2/11/2017

OBI NWAKANMA - VISION OF A RENASCENT ONITSHA CITY

By Okenwa Nwosu
It was the city that drew the great generation of Igbo, and indeed Southern Nigerian modernists. The city of the great Zik, whose statue still adorns an important historical site of the city; the city of Denis Osadebe, Mbonu Ojike, Nwafor Orizu, Ikejiani, Raymond Amanze Njoku, Pius Okigbo, Chike Obi, Sylvanus Cookey, Birabi, Ben Enwonwu, Cyprian Ekwensi, and too many others too numerous to mention. 
It was the city, whose centrality in the evolution of modern Nigerian culture has been recorded permanently in Emmanuel Obiechina’s canonical study of the literature now called, “Onitsha Market Literature,” produced in the great forges of its little presses, much like the grub street, which basically disseminated the most significant tradition of city penny literature in that march towards the modern. Onitsha once had a great newspaper too: the Nigerian Spokesman, which gave this city its certain flavor. 
The city exhibits the marks of dystopia. Yet it is a city of possibilities, if only the Anambra state government, can think slightly out of the box and commence an ambitious City redevelopment plan, by bringing a number of things to bear: the reconstitution of Onitsha as a Metropolitan district with its own city government, and execution of a plan that would integrate Ogidi, Obosi, Nnewi, Oba, and the surrounding districts, as part of the conurbation of a new Onitsha Metropolitan District. 
This metropolitan authority should then think about raising property and other municipal taxes and begin the very clear process of redesigning and rebuilding Onitsha as a modern, 21st century city that should integrate the grandeur of its own history as the first epicenter of Igbo modernity, and promote that history as part of its culture and image, and its new offering. 
This is what great cities do. It should also work inexorably towards the development of its valuable water front into a great residential, business and culture district, with splendid private and public residential facilities, fine offices, great restaurants, galleries, theatres, well designed public parks, and such a place that would draw people to its profitable use, and that would enrich the city significantly; and in some ways, connect it to its twin city across the river, Asaba, for the benefit of all.” 
Obi Nwakanma 
IF you asked most people today to go to Aba or Onitsha to settle and live, the first impulse would be to think that you are placing a curse on them. And I am totally serious. Young men and women, the most productive and active catalysts of city life, do not find any incentives to go to these once thriving cities of the East to settle, and live a full life. 
I once asked a friend of mine who grew up in Onitsha, and who now teaches at the University of Denver, Colorado, if he could ever think about living in Onitsha or raising his children in Onitsha, and his response to me was quite frank: “there is nothing for me in Onitsha!” he said. 
It was no longer even the city in which he grew up. The decay of a city like Onitsha is so terrifying that an encounter with both the image and reality of the city is nightmarish - a true ghostly miasma that is. 
Until you have felt and seen it, it is quite unimaginable. The sludge of human and industrial waste that runs on the public and private spaces; the sense of the brokenness of everything; the disorder in city planning; in code enforcement; in street planning; in the general ordering and layout of the city makes Onitsha today, one of the most polluted and certainly one of the most ungainly sites of human habitation anywhere on God’s earth. 
Yet encrusted in that pod of waste is a possible gem; a once well planned city which becomes only clear from the air, which has only been distorted by the barbarous rage of a most philistine generation for whom beauty and civility are alien values. 
Onitsha still has some of the finest colonial architecture which are indeed great set pieces and which could just be rehabbed with a little imagination, care, and some respect for heritage. Yet also, Onitsha is dotted with some of the most monstrous forms of architecture, a pretence at the high-rise apartments, which give little room for aesthetics. The buildings are often largely utilitarian
They are most times constructed with little rhyme or reason, possibly inspired by the competitiveness of the Onitsha landlord who draws the design on the sand, and builds just to prove to everyone else that his “four decking is higher than yours.” 
The result in Onitsha, as one drives in, is a sense or an impression of a vast project – those low income, box-like constructions of high-rise apartments that dot the landscape of American urban ghettoes that are infested with drugs, prostitution and poverty. I have nothing, of course, against urban housing, but let it be built with respect for the people, with a sense of spatiality, with some aesthetic purpose. 
Onitsha’s image suffers from its certain lack of awareness of its own history or importance. My early vision of Onitsha was shaped by an early encounter with Chinua Achebe’s novella, Chike and the River, a book I read in primary five. 
I also associated Onitsha with what one imagined to be the magnificent bridge across the Niger at Onitsha, which even now, remains as powerful as New York’s Brooklyn Bridge, as an authentic symbol of Nigeria’s entry into high technological modernity
