nwa agbo: ENTERING ADOLESCENCE
In keeping with my self-labelling of Igbo Vernacular Art, the women that comprise NWA AGBO: Adolescence are anchored to a particular land, and are situated in a location and a history: the Onitsha people of Igboland.
In Igboland, there is a seasonality of women’s power and authority, specific phases during a woman’s lifespan can be identified in which female power is either immaterial or elevated. Thus, an Igbo woman’s life can be said to be divided into the following four seasons: the Nwata (childhood) season, the Nwa Agbo (adolescence) season, the Okenye (adult) season and finally, the Agadi (autumnal) season. Traditionally, it is only when a woman enters the Agadi season that she becomes an elder or is given the revered title of “honorary man” and she receives all the rights and reputations that are accorded to that station.
In focusing on the NWA AGBO: Adolescence season, the vivid and commanding representations of these young women, on both the allusive and interpretative planes, merit equal attention, since both aim to overturn the misogynistic placement of woman in the patriarchal Igbo culture. The women of Nwa Agbo: Adolescence do not need the title of “honorary man” to be seen or heard. They are formidable in their various manifestations of EKE, the sacred python of Igboland, as EZE NWANYI, queen of all women, as JI, the yam tuber, the celebrated king of all crops in Igboland.
There is an Igbo maxim which states, “Mma nwanyi bu akwa; mma nwoke bu ego”. This translates to “the beauty of a woman is in her attire; the beauty of a man is in his money.” It is time we expand our thinking to cultivate the roles of women in society beyond the commonly defined and restrictive parameters of physical and superficial attributes. It is time we accepted that in putting the restrictions of seasonality and gender bias aside, one and all are JI.
“The Igbo culture is a magical amalgamation of steadfast customs, ancient practices, Nka (artistry), religious beliefs, birth, marriage and death rituals, language, music and dance forms, as well attire and cuisine. The culture of the Igbos modifies our thoughts, speech, actions and artefacts to the extent that we are easily distinguished from other ethnic groups”
KASIEMOBI
“God Comfort Me”. She seeks solace in a gender-confined world which is often difficult to navigate. In such times, she turns to her Chi, her personal god, for comfort.
NWA AGBO | Adolescence
Rites of passage in Igboland are generally centered on periods of transition from one state to another, namely birth, puberty, marriage and death. NWA AGBO – the coming of age where young women who occupy the 18 – 24 age subset are primed for the rites traditional marriage.
NWA AGBO marks the transition from childhood to adulthood, from a relatively unproductive life to productive one and from dependency to independency. Due to its importance and impact on community development, it is an occasion of considerable ritual. It is primarily to welcome or introduce the new adult into the adult world with its rights, privileges and duties. A young maiden is then recognized as an adult and fit for marriage only after a successful puberty rites.
EZE NWANYI | Queen of Women
“Chief-priest” is a leadership title associated with the traditional religion which connotes a spiritual leader. This is an institution in Igboland that is typically reserved only for the male members of a priestly family. In uncommon cases where female divinities are women, the Eze Nwanyi (the Queen of Women, the High Priestess) who represents the respective goddess of a particular people, oversees the affairs of women in the town.
JI | The most prized YAM
JI, the yam tuber, is considered “King of Crops” in Igboland. Celebrated between August and October, “Iwa Ji”, the New Yam Festival, is the most important event in the calendar of Igboland. In likening my subject to JI, her importance as a young woman in society is thus cemented, suggesting that she is the symbolical yam.
IFUNANYA | Love
Ifunanya literally translates to, “to see through the eyes”. The full version of the name is Afurum Gi N’anya, “I have seen you through my eyes”.
“Love” does not technically exist in the Igbo lexicon. This term is deemed a sentimental or emotional feeling which sooner or later ebbs away with time.
For the Igbo, love is much deeper, more important than the emotional feigns. Love is not motivated by physical beauty only, it is the sum total of the physical, genealogical, economical, social and moral attraction between the betrothed, the extended families and wider community.
In the days of our ancestors, one thinks of courtship and marriage with the "eyes" only and whatever one "sees" after many filial investigations can make or break a potential marital courtship. A marriage can only take place once the “eyes” of both families and kinsmen have done enough roving and emerge satisfied. Hence the proverb, “"anya na ebu onu uzo eli", “what you see with your surface eye is not always all you can eat”.
This is what the Igbos of the past and today generally understand by "ifuna-anya".
OJI | searching for the KOLANUT
OJI, the kolanut holds an important position in the Igbo cultural life. Considering its size, the small kolanut performs political, social, economic, and religious functions in Igbo society. These basic functions are made manifest during the presentation, blessing, breaking, distribution and celebration of the kola nut as a whole. Its importance and symbolism cannot be overemphasized.
ADA NWANYI | First Daughter
The Ada Nwanyi is the first daughter of an Igbo family. Even after marriage, the Ada is never completely detached from her father’s house and subsequently belongs to the Umuada, a community of married first daughters.
NWUNYE | Wife
The genderisation of division of labour across many societies, including that of the Igbos, has given men edge over women in the socio-political structure of said societies. This is reinforced by the image of womanhood which undergoes series of changes from Nwata (childhood) to Nwa Agbo (maidenhood) to Nwunye (wifehood) and Nne (motherhood).
This image of womanhood influences and determines the responsibilities that are ascribed to females in traditional Igbo society. As such, right from birth, girls are perceived in the light of their roles as prospective wives and mothers, and hence from infancy, the socialization of girls is tailored towards equipping them with qualities that will enable them fulfill their expected future roles as wives and mothers.
EKE | rebirth of the PYTHON
Pythons are very sacred creatures in Igboland; these serpents must neither be killed, whether erroneously or deliberately, nor eaten. Pythons must be treated with the utmost respect and dignity. They are considered to be messengers of Ala, the Earth Goddess, and generally symbolize peace and prosperity.
In likening my subject to EKE, she is instated as this sacred being despite her youth, thus challenging the common notion that young women are of lesser importance that their male peers or and Agadi.
NWUNYE | Wife
OBODO OYIBO | return from the FOREIGN LAND
In keeping with the current practices of affluent Igbo parents whereby their children are sent abroad for secondary and most importantly, tertiary education, the same has been done for my subject. In yesteryear, such a privilege would have been reserved for the male child but times have since changed and adolescent daughters are now rightly given this same consideration.
NWANNE | Sister
“Sister”. In the village setting, children grow up with a wide range of classificatory mothers, fathers, sisters, and brothers. Throughout the course of a person’s life, individuals benefit from the support of their kin. In this way, a sister is of paramount important in nurturing and cultivating her lineage mates.