Oba Erediauwa’s 30th coronation anniversary

A profusion of colour, sights and sounds pervaded the expansive grounds of the palace of the Oba of Benin, Omo N'Oba N'Edo Uku Akpolokpolo, Oba Erediauwa, for nearly two weeks between March 18 and 29 as the monarch marked 30 years on the throne of his fathers in grand style.

The Oba, who ascended the throne at the death of his father, Oba Akenzua II, was crowned king on Friday, March 23, 1979, making him the 38th Oba in a long line of Benin Kingdom monarchs.

His reign, like those of the ancestor Obas before him (especially his great-grand father, Oba Ovonramwen, who was deposed by the British during an invasion of the city in 1897 and banished to Calabar), has not been easy. Challenges, including rebellion from some of his own chiefs led by the Esama of Benin, Gabriel Igbinedion, have characterised the reign.

However, none of these-problems from rebellious chiefs and other challenges to the centuries-old monarchy-was in evidence during the anniversary celebration.

Touted as a cultural carnival and a showcase of Benin arts and culture, the anniversary lived up to its billing, what with the rich display of culture and tradition during the celebrations which featured an art exhibition, the unveiling of statues of past Obas at the King's Square in Benin City, a dance drama, musical fiesta, food fair, amongst others activities.

The exhibition, held at the city's Cultural Centre, featured artworks of different media such as bronze casting, carvings, paintings, sculptures and others that showcased the rich cultural heritage of the people.

However, it was the numerous dance and cultural troupes that performed on different days of the ceremony that gave a carnival-like ambience to the proceedings.

The anniversary day itself (Monday, March 23) and the last day of the festivities (March 29)witnessed a large turnout of traditional dance troupes from different parts of Edo and Delta States.

The troupes thrilled the teeming crowd at the palace grounds with their scintillating dance steps, songs and drama, to mark what Muri Olaogun, head of the Yoruba community in Benin City, described as "a long, peaceful reign."

Pomp and acrobatics

Creating the variety of lively sounds were the various traditional musical instruments used by the different groups-like drums, maracas (beaded gourds) and agogo (gong)-which acted like intoxicants on the dancers.

The groups had started arriving the palace grounds from nine in the morning. While some sat under the canopies waiting for the ceremony to begin, others danced round the field, entertaining the audience with dance steps that ranged from the fast and acrobatic to the slow and sedate.

A Standing out in its performance was the Ema Cultural group from Uvwie (Effurun, near Warri, Delta State). Dressed in sparkling white lace wrappers, bowler hats (for the men) and coral beads, they captivated the audience with their vigorous and energetic dance style.

This was in sharp contrast to the slower, more laid-back style of the members of the Edo State Arts Council group, famous for their colourful red costumes (particularly the women's hairdo) as well as their uniquely intricate dancing style.

Also remarkable for generating excitement was the Eware masquerade from the Oka-Useni community in Owan East Local Government Area of Edo State.

Members of the group were dressed in palm fronds with studded with mirrors, looking otherworldly and rather scary. While the taller ones (the head of the troupe, Kadiri Murtala, looked like a chief priest in his all red outfit, emioro) called Iye Ekposo (mother of Ekposo) were more aggressive, the shorter ones, known as Ovbiekpo, seemed more peaceful, often squatting to rest after a rigorous dancing session.

Other groups that performed were the Itsekiri dance group, the Yoruba community in Benin, Awanokhueni Theatre group, Benin City, Prince Segun Alile and his Band, Oto-Iyoba Community Troupe, Aduhanhan Village, Izi Cultural Dance Group, Ugbekpe Ekperi, Etsako Central Local Council, Edo State, among others.

A king and his queens

The Oba of Benin does not often appear in public and his queens are an even rarer sight. So, when Oba Erediauwa made an appearance at nearly 2 pm followed by his queens, a frisson of excitement could be discerned in the air.

As his chiefs paid homage and paid traditional obeisance to him, the sounds of Oba gha to kpere, ise! (Long live the Oba, amen!) rent the air. Sitting to the oba's right with only a few yards separating them were his four queens who sat according to seniority with Queen Esther Omoye Erediauwa, the senior wife, leading them.

