MODERNITY AND ITS IMPACT ON EKUECHI FESTIVAL AMONG THE EBIRA-IHIMA OF KOGI STATE IN THE 21ST CENTURY

MODERNITY AND ITS IMPACT ON EKUECHI FESTIVAL AMONG THE EBIRA-IHIMA OF KOGI STATE IN THE 21^ST CENTURY

George Adava Ayo

Department of History and International Studies

Federal University Lokoja, Nigeria

George.ayo@fulokja.edu.ng

&

Abdullahi Musa Yusufu, PhD

Department of History and International Studies

Federal University Lokoja, Nigeria

&

Jamiu Itopa

Department of History and International Studies

Federal University Lokoja, Nigeria

Abstract

Celebration of festivals is an integral aspect of cultural lives of a society from the ancient time. In many African societies, culture represents a way of life. While some of these practices could be shrouded in mysteries, others are exhibited in the glare. Cultural practices vary from one society to another; they take place at different seasons, times and periods of the year, depending on their significance. This work attempts to examine one of such cultural heritage among the Ihima people in Okehi Local Government area of Kogi state, Nigeria. Ekuechi festival is one of the major cultural celebrations in Ihima which characteristically, features the coming out of masquerades accompanied with rituals, sacrifices, artistic display, music, pump and pageantry. However, over the years the usual glamour, rituals and sacrifices that accompanied the celebration of festival have been beclouded with modernity and political intrigues. The influence of Islam and Christianity has introduced some elements of changes in the festival as the people no longer accord it the desired respect as was the case in the time past. Adherents of these religions openly challenged the rituality of the festival. Besides, custodians of Ekuechi has allowed the infiltration of modern politics into its practice. The masquerades were used for political vendetta as perceived opponents were openly challenged using the festival as a tool.  This paper therefore examines the origin of the masquerade cults, preparations, organization, myths involved, significance and its impact on the people of Ihima. We shall also interrogate the influence of Islam and Christianity in the practice of Ekuechi. It is hope that this paper shall contribute to the growing number of literature on the Ihima people. The work draws it sources from primary data. This is achieved through oral interview and observatory participation method. While various secondary sources were consulted especially literature on the Ebira people.

 Keywords: Ekuechi, Festival, Ihima, Masquerade.

Introduction

Festivals are age long tradition meant to commemorate the ancestral spirit and also to herald the emergence of new epoch or harvest. It is usually colourful and very entertaining. It encompasses some high level of spirituality, adored with masquerades of varying sizes and colours and also singing and dancing which form part of the ceremony. In Africa, traditional festivals form an essential part of their culture. From the birth of a child to adulthood he or she witnesses several ritual and festivals. While some festivals mark the beginning of farming activities, others mark the end of the harvest season. Ihima is an Ebira traditional District located in Okehi Local Government Area of Kogi State, situated in the North Central Nigeria. Ihima which is located in an undulating valley surrounded by hills lies between 60 and 80 north of latitude, between 60 and 100 east longitude. And in a distance of about twenty-seven kilometers southwest of the Niger-Benue Confluence¹ Important land marks in the history of a traditional society are usually marked by festivals. Ekuechi, one of the major festivals which take place in Ebira land is not an exception. Among the Ihima people of Ebira land, Ekuechi festival is an annual traditional festival celebrated in commemoration of the ancestral spirit. It entails the coming out of the night masquerades, of which only men are expected to participate in except very few supernaturally gifted women called Onoku that are meant to see the masquerades.² However, significant impact began to be noticed beginning from the 2005. Adherents of the modern religions of Islam and Christianity began to challenge the basis of the festival and it’s spirituality. Things that were hitherto sacred about the festival began to face imminent challenges, metamorphosing into rivalry and chaos among the indigenous people of the modern faiths and the custodians of Ekuechi as shall be x-rayed in the subsequent discussion.

The Myth on the Origin of Ekuechi Festival

 There are a few accounts of how Eku masquerades started in Ebira land, however, the differences in these accounts are not fundamental. Generally, IrebaEku (masquerade cult) was believed to have been founded under the divine instruction of God to check the excesses of women, apart from serving as a medium of ancestral contact, myth has it that after creating man and woman as husband and wife, God afterward, sent for the Man but he was too busy to honour the call. Instead, he requested his wife to heed God’s call on his behalf, since his wife has the capacity to manifest supernatural power for her husband. Having discovered the power inherent in the supernatural and fascinated by what she saw, she decided to hid the secret in her uterus and later swallowed it without giving it to her husband. She thereafter became quite powerful, performing supernatural feats like turning into any animal and changing back to human being.³

 She could instantly grow wings to fly around in astral travels, and also capable of all sort of mysterious transformations. Her husband became envious of her powers. In sympathy, God enabled the husband to create the Eku masquerade cult from which women membership became discouraged as a counterforce to the power the women possess.⁴

