Académique Documents
Professionnel Documents
Culture Documents
Seventh session
Paris
December 2012
REPORT ON THE IMPLEMENTATION OF THE CONVENTION AND ON THE STATUS OF ELEMENTS INSCRIBED
ON THE REPRESENTATIVE LIST OF THE INTANGIBLE CULTURAL HERITAGE OF HUMANITY
A. COVER SHEET
Nigeria
A.2. Date of deposit of the instrument of ratification, acceptance, approval or accession
This information is available online at www.unesco.org/culture/ich.
21/10/2005
A.3. Elements inscribed on the Urgent Safeguarding List, if any
Please list all the elements from your country inscribed on the Urgent Safeguarding List,
together with the year of inscription; for multinational elements, please indicate the other
States concerned.
Not applicable
A.5. Programmes, projects or activities selected as best reflecting the principles and
objectives of the Convention, if any
Please list all the programmes, projects or activities from your country selected by the
Committee for promotion under Article 18, together with the year of selection; for
multinational programmes, please indicate the other States concerned.
Not applicable
A.6. Executive summary of the report
Please provide an executive summary of the report that will allow general readers to
understand the overall status of measures taken at the national level to implement the
Convention.
Not to exceed 500 words.
Nigeria ractified this Convention and deposited instrument ractification with UNESCO since
2005. Thereafter, It established a National Committee on Oral and Intangible Cultural Heritage to
implement the Convention in the Country. The Committee's Secretariat is in the Department of
Culture of the Federal Ministry of Tourism, Culture and National Orientation, Abuja, Nigeria. As
part of awareness raising and capacity building efforts, the National Committee members
traversed the length and breadth of the Country educating local communities on the intricacies of
these elements thus paving way for the Communities to come up with a National Inventory of
Intangible Cultural Resources of Nigeria. The Communities, after, the advocacy / education and
awareness raising effort of the National Committee and Cultural Officers, actually identified and
draw up these intangible cultural elements which formed the tentative inventory of Intangible
Cultural Resources of Nigeria being managed by the Federal Department of Culture.
The Communities were further encouraged to safeguard the cultural elements in their domain
through the establishment of the Living Human Treasures Award in 2007. To this end, Ten
people (10) who have excelled in the propagation of intangible Cultural heriatge under the five
domains identified in the Convention were selected and conferred with award of Living Human
Treasures in the first edition in March 2007. The event was supported by the UNESCO -
Norwegian - Fund - In - Trust. This effort has further strenthened the promotion of the
safeguarding of the Intangible Cultural Heritage and has indeed helped greatly in achieving this
aim.
The communities in Nigeria have provided the data on the intangible elements submitted as
proposals for inscription into the Representative List of ICH of Humanity, with three elements
mentioned in A4 above already inscribed on the List. In order to give greater vent to the
Convention, Nigeria in collaboration with UNESCO Field Office, Abuja organized a
Domestication Workshop on this Convention in 2011 at Enugu State and trained scores of
communities, media, cultural workers and Non - Governmental Organizations on the letters of
the Convention. This effort has made it easier for communities to identify endangered intangible
cultural heritage within their domain and make case to government for its inclusion in the Urgent
Safeguarding List. In packaging nominations for submission into the Representative List, the
communities serve as resource persons providing the needed information, data, other details
and are very much involved in the whole process thus making the activities more worthwhile and
this has reflected in the number of proposals submitted by Nigeria for evaluation and possible
inclusion in the Representative List in the 2012 Cycle.
It is also important to state that Nigeria was among the first set of State Parties that had the
opportunity of having her experts trained at the UNESCO workshop for Intangible Cultural
Heritage held in Paris in June 2006.
Nigeria in collaboration with an NGO, Global Forum of Yoruba Religion and Culture has been
able to set up an Institute for the Safeguarding of Intangible Cultural Heritage called Ifa Heritage
The competent body for the safeguarding of the Intangible Cultural Heritage within Nigeria is the
Department of Culture of the Federal Ministry of Tourism, Culture and National Orientation,
Federal Secretariat Complex, Phase II, Block E, P. M. B 473, Garki, Abuja, Nigeria. E mail:
ajibloecr@yahoo.com
The Department of Culture has the statutory mandate of safeguarding, preserving, protecting
and promoting Nigeria's cultural heritage both tangible and Intangible as enshrined in the
Nigerian Cultural Policy. It also has the mandate to supervize all other federal cultural agencies/
parastatals engaged in the implementation of the national cultural policy.
