Ọgụgụ na Aghọtaazaa Banyere Emume Mmọnwụ for JSS 1

Ọgụgụ na Aghọtaazaa: Emume Mmọnwụ

Performance Objectives

By the end of the lesson, students should be able to:

1. ịkọwa ihe bụ emume mmọnwụ (explain what masquerade festival is);
2. ịkọwa etu e si eme emume mmọnwụ (explain how masquerade festival is performed);
3. ịmata egwu mmọnwụ dị iche iche (identify different masquerade music and dances);
4. iji ejije mmọnwụ (perform or dramatize masquerade roles);
5. ịrụpụta ngwa ejiji mmọnwụ (make simple masquerade costume or gear).

Meaning of Mmọnwụ and Emume Mmọnwụ

Mmọnwụ is a sacred embodiment of ancestral spirits represented by a costumed performer who covers their face and body to hide their human identity.

In Igbo traditional belief, the dead do not disappear entirely. Instead, they transition into ancestors who watch over their living descendants. Masquerades are considered to be these ancestors rising temporarily from the spirit world (ụwa mmụọ) to visit, guide, and interact with the living community.

Emume mmọnwụ is a cultural festival or ceremony where masquerades appear in public to perform, entertain, bless, or enforce laws in the community.

These festivals are highly respected events in Igbo land. They combine spirituality, artistic expression, social control, and entertainment. During these celebrations, the community gathers at the village square (ama egwu) to witness the displays of various masquerades.

When Masquerade Festivals Are Celebrated

Masquerade festivals do not occur at random. They are scheduled to align with significant events in the Igbo traditional calendar.

The periods and events when masquerade festivals are celebrated in Igbo land include:

1. Iri Ji Ọhụrụ (New Yam Festival): Masquerades appear to celebrate the harvest, entertain the community, and thank the deities of the land for a fruitful farming season.
2. Mmemme Ịba Ụbọchị/Aha (Initiation Ceremonies): During age-grade initiations, masquerades perform to welcome young men into adulthood and validate their new social status.
3. Emume Olili na Alịm (Funeral Rites of Titled Men): High-ranking masquerades appear during the burial ceremonies of great men, initiates, or titled chiefs to escort their spirits safely to the ancestral realm.
4. Coronation and Community Celebrations: Masquerades perform during the coronation of traditional rulers (ịbụ eze) or when hosting important state visitors to showcase cultural heritage.

Differences Between Masquerade Tradition and Idol Worship

It is important to distinguish between the cultural practice of masquerading and the religious practice of idol worship, as they serve different purposes in Igbo society.

The differences between the masquerade tradition (omenala mmọnwụ) and idol worship (ikpere arụsị) include:

1. Purpose of the Activity: Masquerade is primarily a cultural art form used for entertainment, social control, and community bonding, whereas idol worship is a religious practice focused on offering sacrifices and prayers to specific deities.
2. Participation: Masquerade festivals involve the general public, including youth and spectators who enjoy the dances and songs, while idol worship is restricted to the chief priest (eze mụọ) and initiated devotees at a shrine.
3. Artistic Expression: Masquerade relies heavily on creative arts such as music, dance, costume design, and drama, whereas idol worship focuses on spiritual rituals, covenants, and religious devotion.

Types of Igbo Masquerades and Their Music

Different masquerades have unique roles, appearances, and musical accompaniments. The music played determines the pace and style of the masquerade’s dance.

Common Igbo masquerades and their unique musical styles include:

1. Ijele: This is the largest and most majestic masquerade in Igbo land. It moves slowly and gracefully to royal, rhythmic drumming, symbolizing wealth, strength, and high status.
2. Ojiọnụ: This is an energetic and acrobatic masquerade. It dances to fast-paced music dominated by the traditional wooden flute (ọja) and metal gongs (ogene).
3. Adamma: This contemporary masquerade represents a beautiful maiden. It performs elegant, smooth, and graceful dance steps to soft, melodious traditional music.
4. Ulaga: This masquerade is famous for its poetic chants. It does not dance much but speaks in proverbs and historical narratives, accompanied by simple rhythmic beats.
5. Ogbazulobodo: This is a swift, night-running masquerade that delivers messages, warnings, and historical accounts through rapid chanting and the sound of a single metal gong.

