ART FESTIVAL A STUDY OF OGA AGA AGWUAGWU IN ACHI Introduction A festival or gala is an event, usually and ordinarily stages

by a local community, which centers on and celebrates some unique aspect of that community and the Festival. Among many religions, a feast is a set of celebrations in God or gods. A feast and a festival are historically interchangeable. However, the term feast has also entered common secular parlance as a synonym for any large or elaborate meal. When used as in the meaning of a festival, most often refers to religious festival rather than a film or art festival. Festival is an occasion for feasting or celebration,

especially a day or time of religions significance that recurs at regular intends. Also a film festival is often regularly rearing program of cultural performance exhibitions, or competitions. In Nigeria, different tribes with different culture and festivals. Some notable festivals in Nigeria include; Argungu Fishing Festival which is a annual four days festival in northwestern Nigeria state of Kebbi. Other festivals include; the

Calabar Carnival, Durbar festival, Eyo festival, Imo Carnival, Leboku, and Osun Oshogbo festival in Osun state. Also in the Eastern part of Nigeria, we have the New Yam festival of Igbo (Igo Iwa ji). It is an annual harvest festival by the Igbo people held at the end of the rainy season in early August. The New Yam Festival symbolizes the conclusion of a harvest and the beginning of the next work cycle. The celebration is a very culturally based occasion, tying individual Igbo communities together as essentially agrarian and department on yam. Art is the soul of Africa. This simply means that Africa cannot do without Art. In otherwords. Art being the soul of Africa intells that every artwork in Africa was made or designed for purpose or function. Functionally, is a base point of African Art. To clarify the above point Art serves many purpose in Africa such as, utilitarian purpose easthestic role, religion, therapy and aditural social role with symbolism attached to each of them. Art may also serve purpose like ceremonial functions such as child birth ceremony, naming ceremony initiations, marriage ceremony; glorification of the kings and festivals. Festival is an occasion for feasting or cerebration,

especially a day or time of religious significance that recurs at

regular intervals. A festival or gala is an event usually, and ordinarily staged by a cocal community, which centers on and celebrates some unique aspect of that community. Among many religions, a fest is a set of celebreations in God or gods. However the term feast has also entered common secular parlance as a synonym for any large or elaborate meal. When used as in the meaning of a festival, most often refers to religious festival rather than a film or art festival. Also a film festival is often regularly recurring program of cultural

performances, exhibitions or competitions. In Nigeria, different tribes with different culture and festivals. Some notable festivals in Nioena include, Argungu Fishing Festival which is an annual four days Festival in northwestern Nigeria state of Kebbi. Other Festivals includes; the Calabar Carnival Durbar Festival, Eyo Festival Imo Carnival Leboku and Osun Oshogbo Festival in Osun State. Omenuwa (2007) stated that in the Easthern part of Nigeria, we have the New Yam Festival of the Igbo (Igbo Iwa Ji). It is an annual harvest festival by the Igbo people held at the end of the rainy season in early August. The New Yam Festival symbolizes the conclusion of a harvest and the beginning of the next work

cycle. The celebrations is a very actually based occasion, tying individual Igbo communities together as essentially agrarian and department on yam. Each town in Enugu state has its own way of celebrating the New Yam festival. Achi in Enugu state has many festival, which include Nnekeeji (New Yam festival), Isiogba Festival Achihi Festival, Ajala festival and the famous Oga Aga-AgwuAgwu festival. BACKGROUND TO THE STUDY Oga-Aga Agwu-Agwu is one of the famous and the most celebrated festival Achi. From lime immentail till date, it is usually held in the 3hours intervals. Oga Aga-Agwu Agwu reminds the Achi people the unending emergency of wambrs in Achi. Achi is a town located in Enugu State in Nigeria. However, it is the largest town in Oji-River local Government area of Enugu State. Achi town is made up of 12 village isli na ulo, isii na agu as the native say. That phrase literally means that there are 6 villages in the northern section of the town and 6 village in the southern section (if one imaginarily divide the

town into two sections) nnaedozie (2009) state that Achi dan occupies an area of about twenty-five square miles. He also

