Opinion
Consciousness And Traditional African Drama
Traditional drama is rooted in the cosmology of ethnic peoples. Some of them dovetail with religion or ritual. Modern Greek drama derives from the festival of Dionysus or Bacchus, a wine-god. Sheldon Cheney remarks that choric groups performed singing and dancing; any group that won was given a goat as a prize. The evolution of Greek drama and subsequently Modern Western drama has gone farther to add several other elements to the form – plot, characterisation, action, dialogue, suspense, foreshadowing, conflict, climax and resolution. These started with the efforts of Aeschylus, Sophocles and Euripides.
The Ijaw Ozidi Saga is an oral text which started from a vision of the Priest of Tarakiri in Orua. He became restless until it was performed as drama. It is a performance which is done for seven days and nights; performers sing and dance. Dramatic action is developed through initial conflict in selecting a king; this develops through exposition to further crises of clan and family until cleansing is done and resolution takes place. Okabou’s oral version has become popular through J.P.Clark’s research, documentation and publication . The Ozidi story has become known through the efforts of Clark and Ganagana in their works Ozidi and Ozidi Avenges. It is possible for other versions to emerge in the future.
Greek and Ijaw experiences are traceable to religions of the peoples who through the inspirations given them by their gods evolved traditional plays for relaxation, entertainment and education of their peoples. Their consciousness is religious but it does not mean that other plays are rooted in religion; some have emerged from the efforts of various persons.
Ekpe festival is linked to the god of Njoku, yam-god, whom Ngwa people of Ibo venerate. The drama is linked to the plot of the season; its first stage is done after planting crops, the second stage is the ceremony of ‘yam-slicing’ and the third is the enactment of the drama.
J.N. Amankulor argues that Ekpe Festival transcends mere festival to drama. People form choric groups and dance to honour ancestors. They dance and move to the play ground backing the village shrine. The first choric group is led by a chief actor as well as the second. The second is given the role of decapitation of the head of a goat tied to a stake. The actor watches it and waits for it to stretch its neck. He is expected to strike it at that moment with one stroke of the machete. His action is symbolic; if he succeeds it means prosperity and future bountiful harvest; if he fails it connotes inauspicious future and poor harvest. This is religious consciousness of the people who pray to the god of yam for bountiful harvest. Drummers, singers and dancers mime and utilise elements of drama to make the festival successful.
The Kalabari people believe in the dead and the existence of gods. It is from this consciousness that Ekine society has evolved its drama which has been discussed by Janewari in ‘The Opongi Maquerade Festival of Kalabari Ekine’ and Horn in ‘Ikaki : The Tortoise Masquerade’. These scholars have established the presence of traditional drama among the people. The plays use characterisation, dialogue, action, symbolism and setting to convey cosmology, life and literature of the people; the actors entertain members of the clan, re-live their religious life; their performances are a means of socialisation. Aesthetics, entertainment, education, dance, song and drama are united in one breathe.
Mii Giaa festival of Barayonwa Dere people is a cultural performance that is done annually during the third quarter of the year. Various masquerades are displayed during the festival: Gbaratela, Varasuube, Piirakpaige,Tuutuna, Erusake, Tekioko and Kpogba. The masquerades play various roles during the festival. Libation is poured to the gods in Baranyonwa Dere before the festival begins.
Gbaratela is the sport masker who chases people during the festival; they run away from him and try to avoid his hitting them with a shaven stem of plantain. The runners hoot at him when he fails to reach them, establishing that they are better runners. If he succeeds in hitting anyone, the people scatter in different directions and hail him.
Varasuube is the drama of existence in relation to labour, harvest and striving to succeed in life. He leads the people to a plantain tree on which there is a ripe bunch; he touches it with the horn of the mask, symbol of authority used for delegating power to the people to harvest it. They rain blows on the trunk until it falls, not cutting the trunk down with a machete; it is a dramatic action of harvest. When it falls down, they struggle over the fingers of the plantain. Persons who get many are regarded to be stronger and luckier than others.