The National Troupe of Nigeria, a parastatal of government saddled with the responsibility of
safeguarding the Country's vast and dynamic performing Art forms. The address is National
Theatre Complex, Iganmu, Lagos, Nigeria. Telephone number is +234 (0) 14707552. Email:
nationaltroupes@yahoo.com
Centre for Black and African Arts and Civilization (CBAAC) a product of the Festival of African
Arts and Civilization hosted by Nigeria in 1977. This agency of government safeguards, preserve
and promote african arts and civilizations among Nigerians, Africans and Africans in the
Diaspora. It is a Training / Educational development and capacity building agency for the
safeguarding of both intangible cultural heritage as well as the tangible cultural heritage. The
address is 36 / 38 Broad Street, Lagos, Nigeria. Telephone numbers are +234 (0) 802 315 1008,
+2348033311285. Email: director@cbaac77.com, info@cbaac77.com
National Institute for Cultural Orientation, a government parastatal with offices throughout the
country responsible for cultural training and enlightenment among Nigerians. The head office
address is 23 Kigoma Street, Wuse Zone 7, Abuja, Nigeria. Telephone and Fax : +234 9290
7114 - 5, +234 9290 7118 - 9.
Committee for Relevant Arts (CORA), this cultural NGO is known as a cultural landscapist. It is a
Ifa Heritage Institute of Nigeria, Wande Abimbola Street, Baba Iyaji Layout, Off Ilora Road, Oyo
Town, Oyo West LGA, Oyo State, Nigeria; Telephone: +234 8074758091, email:
info@ifaheritage.org, website: www.ifaheritage.org The Institute teaches the practice of Ifa
Divination Systems, the use of herbs, indigenous crafts making and performances.
Institute of African Studies, University of Ibadan, Nigeria - Which serve as a dynamic custodian
of society's salutary values and thus sustain its integrity. It has its pivot on Research, publication
and teaching based on African Culture and civilization. Indegenization scholarship is the basis of
its setting for African Studies. The Institute will commemorate its 50 th Anniversary in September,
2012. Contact person: Professor Isaac Olawale Albert email: ioalbert2004@yahoo.com
Institute of Cultural Studies, Obafemi Awolowo University, Ile - Ife Osun State, Nigeria Contact
Person: Dr. Akin Alao - Email: akinalao@gmail.com, Telephone: +234 8038401747.
Nike Centre for Art and Culture have five Arts Centres scattered over five Nigerian cities -
Oshogbo, Lagos, Abuja, Ogidi. Artists, painters,drummers, dancers ply their trade there while
apprentices are trained by these masters on a regular basis. Address: Nike Arts Gallery, 2
Elegushi Road, 2nd Roundabout, Epe Expressway, Ikate Crossroad, Lekki Phase I Peninsula,
The competent body for the safeguarding of the Intangible Cultural Heritage within Nigeria is the
Department of Culture in the Federal Ministry of Tourism, Culture and National Orientation,
Federal Secretariat Complex, Phase II, Block E, P. M. B 473, Garki, Abuja, Nigeria. E mail:
ajibloecr@yahoo.com
The Department of Culture has the statutory mandate of safeguarding, preserving, protecting
and promoting Nigeria's cultural heritage both tangible and Intangible as enshrined in the
Nigerian Cultural Policy. It also has the mandate to supervize all other federal and state cultural
agencies/ parastatals and NGOs engaged in the implementation of the national cultural policy.
The National Committee on Oral and Intangible Cultural Heritage - a committee made up of
Nigerians who are experts in different domains of ICH. The Federal Department of Culture
serves as the Secretariat of this Committee. So, the contact details for the Department of Culture
stated above is still applicable here.
