Senior lecturer, Chukwuemeka Odumegwu Ojukwu University, Igbariam Campus, Anambra State an.achebe@coou.edu.ng<\/p>\n\n\n\n

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Anselm Nnamdi Achebe (Onowu Omor)<\/strong>, Author<\/p>\n<\/div><\/div>\n\n\n\n
Introduction<\/strong><\/p>\n\n\n\n
Ajanaukwu Omor as the name implies signifies Supreme god of Omor. This supports the claim in Echeruo (1973:20) to the effect that Chukwu as Supreme God, is relatively newcomer in Igbo religion. Echeruo states quite emphatically that \u201cthere is no capital letter God among the Igbo outside Ala, and that \u201cGod among the Igbo, is certainly nothing but God of the Christians\u201d. In the same way, in Omor, (olden days) they regard \u201cAjaanaukwu\u201d as their Supreme god and as such celebrate it annually. Being handed down to them by their fore-fathers, they observer its ordinance quite meticulously.<\/p>\n\n\n\n
Ajaanaukwu is an annual festival that is chiefly celebrated by Omor Community and her neigbouring communities in attendance. It is a festival that was handed down to Omor by her ancestral father. The participating communities in the festival include the eight communities that make up Ayamelum and other communities like Nando, Aguleri, Igbariam etc. They come to watch the numerous activities that feature in the festival.<\/p>\n\n\n\n
From all the aforementioned communities, the people who celebrate it most are the pagans who equally worship the Ajaanaukwu deity. They come to perform one kind of rite or the other at the same time, participate in some of the activities therein. They always come to participate every year. Having made friends amongst the people, they stay as long as the festival is on-going. The conviviality is better witnessed.<\/p>\n\n\n\n
Historical Background to Ajaanaukwu Festival<\/strong><\/p>\n\n\n\n
The only available account about the origin of Ajaanaukwu is that the forefathers of Ayamelum gave the \u201cOku Ajaana\u201d (symbol of authority) to Omor his first son and instructed him to be observing it\u2019s worship annually. He charged him that a religious of the \u201cOku\u2019\u00a0 annually would protect them from wars. That as a god of security, he would be protecting them from both internal and external aggressions, including evil spirits and deceases. That the celebration of the festival annually is in commemoration of his death. The Oku Ajaana should be kept away from enemies as it\u2019s loss would spell doom to the community and Ayamelum in general. There is similarity between the \u2018Oku Ajaana of Omor and the Jewish \u2018Ark of God\u2019s (2nd Samuel 6:2)<\/p>\n\n\n\n
\u00a0Omor comprises four quarters \u2013 Orenja, Akanator Aturia and Amikwe in their order of seniority. Akanator (felt to be the strongest) was asked to keep the Oku Ajaana. This was done to ensure maximum security of the Oku. However the priests and other messengers of the deity are selected from among the four quarters in Omor through casting of lots. The Oku Ajaana remained in Akanator enjoying her worship annually. This continued until when as a result of incessant wars, it was moved to Amaokpala in Orenja. The same story has it that this Oku aided Omor in winning many wars that confronted them this period until the last war they fought with Ogurugu. Their battle with Ogurugu tagged \u2018Onoja Oboli\u2019 was so fierce that Amaokpala and Umunnadi became quite skeptical of Omor\u2019s victory and so arranged and moved the \u2018Oku Ajaana\u2019 inwards to a hiding place. When the war eventually ended in Omor\u2019s victory, the people returned to make sacrifices to the god who led them through the war only to discover that the Oku was no longer there. They continued to search for it when Umunnadi arrived and told them why it was removed by Amaokpala and himself. He equally took them to the place they hid it.<\/p>\n\n\n\n
The congregation approved of their decision and decided to leave the Oku at this new place. They casted lot and selected Chief Okafor Obidigwe as the new chief priest of the Oku Ajaana now named \u201cAjaanaukwu\u201d since the former chief priest died in the war. Chief Okafor Obidigwe (the new chief priest) had no child some years after marriage.The couple tried every known means to no avail. This made them to accuse the people of Amaokpala (their kingsmen)of being responsible for their misfortune. Consequently they decided to leave the village.They fled to a nearby village Umuokpojadi. Okafor carried along with him the Oku Ajaana and kept it at a forest in Umuokpojadi where they settled finally. Okafor bore a son at his new settlement and named him Udemezue meaning my fame has gone round. Okafor later died and his son Udemezue was picked and made the chief priest of Ajaanaukwu. The forest where the Oku Ajaana is kept became known and called Ovia Ajaanaukwu (Ajaanaukwu Forest) till date. Near the forest also is a village square called Ama-Umuogbu where Ajaanaukwu Festival is celebrated annually till date. We can now see the reason for Ama-Umuogbu. The chief priest also performs so many functions as he continues to attend to numerous customers who come to complain of one problem or the other.<\/p>\n\n\n\n
