview,hencetheneedforits‘transformation’.AccordingtoPrecious(2010),withculturalad-aptation and alignment, instead of copying Western cultures,Africans canretaintheirindividuality.Theextenttowhichthatindividualitycanbecomeapossibilityisanotherquestionbeggingforananswer.Isindividualityevidentinappropriation,reconstructionand/ortransformation?Doesthereconstruc-tionofIwa JiFestivalmeanretentionofIgboindividuality?Thereareinher-entcontradictionsinthereconstructedNewYamFestivalthatindicateIgbofracturedidentity,evenastheinformantsgrapplewithcodemixingandcodeswitching.Indeed,thefactremainsthatthefracturedandschizophreniciden-tityoftheIgbopersonhoodisarealityIgbopeoplehavecometolivewith.

Conclusion

Iwa Ji Festival is celebrated topreserveyamandensure its continualpro-duction,andincontemporarytimes,symbolisesthecelebrationofharvestinvariousprofessions,andtherecreationofculturalheritageforidentitycon-



struction.Wecannot agree lesswithTalbot (1927)whenhenoted that theyamfestivalamongIgbopeopleisthecrowningceremonyoftheyear,orwithArua(1981)whoobservedthatthelifeofIgbopeoplewouldbeimpossiblewithoutIwa Jifestival.Thereconstructionof Iwa Ji FestivalinIgbo-UkwuwastomeettheexpectationofthosewhoclamouredfortheabandonmentofthefestivalandtoreinforceIgbocollectiveidentity,whichhasfracturedduetomodernisationandmissionization.Throughthereconstruction,aspectsofthefestivalconnectedwithofferingsacrificestothegodswerediscarded.ThevenueofthefestivalwasshiftedfromtheshrineofUdoDeitytothepalaceofthetraditionalleaderofthecommunity.Similarly, theHolyBiblereplacestraditionalsymbolicobjects.ThereisnoneedtoslaughterachickenforsacrificeasChristhasshedHisbloodfortheatonementofthesinsofthewholeworld.Iwa Jifestivalhasillustratedthatanyaspectofapeople’sculturethatfailstoaddressapeople’sneedsatanypointintimesuffersabandonment.Changeisinevitable,andthereistheneedforadaptationandreconstructionofculturetoaddressthesocial,economicandpoliticalrealitiesofapeople,andthusenhanceculturaldevelopment.YetfortheIgbopeople,thereconstructionalsobringstotheforetheirfracturedidentitythathascomeaboutasaresultofcolonialencounter.

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Francesca C. Ukpokolo, Obiageli C. Okoye, Olatunde B. Lawuyi

Kulturna rekonstrukcija festivala Iwa Ji u Igbo-Ukwuu i razlomljeni identitet Igboa

SažetakU mnogim su afričkim društvima domorodački festivali pred istrebljenjem, što je rezultat modernizacija i utjecaja kršćanske religije na život ljudi. U jugoistočnoj Nigeriji, festival Iwa Ji, godišnji festival jama koji se slavi da bi se zahvalilo Vrhovnom biću i bogovima za osiguranje održanja, posljednjih desetljeća susreće se s napuštanjem. No istraživači su ustanovili kulturno značenje vezano za festival i njegov potencijal u očuvanju identiteta ljudi, kao i za promociju turizma, na temelju čega su predložili rekonstrukciju festivala da bi bio opće prihvaćen. Rekonstrukcija se provela. Rad proučava rekonstrukciju festivala kao fuziju domorodačkog Iwa Ji festivala i suvremenih praksi, argumentirajući da je rekonstruirani festival odraz razlomljenog identiteta Igbo naroda. Služeći se TurnerSchechner modelom izvedbe kao socijalne drame za eksplanatorni model u studiji, autori argumentiraju da su advent moderne i kršćanska religija stvorile procjep u iskustvu kulture. Obnovljena pozornica predstavljena je u rekonstrukciji i prepakiravanju festivala za bolju prihvatljivost. Reintegracija se provela kako je festival postao bolje prihvaćen povodom rekonstrukcije te su sudionici iskusili transformaciju. Za proizvođenje podatak primijenjen je etnografski pristup. Podaci su se analizirali deskriptivno.