The National Troupe of Nigeria is a parastatal of government saddled with the responsibility of
safeguarding the Country's vast and dynamic performing Art forms. The address is National
Theatre Complex, Iganmu, Lagos, Nigeria. Telephone number is +234 (0) 14707552. Email:
nationaltroupes@yahoo.com
Centre for Black and African Arts and Civilization (CBAAC) a product of the Festival of African
Arts and Civilization hosted by Nigeria in 1977. It is in custody of arts works; Intangible and
tangible of all Black nations in the world. This agency of government safeguards, preserve and
promotes African Arts and Civilization among Nigerians, Africans and Africans in the Diaspora. It
is a Training / Educational development and capacity building agency for the safeguarding of
both intangible cultural heritage as well as the tangible cultural heritage. The contact address is:
36 / 38 Broad Street, Lagos, Nigeria. Telephone numbers are +234 (0) 802 315 1008,
+2348033311285. Email: director@cbaac77.com, info@cbaac77.com
National Institute for Cultural Orientation, a government parastatal with offices throughout the
country responsible for cultural training and enlightenment on all domains of Nigeria's rich
cultural heritage. The head office address is 23 Kigoma Street, Wuse Zone 7, Abuja, Nigeria.
Telephone and Fax : +234 9290 7114 - 5, +234 9290 7118 - 9.
Committee for Relevant Arts (CORA), this cultural NGO is known as a cultural landscapist. It is a
the forefront of making culture the bedrock of the nation's development. It's membership
comprises of experts in various domains of arts and culture thereby reflecting the rich cultural
diversity of the country. Its contact address is: CORA House, Plot 95, Bode Thomas Street,
Surulere, Lagos, Nigeria. Telephone number: +234(1)6653587. Email address is:
cora2stamp@yahoo.com, stampedecora@gmail.com.
National Council for Arts and Culture (NCAC) is another very prominent government agency with
office scattered throughout the country. It has the responsibility of safeguarding intangible
cultural heritage through activities like the National Arts Festival and other events tailored
towards sustainability of the element. The address is National Council for Arts and Culture Ukpo
Close, Garki II, Abuja, Nigeria. Contact telephone number is +234 8033334306.
Institute for African Culture and International Understanding, a UNESCO Category II Institute for
cultural preservation which also serves a a repository of cultural documents that would aid the
understanding of the African Culture globally. Its address is Olusegun Obasanjo Library, Ogun
State, Nigeria
Centre for Black Culture and International Understanding is an affiliate of the UNESCO Category
II Institute in Abeokuta. The address is Behind Osun State Government Secretariat, Off Gbongan
Road, Osogbo, Osun State, Nigeria. Email of the Contact person is: josephaina@yahoo.com,
B.2. Inventories
Please report on the inventory or inventories of the intangible cultural heritage present in
your States territory, as referred to in Articles 11 and 12 of the Convention and paragraph
98 of the Operational Directives. You may include information on:
a. the name of each inventory and the entity responsible for it;
b. the ordering principles used for structuring your inventory(ies). For example: according
to communities/groups of tradition bearers; domains of intangible cultural heritage;
territorial principles (national, regional, local), etc.;
c. the criteria used for inclusion of intangible cultural heritage elements in your
inventory(ies);
d. whether your inventory(ies) take(s) into account the viability of intangible cultural
heritage (for example, intangible cultural heritage threatened by disappearance, in
need of urgent safeguarding, etc.);
e. the format/approach of your inventory(ies);
f. the method and frequency for updating inventory(ies);
g. the ways in which communities are involved in identifying and defining intangible
cultural heritage to be included in the inventory(ies), and in their preparation and
updating;
h. the participation of relevant non-governmental organizations in identifying and defining
intangible cultural heritage.
The Inventory of Nigerian Cultural Resources managed by the Department of Culture of the
Federal Ministry of Tourism, Culture and National Orientation, Abuja, Nigeria.
This inventory is done in five segments under the following sub - headings: Oral Traditions and
The Universal Basic Education programme of the Nigerian Government vividly captures the
essence of the nations safeguarding through propagation of intangible cultural heritage in the
B.4. Measures to ensure recognition of, respect for and enhancement of intangible
cultural heritage
Describe measures to ensure greater recognition of, respect for and enhancement of
intangible cultural heritage, in particular those referred to in Article 14 of the Convention
and paragraph 101 of the Operational Directives:
a. educational, awareness-raising and information programmes aimed at the general
public, in particular to young people (you may for example specify whether intangible
cultural heritage is integrated, and how, in school curricula);
k. educational and training programmes within the communities and groups concerned;
l. capacity-building activities for the safeguarding of the intangible cultural heritage;
m. non-formal means of transmitting knowledge (you may address, for example, how non-
formal ways of transmission are perceived and recognized by the general public and
at national level);
n. education for the protection of natural spaces and places of memory whose existence
is necessary for expressing the intangible cultural heritage.