noted the achi is bounded in the north by Nachi, Umuagu, Umuabi all in Udi local government area, the River Oji and Agbundu in Augu local governemtn area. In the east it is bounded by the towns of Mmaku, Amoh, Ugbo, Awgu-nta, Nkwe and Ezere in Agwu division. In the south it is bounded by Awlaw and Inyi and in the west by Ugwuola. Ogagagwugwu Achi, now vcelebrated every 3 years dates back to Achi History but was made popular in 1914, when the 12 distrct villages in Achi (Ishi Iabu) raised 12 standing armies, that defended Achi for 4 years (1914-1981) against the invasion by West African Frontier Force led by British Mac Grego Laid. According to the Ogaagagwugwu Achi Ishi LAbu (2011) the people of Achi were able to train their own soldiers, manufacture their own war weapons (including egbe cham) and kept the invaders at bay until August 1918, when the colonial Authority commanded their soldiers to set the surrounding bushes on five since Achi people were then living in grass houses.

It further sited that the re-enforcement order of the 12 standing Armies was that there must be a changing force in the war front per time. Always having standby force to relief the charging force. It was it was this unrending charging force that was refered to as Oga-aga-Agwu-Agwu (continals

OGAGAGWUAGWU reminds Adu people about their enormous strength, when they come together, reason together and act together. Statement of the problem Achi as a town lacks some developments. According to Mbaekwe (2009), Achi for granted. No roads, no water, no electricity, no industry, no tertiary institution, no scholarships, no market development no directives and encouragement, in agriculture and commerce. Ogagagwuagwu Achi Ishilabu

(2011) sited that the celebration of Ogagagwuagwu reminds Achi people about their enormous strength, when they come together and act together. This time Achi people shall use the same OGAGAGWAGWU unbeaten formual to attack and

conquer economic advancement.

The researcher therefore wish to carry out proper research on the Oga-Aga-Agwu festival. But it seems not much detail work have been done on the costumes used during the festival. The researcher therefore wish to carry out proper research on the Oga-Aga-Agwu Agwu festival; especially on its costumes used during the festival. To help the researcher direct the course of this study. Some research questions will be raised, such as 1. What is the origin of Oga-Aga-Agwu festival?. 2. What is the concept behind the activities in Oga-Aga-Agwu festival. 3. What are the types of costumes worn during the Oga-AgaAgwu-Agwa festival. 4. What value those the people of Achi attach to these costumes in terms of symbolism, function and use. 5. How does it relate to Art and Culture. Objectives of the study The general purpose of this research is to undertake a historical and development role of Ogagaagwugwu festival in Achi?

1. To account for the origin of Ogagaagwugwu festival in Achi and to provide an insight into its journey so far? 2. To explore the rendition fothe festival accounts and its funding. 3. To trace and bring into limelight the projects to be embarked upon by Achi and action programme on them. Scope of the study The scope of this project will be limited to the Achi clan dealing directly with the Nze na Ozos and elders from the twelve villages in Achi. Also, chaimen and secretaries of RESEARCH METHOD The reeracaher intends to collect data for the research

work basically through primary or field data Primary Data The resracher intend to go to the research area and little beyond to collect data through oral interview,live videos,audio recorder and fields source photographs will taken by the direct

SECONDARY DATA The researcher also intents to collect secondary or textual data drawn from articles,journals,books and internet materials. LITERATURE REVIEW Analysing Festivals within the context of Artistic features is not entirely a new scholarly enterprise. Dionysian Festival of the ancient Greeks, for instance, formed the nucleus of a vibrant theatre culture in Greece, which now serves as a reference point for world Art culture and the emerging new radical Art forms. There have been raging arguments on whether African festivals qualify as drama or artistic form. Eloquent voices that contributed to these arguments include Mahood (1966), Kirby (1974), Ogunba (1978), Adedeji (1978), Clark (1981) and Rotimi (1981).Others are Echeruo (1981), Horn (1981),

