Desola AkindeleWe had just come home for the holidays in December. Everyone had talked about how they were travelling overseas to spend their break. My Dad had also promised us we were visiting France this year. I had started learning some new words in French while in school in anticipation. On the morning after we got home, Dad came upstairs with a smile on his face. He asked about school, boys and some unimportant things. I was dying to hear the words, get packed, but it never came. Suddenly, Dad paused and with a deep sigh he delved into what I had wanted to hear. He explained how he had to be at Calabar throughout December, on the directive of his superior at work. After all, it wasnt what I had wished. My heart was now far away from all he was saying, my thoughts were on what I would tell my friends, that I didnt go to France' Chai, there is God.I also concluded that my father had a mean boss for cancelling my trip to France. My ears picked on some words from father; he promised that the trip to Calabar would be mostly fun and not about business. I was less concerned as the real plan had been aborted. What good can come out of Calabar'The next day on getting to Calabar, dad kept to his words by taking us to a gathering of people about to perform an annual festivalwhich was taking place on the Eke day.It was the 3rd annual International Ekpe festival organized by local Ekpe leaders. By the way, dad works for the government.At the gathering there were important dignitaries dressed in different regalia. I was concerned for some of the dressed dignitaries, in that they were heavily padded with clothes under the scourging sun. Importantly, I could tell my friends, I spent the break with senators, governors, and tourist from different parts of the world.I wanted to enjoy this to the fullest, so I decided to give curious attention to what was been done and questioned the old man seated beside us. My ipad was also on hand to give me info at every point in time. But nothing compared to being on ground. I was told that the Ekpe festival is one of the most popular festivals in these parts. It has been practiced for over 156 years.Ekpe festival is said to originate from the Cross River area. Ekpe spread to what is now the Southwest province of Cameroon and other areas and spread west towards what is now Abia and parts of Imo and Ebonyi state, largely due to the old Aro Confederacy.'Ekpe' means leopard and the many masquerades across the Bight of Biafra region, although differing in shapes and size, usually mimic the movements of the leopard.The old man hurriedly pointed out, with a stern look on his face that Ekpe is not the same thing as Ekpo, or Ekong, which are other societies in the Cross River basin, especially in Akwa Ibom State,Annangdo not practice Ekpe.He pointed out that this festival waspreceded by a free-for-all night of dancing and rehearsals for drummers, dancers, chorus leaders and their choric groups.As many choric groups performed, ranging from groups of elderly men or women to children's groups. I quickly acquainted myself with what Ekpe festival was all about.EgboorEkpeis a mysterious spirit who is supposed to live in the jungle and to preside at the ceremonies of the society. Members of the Ekpe society are said to act as messengers of the ancestors (ikan). The economics of the society is based on paying tribute to the village ancestors.Ekpe (low-low tone) should not be confused with Ekpe (high-low tone). The latter is a secret society which is exclusive to men, and which is also called Okonko in many parts of Igbo land.Ekpe is not confined to a religion or ethnic group. It was originally used as a way of enforcing laws.I saw young ladies simply covering their breasts with broad cloth exhibiting the intricate design of the tattoo on their skin and wondered if they could do this in Lagos. They wore large beads around their waist and their hair-do is strictly cultural.The masquerade then emerged from its abode.This masquerade is a wonderful example of African art. The hand crafted representation of the Ekpe masquerade can only be found in the remote villages and are carefully made by the villagers using dyed raffia and wool to create a true representation of the masquerade.This particular masquerade is steeped with cultural wealth and probably goes back to the time of the founding fathers. The Ekpe Masquerade is used in ceremonies, songs, dances and is usually accompanied by cultural drama. These masquerades also come out during chieftaincy coronations, seasonal celebrations and other important events. It is an important cultural event in the life of the Efiks and its roots are deep in traditional religion. The Ekpe Masquerade, the folklores (known as Ekong-Nkeh, Nke Ekong Abasi) and the Ikombi dance has won international recognition; they have become a form of entertainment in welcoming important dignitaries to the state and at events outside the