Importance of Masquerades in Conflict Resolution and Governance

In traditional Igbo society, masquerades were not just entertainers; they acted as the supreme court, police force, and law enforcers. Because they represent ancestors, their decisions are highly respected and feared.

The importance of masquerades in traditional Igbo governance and conflict resolution (ekpemekpe) includes:

1. Enforcing Laws and Judgments: Masquerades act as the traditional police. When the council of elders makes a law or passes a judgment, masquerades are sent to enforce it, such as placing a sacred palm frond (omu) on a disputed land to stop further use until the dispute is resolved.
2. Settling Disputes Impartially: Since masquerades are seen as spirits of ancestors, they are considered unbiased. They settle land disputes, family quarrels, and community conflicts without fear or favor, and their decisions are accepted as final.
3. Maintaining Social Order and Discipline: Masquerades expose evil-doers, thieves, and gossips through songs and public ridicule during festivals. This deters people from committing crimes, thereby maintaining peace and moral standards in the community.

Ọgụgụ na Aghọtaazaa: Emume Mmọnwụ n’Ala Igbo

Read the following passage carefully to understand the cultural significance of masquerades in an Igbo community, then answer the questions that follow.

Emume mmọnwụ bụ otu n’ime omenala kachasị mkpa n’ala Igbo. Ndị Igbo kwenyere na mmọnwụ bụ mmụọ ndị nna nna anyị hà si n’ala mmụọ lọta ịbịara ndị dị ndụ ọbịa. Ọ bụ ya mere e ji asọpụrụ mmọnwụ nke ukwuu. N’oge ochie, ọ bụ naanị ndị nwoke gbara mbọ banye n’otu mmọnwụ na-ama ihe nzuzo ya.

N’obodo Amaka, a na-eme emume mmọnwụ n’ọnwa Ọgọstụ mgbe a na-eme mmemme Iri Ji Ọhụrụ. N’ụbọchị a, egwu na-ada n’ama egwu obodo. Ngwa egwu dịka ọja, ogene, ekwe, na ịgba na-eme ka obodo nile nwee obi ụtọ. Mmọnwụ dị iche iche dịka Ojiọnụ, Ulaga, na Ijele na-apụta na-agba egwu. Ojiọnụ na-awụ ọtọgboro, na-agba ọsọ, na-emekwa ihe nka dị iche iche. Ijele, nke bụ eze mmọnwụ nile, na-eji nwayọọ na-azọ ụkwụ ya n’ala n’ihi nnukwu efe ọ na-eyi.

E wezụga ntụrụndụ, mmọnwụ nwere uru ukwu ọ na-aba n’ekpemekpe na nchịkwa obodo. Ọ bụrụ na e nwere esemokwu gbasara ala, mmọnwụ na-aga ebe ahụ kpezie ya. Onye ọ bụla anaghị emebi iwu mmọnwụ tiri n’ihi na a na-ele ya anya dịka iwu si n’aka ndị mụọ.

Comprehension Questions (Aghọtaazaa)

Answer the following questions based on the passage:

1. Gịnị ka ndị Igbo kwenyere na mmọnwụ bụ? (What do the Igbo believe masquerades are?)
2. Olee ọnwa obodo Amaka na-eme emume mmọnwụ ha, gịnịkwa ka ha na-eme n’oge ahụ? (In what month does Amaka community celebrate their masquerade festival, and what do they do during that time?)
3. Depụta ngwa egwu anọ a kpọrọ aha n’edemede a na-eji akụ egwu mmọnwụ. (List four musical instruments mentioned in the passage used for masquerade music.)
4. Maka gịnị ka Ijele ji eji nwayọọ azọ ụkwụ ya n’ala? (Why does the Ijele masquerade step slowly on the ground?)
5. Olee ọrụ mmọnwụ na-arụ n’ekpemekpe dabere na mbadamba edemede a? (What role does the masquerade play in conflict resolution based on this passage?)