Amankulor (1981) and Ibitokun (1993). Itis not the intention of this project to further excavate, rehash and reposition these claims and counter claims. A festival is a periodic feast, a celebration of an event. It includes forms of entertainment and performances and which

are often held at a particular time of the year. African festival theatre brings together ideas, actions, aesthetics which are partly sacred (religious) and partly secular (sometimes profane) (Meki 1981) For instance, there could be a new yam festival to thank a particular god or pay homage to him for a good harvest and pray for a better yield in the following year. A man sets out with this noble intent but along the line, gets drunk, molests people or indulges in other unwholesome acts. You see now that there is a mixture of the sacred and the profane in his action. Festival theatre is different from theatre festival. The former is a theatre produced as festival. The latter is a conscious attempt to declare theatrical productions in a given environment. Festivals are important in the Nigerian traditional society because of the following reasons: Festivals uphold and promote solidarity and collective consciousness among a particular people. They are characterized by collective euphoria where the sacred and the profane are interwoven. Usually there is a suspension of the rules and norms of ordinary life.

 They are characterized by non-work posture. Leisure is the central element in festivals so people look forward to festivals as a period of enjoyment and relaxation. There is usually a gradual change of occupational activities. Many festivals take place during the period of rest for the people when there is less to be done in the farms. Festivals provide a forum for an entertainment and recreation for the people. (Ogunbiyi,1981) In most traditional African societies, masquerades are seen as gods or heroic ancestors. They take different forms and there are many varieties depending on the region, the purpose, the content and the pattern( Adedeji, 1981) They are usually masked figures of various kinds. A mask is a covering or a disguise used to transform the identity of the individual or the wearer into that of another character. So there is an element of impersonation. In traditional African societies, we can identify different types of masks according to their functions based on the areas of the body covered( Echeruo, (1981).

Oga-Aga Agwu-Agwu

festival is a ritualistic enactment of

myth, legend and traditional socialevents meant to mark the end of the year and usher in a new one. Mmanwu, that is the masquerade, is one major aspect of Igbo traditional drama. The masquerade is ordinarily the representation of the ancestors in the human world. The masquerade operates as the ancestor and so has the protection of manipulating man as a source of entertainment, social controller, religious reflector etc. Nwabueze (2002:45) supports the above claim: In the earliest period of Igbo history, the ancestors were consulted through divination, but later their physical presence became necessary when rituals were evolved. The need for physical representation of the ancestor created the necessity to devise ways of representing the physical presence of the ancestral spirit. It was this situation that led to the evolution of the masquerade as an artistic character.

Nwabueze (2003:45) says that it is an aspect of Igbo drama in the sense that it displays various theatrical performances for the audience at the village square. The gigantic masquerades like Ijele, Akwunechenyi, Agboghommo and other gracious ones that do not whip people create attractive sights that people leave whatever they do to watch such masquerades. They are always in spectacular regalia and dance to music. The music could be played by other masquerades or human beings. Masquerades like this make their outings annually, especially during festivals. Masquerade performances are described as dramatic due to certain reasons. The masquerades have costumes as dramatists do and their performances are scheduled at certain dates, periods of time and venues, just as dramatists perform in theatres, masquerades perform at village squares or arenas specially marked out by the people. They have their own costume room and green room combined in oda. Oda is a make-shift shelter for housing the masquerade. It goes out of it and returns into it after

the performance. Amankulor (1982) and Ogunba (1978) in Nwabueze (2005:83) argue that the masquerade drama does not have enough lines to build up adequate plots of its plays. But it is pertinent to remark that many performances have the singand-refrain activities between some masquerades like Atumma or other singer masquerades on the one hand and their followers on the other. Even when there are not many lines for the masquerades performances, the dramatic styles take the shapes of dancing to music sung and played for them. In addition, they mime a lot. The old mother masquerades demonstrate their ages, while the maiden masquerades demonstrate pride and the sense of selectivity of husbands whereas the young male ones portray energy as their fathers control their household with jealous guards against the public glare at their wives. Various scholars acknowledge the existence of masquerade dramatic performances. They include Ugonna (1981:495) that states that the term mmanwu, is generally used in two different senses

