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FG To List Ojude Oba As UNESCO Approved Festival

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FG to list Ojude Oba as UNESCO approved festival | Fab.ng

On Tuesday, the Minister of Culture, Art, and Creative Economy, Barrister Hannatu Musa-Musawa, shared exciting news. He said the Federal Government is considering listing the annual Ojude Oba Festival of the Ijebu people in Ogun State as a festival supported by UNESCO.

Dr. Ben Ugo Anama, Director of Cultural Agencies and Heritage, who represented the minister, announced the 2024 Ojude Oba festival in Ijebu-Ode.

The minister stated that the festival aligns with President Bola Tinubu’s Renewed Hope Agenda. This aims to boost revenue from tourism to over $100 billion by 2030.

She described the Ojude Oba Festival as a key event that promotes national unity. Also, it has the potential to diversify the economy from oil, generating more revenue through tourism.

According to her, “Following President Bola Tinubu’s Renewed Hope Agenda, our ministry will work with stakeholders to promote, preserve, and protect our rich cultural heritage. This is part of our vision, Destination 2030, which aims to harness the potential of arts, culture, and the creative economy to drive economic growth, targeting over $100 billion and an increase in GDP by 2030.”

The minister emphasised that the agenda reflects a strong commitment to diversify the economy away from dependence on oil revenue.

While celebrating the people of Ijebuland for the success of the Ojude Oba festival and its positive impact on Nigeria’s image, Barrister Musa-Musawa noted that the festival has not yet received UNESCO approval.

She believes the Ojude Oba Festival, given its significant impact on tourism, deserves international recognition. Furthermore, she pledged to take all necessary steps to get it listed by UNESCO without delay.

What is the Ojude Oba Festival?

Deep in southwestern Nigeria, the Yoruba people of Ijebu-Ode celebrate a time-honoured tradition called the Ojude Oba Festival. This “King’s Forecourt” festival is an annual event steeped in history.

The celebration falls on a specific date each year. It happens on the third day after another major holiday, Eid al-Kabir, also known as Sallah or Ileya. This positioning creates a powerful link between the Ojude Oba and a widely observed religious holiday.

The core purpose of the Ojude Oba Festival is to pay respect to a revered figure: the Awujale and Paramount Ruler of Ijebuland, Oba Sikiru Adetona. It’s a day dedicated to honouring his majesty and showcasing the loyalty of the Ijebu people.

How is the festival celebrated?

The Ojude Oba Festival is a display of everything Ijebuland has to offer—its rich culture, traditions, and the talents of its people.

Yoruba Women at the Ojude Oba festival 2024.

Different age groups within the Ijebu community, known as “Regberegbe,” take centre stage. These groups are not limited to just the indigenous people of Ijebuland. Friends and associates from near and far are also welcome to join the festivities. Each Regberegbe group gets to proudly showcase themselves in the king’s court, parading in front of the palace.

The highlight for each Regberegbe group is receiving a special blessing from the king himself, the Awujale of Ijebuland. It’s a moment of deep respect and signifies the king’s recognition of their contribution to the community.

Also, horse riding is a major feature of the Ojude Oba Festival. Riders dressed in their finest attire add a touch of majesty and pageantry to the celebration.

Eleshin Family at the 2024 Ojude Oba.

The festival is a visual treat, with people adorned in gorgeous Yoruba attire. Expect to see a dazzling display of colours, fabrics, and traditional accessories. It’s a celebration of artistic expression and cultural pride.

Ojude Oba 2024

Following tradition, the 2024 Ojude Oba festival was held on Tuesday, June 18th, at the Awujale’s pavilion in Ijebu-Ode. This is how it has been for years. But this year’s celebration embraced the theme “Ojude Oba: Unity and Harmony, Our Gift.”

Indeed, the festival was a dazzling display of fashion, culture, and beauty. People of all ages came out in their finest attire, adding to the glitz and glamour of the event.

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ARTS & CULTURE

Why Ancient Africans Were Naked And Didn’t Care About “Decency”

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Why Ancient Africans Were Naked And Didn't Care... | fab.ng

In understanding why ancient Africans were naked, it’s essential to consider the practical and cultural factors. The hot climate in many regions, particularly West Africa, made full clothing impractical, leading people to adopt minimal attire.

Additionally, why ancient Africans were naked also ties into the normalcy of nudity in their societies; it was not seen as indecent but rather as a natural part of life.