It is compulsory for Nigerians to learn at least a Nigerian Language in Primary and Secondary
Schools and intangible cultural heritage form an integral part of the curriculum so, from youth,
Nigerians are able to learn the culture, norms, poetry and dances inherent in the plurally diverse
and culturally complex society and these help the nation's drive to achieve unity in diversity.
As earlier pointed out, intangible cultural heritage is integrated into the Curricula as it forms an
integral part of the languages that is being taught to pupils and students at the primary and
Nigeria has a very veritable and harmonious working relationship with other State Parties and
readily shares information with other State Parties. It is important to place on record the fact that
Nigeria has a multinational nomination - Oral Heritage of Gelede - achieved in collaboration with
Inscribed in : 2008
Ifa is a religious, divinatory and literary system found in several West African countries including
Ghana, Togo, Benin Republic, Nigeria, and Cameroon. It is believed that it originated from Ile-
Ife, Nigeria from where it spread to other West African countries and also to the Americas and
In ancient times, every town or village had a few Babalawos. Some of the larger towns had
hundreds of Babalawos and Iyanifas, some of who specialized in some areas of healing, such as
midwifery, pediatrics, and care for mentally ill persons. Due to the onslaught of European /
Western educational system as well as Islamic and Christian evangelism, in modern times the
number of adequately trained Babalawos and Iyanifas has declined drastically, to the extent that
today there are huge towns and villages with no Babalawos at all. Another problem is the fact
that the younger generation of Babalawos and Iyanifas do not seem to have an in-depth
knowledge of Ifa literature. This is due in part to the fact that the traditional mode of
transmission is oral. It is sad to note that when people go to school, they do not have sufficient
time left in the daily routine to be able to study Ifa as deeply as this elaborate system of
knowledge requires.
The above-stated facts have called into serious question the viability of a system which has
sustained so many cultures of West Africa for centuries. Though the number of people who still
consult the Babalawos and Iyanifas has declined considerably, one can observe that there is still
a sizeable number of the population who consult Ifa regularly. Many people in the Christian and
Muslim congregations also secretly practice Ifa. It is a well-known fact that some prominent
Christian and Islamic leaders openly, or clandestinely, visit the Babalawos and Iyanifas,
especially when they are faced with intractable problems.
The tangible object used in Ifa divination such as the Divination tray (Opon Ifa), Divination chain
(Opele), the palm kernel nuts (Ikin Ifa), Iyere Osun or Sand are still available. The carvers make
the divination trays and there are still many carvers and aprentices learning the trade to carry on
with the tradition. So, it is not threatened but rather the industry is thriving well. Palm Kernel
trees abound in Nigeria and the issue of sourcing of the nuts is no a problem as well. In actual
fact, the tangible aspect of the divination is not threatened at all.
Even the Ifa Heritage Institute has courses developed to train scholars on tools making. This is
to make its products perfect Babalawo or Iyanifa who can make the divination tools and use
them at the same time.
Documenting Ifa literature is complementary to its viability as a system of orality. Ifa Scholars are
now being trained making use of the literature side-by-side with its impactation as an oral form.
As a matter of fact, its preservation in written form could further enhance its viability. This will
serve as a backup for the oral method which may be threatened by old age and other medical
conditions. This act of documenting it is not a threat to the growth and preservation of Ifa in West
Africa but rather a positive action that is bringing about a burgeoning worldwide interest in Ifa.
As stated above in C.1., Ifa was transported via the Atlantic Slave Trade to the African Diaspora,
including the Americas and the West Indies, but it was in Cuba that it was greatly fertilized.
Since the Cuban Revolution, Cuban Babalawos have taken Ifa to the rest of the Americas and
also to many other countries of the world.