Preparations for Ajaanaukwu<\/strong><\/p>\n\n\n\n
Ajaanaukwu is celebrated between February and March each year. Though preparations span over a long period of time, the activities intensify as the period draws nearer. This is because it involves the entire community and entails a variety of activities.<\/p>\n\n\n\n
Ajaanaukwu is celebrated for only three days but people use up to nine months or thereabout to prepare for it. Ajaanaukwu is celebrated after observing the following process:<\/p>\n\n\n\n
(i)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pre-festival Rituals:<\/strong> Rituals according to Mbiti (1981) is a system of carrying out a religious action or ceremony. He further postulates that rituals is a means of communicating something of religious importance through oral performance, action, or symbol. The pre-festival ritual in Ajaanukwu agrees entirely with the idea above. It is the most elaborate preparation which runs almost throughout the year. Various cult functionaries (Nd\u1ecb pa Ajaana) meet with chief priest of Ajaanaukwu to offer prayers to the gods of the community.<\/p>\n\n\n\n
As the period of the festival approaches, the various cult functionaries undergo days of fasting and abstinence from women. The chief priest and his priests abstain from eating food prepared by women and even from sexual relationships. They spend most of this period in prayers and personal sacrifices to gods. They perform rites to ward off evil spirits and to also protect the community for all forms of profanities. A successful conclusion of these rite(s) guarantees a successful festival that year.<\/p>\n\n\n\n
(ii)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Preparation of Costumes, Props and Sets<\/strong><\/p>\n\n\n\n
This involves all the visual effects such as costumes, make ups, drums and general cleanliness of the environment. The best dress makers are engaged in broidering the dresses needed during the festival while old ones are dusted and kept in better conditions. The village artists who are engaged by the village whose turn it is to present masquerade that year make new carvings and weaving as only the best is deserved.<\/p>\n\n\n\n
(iii)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Scheduling:<\/strong> The Ajaanaukwu is part of Omor traditional calendar. Even though it take place annually, the month varies. Once the moon is sighted by Umuokpanta kindred in Orenja village, they inform the Ogbaneri Age Grade who will then fix the festival three native weeks (about twelve days) from the day the moon is sighted.<\/p>\n\n\n\n
(iv)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Rehearsals:<\/strong> Webster (2012) sees rehearsal as an activity in performing arts that occurs as preparation for a performance in music, theatre, dance, and related arts such as Opera, music, theatre and film production.<\/p>\n\n\n\n
Rehearsals in Ajaanaukwu involve almost every day activity. During the holidays (after harvest), people meet in groups to practice dance steps. A great deal of singing, drumming and playing of flutes is done. Then, as the festival approaches, the groups meet in their rehearsals grounds (Akwule) for an intensive practice session. These rehearsals and tryouts are necessary to achieve a high level performance.<\/p>\n\n\n\n
Ajaanaukwu festival<\/strong><\/p>\n\n\n\n
Ajaanukwu festival as mentioned earlier begins with the sighting of the moon by the Umuokpanta kindred in Orenja village. It is their sole responsibility as the oldest kindred in Omor to do so. As soon as the moon is sighted, they inform the Ogbaneri Age Grade who will then fix the date for three native weeks from the day the moon is sighted. Hence, the chief priest will prepare for own \u201cIgba ji\u201d which normally, is done on orie day preceding the orie Ajaanukwu. On that day, he makes presentations of yams, cows, goats and even fowls to Ajaanaukwu deity thanking him for his protection and provisions the year round. The assisting priests and other functionaries make several presentations supporting the chief priest and of course, they will stay behind to enjoy the meal.<\/p>\n\n\n\n
The ceremony is performed to prepare the minds of all and sundry towards a hitch-free celebration especially, as the festival accommodates a whole lot of eating together, exchange of various food items and other performance which are to be considered below.<\/p>\n\n\n\n
Masquerades<\/strong><\/p>\n\n\n\n
During Ajaanaukwu festival, all categories of masquerades are on display. The village whose turn it is, to present masquerades that year make sure that the entire community is on-going with different performing masquerades. The masquerades that feature here ranges from elegant masks, wonder making masks to masks that dramatize masculine strength. Ijele masks also grace the Ajaanaukwu festival.<\/p>\n\n\n\n