Corroborating the notion of Eku as a counterforce on witchcraft, the Adeika of Eika, the traditional chief of Eika clan in Ebira land in an interview said that “Eika is the senior clan in Ebira land and Ekuechi originated from them”.⁵ Furtherance to this, is a tradition generally believed by the Ebira people both oral and written. According to this tradition, Obaji and Ododo, sons of Itaazi were said to be the progenitors of Eku. These were brothers that constantly antagonized each other on account of seniority contest. But seniority was generally conceded to Obaji when he took ill and was about to die. His brother, Ododo, said he would not like Obaji to be his senior here on earth and again be his senior in the great beyond Idenaku. Ododo then decided to switch his identity with his dying brother. When Obaji died, Ododo put on costumes of Eku and women were made to believe that Ododo rose from the dead. So, Obaji became the senior of the living, while Ododo became the senior of the dead in the world beyond. ⁶             

Ododo’s son took Obaji’s daughter for a concubine when Obaji’s daughter told Ododo’s son of her father’s illness, Ododo’s son went home to relay the information. Ododo in envy opined that Obaji who is his senior in the human world will again be his senior in the world beyond Idaneku. Therefore, Ododo passed on before Obaji. His children made Eku out of him. The third day, Obaji also passed on.⁷ The mystery surrounding the emergence of a living soul contending for seniority in the world of the dead remains unravel in the same way the conversion of a living soul into masquerade and reconverting to the living is also shrewd in mystery. However, this tradition even though appears to lack adequate substance and/or explanation when subjected to thorough historical interrogation, but it however remains the available explanation as to the origin of Eku in Ebira land.

Preparation for Ekuechi Festival

The Ekuechi festival is synonymous with Eku cult. The festival is celebrated within two days. The first day is called eve celebration called Unehe, both male and female take part in the actual festival day, but the great night is only for men and some privileged women (Onoku) and Epahi. The afternoon of the preceding great night is marked by several sacrifices of goats, rams chickens, depending on individual or community financial capability.⁸ Women and children are usually given their own share of the meat, and the rest meat kept by the elder for the ancestors. Investigation reveals that Ekuechi festival is preceded by an Unehe event called Ikede which provide avenue for social interactions between friends, relations and visitors.⁹

In the evening of the great night, Agidibo (a kind of metallic wide pipe beaten to produce a sound which serve as warning signal) is beaten at strategic area within the community so that everyone can hear, thus signaling the beginning of the great night as the sound penetrate the locality, all females, except the privileged women will have to remain indoors, as it is considered a taboo for women to sight them. The Ahete or Ekuahete facekuerade will after third minutes of the sound penetrate the locality to break the silence calling Ododoo! Ododoo!! I am sent by Ododoo, the Ahete enters every house as deserved to advice landlords on how to go about the following year.¹⁰ The Ekuahete serves as the forerunner to the commencement of the event proper.

Structure and Organization of Ekuechi Festival

Structurally, Ekuechi proper is preceded by an eve called Unehe event. This is a musical and dance concert (Ikede) that involves both men and women. It is an entertainment that provides an avenue for social interaction between both sexes and to form new ties of friendship among indigenes and visitors. It is a highly specialized performance with its artistic merit worthy of scholarly attention. The impact of this eve is not only to signify the beginning of Ekuechi festival, but to also give the people a psychological boost for the highly ritualistic event, that provide them with the opportunity to commune with their ancestors. This is further strengthened by consultation with Ovavo (diviners) who project into the feature of the festival and the people.¹¹

After the celebration, sacrificial prescription could be made to avert any looming danger, placate the gods and ancestors, and purify the land and the people. In the evening of the Ekuechi day proper, Agidibo is beaten at strategic points within the community so that everyone can hear. This is warning sign for the women folks and little children to retreat indoors. Flurries of movements are noticed as the women who have been cooking for their husbands to host the ancestors hurry up to terminate their domestic activities and retire indoor. Uneasy atmosphere follows because of the expectation of Ekuahete (path-clearing facekuerade character) whose source of evidence is concealed and unknown. The whole community fears him because of his weird appearance and mysterious way of emerging.¹²

The horrible noise Ekuahete produces and the sharp blazing cutlass he carries which is meant to hack down any obstacle on its way further intensifies its awesomeness. Clad in several strings of small metal gongs Ireha and palm fronts, every aerie sound is produced as Ekuahete strike a big metal gong and he runs all over the community.¹³ It is forbidden for him to look back, this is a symbolic path clearing for the ancestors that are being expected. No mortal dares to stand on Ekuahete route; else he can behead such a person and anoint his head with the victim’s blood. However, there is no record of such in modern times. When Ekuahete finishes his ceremonies, it become the turn of katapa facekuerade to commence his; they are the embodiment of the spirit of dead women who on this nifty unit as co-wives exchange banter and throwing tantrums. This demonstrates the age long rivalry among co-wives in polygamous settings. They visit people from one house to another to moan, curse, praise or wail, depending on what they apprehend in each house.¹⁴

