ARTS & CULTURE
Olubadan, Ladoja Absent as Ajimobi Crowns 21 New Oyo Obas
Published
8 years agoon
By
FAB
Twenty-one newly elevated High, Obas, Chiefs and Baales in Oyo State received beaded crowns and staff of office at the ancient Mapo Hall in Ibadan on Sunday.
The event was observed under a tight security. However, the Olubadan of Ibadanland who was the father of the day, Oba Saliu Akanmu Adetunji Aje-Ogungunniso 1, and the former Governor of the state, Senator Rashidi Ladoja, the Osi Olubadan, who was among the elevated obas were absent.
At exactly 2: 24pm, the new staffs of office of different colours, heights and shapes emerged at the event while the new monarchs filed in and paraded at exactly 2:42pm. Quite conspicuous were two types of crowns: pure white crowns and multi-colour crowns.
Of concern was the thickness of the cloud which scared the crowd in attendance. But Governor Abiola Ajimobi of Oyo State dispelled the fear saying, “I want to tell you that this rain will not fall. The magicians who want to use their magic to make the rain fall will not succeed”.
Ajimobi assured Olubadan that the elevation of some of his high chiefs would not affect his entitlements which he referred to as “Isakole”, warning him against being used and misguided by some disgruntled politicians.
“After this event, I will pay a visit to Olubadan to greet him and explain things to him. He is a good father. But let me tell him to be weary of some politicians who have surrounded him with the aim of misleading him. We beat him in politics and this time around, we have beaten him again”.
Performing the official presentation of the staff of office to the new monarch, Ajimobi said, “On this note, in the exercise of the powers conferred on me by Section 28(i) Cap. 28 Vol. 1 of the Chiefs Law of Oyo State of Nigeria 2000, I have promoted 33 Chiefs to Obas in Ibadanland today August 27, 2017. This is in line with the provisions of the recently amended 1959 Declaration of Olubadan and other related Chieftainship in Ibadanland, and the Government White Paper as conveyed in Government Gazette No 14, Notice 27 Vol.42 of 23rdAugust, 2017 and Gazette No 15 Notice 28 Vol. 42 of August 24, 2017 respectively”.
The governor charged the new obas to use their elevated royal positions to promote peace and unity of the citizenry, urging them to desist from anything capable of tarnishing their esteemed position.
He added, “We also congratulate the Olubadan of Ibadanland and advise that Kaabiyesi should remain the father of all Ibadan citizens and not allow himself to be used by disgruntled politicians as observed in his recent utterances which tend towards the political. It should be noted that Obas are not expected to play politics”.
The governor, who declared that he was overwhelmed by a deep sense of history, culture, and tradition, noted that the event marked a turning point in the history and cultural heritage of Ibadanland, saying, “It is a day that great sons and daughters of Ibadanland have come together with a strong sense of patriotism, assembled in the historical, cultural and symbolic Mapo Hall to elevate, to uplift, to transform, to reposition the chieftaincy Institution of Ibadanland. Our resolve to reposition the Ibadan Chieftaincy institution is substantiated by the words of the famous author, Henry James when he said “A tradition is kept alive only by something being added to it”.
He said, “I am therefore highly delighted to be here at this momentous occasion where history is being made in Ibadanland. Today, we are all gathered to witness the crowning ceremony, presentation of certificates and staff of office to the high chiefs who are members of the Olubadan – in Council and 13 Baales in Ibadanland who have been elevated to the position of obas. This is an epoch making event in the annals of the history of Ibadanland and a practical demonstration of our administration’s commitment to the enhancement of dignity and honour of the chieftaincy institution in Ibadanland and Oyo State in general”.
He stated categorically that his administration was not changing history, tradition and culture of Ibadanland, rather, elevating and consolidating traditional institution, the exalted position of the Olubadan of Ibadan as the Imperial Majesty in Ibadanland, the Olubadan-in-Council and the chieftaincy institution without altering or tinkering with the traditional succession and ascendancy system of the Olubadan Chieftaincy Structure.
ARTS & CULTURE
Ijele Masquerade: The “King Of Masquerades” In Igbo Land
Published
3 months agoon
December 21, 2024By
wpadminee
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.
Read more on culture here.
ARTS & CULTURE
Does Anklet Really Signify Promiscuity?
Published
3 months agoon
December 7, 2024By
wpadminee
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:
- Two male symbols and one female symbol: Indicate openness to relationships with men of any race.
- Queen of spades: Represents a preference for Black men.
- Heart symbol: Suggests a happy marriage that includes mutually beneficial intimate relationships outside the primary partnership.
- 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.
Read more articles here.
AFRICAN
The Only 4 African Countries That Have Won Miss Universe Title
Published
3 months agoon
December 7, 2024By
wpadminee
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.
Check here for more articles.
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