Moreover, why ancient Africans were naked often related to social customs where clothing was reserved for specific ceremonies or status indicators.

As colonial influences grew, European ideals of modesty reshaped these traditional practices. Nevertheless, understanding why ancient Africans were naked would highlight a deeper connection to their environment, social norms, and identity.

Nigeria’s First Lady, Remi Tinubu, asserts that “nakedness is not in our culture,” reflecting a modern interpretation of cultural values. However, historical evidence reveals that the concept of clothing and nudity in Africa was much more complex and diverse.

Let’s take a detailed look at some of the historical reasons ancient Africans were naked and didn’t care…

1. Clothing in Hot Weather

In ancient African societies, especially in regions like West Africa, the hot and humid climate made it impractical to wear heavy or fully covered clothing.

People adapted to their environment by wearing minimal clothing to stay cool. Women typically wore wrappers around their waists or occasionally over their chests, while men donned aprons or loincloths.

Full-body coverings were rare and often reserved for specific occasions or elder members of the community. The emphasis was on comfort and practicality rather than modesty.

2. Nudity Was Culturally Normal

Contrary to the notion that nudity was taboo, many African cultures viewed it as entirely normal and even symbolic. This acceptance of nudity is reflected in the art of the time, where sculptures, carvings, and masks often depicted the human form in its natural state.

These representations were not considered indecent but rather celebrated as part of the human experience.

Furthermore, even today, several traditional festivals in Nigeria and South Africa feature women participating in rituals while partially or fully nude, emphasizing that nudity was a culturally accepted practice in certain contexts.

3. Ceremonial and Symbolic Clothing

In ancient African societies, clothing was less about everyday modesty and more about symbolism and status. Dress codes were used to indicate social class, gender, or cultural identity.

Jewellery, headgear, and specific garments were reserved for elders, chiefs, or individuals of higher status, while everyday clothing remained minimal for the general population.

During ceremonies such as weddings, people would wear elaborate attire that covered more of their bodies, but this was primarily for symbolic reasons rather than for modesty in daily interactions.

Colonial Influence on African Clothing Norms

The introduction of European colonial rule brought drastic changes to how Africans viewed clothing. Europeans, with their Christian ideals of modesty, often regarded African practices of minimal clothing or nudity as barbaric.

They imposed their standards of dress as part of their broader civilizing mission. This was particularly targeted at women, who were often sexualized and criticized for their traditional attire, or lack thereof.

From the 15th century onwards, as Europeans increased trade and colonization, they brought new fabrics, styles, and notions of modesty. Indigenous African attire evolved, incorporating textiles like cotton, wool, raffia, and later, wax prints.

These wax prints, now synonymous with African fashion (commonly known as Ankara), were not originally African but were influenced by the Dutch colonization of Indonesia in the 19th century.

Africans embraced these textiles and adapted them to fit their cultural identity, eventually making them integral to modern African fashion.

In Conclusion…

Today’s perspectives often emphasize modesty as an intrinsic cultural value. However, historical evidence shows that ancient Africans had a much more fluid and practical approach to clothing.

For them, attire was primarily about status, identity, and specific ceremonies, not necessarily about covering the body for decency.

The shift towards the modern view of modesty largely came about due to colonial influences, which reshaped traditional practices to align with Western standards.

So, while the First Lady’s statement aligns with current societal norms, it doesn’t entirely reflect the historical diversity of African clothing practices.

As it is understood today, the notion of modesty is a relatively recent development influenced by colonialism and the spread of Christianity and Islam across the continent.

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ARTS & CULTURE

Here’s The Interesting Story Behind The Word “Boycott”

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Captain Charles Boycott: Story Behind The Word "Boycott" | fab.ng

The term “boycott” is now widely used to describe organized acts of protest where people refuse to engage with a company, product, or country as a form of pressure. While it’s globally accepted today, the word’s origin is surprisingly interesting. It traces back to a British land agent named Captain Charles Boycott.

Who was Captain Charles Boycott?

Captain Charles Boycott, a British land agent working for Lord Erne, a wealthy landowner in Ireland, played a key role in this term’s origin.

In the late 1800s, Ireland was under British rule, and tensions between British landlords and Irish tenant farmers were high.

Many tenant farmers faced unfair practices, including high rents and frequent evictions, especially during economic hardship or crop failures.

In 1880, a year marked by poor harvests, tenant farmers struggled to pay their rent and had no option but to request rent reductions. They hoped their landlords would understand their difficult situation and offer some relief. However, things didn’t go as they had anticipated.