 In the process, they satirize people in the immediate neighborhoods who are known to have violated certain societal norms or moral codes, thereby providing leverage for social counting. It is also significant to note that their appearance signifies for the women fold indoors that Ekuahete has concluded his rounds. Thus, the coast is clear for them to come out of their houses to prepare for the star event of this festival, the performance of Ekurahu.¹⁵

Several Ekurahu’s exhibit their artistic talents during this festival; each has a well-organized group of supporters which are there to bolster the competitive standing of their facekuerade. The garment of their organizational requirement entails dense spiritual firework and extemporaneous ritual activities as occasion may require. The importance however is to reveal the competitive sense inherent in the performance. This also establishes the main reason behind the intense preparation usually witnessed among participant audience to the facekuerade during Ekuechi festival.¹⁶

 Apart from classified groups of supporters, there are other spectators who come from far and near to witness and seek entertainment from the festival. To be entertained thoroughly means getting involve in a way because the entertainment values of the performance are best felt in effective audience participation. Thus, most members of the audience are easily integrated into the performance proper, because of the dynamic nature of the performance which has communal disposition, that leaves a vacuum to be creatively filled by any partaker in the artistic experience.¹⁷ This is also true of most Nigerian communal celebrations as Qucio Dagon expresses for every Ekurahu, the following levels of organized supporters are mandatory; anchormen, security men, club members, active and passive spectators.¹⁸

 Anchormen: These are men with a lot of spiritual strength, acquired sorcery and herbal art. They serve as the henchmen of Ekurahu; they are usually six in numbers. They provide protections to the Ekurahu against any spiritual attack from another Ekurahu, witches and other demonic forces believed to hover around the scene of performance in this night of ancestral interaction. That is why both the anchormen and the custodians of Ekurahu usually engage in a lot of divinations, sacrifices and rituals virtually on a daily basis throughout the year before the main singing performance, and they stay close to the singing facekuerade on stage.

Security men: These are able bodied men often retired soldiers, hunter or men otherwise tested in warfare, they are also said to have metaphysical powers, which confer supernatural vision on them while in action. Their presence can stand down the spirit of non-initiates, their main duty is to maintain law and order, protect and defend all participants and spectators, attack and eject from the scene of performance of foreign or obstructing elements. It is forbidden to incur the wrath of these men. Traditionally, the roles were reserved for Akisobe (hence security officers).

Club members: The club system was primarily instituted to bring together all key participants, (very small size) responsible for the organization of the Ekurahu performance. It started as an informal gathering committed to enjoying a successful outing for the Ekurahu, mainly comprising non-literate cultural vanguards. The club provided a forum for sorting out traditional and significant rites that were intended to uplift the performance of the raconteur facekuerade and to ensure some measure of safety because of the dense spiritual network that surrounds the facekuerade performance. There are offices ranging from Chairman to Treasurer and standby order to guide their proceedings at meetings, most of the members are youths of the land who are also usually from the linage clan of the custodian of the facekuerade. There are those who do not belong to the linage clan but are committed members.

The names of the club are always called after the name of the reencounter facekuerade, e.g. Arijenu wealthy boys club, Anuva boys club, under sixteen boys club, basket boys club, etc. it is worthy to note that it is from this club members that security men are mostly recruited. All other engagement necessary for the effective performance of the Ekurahu are assigned to other club members. They serve mainly as charm groups strategically positioned within the performance venue to help echo all songs; they are organized accordingly to their age grades.

Active and passive spectators: Active movement in the performance is voluntarily, active and passive involvement usually overlaps without clear distinction. The engagement of participants, audience in the performance is usually impulsive and spontaneous as occasioned by the mood of the festival and the invigorating nature of the performance itself. What one finds is constant engagement in action and constant relaxation as each player disengages.¹⁹

As obtained in modern conception of theatre practice, there is a period of intensive rehearsal, designing for the performance and assembling or building of all necessary props, costume and other artistic paraphernalia. This intensity is further reinforced by the competitive nature of the night facekuerade performance. Prominent personalities in each clan therefore, readily commit time, material and financial resources to avert corporate failure. Each group can also go to any length to ensure victory. They spy on each other artistic and organizational strategies, try through diabolical means to render other redundant and invalid during performance and also fortifying themselves against such diabolic effects. The weaker ones will always succumb.²⁰

Three stages of rehearsals are discernible. The first stage starts about six months to the festival period with the custodian of the singing facekuerade and the anchormen only rehearsing on a regular basis for about three months. This restriction is placed to enable the anchormen give their blessing to all the songs before they become open to wider audience. The aim is to avoid satiric songs that could generate crisis within the clan and the community at large. This means that the anchormen have the power to censor any song that is considered offensive in whatever manner. This evaluative role is very important, because over the years offended personalities ridiculed by the songs have organized public mob to attack any household where the audio tape of the songs were played. Sometime, houses were raised down by fire and usually followed by counterattacks. Ambushes were laid, and lives and properties were lost. Such antagonism could be carried over to the next festival if community and clan leaders did not wade in timely to resolve the differences. It is therefore, not uncommon to find several cases of litigation in courts of law within the community after the festival. These also account for the reason why government has on few occasions moved in promptly to ban the festival,it is for this reason that every Ekurahu group put in place an internal self-censoring mechanism spearheaded by the anchormen. This has helped in drastically reducing the rendition of caustic invective, and the sometimes overtly over-zealousness of the competing groups.