Ogbagidigidi Performance<\/strong><\/p>\n\n\n\n
This is a chant and performance by able bodied young men in Omor. The words being chanted maybe believed to have some magical power. The people that perform Ogbagidigidi include the Okwomma Age grade (where the youth age ended) through the Isi-Agana Age grade (the beginning of youth). Isiagana as mentioned above are the youths who are warming up to be classified into Age grades after a specified period of time.<\/p>\n\n\n\n
The above group of people dress like warriors and carry war instruments like matchets, dane guns, sticks of various sizes. They match in groups chanting war songs while imitating warriors who are in real war situation. They match from various villages to Ajaanaukwu shrine where they perform one or two war struggles in performance before retiring to the \u201cAma Umuogbu\u201d for a more elaborate performance. The chant and the group struggle in performance is called \u201cOgbagidigidi\u201d.<\/p>\n\n\n\n
During this performance, the leader carries an \u201cIkpeke\u201d (symbol of strength) with his left hand and maintains that until the end of the performance. Usually, he leads the procession and he determines the movement of the crew vis-\u00e0-vis: crawling, moving in zig-zag or single file etc. The most importance of this performance is to showcase the strength of Omor Community. It equally shows Igulubeism (unequalled population) of Omor town.<\/p>\n\n\n\n
Ilo Ajana Nri<\/strong><\/p>\n\n\n\n
Ilo ajana nri is done by the chief priest with his attendant priests and the audience there present. Ajaanaukwu\u2019s own share of the cooked food and meat are presented before it. After the ilo ajana, the people present will share and eat the food that is presented to the Ajana. The masquerade performance as mentioned earlier is witnessed on the Eke market day succeeding the orie Ajaanaukwu after which, the festival for the year comes to an end.<\/p>\n\n\n\n
Elements of Drama in Ajaanaukwu<\/strong><\/p>\n\n\n\n
Knowledge of several definitions of drama by different scholars especially the argument between the relativist school and the evolutionists over what should be called a traditional drama in Africa would help reveal that Ajaanaukwu festival is dramatic. Enekwe\u2019s position seems to be more germane when he says\u201d \u201cActor, space and audience are the three quintessential conditions that govern theatre. It therefore means that, these three elements, if well blended, make a performance considered as \u201cdrama\u201d (Enekwe, 1987).<\/p>\n\n\n\n
Ajaanaukwu does not only blend these three elements, it also brilliantly merges all the different forms. Infact, it is total theatre because, it embodies communal participation, rituals, songs, dance, costume, make-ups, and even dialogue. All these elements interplay to mould the performance into a dramatic whole. It equally incorporates all the other qualities of a drama which include: plot, character and characterization, stage, audience and audience participation.<\/p>\n\n\n\n
Conclusion<\/strong><\/p>\n\n\n\n
Drama in Ajaanaukwu festival is oral not written. It has been transmitted from generation to generation. The Igbo traditional society is characterized by a conscious gravitation towards new reality, new order, or a conflict between convention and change, or order to disorder. Ajaanaukwu performance orchestrates this condition. It instigated temporary schism or disruption of social order so as to bring about a more conducive order or new reality.<\/p>\n\n\n\n
Recommendations<\/strong><\/p>\n\n\n\n
Theme in Ajaanaukwu border on heroism and her-worship, achievement and well being, play writes can exploit these themes and develop some of the legends, myths and stories into drama.<\/p>\n\n\n\n
Also, the youths in Omor should participate actively in this festival because, it makes them identify with their culture. Their active participation ensures continuity in the performance since the present performers would soon expire as a result of old age.<\/p>\n\n\n\n
Ajaanaukwu Festival if properly harnessed, could attract investors that would put Omor on the map of tourism in Nigeria.<\/p>\n\n\n\n
Also, the dance in Ajaanaukwu Festival should be choreographed so that no matter what changes occur, aspects could only be added and not subtracted from the dance pattern.<\/p>\n<\/body>","protected":false},"excerpt":{"rendered":"
Anselm Nnamdi Achebe (Onowu Omor) Senior lecturer, Chukwuemeka Odumegwu Ojukwu University, Igbariam Campus, Anambra State an.achebe@coou.edu.ng Introduction Ajanaukwu Omor as the name implies signifies Supreme god of Omor. This supports the claim in Echeruo (1973:20) to the effect that Chukwu as Supreme God, is relatively newcomer in Igbo religion. Echeruo states quite emphatically that \u201cthere<\/p>\n
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