Okumkpo Theatre

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October 13, 2024

When it comes to theatrical plays, the most well-known names are those of William Shakespeare, as well as the Kabuki and Noh theatres of Japan. However, it may surprise you to know that Africa has its own rich history of impressive creativity in the realm of theatre.

The Afikpo people, from the southeastern Igbo tribe in Nigeria, have a fascinating yet long-forgotten tradition of theatrical plays called the Okumkpo Theatre, also known as the Okumkpo Masquerade. Okumkpo is a classical form of Igbo traditional theatre that blends dramatic performances, traditional dance, skits, recited poems, and songs, presented by masked players. These performances are typically held in the afternoons or evenings.

The Okumkpo performances are seasonal, usually taking place during the dry season, from November through January, a period known as iko-okochi. This season marks the end of the harvest, when the community is at rest.

The play typically involves young, agile men, as well as middle-aged men, while young boys are introduced to the art of masking after being initiated into manhood through the formal process of the Ogo cult. The Okumkpo Masquerade often includes about one hundred performers, all of whom are men and boys. It is one of the most elaborate, popular, and well-attended Afikpo masked rituals. The performers are part of a secret society, where all characters wear wooden masks and costumes.

Okumkpo literally means "stinger," and the performances are known for their satirical and critical commentary on people and societal issues. The Okumkpo theatre emerged as a means to check and balance human corruption and folly. Through its performances, it critiques and corrects unjust actions, such as a chief mistreating his people or selfish behavior that brings shame to the village.

Despite its satirical nature, the Okumkpo theatre aims to provide moral lessons and improve society. Unlike Western plays, which are scripted, the Okumkpo Masquerade is unscripted, community-based, and improvisational. Its purpose is to benefit and enhance the growth of the community.

The Okumkpo theatre involves careful planning and execution, often engaging the entire village. The goal is not only to entertain but also to create a lasting impression that benefits the community. There are twelve masks used in the Okumkpo performances, each representing a specific character in the play. Dancers wearing these masks are expected to perform according to the qualities the mask represents.

While there are female roles in the plays, women are forbidden from participating in the Okumkpo Masquerade due to mythical beliefs that deem them "unclean." As a result, only men are allowed to perform in these plays. Non-members of the secret society are also forbidden from witnessing the production, storage, and use of the masks, as these activities are reserved exclusively for members.

The plays often include satirical themes, such as a competition to determine "the most foolish man on earth," a comedic contest known as "The Pot of Foolishness," in which the winner receives the famed pot.

Here is a brief description of the twelve masks used in the Okumkpo theatre:

Bekee – Represents a white man.
Mkpe – Worn by musicians who drum during the performance.
Mmaji – Meaning "knife-yam," this mask represents a schoolboy.
Acali – Featuring large eyes, this mask is popular with young initiates and represents a scholar or Muslim.
Okpesu Umuruma – The ugliest mask in the ensemble, representing an ugly character.
Nnade Okumkpa – The "Father of Okumkpa," the director of the skits and dances.
Opa Nwa – The "Queen" of all the Okumkpo masks, often hidden in the crowd.

Other masks include the Ibibio mask, Igri mask, Mba mask, Nne Mgbo mask, and Otogho mask. These masks are also used in the rites of the Nsiji and Mbe secret societies.

The Okumkpo Performance

Before rehearsals for an Okumkpo performance begin, preparations start early in the year. The Okumkpo performers gather ideas and material by listening to gossip and quarrels throughout the village. They quietly observe interactions at homes, by the streams where girls fetch water, at marketplaces, farms, drinking spots, and even resting areas. It is said that "all walls have ears" because the Okumkpo are always eavesdropping. No one knows when they might become an unseen guest at a gathering, silently collecting bits of gossip and information.

The ideas gathered throughout the year are transformed into skits, dramas, plays, songs, and dances. The focus of the theatrical play is divided into three key categories:

Ridiculing individuals who have acted foolishly.
Criticizing leaders who fail in their responsibilities.
Maintaining the traditional roles of men and women in the community.

Before a member of the Okumkpo wears a mask for a performance, custom dictates that rituals must be performed. This is because it is believed that the spirit of the tree from which the mask was carved still resides within it. When a performer dons the mask, it is believed that he transforms into a spirit.

The Okumkpo ensemble is made up of several groups, each with a specific role:

Main Okumkpo: This consists of four members who also serve as lead vocalists during the play.
Nchatancha: Four middle-aged dancers who tell a story to the audience through their dance steps.
Nchekwa Lugulu: Young dancers who portray themselves as young ladies.
Agboho Lugulu: Youthful dancers who represent nursing mothers.
Nne Omogho Njagidi: Performers who portray police and military men during the play.

Each of these groups is expected to embody their roles perfectly through their costumes and performances.

The Okumkpo ensemble also includes a chorus of drummers, who accompany the four main Okumkpo masquerades at the center of the Ogo, the open space in the community where the play takes place. The drummers carry poles of palm fronds and wear masks made of feathers and cloth of their own choosing. They sing choruses, especially during interludes, when the audience bursts into laughter.

The performance begins with all the actors coming out together into the village, adorned in their masks. The leader wears an older Okumkpo mask, but this leader is not the primary leader. Instead, he dons the Egwale mask. The Egwale is one of two men who sit amidst the crowd of masked performers during the play.

At the heart of the performance is the Nnade Okumkpo, the major actor, organizer, and director, who plays the lead role. He doubles as the narrator and vocalist, demonstrating unmatched oratory skills. The Nnade Okumkpo wears costumes made from raffia, wool, and other materials, and is distinguished by a simple, long, oval mask. His narrative is interspersed with songs and accompanied by drums and other musical instruments.

Another important element of the performance is the Njenje mask parade, where performers stroll through the village dressed as unmarried girls, Europeans, Muslims, and children.

The Pot of Foolishness

One of the most popular skits performed by the Okumkpo masquerade is called "The Pot of Foolishness." In this humorous play, a soup or water pot serves as the prize for the person deemed the most foolish.

The performance begins with a masked character explaining to the audience why he considers himself the most foolish person of all. A series of other contenders follow, each boasting about their own foolishness in an effort to win the "trophy." As each contender presents their case, others in the crowd often disagree and step forward to explain why the current contender is not truly the most foolish.

Reasons for foolishness are often conveyed through long, chanted stories of how each contender has demonstrated foolishness throughout their lives. The play leader, after hearing all the stories and considering the "credibility" and skills of the contenders, decides who deserves the title of the most foolish person. The winner is awarded the soup or water pot as their trophy.