The Ifa Divination System of Nigeria was proclaimed by UNESCO in 2005 as one of the
Masterpieces of the Oral and Intangible Heritages of Humanity. In the following year, UNESCO
signed an agreement with the Federal Government of Nigeria to establish a school at tertiary
level where Ifa will be taught and researched by scholars, to preserve this important West
African system of indigenous knowledge. The establishment of the Ifa Heritage Institute has
raised awareness, both at home and abroad, of the need for the preservation of Ifa in Nigeria.
This is the very first time in the history of Nigeria, and probably of the entire African continent,
when an important element of indigenous African culture, taught in an African language, will be
the basis of a whole Institute approved by government and an international body such as
UNESCO.
In addition to the foregoing, several universities abroad have indicated interest in coming to the
institute for summer programmes while a few have actually visited for this same purpose. As
regards further explanations in terms of how Ifa has become cross fertilized with the traditions of
Cuba, the President of the NGO - Global Forum of Yoruba Traditional Religion, Professor Wande
Abimbola informed that Ifa was introduced to Cuba by a man from Egbado, (one of the captured
slaves from South -Western part of Nigeria) called Adechina. His popularity soured in the 18 th
Century. At his death, one of his disciples called Tata Gaican Aparibofa, long before the abolition
of Slave trade, popularized it in Cuba. Due to the practice of communism in Cuba from 1961,
Cubans began migrating to the United States of America. This resulted in a lot of Cuban
Babalawos settle down in Miami, Florida. They carried with them the knowledge of Ifa and have
since then travelled and spread to the Islands of the Carribeans, other parts of North, Central
and South America with the culture. They have equally taken it to Europe and Mexico according
to Professor Wande Abimbola.
In West Africa, Ifa is the West African literary and divination system. It is practiced among the
Igbos of South - Eastern Nigeria who call it Afa. It is predominant among the Bete people of
South Southern Nigeria. The Edo people of Central Nigeria call it Ifa like the Yorubas of the
South western part of Nigeria. The Fon people of Republic of Benin and Ewe people of Ghana
and Republic of Togo call it Fa. In the northern part of Nigeria, the Nupe and Borgu people
practice it too.
As of today, a lot of Cuban Babalawos and many Yoruba Babalawos have taken and taught the
element to several people globally.
The Ifa Heritage Institute was established in 2008 through the effort of the National Steering
Committee on Ifa Divination System set up by the Nigerian government. The Global Forum of
Yoruba Religion and Culture which is an NGO founded and led by Professor Wande Abimbola,
Awise Agbaye (Spokesperson for Ifa Worldwide) is at the vanguard of the day to day running of
the school. The school has five faculties: School of Ifa Studies, School of Yoruba Medicine,
School of Languages, School of Music and Dance, and School of Indigenous Technology. We
would like to put on record that, in spite of the fact that the Nigerian Federal Government has
been very supportive by proposing to enact policy thrust aimed at making the Ifa Divination
System and other cultural elements thrive. UNESCO - Japanese Fund - in - Trust provided
counterpart funding for the establishment and sustenance of the Institute. Professor Abimbola
donated the land on which the Institute was built in the centre of Oyo Town. He has also built
two huge buildings, one for administration and large meetings, and the other for classrooms and
Before the Ifa Heritage Institute was established in the year 2008, the Global Forum of Yoruba
Religion and Culture convened a conclave of Babalawos and Iyanifas of Nigeria , who have
since taken an interest in the growth of the School. Several Babalawos, Iyanifas, and other
practitioners of Yoruba religion and culture have since visited the School and addressed the
faculty and students. Prominent Chiefs and elders of Oyo town visit the school on a regular
basis. In the year 2010, when the first matriculation ceremony of the students was held, so many
Babalawos and Iyanifas, as well as other leaders of the Oyo community were present. A good
number of the staff and faculty of the School came from the local Oyo community. One of the
teachers at the school, and who is in charge of the Faculty of Medicine, is Chief Ogundiya Iroko,
the reknowned King of Medicine Men of Oyoland who is 87 years old. The Chair of the Faculty
of Ifa Studies is Chief Fasipe Fagbohun of Oyo Town, one of the last remaining Babalawos who
could chant 20 verses of Ifa from each of the 256 Odus. He is 85 years old. Two of the other
Babalawos who are teachers at the School are also highly respected Babalawos in Oyo Town.