state. It has become a trademark of the Efiks and is becoming more widely recognisedThe Ekpe festival, an action-packed festival with songs and dance, is one of such cultural events, and is very popular among the Ngwa of Igbo land. It is also widely celebrated in neighbouring areas such as the old Umuahia and Owerri provinces.As a festival, Ekpe is celebrated yearly because it is an important cultural event in the life of the people being the culmination of their year rites. Its roots are deep in traditional religion and ritual.It is only a tragic event such as the death of a village hero, or permission from the gods that can stop the staging of Ekpe.Different groups appeared to give their presentations. But the most important of all these groups is the group comprising men drawn from different quarters of the village who accompany the masquerade dancer and chief actor. Before noon on Eke day, this group rouses the village and begins the series of a circular movement designed to take them to the village square and out of it. It is led by a choric leader who, in the Greek sense, is the epheboi. The epheboi sings in praise of the village ancestors, especially those of them who had been chief actors, soliciting their blessings for the current chief actor and the village. Other choric groups of young men, women and children perform in the village square. They tour the village with the main drummers and not with the chief actor.This participation by these minor choric groups adds up to the communal significance of Ekpe. The only staging device of Ekpe is the "Arena staging" in its most traditional form. There is no raised platform for the chief actor or the drummers. Everybody is on the same level, including the spectators who have to peep over a forest of heads to see what is going on in the innermost circle enclosing the chief actor and masquerade dancer. It is significant that the old village shrine forms a background for the stage, with the drummers backing it and the chief actor facing it. It reminds one of the traditional Attic theatre thousands of years ago.The dance movements of Ekpe are the vehicles of plot advancement. The entry dance leads the chief actor to his ancestral shrine where he obtains blessings for a successful day's performance. The second dance movement is the climax of Ekpe. It marks the critical stage of the performance, and it is here that the chief actor's role as a communal representative becomes clear.As the music changes from "aja" into a more vigorous type, a sharpened knife is handed over to him. The chief guide admonishes him that "the village looks on to you." When the actor takes the knife, he moves round and round the sacrificial goat tied to a peg on the sacrificial spot trying to make a decision. He re-enacts an ancient sacrifice by their forebears during which a human being is sacrificed to the gods. After the chief actor has taken so many tours round the goat, he appears to make up his mind.He waits for the opportunity for the goat to stretch its neck, a propitious movement. All of a sudden, he takes a stance, bends and rises and then the sacrifice is done. The head of the goat is thrown up to show the audience amid volleys of gunshots and wild ecstasy. The sacrifice has been successful and the village can expect increase in crops, livestock and children during the coming year. As in most traditional African ceremonies, the costumes used for Ekpe are very colourful.The chief actor wears a white net-like mask covering from head to ankles.He carries a wooden figure of Ngwu on his head. Ngwu is one of the deities of Alumerechi. He is the symbol of traditional strength and power.The Ufo-bearer carries a magical concoction believed to destroy the power of charms. His costume consists of tattered rags and he smears his body with charcoal. Some comic asides are provided by the bow-man who carries a bow and some arrows and frightens the audience as he pretends to shoot into it. He looks funny with his white and black face and charcoal-smeared body. The element of disguise is very strong in Ekpe. Young boys usually disguise themselves as young girls by wearing ladies' dresses.The trick is so exquisitely done that a spectator cannot find out the truth. The masquerade has a big task of cutting the neck of his goat ONCE not twice. No masquerade has ever failed in achieving this feat. As the old man said, if the masquerade fails, the end of the world is here.Convincingly, I forgave my Dads boss. I am so happy to return back to school with the stories and what I had just witnessed. So when next you are thinking of a trip overseas for your holidays, remember my experience and know that the real adventure is in Africa.There is no place like home.The fun does not end here, Visit our E-paper - http://www.dailytimes.com.ng/article/daily-times-nigeria-e-newspaper-iss... to acess more articles.
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