Ključne riječiIwaJifestival,razlomljenastvarnost,kulturnarekonstrukcija,fuzijastarogainovoga,Igbo-Ukwu

https://doi.org/10.2307/1214320




Kulturelle Rekonstruktion des Festivals Iwa Ji in Igbo-Ukwu und die zerbrochene Identität der Igbo

ZusammenfassungIn vielen afrikanischen Gesellschaften stehen die einheimischen Festivals vor der Auslöschung, was eine Auswirkung der Modernisierungen sowie des Einflusses der christlichen Religion auf das Leben der Menschen ist. Das IwaJiFestival, ein in Südostnigeria jährlich stattfindendes, dem Höchsten Wesen und den Göttern zum Dank für die Erhaltungsgarantie gefeiertes Festival der Jamswurzel, blickt in den letzten Jahrzehnten dem eigenen Absterben ins Auge. Jedoch haben die Forscher kulturelle Bedeutung in Bezug auf das Festival und dessen Potenzial in der Wahrung der Menschenidentität entdeckt, als auch für die Tourismuswerbung, aufgrund dessen sie eine Rekonstruktion des Festivals vorgeschlagen haben, um ihn allgemein annehmbar zu machen. Die Rekonstruktion wurde in die Tat umgesetzt. Der Artikel erforscht die Rekonstruktion des Festivals als Fusion des indigenen IwaJiFestivals und zeitgenössischer Praktiken, indem er begründet, das rekonstruierte Festival sei eine Widerspiegelung der zerbrochenen Identität der IgboEthnie. Indem sie sich des TurnerSchechnerModells der Aufführung als soziales Drama für das explanatorische Modell in der Studie bedienen, argumentieren die Autoren, der Advent der Moderne und die christliche Religion hätten einen Spalt in der Kulturerfahrung geschaffen. Die renovierte Bühne wurde im Rahmen der Rekonstruktion und der Umgestaltung des Festivals zur besseren Akzeptanz präsentiert. Die Reintegration wurde parallel mit der anlässlich der Rekonstruktion verbesserten Akzeptanz vollbracht und die Teilnehmer konnten die Transformation erleben. Zur Datenproduktion wurde der ethnografische Ansatz verwendet. Die Daten wurden deskriptiv analysiert.

SchlüsselwörterIwa-Ji-Festival,zerbrocheneWirklichkeit,kulturelleRekonstruktion,FusionvonNeuundAlt,Igbo-Ukwu


La reconstruction culturelle du festival Iwa Ji à Igbo-Ukwu et l’identité morcelée des Igbos

RésuméDans de nombreuses sociétés africaines indigènes les festivals sont près de s’éteindre, ce qui est le résultat de la modernisation et de l’influence de la religion chrétienne sur la vie des gens. Au sudest du Nigéria, le festival Iwa Ji, festival annuel de l’igname qui se fête pour remercier l’Être Suprême et les dieux d’assurer la conservation de l’homme, a été déserté ces dernières décennies. Pourtant, les chercheurs ont démontré l’importance culturelle liée au festival et son potentiel qui contribue à la sauvegarde de l’identité des gens, mais également à promouvoir le tourisme, et ont ainsi proposé de reconstruire le festival afin qu’il soit communément reconnu. La reconstruction a eu lieu. Ce travail examine cette reconstruction en tant que fusion du festival indigène Iwa Ji et des pratiques contemporaines, en affirmant que la reconstruction du festival est le reflet de l’identité morcelé du peuple Igbo. En se servant pour cette étude du modèle explicatif de performance comme drame social de TurnerSchechner, les auteurs affirment que l’avènement de l’époque moderne et la religion chrétienne ont créé une brèche dans l’expérience de la culture. Cette scène qui a été repensée est présentée dans la reconstruction et dans de nouvelles conditions pour une meilleure acceptation. Le festival ayant été reconnu, le processus de réintégration a été mis en œuvre lors de la reconstruction et les participants ont pu expérimenter la transformation. Pour la production des données, une approche ethnographique a été appliquée. Les données ont été analysées de manière descriptive.

Mots-clésfestival Iwa ji, réalitémorcelée, reconstructionculturelle, fusiondunouveauetde l’ancien, Igbo-Ukwu

cultural reconstruction of iwa ji festival in igbo-ukwu

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