Since its inception, the Ifa Heritage Institute has been under the management of the Global
Forum of Yoruba Religion and Culture, which is an NGO founded by Professor Wande Abimbola.
The Institute also has a National Steering Committee, the Secretariat of which is based in the
As stated above, the Oyo community is very much involved in the work of the Institute and this is
always well demonstrated by the presence of Community Chiefs and leaders at every function
and programmes of Ifa Schools. The entire community of Ifa practitioners i.e. the two groupings
of Ifa practitioners participated actively in the preparation of this report.
Among the social functions are: the Community is alive during the celebration as the Festival
calls for Mass participation of all indigenes, old and young who demonstrate their dancing and
chanting skills during the festival. There is reunion of old friends and folks which serves as
mobilization for community development, interconnection among old and lost friends gives room
for placing their qualified indigenes into political offices within their region. Culturally, it gives
opportunity for continuity of the practice of the diversity of the cultural expressions of the
community such as rites of passage for burial, coronation, to eulogize the old women and to
appease the ancestors and invincible power so that there will be peace, wellbeing and prosperity
in the community. Its characteristics include expression of social respect for the hierarchy
especially the old women (Awon Iyami the spiritually powerful women, who are movers and
shakers of the society) the costumes are worn by men. The masks depicts young women
bringing out the beauty of womenhood while the main mask without breast depict older women
who have turned into men as a result of their metaphysical and spiritual powers. The masks also
depict the recent development in various domains in the community such as introduction of
Gelede traditions is viable. It is celebrated annually with large turnout of community members
from far and near. The sound of the drum moves the entire community and communicates to the
people about the festival. The festival is celebrated annually on December 25 during the xmas
festival when many indigenes at home and abroard are around to celebrate the end of the year
festival. The Catholic Church is collaborating with the Community to promote Gelede by
financing it. Similarly, the art of Gelede is embeded in the curricula of the Primary and Secondary
Schools in the areas where Gelede is practised. Gelede involves people from other professions
such as sculptors, artists, painters , drummers, poets,dancers and farmers. The elders who have
indept knowledge on Gelede are on the decrease. The modes of transmission involve annual
celebration, training of younger generation and documentation of the celebration electronically.
The practitioners include the male sculptors who carve the masks, the adult male dancers who
adorn the masks and do the performances; the women who act as organizers and or sponsors of
the performance and appease the gods on behalf of the lead performer (Efe) so that he can
have a successful perfomance and not be hypnotised by any negative powers. The male
drummers who of course do the drumming and the active audience (both male and female, old
and young) who form the buffer zone around the performance arena which is the market square
or the town square. The number of participants are increasing annually as community members
are inviting their friends to seeing the performance along with them. Furthermore, inter marriages
between the indigenes of the areas where Gelede is practised and their neighbours as well as
people from far areas who come to see Gelede as tourists grace the event. However, Gelede is
being threatened by the religious fundamentalists who see Gelede as satanic and are seriously
campaigning against the preservation and safeguarding of Gelede. The plants from which the
paint used for the masks are made is fast disappearing as most of them are being fell without
replacement, many sculptors are seen as angel of devil and they not showing interest in carving
Gelede masks. The youths who are supposed to be agents of continuity of the preservation of
the culture are mostly seeking white collar jobs in urban centres and also embracing modern
religious beliefs.
However, in Ijio Community which is in Oyo North area of Oyo State and very close to the border
between Nigeria and the Republic of Benin all the children can dance to the Gelede music from
the age of five because they are been taught the movements from their early age. In essence,
the male and female from this communities see Gelede as their heritage and learn it by watching
and emulating the elders who do the dance. They also regard Sabe, another prominent Gelede
practicing area of Republic of Benin as their second home, regularly visit there and inter marry.
This action furthers helps to sustain the Oral Heritage of Gelede.