The anchormen also suggest to the custodian, who like most other are illiterate. They also select and arrange sonorous and energizing songs for the intermission procession and the grand finale of the facekuerade performance. As soon as the anchormen are satisfied with what the singing facekuerade has to offer, the next face of rehearsal begins.²¹

This second stage is when the custodian assembles the entire club member to teach them his songs. This is also done for about three months before the performance. But the regularity and the intensity of rehearsal increase when it is about six weeks to performance day. It is very important that all the club members are song-perfect before the performance, because the participant-audience depends on them to learn the song during the performance,²²  these explain why they are usually placed strategically in groups around the performance venue in the midst of the participant-audience.

Nevertheless, it is always very amazing how the participant-audience learn the song only after about two or three repetition. It is important to note that these songs are not communally derived, as in most other African festivals, but are originally composed. This is one dynamic elements of the performance.

Premium is usually place on this phase of rehearsal, because how well songs are rendered, echoed and chorused are some of the major indices upon which the facekuerades’ performance quality are intuitively rated within the community.²³ Apart from the songs, no other part of performances is rehearsed, not even dance and drumming. Given the dexterity with which dances, music and other displays are done with artistic symmetry during the performance, it is difficult to acknowledge them as unrehearsed pieces. This level of artistic involvement is very impressive; as it provide another dynamic element in the performance.

The third stage, approximates the final dress and technical rehearsal and on the eve of the performance are sorted out, fun and funds are also generated. For example, mock court sessions are sometimes organized with trump charges. Once charged, one is inadvertently guilty and fined, the culprit can hardly escape this penalty. In most cases wealthy patrons are often the target. This action portrays the fund-raising motive of the enactment. For the first time, drums are introduced and people are allowed to dance. In a sense, it is not a rehearsal but rather a complement that signals to the community the level of preparedness of the reencounter facekuerade. It is also a promotion aimed at attracting more spectators than the other rival facekuerade for the event proper.²⁴

All rehearsals take place in a strictly secluded venue. The first stage rehearsal takes place in an inner chamber of a household, because of the limited number of people involved. The second and third stage are conducted in the groves and hillside located at the outskirt of the community. It is from here that a procession of singing, dancing and drumming heads back to town and provide a foretaste of the event. The artistic performance is also in three phases with an intermission of procession in between each phase, to play home to the elders and dignitaries in the society. Gifts ranging from money to material items like clothing, foodstuffs and furniture, are mostly gained during this period which is credited with special power to protect the lives of those devoted to it.²⁵Ori (Spirit Cult) is also a channel of reaching out to Ohomorihi (Supreme God). The main purpose of coming out of Ekurahus is to pray, conjure and supplicate for assistance from their guiding spirit, mother earth, henchmen and women. The procession to Inori from the “emerging grove” of the facekuerade could last thirty minutes, depending on the distance in between the two and the agility of the custodian. Usually, because of the multitude of people around, the procession is prolonged. However, the anchormen and the security men create movement space for the raconteur facekurade and prevent people from crowding around him.²⁶

Upon arrival on Inori, absolute silence is observed with the striking of big metal gongs (Use). They are believed to poses the metaphysical powers, which compel utter silence when stuck. With this silence, certain propitiation right are performed which mainly involve the breaking of kolanuts (Irevu) and pouring of libation of palm oil mixed with salt (ohinae) on a designated spot. This is followed by a long rendition of praise chants. These chants are rendered to eulogies God, mother earth, elders, women, men, young and old, Ododo and Obaji (the forerunner of the Eku masquerade cult).²⁷ The whole chants is rendered in a spontaneous overflow of powerful emotion. This goes on until the creative feat gathers more momentum and reaches crescendo, crystalizing into a stylize dance to which others join to mark the end of the praise chant. More songs are rendered for about one or two hours before the performance in Inori ends. From here begins the intermission procession that take Ekurahu round the community to greet and sing their fresh melodies to their supporters before they retire to their respective platforms to commence the next phase of performance.²⁸  He displays his virtuosity in singing and his artistry in dancing. These are moments of artistic splendor when the muses of creativity are believed to be in total control. At such moment, the facekuerade is seen to ingeniously combine several intricate dance steps in a most arresting manner that promotes the participant-audience to spontaneously join the performance. Generally, Ekurahus render songs in praise of Ohomorihi Ovaraka hiduma, Ogodogodo onuvoza ometu (God Almighty, the Most High), as well as worthy personalities to the individual musicians, especially, those who have given them one level of assistance or the other. They also cure and vilify those they consider morally depraved, evil and obstructive to the progress of the society.²⁹

