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Ibadan to have 32 Obas as Olubadan retains paramount rulership

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Ibadan to have 32 Obas as Olubadan retains paramount rulership

Ibadan, the capital of Oyo State, may next month have a 32 beaded crown-wearing Obas, while the Olubadan, Oba Saliu Adetunji, will maintain his status as the paramount ruler of the ancient city if the recommendation of a Commission on the issue is implemented.

The highpoint of the recommendations by the Judicial Commission of Inquiry for the review of the existing 1957 Declaration of Olubadan of Ibadanland and other related chieftaincies in Ibadanland, set up by the Governor, Senator Abiola Ajimobi is that more Obas stools be created.

To reduce the lengthy years it takes a potential Olubadan to get to the pinnacle of the two chieftaincy lines producing the Olubadan on rotational basis, the panel has also recommended the reduction of the rungs from the existing 22 to 11 on the Otun line, while the Balogun line was reduced to 12 from 23.

The implication being that the Ikolaba chieftaincy will now become the entry point for a potential high chief, instead of Jagun chieftaincy as currently stands, if the recommendations sail through.

These were highlights of the report presented to the governor by the Chairman of the Commission, Justice Akintunde Boade (retd) at the Governor’s Office, Ibadan, on Friday.

The presentation of the report by the 11-member commission was witnessed by members of the Olubadan-in-Council, led by the Otun Olubadan, High Chief Lekan Balogun and Balogun of Ibadanland, High Chief Owolabi Olakulehin.

Others included members of Ibadan Council of Elders, representatives of the Central Council of Ibadan Indigenes (CCII), all the local government chairmen from Ibadanland and other eminent personalities of Ibadan extraction.

Receiving the report, the governor said no effort would be spared to ensure that the recommendations were implemented as early as next month.

Ajimobi said that his administration’s resolve to carry out a comprehensive review of the Olubadan chieftaincy was in response to the requests by the Olubadan-in-Council, Ibadan elders, members of CCII and others.

Insisting that the exercise was not new, the governor recalled that previous administrations had reviewed the chieftaincy declaration, but could not muster the political will to implement their respective reports.

He said that review was necessary in order to enhance the status of the Olubadan, to be in line with what obtained in other states in Yorubaland as well as to conform to the modern trend in culture and tradition.

The governor said that he was not unmindful of the pockets of opposition to the move, noting that he was not bothered as long as those in support were overwhelmingly in the majority.

Ajimobi said, “It is not everybody that will agree with us but once we have the majority who are in support, we are not bothered. As is customary, some people will disagree with any policy the government wants to implement, only for them to commend such policy in future.

“So, we really don’t mind those who are abusing us for taking this action. It only makes us happy and realise that we are doing the right thing.

“I salute the doggedness and patriotism of members of the commission for doing a thorough job. I also want to thank the CCII, Ibadan Council of Elders for their support.

“I particularly want to immensely appreciate the Olubadan-in-council for their overwhelming and intellectual support for the review without minding whether the recommendations would affect them positively or negatively.

“By the grace of God, we can implement the recommendations as early as next month. The review will only enhance the status of Olubadan as the imperial majesty. It will not diminish his influence in any way.”

Earlier, Boade had explained that in arriving at 32 beaded crowns, the commission gave preference to the current 11 high chiefs that made up the Olubadan-in-Council; nine eligible ancient baales and five baales who are members of the Oyo State Council of Obas and Chiefs.

He added that two baales at the state’s borders with Ogun and Osun States were also considered for beaded crown judging by their untiring efforts in ensuring that their areas were secured for Ibadanland.

Boade further explained that while one baale was considered because of historical importance of his area, four others were also recommended for the beaded crown-wearing obas on the basis of their historical antecedents.

He said, “For the avoidance of any doubt, the commission wishes to emphasize and restate the unassailable fact that the Kabiyesi, the Olubadan of Ibadanland, remains the only paramount ruler in Ibadanland.

“We received a total of 120 memoranda, out of which three were struck out on the basis that they were not relevant to our terms of reference, while nine of the people who submitted memoranda refused, failed or neglected to give oral evidence in support of their memoranda.”

ARTS & CULTURE

Ijele Masquerade: The “King Of Masquerades” In Igbo Land

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Ijele Masquerade: The Strongest Masquerade in Igbo Land | fab.ng

The Ijele Masquerade, often referred to as the “King of Masquerades,” holds a revered position in Igbo culture. It is not only the largest masquerade in Africa but also a symbol of unity, spirituality, and cultural identity among the Igbo people.