The inscription of Oral Heritage of Gelede on the Representative List has created better
appreciation and awareness for Gelede tradition among the people of the community and their
environs. At the national level, its inclusion on the national cultural calendar of Nigeria has given
it publicity nationally and internationally. Several foreign scholars have visited the Ijio Community
to research and document Gelede for the better understanding and appreciation of this
intangible cultural element. In Ijio, performances for are staged at the courtyard of the Catholic
Church in the town which serves as the physical space for performance done for the researchers
to see and document. Gelede is also one of the events that feature at the Abuja annual
international festival in November. The festival features regularly on television. It is also being
burn into disc for public consumption. As a result of this, creativity is being promoted among the
poets, musicians and sculptors. People from areas where Gelede is practised are respected for
the preservation of the major aspect of their culture.
It has been imbeded in the school curricula at primary and secondary levels. The Catholic
Church is at the vanguard of the promotion of gelede in the area as the church use it during the
corpus christi and mass events. The communities are also promoting Gelede dance and songs
as these feature regularly in many local celebrations such as coronation, naming ceremonies,
house warming, burial of influencial male / female within the community and at many local social
events. A proposal to provide logistic support and enabling enviroment for the preservation and
promotion of Gelede has been forwarded to the State government of Oyo state. This enabling
environment refers to policy initiatives that would make the element thrive and get support /
sponsorship from corporate organization as well as the necessary infrastructures that would
ease the movement and provide accommodation needs of prospective tourists interested in
seeing the performance. Many scholars have carried out researches on Gelede notable among
who are the Yoruba Language students of the the Emmanuel Alayande College of Education,
Oyo, Researchers from the Institute of African Studies, Ibadan among others. It also features
regularly at the Abuja annual international carnival which is meant to showcase the very best of
our intangible cultural heritage as well as the tangible. The physical space for the performance of
the Gelede is the town square/village square or market squares in the communities where it is
performed; the wide courtyard of the Catholic Church in Ijio serves as the stage for special
performances while in Abuja, it is the Eagle Square which is situated at the third armed zone in
the Central Area of Abuja. All these spaces are managed and maintained by the Communities,
the Church and the Federal Capital Territory Administration respectively.
The festival belongs to the community and it is celebrated by all from the king to the least person
in the community. The community gives it priority to the extent that no attention is given to any
other thing during the celebration of Gelede. All women are actively involved and they all share
functions among themselves which resulted in the success of the whole excecise.various social
cultural groups among the youths and women and men celebrated the festival specially in
addition to the community general celebration by organising separate mini-celebration during the
event by having special attire for their entire members. In fact, everybody is physically and
Federal ministry of tourism, culture and national orientation . Ijio progressive association and all
the workers' guilds are contributing to safeguard Gelede
The king, chiefs, chief-priestess, associations of women, men, youths and all ethusiastically
supported the nomination of Gelede and have been given it necessary support. Meetings were
held to seek the support of the people of the community and all concerned to its nomination. The
Community actually supplied the data which is reflected in this report.
Inscribed in : 2009
Ijele Masquerade is now proudly seen by Anambra people as their rich heritage and the
conferment of Living Human Treasures Award on the current carrier of the Masquerade, Mr.
Chize Okwa has spurred him to further teach the rich heritage to his family members and
community people alike. The traditional mode of transmission employed is very viable and the
government of Anambra State have a dedicated account for the Ijele Masquerade Festival. It is
also a regular feature at the Abuja International Carnival. The practitioners are from the following
communities in Anambra State: Igbariam; Agurele; Nteje;Nsugbe; Anaku; Akwuzu; Achalla;
Ogbunike; Akwa; Umunya and Nkwelle Ezunaka. Each of these communities has their Ijele
carrier clans. When choosing an Ijele, 6 Clans of Ijele carriers will bring (6) able bodied men for
competition and final selection of the carrier is made through African ballot casting system at the
village Centre were a winner emerges. The winner stays indoor for 3 months and would be
secluded from women and non Ijele family. He feeds on special food to give him strength for the
for the onerous task ahead. The Ijele carrier must be very healthy; full of strength and tenacity to
enable him carry the heavy weight of Ijele. To remain Ijele carrier, the rules must be kept though
not as tedious as the rules during the initial selection.
