ARTS & CULTURE

The world took notice of African art, music because of Fela, says Ambode

Published

7 years ago

October 16, 2017

FAB.NG

Lagos State governor, Mr. Akinwunmi Ambode, yesterday, said Fela Anikulapo-Kuti, popularly known by his first name, Fela, deserved to be celebrated with many monuments because he made the world sit up and take notice of the energy of African art and music.

Speaking at the unveiling of an effigy to immortalise Fela on his birthday, Ambode maintained that fela was an enigmatic artiste, who used the platform of his art to agitate for social and human rights by challenging the government and people to explore development through social and economic activities that are rooted in African values.

The governor, while noting that Fela would have been 80 years next year, said for his contribution to music, art and entertainment in Lagos, Nigeria and Africa, the Lagos State government believed he should be immortalised.

According to Ambode, Fela deserves to be celebrated with many more monuments and different artistic expressions. “Today, he is still alive in his music and in the music of Femi, Seun and other artistes who have followed his style of music. Fela will forever be accorded his position in the Global ‘Hall of Fame’ of artistes.

“The phenomenon that the world knows as Fela was deeply rooted in the evolution of Lagos State. The story of music, art, entertainment and tourism in Lagos and Nigeria cannot be told without an eloquent mention of the ‘Abami eda’.

“On this day, October 15th, which would have been Fela’s 79th birthday, the government and people of Lagos State celebrate Fela with the unveiling of this Liberation Statue,” Ambode said.

For the governor, though it has been 20 years since he passed on, the memories Fela left remain evergreen. “Today we celebrate a man who voluntarily turned his back on a life of comfort and privilege, and took up his saxophone as a weapon to fight for the liberation of our people from neo-colonialism and bad governance.”

Ambode said the Liberation statue unveiled was not an image of Fela but a symbol of Fela’s philosophy. “This artwork was created as a form of respect and remembrance to this legend; what he stood for and fought for with his music; his mythology; struggle for freedom; fight for human dignity; social consciousness; courage and Pan-Africanism.”

Speaking on behalf of the Fela Kuti family, Yeni Kuti, thanked Ambode for putting up the effigy. She disclosed that Fela never liked statue, so Fela would be happy that a monument put up to celebrate him was an effigy of his costume.

The Special Adviser to Governor Akinwunmi Ambode on Arts and Culture, Mrs. Adebimpe Akinsola, revealed that in the last two years, Ambode has given artists room to express themselves like never before.

According to her, Fela is part of the Lagos success story because it was the space he used to express his thoughts about the dignity and value of Africa.

After unveiling the effigy, the governor went to the Kalakuta Museum where he was received by Fela family members, including Femi, Yemi and Seun. Dignitaries at the unveiling included Femi Falana, Pa Benson Idonije, Jahman Anikulapo, Olu and Joke Jacobs, among many others.

Meanwhile, few minutes after they left the annual Felabration at the New African Shrine in Alausa, Ikeja, the duo of Moshood Olowu and Olasunkanmi Ogundipe along with their accomplices, who are now at large, allegedly robbed commuters in different parts of Lagos.

While Olowu and Ogundipe carried out their operations in Ketu and Ojota areas of the state respectively, another suspect, 22-year-old Rasak Adebola, was arrested by operatives of the Rapid Response Squad (RRS) in a separate incident for bag snatching.

It was gathered that 24-year-old Olowu and 26-year-old Ogundipe and their two other accomplices, now at large, left New African Shrine and were heading to Ikorodu through Ojota when they committed the crime.

Olowu said: “We were at Ojota around 5:00a.m. after leaving Felabration venue to board a bus to Ikorodu. I dipped my hand into another passenger’s pocket when we were rushing the bus. I removed his phone and passed it to my colleagues, Ayobami and Jide.

The owner held my hand and prevented me from joining the bus. Ayobami and Jide, who I gave the phone to, went away while RRS policemen who were passing by arrested me.”

Olajide on his part said he was in company of nine other accomplices from New African Shrine when they accosted one Pastor Adetayo Samuel, who was waiting to board a bus to Ibadan at Old Toll Gate, Ketu and collected three mobile phones from him and N6,000.

He said: “We fled the scene immediately and we broke into three groups. We were trailed by RRS patrol team, who received complaint from our victim. They arrested me while I was trying to board a bus to Ibafo.”

Confirming the incidents, the state Police Public Relations Officer, ASP Olarinde Famous-Cole, said the three suspects would be transferred to the State Criminal Investigation Department (SCID), Panti, Yaba, for further investigation and prosecution.

– Channels

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ARTS & CULTURE

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

Published

4 weeks ago

December 21, 2024

Adaeze Okechi

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.

ARTS & CULTURE

Does Anklet Really Signify Promiscuity?

Published

1 month ago

December 7, 2024

Adaeze Okechi

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:

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.

AFRICAN

The Only 4 African Countries That Have Won Miss Universe Title

Published

1 month ago

December 7, 2024

Adaeze Okechi

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.