The night was dark-blue in the face
with a pale-yellow eye;
an occasional passing glow filters through
a black smoke blanket covering
like dusk light through the windowpanes
of a dark room,—
The curtains are drawn.
Not a good day to have conversations
with the night:
it can barely see us;
not even a good month to listen to its stories—
A voice unsure about the sounds it speaks;
not even a fond season for romantic gestures
from its constellations -an ode to celestial vagaries.
Even the rainy season had a visitor from the Sahel;
they stayed long enough until thirst hung
with red ribbons of triumph.
The year has been painfully long…1969.
The ominous sounds of the 106 artillery.
For the children, the frequency had left refrains of nightmare;
the adults don’t listen to their children’s stories anymore.
In my town, Nnewi, the artilleries, fifteen miles away,
waited until we were asleep to tell their horror stories.
Deep in slumber, the children feign placidity
on account of fear and bewilderment
of the thunderous sounds of the artilleries.
Even the grounds on which our family house rents space,
still occupied, every inch,
now threatens abdication of ownership.
These sounds do not rhyme
as they bear down hard on the ground:
they leave imprints,
affectations of a case of heavy nerves.
All the while,
on the agitated and submerged lands
of this Biafra, life’s enemies are at work;
the messengers of misery are at work;
the yam barn is lonely.
Inside the hollow grounds, there is privacy
and silence, grim silence.
“And yet God’s children have died here.”
Copyright © 2020 Chris Chinwe Ulasi
♦ Chris Chinwe Ulasi, Professor of Media and Communication, is on the Editorial Board of the West African Pilot News.KEEP READING
So, how can local Akwete fabric producers get adequate training to replace antiquated manual labor methods with competitive contemporary machines and mechanisms?
The new governor of Anambra State, Chukwuma Charles Soludo, may have set in motion what might be perceived as the second revolution of Akwete textiles. Throughout his campaign, and as recently as today, he has not just preached this philosophy but has also demonstrated it by voluntarily offering himself as this local trade’s brand ambassador. According to the governor, “My Akwete dress is not just a dress; it’s a statement. I want to make a statement with it. You know, in the entire Southeast, this is the only textile product alive, and it’s handmade by the women of Akwete in Abia State.”
Soludo’s proclamation soon aroused other leaders in the Southeast to follow suit and advocate a similar cause―to revitalize and purchase these local textiles. A few days ago, Governor Okezie Ikpeazu of Abia (Akwete’s home state) and other governors attending the People’s Democratic Party (PDP) Governors’ Forum wore Akwete fabrics to their meeting in the Ukwa East local government area.
Governor Ikpeazu has always been a fan of this fabric and has always expressed pride that it comes from his home state. Other political and community leaders and celebrities of Igbo descent have also used this fabric to demonstrate loyalty.
However, the purpose of this commentary is not to assess the people’s benefaction of, or devotion to, this product. By all indications, this product and the makers have now been given another chance to prosper from their handicraft once again. Igbos, it appears, are passionately ready to make this fabric their signature attire. One may recall that Akwete fabric textiles thrived during the nineteenth century and were worn by the women of Akwete (now Abia State). The Igbos then started trading this fabric for goods from international traders and those from other parts of Nigeria.
Online commerce has extensively superseded traditional face-to-face or business-to-business trade engagements
Currently, however, the Akwete production technique is not very different from what it was when it began. The weaving involves a laborious, manual interlacing technique performed on a two-system loom. Weavers sit on a low chair, and they labor for hours to produce a substantial length. Today, however, the global system has completely changed, and the economic environment is entirely different. Online commerce has extensively superseded traditional face-to-face or business-to-business trade engagements.
Remember, Akwete clothmakers are local, traditional fabricators who do not know about branding their talents nor elevating them to a competitive market level. They are, therefore, likely to lose their entire Akwete fabric culture to larger, capital-oriented companies from other places. It’s possible that while wearing this fabric at political events or in loyalty to a homemade product is healthy for promotion and ancestry comradeship, it might bear no economic relevance.