Piirakpaige is the sport of fencing. Two persons engage in a duel fencing against one another with a referee standing by to separate them, when the game becomes dangerous; he ensures that no one is wounded in course of the play. One person carries a pot of fire on his head while fencing against his opponent; he also puts a green leaf in his mouth – he neither talks nor greets anyone, he demonstrates the serious action of combat practically and facially. The people watch the tense action anticipating the winner depending on the entrants into the competition because they are people they have known- their bravery, valour and competence. These are the criteria they use in judging but a battle is never over until it is seen on the play ground; members of the audience are co-judges with the referee. It is easy to know when one of the persons is always running away from the other or, he is the one who is always defending himself, while the other person is steady.
Kpogba mimes the action of motherhood. The masker is pregnant with child, carries an old raffia basin used for carrying kitchen utensils to farm. The masker is the symbol of mother heading to her farm to plant crops – a double role which the masker plays: mother of children, a means of procreation for the continuity of the race and, mother of the earth – earth being mother and a source of regeneration and fertility of crops.
Tekioko mimes the action of people exchanging fisticuffs. He carries an empty stem of crustacean with which he defends himself against the opponent’s blows. Any time the opponent attempts to hit him hard on any parts of his body, he wedges it off with the empty stem of crustacean. He is also a comedian who makes humorous remarks but, everyone watches him carefully to avoid his wrath or jovial hard knocks which he often directs to the head.
Young persons who grow into the culture learn the consciousness through listening to the songs of Gbaratela, participating in the festival as drummers, singers, dancers, runners, maskers and audience. It is a period of conviviality, re-union and relaxation of all interested persons from the community, who have not lost interest in the festival because of Christianity, education and urbanization.
Barine Saana Ngaage
Opinion
Wike VS Soldier’s Altercation: Matters Arising
The events that unfolded in Abuja on Tuesday November 11, 2025 between the Minister of the Federal Capital Territory, Chief Nyesom Wike and a detachment of soldiers guarding a disputed property, led by Adams Yerima, a commissioned Naval Officer, may go down as one of the defining images of Nigeria’s democratic contradictions. It was not merely a quarrel over land. It was a confrontation between civil authority and the military legacy that still hovers over our national life.
Nyesom Wike, fiery and fearless as always, was seen on video exchanging words with a uniformed officer who refused to grant him passage to inspect a parcel of land alleged to have been illegally acquired. The minister’s voice rose, his temper flared, and the soldier, too, stood his ground, insisting on his own authority. Around them, aides, security men, and bystanders watched, stunned, as two embodiments of the Nigerian state clashed in the open.
The images spread fast, igniting debates across drawing rooms, beer parlours, and social media platforms. Some hailed Wike for standing up to military arrogance; others scolded him for perceived disrespect to the armed forces. Yet beneath the noise lies a deeper question about what sort of society we are building and whether power in Nigeria truly understands the limits of its own reach.
It is tragic that, more than two decades into civil rule, the relationship between the civilian arm of government and the military remains fragile and poorly understood. The presence of soldiers in a land dispute between private individuals and the city administration is, by all civic standards, an aberration. It recalls a dark era when might was right, and uniforms conferred immunity against accountability.
Wike’s anger, even if fiery, was rooted in a legitimate concern: that no individual, however connected or retired, should deploy the military to protect personal interests. That sentiment echoes the fundamental democratic creed that the law is supreme, not personalities. If his passion overshot decorum, it was perhaps a reflection of a nation weary of impunity.
On the other hand, the soldier in question is a symbol of another truth: that discipline, respect for order, and duty to hierarchy are ingrained in our armed forces. He may have been caught between conflicting instructions one from his superiors, another from a civilian minister exercising his lawful authority. The confusion points not to personal failure but to institutional dysfunction.
It is, therefore, simplistic to turn the incident into a morality play of good versus evil.
*********”**** What happened was an institutional embarrassment. Both men represented facets of the same failing system a polity still learning how to reconcile authority with civility, law with loyalty, and service with restraint.