How to Make a Simple Masquerade Mask

Making a simple masquerade mask (ihe mkpuchi ihu mmọnwụ) is a creative way to understand the artistic design of Igbo masquerade gear using local materials.

The required materials for making a simple masquerade mask are:

1. A piece of thick cardboard paper
2. A pair of scissors
3. Colorful poster paints or markers (red, white, and black)
4. Raffia, wool, or colorful threads
5. A piece of elastic string or ribbon
6. Paper glue or gum

The procedure involves the following steps:

1. Draw the outline of a face on the thick cardboard paper, ensuring it is large enough to cover a human face.
2. Carefully cut out the face outline using the scissors.
3. Mark the positions of the eyes and mouth on the cardboard, then cut out small holes so the wearer can see and breathe.
4. Paint the mask with bright, traditional patterns using poster paints or markers. Traditional Igbo colors like white (nzu), charcoal black (unyi), and red (ufie) are preferred.
5. Glue raffia or colorful wool to the top and sides of the mask to represent hair or decorative fringes.
6. Make two small holes on the left and right edges of the mask, then tie the elastic string through them so the mask can be worn securely around the head.

How to Dramatize a Masquerade Role

Dramatizing the role of a masquerade (ije ejije mmọnwụ) helps learners understand the performance art, movement styles, and vocal variations used by traditional performers.

The procedure for dramatizing the role of a Mother Masquerade (Nne Mmọnwụ) or Father Masquerade (Nna Mmọnwụ) involves the following steps:

1. Choose the Role: Decide whether to play the role of Nne Mmọnwụ (gentle, graceful, maternal spirit) or Nna Mmọnwụ (strong, authoritative, elder spirit).
2. Wear the Costume: Put on the prepared mask and a loose-fitting traditional robe that covers the entire body, ensuring no skin is exposed to maintain the mystery.
3. Alter the Voice: Practice speaking in a disguised, guttural, or high-pitched voice (igbu ụda mmọnwụ) to sound like a spirit rather than a human.
4. Adopt the Movement Style: If playing Nna Mmọnwụ, walk slowly with a heavy staff, taking firm, deliberate steps and gesturing authoritatively. If playing Nne Mmọnwụ, perform gentle, swaying dance movements.
5. Interact with the Audience: Walk around the performance space, blessing the spectators with hand gestures or chanting short proverbs to show wisdom.

Masquerade Songs and Chants

Masquerade performances are accompanied by call-and-response songs. Below is a traditional chant used during the performance of the Ojiọnụ masquerade.

The lyrics of the Ojiọnụ masquerade chant are:

Onye na-akụ egwu (Singer): Ojiọnụ nna m, ị bịala?
Mmọnwụ (Masquerade): Ọja nọ n’ọhịa, mụọ aputala!
Onye na-akụ egwu (Singer): Ojiọnụ, zọọ ụkwụ n’ala, ala mara na ị nọ ya!
Mmọnwụ (Masquerade): Tụm-tụm, ogene na-ada, mụọ na-agba!

The English translation of the chant is:

Singer: Ojiọnụ my father, have you arrived?
Masquerade: The flute is in the forest, the spirit has emerged!
Singer: Ojiọnụ, stamp your feet on the ground, let the earth know you are present!
Masquerade: Tum-tum, the metal gong sounds, the spirit dances!

Summary and Review Exercises

Short Answer Questions

Answer the following questions briefly in your exercise book:

1. State three reasons why masquerade festivals are celebrated in Igbo land.
2. Explain three ways masquerades are important in traditional Igbo conflict resolution and governance.
3. List three differences between the masquerade tradition (omenala mmọnwụ) and idol worship (ikpere arụsị).
4. Identify two types of Igbo masquerades and describe the music associated with each.
5. What is the significance of altering one’s voice (igbu ụda mmọnwụ) during a masquerade performance?

Practical Class Activities

Perform the following activities in groups during the practical session:

1. Mask Making: Use cardboard, paint, and raffia to construct a simple masquerade mask following the steps described in this unit.
2. Dramatization: In pairs, let one student act as the drummer/singer and the other act as Nne Mmọnwụ or Nna Mmọnwụ, performing the traditional chant and movements.