IJELE FAMILY: Ijele Masquerade is a family of four: i. Nne Ijele meaning "Mother of Ijele". She is
a usually beautiful lady masquerade that holds a big ox tail with a carved enamel plate. It
perform dances to flute and soft music. ii Ijele Father called "Onuku": It has a big face and
dresses in chieftaincy regalia. iii Ijele Police: they are usually six. Their duty is to ensure that the
people do not encroach on Ijele father or mother. iv Ijele Palm Wine Tapper: It accompanies Ijele
for the sole purpose of picking its rear as it performs. Another significant personality is the Ijele
fan carrier of Akupe carrier. It is not really a masquerade but it plays crucial role of leading the
Ijele with its symbolic powerful fan called Akupe. Once the Ijele Looses sight of the fan and its
carrier, it gets lost and it signifies danger. Ijele moves when the fan carrier moves and also stops
when it stops. IJELE MUSIC: Ijel dances majestically to the royal Igboeze: dance of the Kings
popularly called Akunechenyi. The musical instruments includes 4 drums, ogene, ubom, uyo,
Ekwe, flute (Oja - ufele), wooden clapper (aja - oja) amongst others. COSTUMES / SYMBOLS:
Ijele Mirror: This mysterious mirror picks and sees anyone with charm or destructive weapons.
The mirror magnets the person to Ijele for punishment. This mirror is reflective and creates an
aesthetic beauty. Ijele Python: This is a big snake signifying royalty and mightiness of Ijele. Ijele
It's inscription on the Representative list has contributed in no little way to raising awareness for
the element at the local, national and international level as it is usually the last Masquerade to
step out even during the Abuja International Carnival which is open to International participants
and tourists alike annually.
The elaborate and intricate costumes of Ijele Masquerades especially the Ododo is very
expensive so it is the Anambra State government and the Anambra State Council for Arts and
Culture that pay for the costumes in order to keep this phenomenon well and alive.
It requires about 100 men workforce to build the Ijele House and the Costume of the
Masquerade. This is paid for by Anambra State Government too. The Ijele family manages and
provide security around the outdoor house in their Community. However, it is important to note
that when the Ijele comes to perform at Abuja International Carnival every November, a
temporary outdoor house is contructed for its use and this is dismantled after the performance.
The space for performance of Masquerade starts from the outdoor house to the streets of the
Communities, the market / community square to the Palace and all these spaces will and shall
continue to be well protected and safeguarded.
The Anambra State government already have dedicated account for festivals especially Ijele
Masquerade and the Federal Government of Nigeria has put in place a policy encouraging the
State government and local government to increase funding for the intangible cultural heritage
safeguarding and promotion as well as carrying out of enlightenment campaign targeted at the
populace that Ijele Masquerade is part of the heritage that should be protected.
The Federal Government of Nigeria has equally advised all State government to create specific
Ministries for Culture in order to devote more time, visibility and funds to the country'scultural
resources. Anambra State government has complied with this policy directives and has a
Ministry of Culture and Tourism.
Enlightenment programme is being mounted so that Ijele Masquerade would be seen for what it
represents: an Art form which is one of the Cornerstone of the people's culture
The process of Ijele Masquerade carrier's picking allows for all communities to be actively
involved in the nomination process and it is a thing of pride for one clan to produce the bearer of
the Masquerade of a year at a keenly contested competition. For this reason, not undermining
the communal democratic process of selecting the bearer of the mask, the entire communities of
Igbariam; Agurele; Nteje;Nsugbe; Anaku; Akwuzu; Achalla; Ogbunike; Akwa; Umunya and
Nkwelle Ezunaka all of Anambra State are majorly involved in efforts to safeguard the element.
Each of these communities has their Ijele carrier clans and they strive to ensure that able bodied
men who are very strong are presented to compete for a chance to bear the Mask and perform.
Competent Bodies involved in Management and Safeguarding is the Federal Ministry of Tourism,
Culture and National Orientation, Federal Secretariat Complex, Phase II, P. M. B. 473, Garki,
Abuja, Nigeria. While the Anambra State Council for Arts and Culture and the State's Ministry of
Culture and Tourism are also saddle with the responsibility of assisting in the management and
safegaurdin gof the element.
Cultural Officers where dispatched to the field to interact with this communities in order to get
first hand information on the element and also document the feelings of each communities on
the element. The Challenges, solutions they proffered and so on and so fort. All the major Ijele
Masquaerade Festival active communities were consulted in the prepartion of this report and it it
their opinion that is expressed above.