either as a general concept for all forms of plays involving masking or as sacred mask drama, in which traditionally concerned masked spirits perform various dramatic activities with speeches and dialogues, on an open air arena or stage. Further, Ugonna (1981;53) observes that the development of Mmanwu drama among the Igbo further illustrates how widespread and well developed, in its own realistic way, is the indigenous African dramatic tradition. Amankulor (1986:53) not only acknowledges the existence of the masquerade drama of the Igbo people but also states that there are peculiarities to the masquerade drama against human drama.He elaborates thus: The supernatural and mythic characters, in their own actions, must portray traits which are strange and not ostensibly human. Their patterns of speech, movement, and other behaviour are required to match that which can only be experienced in the nightmare or dream state rather than reproduce ritual human behaviour. Their guttural voice projections, side to side and front to back movements and uncanny behaviour are meant to accentuate their supernatural existence which their masks

aptly demonstrate. Anagudo-Agu (2008:460) studies the night masquerade and concludes that it is dramatic. He describes the night masquerade and its activities thus: Take Ayaka for instance, composed of strong men armed with spears and medicine, they come out at night at about11.00 p. m. and disappear again before dawn. They summersault in the air, climb trees, beat drums and sing in disguised voices from heights in order to create the impression of being air-borne ghosts. In Igboland, there are various traditional festivals and anniversaries of installations of traditional rulers. In a community, there would be up to four festivals that are celebrated annually. Festivals are mostly celebrated at the time of plenty. That is during the dry season when the people are yet to begin planting crops. The festivals are normally celebrated in honour of different deities. The festivals have seasons and the chief priests of the deities and some other traditional authorities gather to schedule dates of the festivals. When the dates are

announced, people began to make preparations of keeping the shrines of respective deities clean. They also repaint the idols and buy the items for thesacrifice. They would include fowls, goats or cows, kola nuts, food items and palm wine as the case may be. On the appointed date, the chief priest officiates at the shrine.. One has now seen that there are so many aspects of Igbo tradition that are very much artistic . These aspects are artritisc in their own rights because they are all re-enactments of events that took place in the past and are performed periodically. The original people involved in the events have died and gone. These aspects are artitics because those that performed them are mere actors who emulate the first performers of each event. The first performers were sacred and acted unplanned or unarranged. Some of the events were accidental because they saw the needs for their actions and would not have seen through the tunnel that those acts of theirs would for ever be remembered and re-enacted. The aspects are also dramatic because they have their lines and plots that are peculiar to

themselves. The plots which may mostly involve miming are understood by the Audience .The performances of these aspects are not

accidental. They are arranged. There are rehearsals or training of performers for immediate performances. Some of the performances are carried out on the bases of rehearsals done in the past and stored for future performances. The performances are prepared with dates, periods of time scheduled and venues. The audience knows all these pieces of information and attends with the hope of watching the performances accordingly. At the mvenues, their rooms for changing costumes for example, traditional rulers at the anniversaries of their installations walk round the arena on more than one occasion and in each case they put on different regalia. From all the artistic qualities observed in the

conclusion above, one strongly believes that Igbo people, nay Africans, have aspects of tradition that are dramatic. No matter how much Euro-centric mentality adversely described them as non-dramatic, the fact remains that there are aspects of African

traditional drama. FUNCTIONAL VALUES Sociologically, Oga-Aga Agwu-Agwu festival serves a wide

variety of functions in Achiland. Scenes in the festival mirror the society, preserve its legends, its lores and ethos, explore its problems and criticise its weaknesses. In terms of form and content, therefore, the festival, like drama, evolves from the society; it is not imposed upon it. This is why the significance of the audience cannot be played down. Oga-Aga Agwu-Agwu festival attracts a very large audience from the immediate locality, neighbouring vil- lages and from other remote areas. For the Achi people, the festival serves as the core of their existence. It has become an annual magnetic force, which attracts many Achis to their roots from all over the country and even beyond: If an Achiman goes home only once in a year, it is mostly likely for the purpose of participating in the festival. In fact, people are known to have travelled back home from abroad for the purpose of the festival .Oga-Aga Agwu-Agwu festival is the

most eagerly awaited and the most remembered throughout

Achiland. This is because it engenders togetherness and brotherhood and fosters ethnic cohesion among the Achi people. It is also a stock taking period for an aver- age Achiman,when lifes travails and successes are reflected upon: Whatever you do during the year, it is during this time of the yearthat people come to Traditionally, less attention is given to the aesthetic qualities of all the theatre ele- ments identifiable in the performance of the singing masquerade during Oga-Aga Agwu-Agwu festival. The general the air of civilisation has and also modernisation over-taken the

pervading

whole

universe

organisers of this festival performance. . If the organizers take a full advantage of modern theatre practice, the entire festival is a potential major tourist attraction with outstanding economic and material values for the people.