The Brooklyn Bridge has been celebrated in the epic poetry of great American Romantic and modernist poets like Walt Whitman and Hart Crane, but not the bridge across the lordly Niger in Onitsha. Onitsha was for many years the cultural and commercial center of the East – something of the Boston of Southern Nigeria – with its place as the epicentre of Christian missionary movement into the Igbo heartland
For many years, it was the headquarters of the Church of the Niger. It was the city of Basden and the Archbishop Denis, as well as the Joseph Shanahans. Those icons of the Roman and the Anglican churches, who ironically were also figures of early Igbo modernity of the late 19th century. 
Onitsha was the intellectual capital of Southern Nigeria, with its famous parochial schools, like the Christ the Kings College, the Catholic boarding school for boys, or the Denis Memorial Grammar School, the Anglican equivalent, or the Queen of the Rosary School, the Catholic boarding school for girls, or the famous St. Charles Teachers College, and so many pioneer schools that made Onitsha the gathering of the early Igbo towards cultural modernity
It was the city that drew the great generation of Igbo, and indeed Southern Nigerian modernists. The city of the great Zik, whose statue still adorns an important historical site of the city; the city of Denis Osadebe, Mbonu Ojike, Nwafor Orizu, Ikejiani, Raymond Amanze Njoku, Pius Okigbo, Chike Obi, Sylvanus Cookey, Birabi, Ben Enwonwu, Cyprian Ekwensi, and too many others too numerous to mention. 
It was the city, whose centrality in the evolution of modern Nigerian culture has been recorded permanently in Emmanuel Obiechina’s canonical study of the literature now called, “Onitsha Market Literature,” produced in the great forges of its little presses, much like the grub street, which basically disseminated the most significant tradition of city penny literature in that march towards the modern. Onitsha once had a great newspaper too: the Nigerian Spokesman, which gave this city its certain flavor. 
I could go on and on, but I hope the picture is clear, that from the time of the Saro and Caribbean middle class of lawyers, doctors, teachers, and so on, who first constituted the society and culture of Onitsha, of the Onitsha Literary Society, funded by a remarkable whiteman whose grave is still marked in one silent corner of the of the Onitsha city cemetery, to today, a city like Onitsha has undergone radical transformation. A cultured middle class seems absent
The city exhibits the marks of dystopia. Yet it is a city of possibilities, if only the Anambra state government, can think slightly out of the box and commence an ambitious City redevelopment plan, by bringing a number of things to bear: the reconstitution of Onitsha as a Metropolitan district with its own city government, and execution of a plan that would integrate Ogidi, Obosi, Nnewi, Oba, and the surrounding districts, as part of the conurbation of a new Onitsha Metropolitan District. 
This metropolitan authority should then think about raising property and other municipal taxes and begin the very clear process of redesigning and rebuilding Onitsha as a modern, 21st century city that should integrate the grandeur of its own history as the first epicenter of Igbo modernity, and promote that history as part of its culture and image, and its new offering. 
This is what great cities do. It should also work inexorably towards the development of its valuable water front into a great residential, business and culture district, with splendid private and public residential facilities, fine offices, great restaurants, galleries, theatres, well designed public parks, and such a place that would draw people to its profitable use, and that would enrich the city significantly; and in some ways, connect it to its twin city across the river, Asaba, for the benefit of all. 
This is the only way to stimulate growth and economic development on a scale that is purposive and significant. I have used Onitsha clearly as a foil even in my description of the other city, Aba. I have always said that one of the most important reflections of the kind of mindset that have destroyed once well-made cities like Aba, designed by Pius Okigbo as Development Officer in 1947, is in the destruction of the Aba golf course and its parceling off to speculators who quickly turned this once beautiful place into a monstrous space. 
Aba and Port-Harcourt are also inevitably bound to shake hands and rejoin themselves at the hip, as it was once conceived, sooner than later. 
And so it is important for the authorities in those two cities to begin the process of joint planning and remodeling, including creating joint sewer districts, protected forest areas, river and lake recreation areas, that would link the triad development from Owerri, Aba and Port-Harcourt, starting at the Owerrinta Port, near Okpala
But as it is, it seems like very little thinking is going on at a grand scale in government. These cities cannot recover their economic powers, if they do not attract the right kind of human energy. It is imperative therefore, to draw people back, with great schools, great city hospitals, great museums and galleries, and generally, great environments to live and nurture families in a healthy and sustainable way.