The final phase, which is the grand finale, takes place during the early hour of the morning at the market square, which is wide enough to accommodate all the singing facekuerade participating in the festival and their numerous supporters.³⁰ Every facekuerade has a designated spot for his group, where a platform is also erected for him. This is the climax of the performance where the performances of all the facekuerade are assessed and judged.  Though, there is no appointed team of assessor, it is easy for all present to reach a consensus on who the winner is, judging from what they see and hear in terms of artistry and aesthetics of performance. For instance, the custodians of Arijenu and Avereho were topmost archrival artists of Ekuechi festival. Besides, they both came from two well-known clans in Ihima; Ohonwa and Emani. Through their illustrious activities, they projected their clans on the forefront of Ebira socio-cultural and socio-political settings.³¹

Significance of Ekuechi Festival in Ihima       

In Ebiraland, festivals are not for fun only, but bear some deeply rooted social-spiritual effects that usually have a boost on the lives of the people. The festival encourages cooperate ethnic participant in terms of preparation and presentation. Thus Ekuechi festival has a variety of significance among the Ebira people. The festival marks the end of an Ihima year and the beginning of another year. It marks the return of the ancestors to the land of the living and celebration of the lives of the deceased old men. Through the Ekuechi festival, the live of the community and social values are renewed. It is a thanksgiving feast for the co-existing of the people of Ihima and honours to the deities. ³²   The people also use the occasion to solicit blessing from God or the departed. The festival brings together the people of Ihima as a group, thus strengthening their unity and cohesion in most instances.

The artistic talents are utilized to the full through the performance of Ekuechi art, music and oral communication. Through Ekuechi festival, the link between human being and spirit is renewed, despite the fact that the two worlds are kept at a healthy distance from each other without interfering each other. Without festival, life will be dull as humans we need some relevant festival, it gives both solemnity and laughter for both active and positive participants. During Ekuechi festival, people spend their time and wealth in making and buying of many festival objects which improves economic development of the area.³³ this goes to show that festivals are source of communal reunion and an avenue to bring life back to the community. It takes people from the hard day’s job and creates in them a sense of relaxation.

The period also provide avenue for exchange of pleasantries and also interchange of gifts such as kegs of palm wine or guinea corn and also present gifts to their in-laws. Food and meat were cooked for consumption during the activities, they as well visit each other and, in some instances, some have found suitors which eventually led to marriage from friend’s family. This was a great festival that unites the entire people of Ihima and also creates in them a sense of communal life.³⁴ Above all, it is interesting to observe that several churches and Islamic group in Ihimaland in their mode of worship are now adopting Ekuechi musical style, both in song and instrument. The importance is to win and to retain more converts, since every Ihima person seems to have innate attachment to Ekuechi musical genre. Through this, a new convert may not feel completely detached from his cultural root. With this level of commitment, it might be misleading to see Ekuechi festival strictly as religious practice, it is rather a fulfillment of social obligation that is rooted within the believe system of the people which also reconcile them with their ancestral decent while for grounding their cultural heritage.³⁵

Impact of Ekuechi Festival in Ihima Land

Ekuechi festival in Ihima is not just a mere merrymaking occasion as some people take it to be, but it has immense socio-economic, political and cultural impact on the people of Ihima.

The Socio-Cultural Impact of Ekuechi Festival on the People of Ihima Land

Ekuechi festival helps to promote Ihima culture, since various groups which attend and perform cultural dance, demonstrate through their manner of dressing, dancing and singing shows that Ekuechi festival in Ihima land is unique and important.

In the learning of the traditional religion, the learner is thought how to pray, dance, sing, sacrifice and how to sit. He also learn how to chant some incantations, myths and legend and how to preserve some secrets objects and able to say some rituals.³⁶

Furthermore, Ekuechi festival serves as one of the most important means of propagating history. In the past, Ihima had no documented history, until recent times. It should be noted that information is often transmitted through the medium of songs and music that is a major feature of these festival. Again, this festival creates an atmosphere of friendliness between and among the people thereby fostering unity. The position of the traditional rulers tends to be reinforced through the mechanism of cultural rituals. This helps in enhancing peace and order in their respective areas of jurisdiction.³⁷ Ekuechi festival is the most eagerly-awaited and the most remembered for its cohesive force throughout Ebira land. This is because it is an identity–promotion event that engenders togetherness and brotherhood and foster clannish cohesion among the Ebira people. It is also a stock taking period for an average Ebira man, when life travails, achievements and successes are reflected upon. Whatever one does during the year, it is during this time of the year that people come to account for all that they have been doing in the past months to the community.³⁸

They come together and rejoice together, drink together, play together and make all sorts of merriment. It is also worthy to note, that during this festival, people suffering from one ailment or the other received their healings. Those who also preserved to be punished for breaking societal norms are adequately reprimanded through the oracular (prophetic) and retributive powers of Eku respectively. Furthermore, the festival promotes economic drive, because it encourages mass planting of crops (yam, beans, palm produce, corn, pepper and vegetable) to be used during the festival as sacrifice, as ritual object and food to entertain guests. This therefore implies hard work on the part of the farmers who see it as their responsibility to provide this food items for the entire community at this crucial period.³⁹