Its towering presence, vibrant artistry, and profound symbolism make it a centrepiece of Igbo traditions.

The Ijele Masquerade originated in southeastern Nigeria, particularly in Anambra and Enugu states. Oral traditions trace their roots to the Akwunechenyi dance group in Umueri.

It began as a celebratory and protective figure, initially created to intimidate invaders and celebrate royalty. Over time, it evolved into a cultural icon representing greatness and the Igbo people’s connection to their ancestors.

Standing between 12 and 15 feet tall, the Ijele Masquerade is a marvel of craftsmanship. It is constructed from bamboo, colourful fabrics, and intricate carvings.

Its structure is divided into two segments: the upper (Mkpu Ijele) and the lower part (Akpakwuru Ijele), separated by a symbolic python figure, Eke-Ogba.

This design signifies the balance between the spiritual and earthly realms. The preparation of the masquerade requires extensive collaboration, with over 100 men working for six months to complete its elaborate design.

Cultural and Spiritual Significance of Ijele Masquerade

The Ijele Masquerade embodies the collective spirit of the Igbo community. It is a representation of the ancestors’ guidance, protection, and blessings.

Traditionally performed during festivals, burials, and special ceremonies, the Ijele is believed to have spiritual powers, such as warding off evil spirits, promoting fertility, and bringing healing.

Its performance is both a spectacle of entertainment and a deeply spiritual ritual that connects the living to their heritage.

The Ijele Masquerade is a highlight of Igbo cultural festivals, often serving as the grand finale. Accompanied by music, drumming, and traditional dances, its performance captivates audiences with its grandeur and artistry.

These events also serve as a platform for preserving and promoting Igbo heritage, attracting tourists, and generating economic benefits for the community.

Challenges Facing Ijele Masquerade

Despite its cultural significance, the Ijele Masquerade faces challenges in the modern era. Urbanisation, globalisation, and declining interest among younger generations threaten its preservation.

The elaborate nature of its preparation also requires significant funding and resources, which are often scarce. Additionally, cultural appropriation by outsiders risks diluting its authenticity and significance.

Efforts to preserve the Ijele Masquerade have gained international recognition. In 2009, UNESCO listed it as an intangible cultural heritage in need of safeguarding.

This recognition highlights the importance of supporting local communities to maintain their traditions. Advocacy for funding, education, and tourism initiatives is vital to ensuring the continuity of this cultural treasure.

A Symbol of Igbo Identity

The Ijele Masquerade remains a powerful symbol of Igbo identity and resilience. It is a testament to the creativity, spirituality, and unity of the Igbo people.

As it continues to inspire pride and admiration, the Ijele Masquerade underscores the importance of preserving cultural heritage in a rapidly changing world.

By supporting initiatives that promote Ijele, individuals and organisations can help sustain this remarkable tradition for future generations.

Its legacy is not only a source of pride for the Igbo people but also a significant contribution to the global appreciation of cultural diversity.

For further details about the Ijele Masquerade, see sources like UNESCO’s Intangible Cultural Heritage listing and articles exploring its cultural significance.

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ARTS & CULTURE

Does Anklet Really Signify Promiscuity?

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Does Anklet Meanings Include Promiscuity? | fab.ng

What is an anklet?

An anklet is a versatile piece of jewellery that women typically wear around their ankles. Crafted from materials like chains, beads, or a mix of both, anklet meanings vary across cultures and styles.

Many fashionable women choose anklets to make a bold style statement, embracing their elegance and charm.

In Nigeria, people often call this accessory a “leg chain” or “ankle chain,” reflecting its cultural relevance. In pop culture, it’s popularly known as an “ankle bracelet.”

Anklets here focus more on fashion than symbolism, though interpretations can differ. With various styles and intricate designs available, anklets offer countless aesthetic options, allowing women to showcase their personal flair.

Ultimately, anklet meanings can be deeply personal, influenced by tradition, culture, or simply individual taste.

Cultural and Historical Significance

Throughout history, anklets have held different meanings across various cultures. While some view them as mere adornments, others have associated them with deeper, sometimes controversial, connotations.

In some societies, ancient and modern, anklets symbolise promiscuity.

Early Usage in Ancient Civilisations

Egypt is often credited as the birthplace of anklets, but India played a significant role in their widespread acceptance. In India, anklets were part of traditional attire, known as pattilu, payal, or nupu.