Currently, there have been attempts by a few Nigerian traders and investors to develop a more modernized fabrication system, but that might not be enough to sustain the modern global market structure. For instance, with China’s advent as a significant player in Africa, trade and investment have grown tremendously. China now competes with the United States and European Union (EU) as one of Africa’s trade, investment, and aid partners. They are all over Africa buying up ideas and exploring products and cultures—and then commercializing them through predatory monopolistic ventures.
Globally, the fabric industry is strong. Unfortunately, African fabric dealers and manufacturers remain vulnerable to more aggressive, well-prepared foreign merchants. For example, Qingdao Phoenix, a Chinese textile industry specializing in African wax printing materials, touts the most advanced equipment and latest technologies in textile production. This company is also the manufacturer of the Hitarget brand, which features what are considered to be the most popular African print designs, styles, and colors. Interestingly, most Dutch designs available today within the African marketplace are low-cost reproductions made in China.
Akwete challenge is beyond a trending “made-in-Abia” excitement
Therefore, the Akwete challenge is beyond a trending “made-in-Abia” excitement. It is now a matter of urgency to facilitate the strategic transition from creating these products by hand to using relevant technologies. This philosophy must go beyond looking at who wears these fabrics or does the photoshoot; training, capital investment, and other appropriate support efforts are necessary to initiate technological innovation and process change.
So, how can local Akwete fabric producers get adequate training to replace antiquated manual labor methods with competitive contemporary machines and mechanisms? How can they embrace relevant technologies to distribute and market this product and eliminate the current, outdated business-to-consumer sales and distribution culture? How sincerely do they want to remain producers, distributors, or perhaps sole custodians of their talent and artistic culture—without losing out to today’s ruthless, capitalistic market environment?
Grab a coffee, and let’s have a conversation. #
♦Publisher of the Guardian News, Professor Anthony Obi Ogbo, Ph.D. is on the Editorial Board of the West African Pilot News. He is the author of the Influence of Leadership (2015) and the Maxims of Political Leadership (2019). Contact: email@example.comKEEP READING
In Ethiopia, young boys who want to identify as men must successfully jump over a castrated, male cow four times while naked, symbolizing the childhood they are leaving behind them. In the small island of Vanuatu, young boys come of age by jumping off of a 98-foot-tall tower with a bungee-like vine tied to their ankles, just barely preventing them from hitting the ground.
Basically, the cultural traditions indicate that a boy is now a man.
In Igboland, Iwa Akwa, also known as ‘cloth wearing’, is an age-long tradition that symbolises an initiation into manhood. It is a ceremony that entails the passage of a young boy transforming into a full fledged man.Iwa Akwa men in their wrappers [So Tectonic]
When a young boy reaches a certain age around 21-26 years, and the family deems it time for him to partake in Iwa akwa, the elders make prior investigations to make sure he is eligible. This eligibility requirements basically include being of the right age and family background. The participant’s mother has to have been married properly to the community and be identified by the women of the community, and the father has to have properly passed through the initiation stage in his days. The participant also shouldn’t have any link or heredity with Osu (outcast).Iwa akwa ceremony [Redsgram]
After the prior investigations, the participant joins an age group and the family proceeds to prepare for the ceremony. Preparations include buying wrappers (George) from the market that is of very high quality and getting the reception event ready.
The activities include performing tasks dictated by the seniors who have gone through the process in previous years, spreading of the wrapper in front of their family compounds, blessing of the wrappers by a spiritual leader, wearing and procession along the streets on bare feet. All these will be followed by big reception celebrations in the respective family compounds from evening till whenever the family decides to end it.Iwa Akwa in Amakohia [Nairaland]
Successful participation is a proof that the man can now take up civil responsibilities within his community and family circles.
Many men wait till they’re very wealthy before they come home to perform their Iwa Akwa, while some initiations are even done in absentia, when the participant is unavoidably absent. The ceremony is also open to women at times.
Now, the ceremony has faded across Igboland, but is still performed once in every three years, in some towns in Imo state.KEEP READING