While some farmers in the neighborhood receive gifts of crop they did not have or harvest, through this means, varieties and plenty of food items are provided for in the entire community for celebration. Secondly, the main actors of the festival receive gifts from several household according to their performances and talents. This is reminiscent of the practice of the Alarinjo itinerant theater group in the south west Nigeria. Sometimes the costumes of some Eku singers and other financial obligations are taken care of by any well-disposed wealthy men. Some of the items used for rituals have assumed essential roles in the lives of the people. These are all food products with significant functions and properties in the respect.⁴⁰ For instance, the Ekurahu feeds the ground with some palm oil and salt, which is the most important cooking ingredient for the Ebira. Thus, the supplications accompanying these rituals, seeks calmness of life and joy in the entire land throughout the season. Alligator pepper is used to counter forces against any danger that might disturb the festival. Prayers are offered with kola nut for long life, protection and are sheared among the audience.

Most marriages are also contracted at this time of the season.⁴¹

Impact of Religions on Ekuechi

Masquerade festivals might be essentially a socio-cultural affair; however, it has several impacts, both on social, political, economic and cultural lives of the people. For instance, the Ekuechi festival in Ihima has impacted on the religions of the people. Ekuechi as an ancient tradition consist essentially in the worship of Ori” (an ancient idol), and “Eku” dead re-incarnates and this meant that the festival occurs following the traditional religious beliefs of the people. This spiritual practice soon began to face some challenges occasioned by the adherents of the modern religions. Most acts viewed as sacrilegious by the custodians and adherents of Ekuechi were challenged by these groups in the open.

Islam and Ekuechi Festival

The emergence of the 1804/05 Jihad of Uthman Dan Fodio from the Sokoto Caliphate influenced the spread of Islam to Ebira Land. Islamic religion soon pervaded people of Ebira especially the Ihima people and thus, many people soon became worshippers of the God as prescribed by Islam, and soon many people started to mix the practice of Ekuechi and their Islamic religion, that is why today, it is very common to have people bear Muslim names in Ihima but still participate in “Eku” traditional festival.⁴²However adherent of Islamic religion and their leaders (Mallams) began to preach in the open on the evils inherent in the practice of Ekuechi and how Islam abhore the mingling of Islam with Traditional worship. This open preaching gradually degenerated into open confrontation. Furthermore, because of the perceived contradictions in the doctrines and practices of the two activities of Ekuechi and Islam, there had always been a tensed atmosphere of conflict between core adherents of Islam and core adherent of Ekuechi. The resultant effects of such was seen in an open confrontation between die-hard followers of Islam and custodian and followers of Ekuechi which in most cases resulted into killings and mass destruction of properties as witnessed in 2005 and 2007, to such an extent that some street in Ihima were branded abodes of Islam and such Ekuechi festival masquerade were hindered from performing in such street.

Christianity and Ekuechi Festival

In similar vein, Christians in Ihima do not welcome the idea of such cultural festival. Most of them stand on the biblical warning of staying away from any activity that contravenes their faith, and judging by the rituals and nature of sacrifices that go along with the Ekuechi festival, the adherent of Christianity sees it as an area to be avoided completely. The adherents of Christianity believe such rituals are idolatry, hence, is against biblical injunction. Some Christian leaders have preached against some cultural practices like the Ekuechi festival supporting their positions with biblical references that instructed that Christians should keep away from idolatry. However, it has also been observed that Christian gospel singers in Ihima have adopted the style of music played during the Ekuechi festival; (ikede). The only difference however, is the adoption of gospel or biblical lyrics, but the rhythm are the same. This is believed to have made those who have converted to Christianity, to still feel at home.         

The Impact of Ekuechi on Socio-Political Developments of Ihima and its People

It is a common belief in some societies in Africa that the dead come back to life as masquerade. It is therefore considered as a basis of spiritual link between the dead and the living. Apart from the above, it also has socio-economic and political impact. Before the advent of the modern calendar, the end and the beginning of each year were known through festival. It is during this festival that all sons and daughters of the soil troop home from all walks of life for other important ceremonies apart from the festival, to attend family or clan meetings, funerals and all sort of ceremonies. It is an opportune time to come in contact with old friends and learn something with each other. Furthermore, the coming of the festival is seen as a time when the Ihima people take collective major political decision for instance, if ever there had been people or any group known for wickedness or wicked act among the Ihima people, the whole community would go there, and together with the masquerade, they will warn the perpetrators of such to desist from the acts or face judgment.⁴³

Equally, important political decisions affecting the community are addressed during the festival. This encourages cohesion and provides an enabling environment for major political decision to be mutually taken. This enhances cordiality and provide basis for political alignment and growth among the people. 