Dressed in richly designed wrappers (from chest down), with coral beads and the special hairdo (the okuku) worn exclusively by queens and princesses of Benin kingdom, the royal consorts drew admiring glances and comments for their style and regal comportment.

Adding more colour and majestic touch to the ceremony with their royal robes and regalia of office were the numerous chiefs and kings that graced the occasion from different parts of the country.

These included: the Oba of Lagos, the Obi of Onitsha, the Otaru of Auchi, Haliru Momoh, Ikelegbe III, the Ovie of Abraka, Adaviyi I, the Ovie of Uvwie Kingdom, (Effurun) HRM Abe I, Enogie of Uromi and others.

Worshipping with the king in the 600-year-old church

On Sunday, March 29, the celebration train moved on with a thanksgiving service. The venue was the Holy Aruosa Cathedral, better known to Benin residents as the "Oba's church."

Situated on Akpakpava Street in the heart of the ancient city and dating back to the sixteenth century. This is not your average church-though it may look like a typical place of worship at first glance.

The Holy Aruosa Cathedral is in fact a Benin traditional church, with a mode of worship that is a rich mix of cultural values, norms, idioms and unorthodox beliefs.

Inside is a large hall with a vaulted ceiling decorated with plaster of Paris from which numerous fans are suspended. The whole interior is painted white, including the altar area.

There are no stained glass windows, icons of saints or images of Jesus Christ as often seen in the more orthodox churches. Instead, pictures of the Oba, his queens and palace courtiers are placed strategically on the pillars that line both sides of the hall.

Carved on two pillars on both sides of the altar are the royal insignia of ada and eben (scimitars). Near the altar is a throne decorated with leopard skin on which the Oba sits during service.

Before 9am, the congregation, made up of mainly the middle-aged and the elderly, had begun to trickle in, most gaily dressed in ethnic attires with the women in colourful headgears (gele). The sexes do not mix in this church, so the men sit on the left rows of pews while the women sit on two rows to the right.

Providing music is a choir that can be seen on the upper gallery as soon as you enter the church. It consists mostly of women in white outfits playing maracas accompanied by a man with a guitar. There are no hymns, but songs rendered exclusively in Edo language with lots of instrumental accompaniment, giving their performance more of a cultural than a religious tone.

The tempo of the music increased considerably just after 10am when the Oba, accompanied by his chiefs and courtiers, arrived. It was then that the senior pastor or priest in a white robe and red cap with a retinue of mass servers moved to the altar and the service began.

Lasting for two hours, it featured plenty of singing, dancing and prayers said to Osalubuwa, the Almighty God.

There is a noticeable absence of the Bible here, with neither the clergy nor congregation being seen with any. What takes place is a long prayer session for prosperity, good health, long life and protection against evil for everyone, the Oba and Edo State generally. Like in conventional churches, there is a sermon, but here it is rendered in the form of a folktale.

The priest told the story of a very rich man, who because of his immense wealth grew proud and arrogant. He later challenged the Oba on who was the richest; and on the day of the contest, after the chief had recounted all his wealth and possessions, the Oba told him that of all his riches, the chief was the first among them.

The lesson in the message was that the Oba, who is regarded by the people as a permanent representative of God on earth, owned everything and nobody should equate himself with him; and that everyone including the rich is subject to him.

The use of folktales to pass on messages to the congregation, the ethnic slant to the singing by the choir and the other modes of worship - all reinforce the traditional nature of the Aruosa Church.

Established around 1504, the church was said to have been introduced by the Portuguese on their visit to Benin during the reign of Oba Esigie. It was popular for some years until decline set in after the death of Oba Ehengbuda.

According to Charles Ize-Iyamu, a Benin resident, "What happened was that the traditional religious worshippers rose against the church and Christianity. And the next Oba, Oba Ohuan, banned water baptism and the decline set in.

It wasn't until 1945 that the church was re-established by Akenzua II, father of the present Oba." On the mode of worship in the church and why the Bible is not used, the priest, known as Ohen-Osa (Priest of God), real name: Harrison Okao, said, "We are not against the Bible or the Koran. We take the good part. We are also not against Christ or Mohammed or Ogun.

"We are only against sinners. Anyone that sins or supports evil is not our friend. But anyone doing the good work of God is our friend. We tell the people not to commit evil or bad thing and when people have problems, we pray for them and God answers them."

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