Igba Ndu in Igboland

MAN naturally is a social animal that interacts as well as try to adapt to his environment. However because man's nature is influenced by his desires for survival, dominance and control over his environment, this leads to issues of conflict among them. Such conflicts could attain the dangerous dimension of taking of lives, physical and spiritual injuries or material destruction. This can be at individual or group levels or even to communal proportion. The need therefore for conflict resolution of these prevalent issues, to avoid destructions and mistrust among peoples, and which can be of a permanent basis, to ensure peace and security of lives and properties, gave rise to the concept of Igba ndu in Igboland. 

What is Igba Ndu 

The concept Igba ndu literarily means to bond life, Igba stands for bond or tie while ndu means life in Igbo language. However the concept of Igba ndu is better understood as a covenant between individuals or groups. The Igbos are predominantly associated with the Igba ndu, however other groups outside their boarders also have their own concept for covenant or oath taking. The Igbos are found in the south eastern and parts of the south-south geopolitical delineation of present day Nigeria and they are a very industrious, energetic, and enterprising people that speak the Igbo language. They are basically skilled in merchandising, and indulge in agriculture and other economic activities. By the nature of their activities and interactions, there is a high level of socio-economic interaction among them and even beyond their boarders, hence such interactions can and most times give room for mutual and peaceful co-existence as well as mistrust and conflict. Hence the need to institute an idea which can help sustain peaceful co-existence of a lasting time led to Igba ndu. This practice emanated not only out of fear of the unknown, especially with the knowledge that man is inherently wicked, hence to check on the wiles of men, covenants or Igba ndu is entered into to help safeguard the life and confidence of the parties that have entered into the agreement. Another reason for the Igba ndu is as a result of man's desire to maintain peace, orderliness and harmonious living among themselves, hence where such is existing there is the need to consolidate such harmony among peoples.

The concept of Igba ndu is tied to the knowledge of the existence of a supreme being or deities who are very powerful as to intervene in the affairs of men when they are invited and thus dispense justice to defaulters who break the covenant entered. For any Igba ndu to be potent, in most cases it is tied to a deity or god. In Igboland, there are many deities that are involved, depending on the people concerned. Prominent deities such as, Igwe ka ala, Amadioha, Ibinokpabi, Ahiajioku etc, are some of the deities called upon to witness such covenants. The parties to the covenant while swearing will pronounce punishments which the gods are to excise on the defaulters. 

Types of Igba Ndu

There are different types of Igba Ndu just as we have different types of agreements among peoples. The types of Igba ndu can be known in terms of the number of people involved or the type of agreement entered into. For influence, there is Igba ndu that can exists between two individuals, within a family or between two different neighboring communities. Igba ndu can also exist between an individual and a deity. In Igba ndu issues involved range from love, disputes between individuals or communities, trading or business concerns to agreements with the gods for protection or favour by individuals or groups etc. in undertaking Igba ndu certain people are involved; apart from the people concerned, the gods or deities are invoked, the departed ancestors are also involved, elders especially titled men, native doctors or Oha dibias, as well as chief priest of the community, is dependent on the people type of Igba ndu to be entered.

For instance where there is between lovers, only the two lovers and some times dibia are physically involved but the gods and ancestors are called upon as witnesses. Where the Igba ndu involves family or community a larger group of people mentioned are involved and the gods and the ancestors' role is to witness and dispense justice to defaulters or uphold the one that conforms to the covenant.

The dibias are to prepare the relevant concoction as well as make the necessary pronouncements/incantations that make the covenant potent. The chief priests invoke the gods and ancestors as well as participate in the preparation of necessary materials for the covenant ceremony. In some cases, the parties concerned are to come with their witness. These witnesses will attest to the facts of the covenant if anything should happen afterwards. 