REFERENCES Amankulor, J. N. Masks as Instruments for Dramatic Characterization in Traditional IgboSociety Ed. Asanga, S. African Theatre Review, Vol. 1 No. 2. April 1986, pp 52-67.

AnagudoAgu, O., Igbo Night Masquerade Theatreas a Prototype of the Modern Radio Eds. Eyisi J. I. Odimegwu and A. Asigbo. Paradise in the Arts Celebrating Prof C.C Agbodike. Awka: Fab AniehNigeria, pp 457-68. Adedeji, J. A. (1981). Alarinjo: The Traditional Yoruba Travelling Theatre in Yemi Ogunbiyi (ed) Drama and Theatre in Nigeria: A Critical Source Book. Lagos: Nigeria Magazine. Nzewi, Meki (1981) Music, Dance Drama and the Stage in Nigeria in Yemi Ogunbiyi (ed). Drama and Theatre in Nigeria: A Critical Source Book. Lagos: Nigeria Magazine. Ogunbiyi Yemi (ed) (1981) Drama and Theatre in Nigeria: A Critical Source Book. Lagos Nigeria Magazine. Taiwo, Oladele (1985 ed) An Introduction to West African Literature. Nairobi: Nelson Finnegan, Ruth.(1977).Oral Literature in Africa. London: Oxford University Press. Echeruo, M.J.C (1981). The Dramatic Limits of Igbo Ritual in Yemi Ogunbiyi (ed) Drama and Theatre in Nigeria: A Critical Source Book. Lagos: Nigeria Magazine. Enekwe, Ossie (1981). Myth, Ritual and Drama in Igboland in Yemi Ogunbiyi (ed) Drama and Theatre in Nigeria: A Critical Source Book. Lagos: Nigeria Magazine.

Echeruo, M. J. C The Dramatic Limits of Igbo Ritual Ed. Ogunbiyi, Y. Drama and Theatre in Nigeria: A Critical Source Book. Lagos: Nigeria Magazine, pp 136-48.

Nneke, C. A. An unpublished M. A. Thesis, Dept of Igbo, African and Asian Stufies, Nnamdi Azikiwe University, Awka, Nigeria, 2011. Nwabueze, E. (2003) Visions and Re-Visions: Selected Discourses on Literary Criticism. Enugu:ABIC Publishers.

Nkala, N. O Traditional African Drama (An Ancestral Deformity) Ed. Nsofor, M.C Ugo Magazine, November 1990:1;15.

Nwankwo, C Igu Aro: Festival of Traditional Drama at Nri, Odinani: Journal of the Odinani Museum,Nri, Anambra State of Nigeria, No 2, September 1977, pp 85-97.

Okodo, I. New Yam Festival: The General Prayers of Igbo People of Nigeria, Essence Inter-disciplinary and International Journal of Philosophy. Vol. No 1, 2009, pp 79-91.

Orji, M. O (1999) The History and Culture of the Igbo People: Before the Advent of the White Man. Nkpor: Jet Publishers.

Ugonna, N. An Introductory Study of the Mmonwu Theatre of the Central Igbo, Ikenga Jorunal of African Studies. Vol. 5 No 1, July 1981, pp 53-58.

Ikechukwu Okodo(2002) African Traditional Drama: The Igbo-Nigerian ExperienceDepartment of Igbo, African and Chinese Studies Nnamdi Azikiwe University, Awka

2011 OGAGAAGWUAGWU, ACHI CEREBRATION FOCUS Achi Development,Union,Achi

Nnadozie Elias.C (2009) ACHI CLAN, Yertaerday, Tommorrow,Enugu:Rabbon Publishers International

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