In fairness, Wike has shown himself as a man of uncommon courage. Whether in Rivers State or at the FCTA, he does not shy away from confrontation. Yet courage without composure often feeds misunderstanding. A public officer must always be the cooler head, even when provoked, because the power of example outweighs the satisfaction of winning an argument.
Conversely, soldiers, too, must be reminded that their uniforms do not place them above civilian oversight. The military exists to defend the nation, not to enforce property claims or intimidate lawful authorities. Their participation in purely civil matters corrodes the image of the institution and erodes public trust.
One cannot overlook the irony: in a country where kidnappers roam highways and bandits sack villages, armed men are posted to guard contested land in the capital. It reflects misplaced priorities and distorted values. The Nigerian soldier, trained to defend sovereignty, should not be drawn into private or bureaucratic tussles.
Sycophancy remains the greatest ailment of our political culture. Many of those who now cheer one side or the other do so not out of conviction but out of convenience. Tomorrow they will switch allegiance. True patriotism lies not in defending personalities but in defending principles. A people enslaved by flattery cannot nurture a culture of justice.
The Nigerian elite must learn to submit to the same laws that govern the poor. When big men fence off public land and use connections to shield their interests, they mock the very constitution they swore to uphold. The FCT, as the mirror of national order, must not become a jungle where only the powerful can build.
The lesson for Wike himself is also clear: power is best exercised with calmness. The weight of his office demands more than bravery; it demands statesmanship. To lead is not merely to command, but to persuade — even those who resist your authority.
Equally, the lesson for the armed forces is that professionalism shines brightest in restraint. Obedience to illegal orders is not loyalty; it is complicity. The soldier who stands on the side of justice protects both his honour and the dignity of his uniform.
The Presidency, too, must see this episode as a wake-up call to clarify institutional boundaries. If soldiers can be drawn into civil enforcement without authorization, then our democracy remains at risk of subtle militarization. The constitution must speak louder than confusion.
The Nigerian public deserves better than spectacles of ego. We crave leaders who rise above emotion and officers who respect civilian supremacy. Our children must not inherit a nation where authority means shouting matches and intimidation in public glare.
Every democracy matures through such tests. What matters is whether we learn the right lessons. The British once had generals who defied parliament; the Americans once fought over states’ rights; Nigeria, too, must pass through her own growing pains but with humility, not hubris.
If the confrontation has stirred discomfort, then perhaps it has done the nation some good. It forces a conversation long overdue: Who truly owns the state — the citizen or the powerful? Can we build a Nigeria where institutions, not individuals, define our destiny?
As the dust settles, both the FCTA and the military hierarchy must conduct impartial investigations. The truth must be established — not to shame anyone, but to restore order. Where laws were broken, consequences must follow. Where misunderstandings occurred, apologies must be offered.
Let the rule of law triumph over the rule of impulse. Let civility triumph over confrontation. Let governance return to the path of dialogue and procedure.
Nigeria cannot continue to oscillate between civilian bravado and military arrogance. Both impulses spring from the same insecurity — the fear of losing control. True leadership lies in the ability to trust institutions to do their work without coercion.
Those who witnessed the clash saw a drama of two gladiators. One in starched khaki, one in well-cut suit. Both proud, both unyielding. But a nation cannot be built on stubbornness; it must be built on understanding. Power, when it meets power, should produce order, not chaos.
We must resist the temptation to glorify temper. Governance is not warfare; it is stewardship. The citizen watches, the world observes, and history records. How we handle moments like this will define our collective maturity.
The confrontation may have ended without violence, but it left deep questions in the national conscience. When men of authority quarrel in the open, institutions tremble. The people, once again, become spectators in a theatre of misplaced pride.
It is time for all who hold office — civilian or military — to remember that they serve under the same flag. That flag is neither khaki nor political colour; it is green-white-green, and it demands humility.
No victor, no vanquish only a lesson for a nation still learning to govern itself with dignity.
By; King Onunwor
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