Objects needed for Igba Ndu 

In understanding the Igba ndu, some items are required; these items are dependent on the type of Igba ndu. Such items as kola nut, palm wine, hot drink, ofo staff, blood, plantain stalk, cockrel, kaolin (nzu), fresh palm frond, snail, yam etc other none material objects and the incantation made by the priest or dibias, which can not be interpreted, it is privy to the dibias only. In the case of two lovers who want to undertake the Igba ndu, both partners can use a kolanut and dip it into their blood and then make a declaration as to their intention as well as what will befall anyone of them that breaks the covenant, they can call on a deity they believed in as witness, including their ancestors and Ala (the goddess of the earth). After which they eat the kolanut. In the event of a land dispute between either individuals or community the Igba ndu is more elaborate as the group concerned will invite witnesses, elders, the chief priest and dibias. In most cases, the covenant is administered in the shrine after the necessary items have been prepared and incantation made to invoke the ancestors and gods to witness it. In this type, the people concerned are to swear not to harm each other in any way either physically or spiritually any one who goes against the covenant the gods and ancestors will dispense justice. In other instance, a hole is dug and plantain stalk used to cross the hole, the people concerned will be made to cross the makeshift bridge, with a declaration that whosoever breaks the covenant will fall into the pit which signifies endless problems 

Essence of Igba Ndu in Igboland 

The role Igba ndu plays in Igbo society can be best appreciated from the axiom of social control. It is important as it tries to eliminate deep seated hatred and calm frayed nerves especially on issues concerning land disputes, and other communal or individual squabbles. The process of Igba ndu ensures that the parties to a dispute settle such disputes amicably without physical or spiritual attacks on each other. 

Igba ndu is also very important as it strengthens the unity that exists between the individuals, groups or communities. 

It also plays the role of adjudication as it is the final processes of arbitration in which parties concerned, witnesses, ancestors and the gods are involved in the process of ensuring peaceful coexistence, hence when administered it becomes the final process of peaceful resolution as partied concerned have involved the spiritual world to adjudicate on their behalf. 

Thus any default is punished by the gods. 

Igba ndu checks the incidence of witch craft or spiritual or physical attacks, then puts a check to the activities of the wicked against the just in the society.

Penalties for default and the process of appeasement

Igba ndu is a serious covenant that carries a very severe punishment on the defaulter. This punishment if not quickly addressed or appeased will result in a family or generational curse or stigma. A defaulter is known when mysterious occurrence begins to affect his life, such as death, infertility, sickness etc. the penalties for a defaulter is an outcome of the covenant entered into as well as the reaction of the deity in which the covenant is administered. In addition to this is the curse, which is also placed on the defaulter. The penalties also defer in terms of the type of Igba ndu entered into. For instance, in the case of two lovers, the penalty for defaulter, where one breaks the covenant and abandons the relationship could be either madness, barrenness, inability to hold down any relationship or even death. Igba ndu where a deity like the Amadioha is involved has a very disastrous penalty for the defaulter. This can either be stricken down by thunder, mysterious illness that defies medical solution etc. the process of appeasement by the defaulter is tedious, this is so as people will not want to associate with such a person for fear of reprisal attack on them from the gods. It is only when a clearance is gotten from the gods through divination on how to appease the deity and also on how to re integrate the person into the society before he or she is allowed access to people. The gods will determine the items for appeasement, which most times are enormous. It is the chief priest of the deity and the dibias that handle such appeasement rites. Also the person will do rites that will allow him access to people (oriko). In some societies, items of appeasement include, cockerel, palmwine, local bull, ram, tortoise, cowry, yam, palm oil etc. 

Igba Ndu in contemporary times 

The influence of religions has had its impact on the appreciation and promotion of our rich cultural attributes including Igba Ndu.

However, there are some few who still believe in the efficacy and powers of our deities. These few have tenaciously held on to the cultural practice such as the Igba Ndu and other aspects of our cultures that recognize our deities in societal control. Though they are few but yet they have been able to ensure that these practices do not fizzle away into oblivious.

By Alloysius Duru