The Challenges of Ekuechi Festival in Ihima Land

It should also be noted that the Ekuechi festivals have been greeted with attendant challenges, such as physical clashes among some clans in Ihima, especially when the singing masquerades resorts to abusive songs against the other clan or family. Also, the claiming of superiority and power over the entity had in some instances led to rivalry and clannish acrimonies that have come to hinder progress and resulted to crises leading to the destructions of lives and properties worth millions of naira in Ihima land. The uncontrolled temper, vendetta and victimization have led to the festival losing its avowed followers resulting into its suspension by the government on several occasions. This situation happened in 2005 – 2007 during the Ihima crisis, lives and properties were destroyed.⁴⁴

In Ihima, there are two major clans that are constantly on each other’s throat, and it has become very difficult for them to agree on several issues. The clans are Ohionwa and Emani, and they have supporters from the rest of the clans, which aggravated the situation that led to the Ihima crisis of 2005 – 2007, that almost ruined the entire Ihima community.

Another major challenge confronting the festival is the advent and spread of western culture and civilization. Because of the influence of western culture and civilization, the level of attention and seriousness given to the festival in Ebira land has declined. This is because some of the chief priests have now converted to either Islam or Christianity and no longer wish to participate in traditional activities because; it is against their new religious belief. Again, some traditional rulers and the king of the entire Ebira land also take less seriousness in celebrating the cultural festival in Ebira land, all these contributed to the declining nature of Ekuechi festival in Ebira land.⁴⁵

 Moreover, the western culture, civilization and religions, tends to create an atmosphere for more ties and friendliness among the people of Ihima, as against the competitive nature and dimension of the festival that has spiraled into conflicts among clans. The people began to feel that western civilization and religions appear to unite them better.

Another problem that militates against Ekuechi festival is the activities of unauthorized masquerades, which have no base or house for keeping their costumes and thereby, can easily breach law and order of the festival. These kinds of masquerades are regarded as fatherless masquerades, because, there is no one to report them if they cause any trouble or problems in the process of performing, because they lack identity and so cannot be apprehended easily.

Conclusion

From the forgoing is evidently clear that Ekuechi was and remains a vital socio-cultural festival of Ihima people and by extension a sizeable proportion of Ebira land. Its practice indicates a high level cultural and spirituality among its adherents. It was and still continues as unifying forces, helped in checking and moderating the life style of the people and serve as a connecting avenue between the living and the dead. However, the various crisis as evidence in most of the festival period was an indication that behind mutual respect and cordiality, custodians and some adherents used such occasion to unleashed terror on their perceived enemies which resulted in loss of lives and destruction of properties worth millions of naira. As indicated in the preceding paragraph, this situation has forced government of Kogi State to suspend the festival on many occasions. Equally, the impact of modernization and globalization has had its toll on Ekuechi festival. The emergence of Islam and Christianity in the early part of the 20^th Century and their teachings and believe in one supreme God had wane the participation and influenced Ekuechi on the people. People who ordinarily feared the custodians of the masquerade now begin to challenge them by calling them all manner of names and branding them as evil perpetrators. All these, in a nutshell have reduced the vibrancy and followership of Ekuechi even though it has impacted positively in some cases on the lives of the people.    