These terms also include Paujinupur and padapadma. Early Indian literature, such as the first-century epic Silappatikaram, mentions anklets, highlighting their cultural importance.

Rajasthani women were known for their elaborate anklet designs, reflecting regional traditions.

Among the Odisha people, gold anklets were once reserved for warriors, while brides included them as part of their wedding regalia.

Married women often wore anklets to signify their marital status, and dancers used those with dangling bells to enhance their performances.

Similarly, in ancient Egypt, anklets indicated social status. Wealthy women wore gold anklets, while silver or leather versions were common among slaves and the poor.

These accessories, known as menefret or kholkai, reflected one’s place in the social hierarchy. Interestingly, some accounts suggest that anklets were linked to temple worshippers and even prostitutes, though these claims remain largely unverified.

Modern Evolution and Symbolism

Over time, the meaning of anklets has evolved significantly. In the 1970s, during America’s “sexual revolution,” anklets became symbols of female empowerment and liberation.

This era emphasised women’s freedom to express themselves, including their sexuality. Consequently, anklets began to carry connotations of promiscuity, especially within the “hotwife” culture.

The “Hotwife” Phenomenon

A “hotwife” refers to a married woman who engages in consensual extramarital relationships with her husband’s approval. Various anklet symbols reflect this dynamic:

  1. Two male symbols and one female symbol: Indicate openness to relationships with men of any race.
  2. Queen of spades: Represents a preference for Black men.
  3. Heart symbol: Suggests a happy marriage that includes mutually beneficial intimate relationships outside the primary partnership.
  4. The key to happiness: Denotes a marriage where the husband’s extramarital activities are contingent on his wife’s consent.

Anklets in Contemporary Nigerian Fashion

Today, many Nigerian women wear anklets purely for their aesthetic appeal, often unaware of the historical or cultural associations. For them, anklets are fashion accessories, not symbols of promiscuity or class distinction.

Despite lingering societal judgments, especially within conservative African contexts, it’s essential to recognize that fashion choices are personal.

Women should not face harsh criticism for wearing anklets, as these judgments stem from outdated or culturally irrelevant perspectives.

In conclusion…

Anklets are versatile fashion pieces that have transcended their historical roots. While some cultural connotations persist, modern women wear anklets to express their style and individuality.

It is crucial to separate fashion from judgement and allow women the freedom to make their own choices about their bodies and accessories.

Let’s appreciate anklets for what they are today: beautiful, empowering symbols of self-expression.

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AFRICAN

The Only 4 African Countries That Have Won Miss Universe Title

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African Countries That Have Won Miss Universe Title | fab.ng

While many African countries have sent representatives to the pageant, only a few have managed to clinch the coveted Miss Universe crown.

The Miss Universe pageant is one of the most prestigious beauty pageants worldwide. It has been a stage for countless beautiful women to showcase their elegance, intelligence, and talent.

1. South Africa

South Africa is the African country with the most Miss Universe wins. This stunning nation has produced four Miss Universe winners:

  • Margaret Gardiner (1978)
  • Demi-Leigh Nel-Peters (2017)
  • Zozibini Tunzi (2019)
  • Andrea Meza (2020)

These South African beauties have not only captivated the world with their beauty but have also used their platforms to advocate for important social causes.

2. Namibia

Namibia, a small country in Southern Africa, has also made its mark on the Miss Universe stage.

  • Michelle McLean won the Miss Universe title in 1992.

This stunning Namibian beauty brought pride to her nation and continues to be an inspiration to many.

3. Angola

Angola, a country rich in culture and natural beauty, has also produced a Miss Universe winner.

  • Leila Lopes was crowned Miss Universe in 2011.

Her win marked a significant moment for Angola and showcased the beauty and talent of African women.

4. Botswana

Botswana, a landlocked country in Southern Africa, may be small, but it has produced one of the most iconic Miss Universe winners.

  • Ntsepa Motsepe won the Miss Universe title in 1999.

Her win was a surprise to many, but it solidified Botswana’s place in the pageant world.

These four African countries – South Africa, Namibia, Angola, and Botswana – have proven that African beauty is truly global.

They have inspired countless young women across the continent and beyond to dream big and pursue their passions.

As the Miss Universe pageant continues to evolve, we can only hope to see more African countries adding their names to this prestigious list.

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