The Conflict with Captain Boycott

In September 1880, tenants on one of Lord Erne’s estates approached Captain Boycott. They asked for reduced rents to help them survive the economic downturn.

To their disappointment, Boycott refused to grant their request and proceeded to evict tenants who couldn’t pay. This response seemed especially harsh, considering the widespread poverty at the time. Consequently, the community decided it was time to take a stand.

Irish politician Charles Stewart Parnell proposed a unique form of resistance at this critical moment. Rather than resorting to violence, he suggested a strategy of social ostracism as a way to protest.

Inspired by his advice, tenants and the entire community began to ignore Captain Boycott entirely. Workers on the estate refused to labour in the fields, local shops stopped serving him, and even the local postman refused to deliver his mail.

The Spread of the ‘Boycott’

The community’s collective action against Boycott escalated quickly, leaving him unable to find anyone willing to harvest the crops on Lord Erne’s estate.

Desperate to salvage the situation, Boycott hired workers from other parts of Ireland, but they required military protection due to hostility from the locals.

This effort became so costly that it far exceeded the value of the crops, highlighting the effectiveness of the community’s stand against unfair treatment.

The unprecedented event attracted significant media coverage. Soon, newspapers across Britain and Ireland began using the term “boycott”. They use it to describe the community’s collective refusal to interact with Boycott.

As news spread, “boycott” rapidly entered the English language as a term for nonviolent resistance through social or economic exclusion.

This form of protest, now known as ‘boycotting’, gained traction far beyond Ireland. It became a powerful tool for people worldwide to stand against injustice.

Captain Charles Boycott died long ago, but people still use his name when they use the term ‘boycott’. It symbolises the power of organized social resistance.

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ARTS & CULTURE

Here’s The Tallest Building In Nigeria

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The Tallest Building In Nigeria | fab.ng

The tallest buildings often shape a city’s skyline, and Lagos, Nigeria’s bustling metropolis, proudly showcases this in its towering structures. Rising above the city, the tallest building in Nigeria, NECOM House, dominates the landscape with its impressive height and unique silhouette.

This iconic landmark, visible from miles away, has not only stood the test of time but continues to represent Lagos’s architectural identity and economic progress.

As the tallest building in Nigeria, NECOM House remains a powerful symbol of the country’s ambitions, offering a historical perspective amidst a modernizing skyline.

Indeed, the tallest building in Nigeria serves as both a structural feat and a testament to the city’s vibrant growth and resilience.

The Tallest Building in Nigeria

NECOM House, previously known as the NITEL Tower and NET Building, proudly holds the title of Nigeria’s tallest building. This impressive structure reaches a height of 160 meters (525 feet) and spans 32 floors, symbolizing Nigeria’s bold architectural pursuits of the 1970s.

Completed in 1979, NECOM House embodied Nigeria’s rapid economic growth and met the country’s telecommunications needs in an era of modernization.

Positioned strategically in Lagos, this towering building served as a hub for telecommunications and broadcasting and also rose high enough to function as a lighthouse beacon for Lagos Harbor—a unique feature among skyscrapers.

At its completion, NECOM House claimed the title of the tallest building in West Africa.

British architects Nickson and Borys designed it with a reinforced concrete frame that represented cutting-edge engineering for high-rise buildings of that time. The Costain Group, a prominent construction company, executed the project, incorporating a mast capable of supporting the heavy telecommunication and broadcasting equipment essential for Nigeria’s expanding communications network.

Despite its impressive stature and engineering, NECOM House has encountered challenges over the years. In 1983, a fire broke out on the upper floors, damaging offices and equipment. However, the building’s robust construction preserved its structural integrity, underscoring its resilience.

After extensive repairs and reinforcements, NECOM House resumed its role as a landmark of Nigeria’s architectural heritage, standing as a testament to the country’s determination and growth.

A Changing Skyline

Although NECOM House remains a significant landmark, Nigeria’s skyline continues to evolve with the development of newer and taller buildings. Notably, Lagos’s emerging financial district, Eko Atlantic, hosts the Champagne Pearl, a 34-floor skyscraper built in 2017.

However, at 134 meters (440 feet), it still falls short of NECOM House’s impressive height. As the city’s skyline grows, NECOM House maintains a unique place in Nigeria’s architectural and historical landscape. Also, it captures the spirit of a generation that sought to make a mark on the world stage.

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