Endnotes

1. A. A. Okene, The Transformation of Ebira Land 1890-1960. Ph.D Thesis, Bayero University, Kano, 1995. P.38
2. Ododo Sunday Enesi, Facekuerade Theatre:A Performance Model from the Playing and Technical Aesthetics of Ebira Ekuechi Festival in Nigeria. Ph.D. Thesis of the Universities of Ilorin, 2004 p. 122.
3. Omeiza Momoh. Socio-cultural impact of festivals in Ebira land: A Case study of Ekuechi Festival. B.A Hons, Project of Kogi State University, Anyigba. 2008, p. 35.
4. Ododo Sunday Enesi. Facekuerade Theatre: A Performance Model from the Playing and Technical Aesthetics of Ebira Ekuechi Festival in Nigeria. p.123.
5. Ododo Sunday Enesi. Facekuerade Theatre: A Performance Model from the Playing and Technical Aesthetics of Ebira Ekuechi Festival in Nigeria. p.123.
6.  Interview with Sanni Momoh Omuha, 70 years, Farmer, Ihima, 25^th Jan, 2016.
7. Interview with Obaro Peter, Ihima, 68 years, Farmer, 15^th   March, 2016.
8. Interview with Abdulrahaman Sanni, 40 years, Teacher, Ihima, may 20^th 2016.
9. Interview with Sanni Momoh, O, Ihima, 70 years, Farmer, 5^th April 2016.
10.  Interview with Obaro Peter, Ihima , 68 years, Farmer, April 6^th 2016.
11. Ododo Sunday Enesi. Facekuerade Theatre: A Performance Model from the Playing and Technical Aesthetics of Ebira Ekuechi Festival in Nigeria. pp. 142-143.
12. Ododo             Sunday Enesi. Facekuerade Theatre: A Performance Model from the Playing and Technical Aesthetics of Ebira Ekuechi Festival in Nigeria. P.p.143-144.
13. Ododo Sunday Enesi. Facekuerade Theatre: A Performance Model from the Playing and Technical Aesthetics of Ebira Ekuechi Festival in Nigeria. pp.144-147.
14. Ododo Sunday Enesi. Facekuerade Theatre: A Performance Model from the Playing and Technical Aesthetics of Ebira Ekuechi Festival in Nigeria. pp. 147-149.
15. Ododo Sunday Enesi. Facekuerade Theatre:A Performance Model from the Playing and Technical Aesthetics of Ebira Ekuechi Festival in Nigeria p.150.
16. Omeiza Momoh. Socio-Cultural of Festival in Ebira land. A Case Study of Ekuechi Festival, B.A Project, Kogi State University, Anyigba.
17.  Habib Angulu. Sociology of Ebira Tao People of Nigeria, Kogi State. Okene. Habib Angulu Sanni and Sons Enterprise, Nigeria, 1993. p.5.
18. Ododo Sunday Enesi. Facekuerade Theatre: Theatre: A Performance Model from the Playing and Technical Aesthetics of Ebira Ekuechi Festival in Nigeria. p.171.
19. Omeiza Momoh Jimoh. Socio-Cultural Impact of Festival in Ebira Land, A Case Study of Ekuechi Festival, B.A. Project of Kogi State University, Anyigba, p.52.
20. Ododo Sunday Enesi. Facekuerade Theatre: Theatre: A Performance Model from the Playing and Technical Aesthetics of Ebira Ekuechi Festival in Nigeria. p.172.
21. Ododo Sunday Enesi. Facekuerade Theatre: Theatre: A Performance Model from the Playing and Technical Aesthetics of Ebira Ekuechi Festival in Nigeria. p.172.
22. Ododo Sunday Enesi. Facekuerade Theatre: Theatre: A Performance Model from the Playing and Technical Aesthetics of Ebira Ekuechi Festival in Nigeria. P.p.172-173.
23. Ododo Sunday Enesi. Facekuerade Theatre: Theatre: A Performance Model from the Playing and Technical Aesthetics of Ebira Ekuechi Festival in Nigeria. p.174.
24. Ododo Sunday. Enesi Facekuerade Theatre: Theatre: A Performance Model from the Playing and Technical Aesthetics of Ebira Ekuechi Festival in Nigeria. p.174.
25. Interview with Sanni Abdulrahaman, 45 years, Farmer, Ihima, 21^st Feb, 2016.
26. Interview with Jimoh Muhammed, 35 years, Teacher, Ihima, 4^th Feb, 2016.
27. Interview with Sule Ege, 42 years, Civil Servant, Ihima, 28^th Jan, 2016.
28. Interview with Nurudeen Ahmed, 41 years, Civil Servant, 8^th June, 2016.
29. Interview with Obaro Itopa Peter, 68 years, Farmer, Ihima, 6^th April, 2016.
30. Omeiza Momoh Jimoh. Socio-Cultural Impact of Festivals in Ebira Land, A Case Study of Ekuechi Festival, B.A, Project of Kogi State University, Anyigba, 2008. pp. 53-54.
31. Omeiza Momoh Jimoh. Socio-Cultural Impact of Festivals in Ebira Land. pp 54-55.
32. Interview with Obaro Itopa Peter, 68 years, Farmer, Ihima, 6^th April, 2016.
33. Omeiza Momoh Jimoh, Socio-Cultural Impact of Festivals in Ebira Land.
34. Interview with Sanni Omuha, 70 years, Farmer, Ihima, 7^th June, 2016.
35. Ododo Sunday Enesi. Facekuerade Theatre:  Theatre: A Performance Model from the Playing and Technical Aesthetics of Ebira Ekuechi Festival in Nigeria. p. 49.
36. Ododo Sunday Enesi. Facekuerade Theatre: Theatre: A Performance Model from the Playing and Technical Aesthetics of Ebira Ekuechi Festival in Nigeria. p. 50.
37. Interviewed with Obaro Itopa Peter: 68 years, Farmer, Ihima, 24^th Jan, 2016.
38. Omeiza Momoh Jimoh. Socio-Cultural Impact of Festival in Ebira Land.pp54-55.
39. Interviewed with Sanni Omuha: 70 years, farmer, Ihima 21^st Jan, 2016.
40. Seriya Atta. The Significance of Ekuechi Festival in Ebira land: A Diploma Project of National Institute for Orientation Training School, Lagos 2021, p.27.
41. Interview with Sanni Momoh Omuha, Ihima, 70 years, farmer, 20^th Feb, 2016.
42. Interview with James Obaro, Ihima, 59 years, Politician, 20^th Feb, 2016.
43. Interview with Yunusa Sanni, 52 years, Business man, 21^st Feb, 2016.
44. Interview with Yunusa Sanni, 52 years, Business man, Ihima, 21^st Feb, 2016.
45. Interview with Yunusa Sanni, 52 years, Business man, Ihima, 21^st Feb, 2016