BBNaija Shine Ya Eyes housemate Hazel Oyeze Onou, better
known as White Money, is a 29-year-old entrepreneur hailing from Enugu State.
He was born on July 6 1992, to his parents in Enugu State, where he was raised
among his siblings. Sadly, he wasn’t born with a silver spoon, which made his
journey through life a tad difficult, especially with his father's absence. You
all know that saying, if you were born in Nigeria, life is leading you 1–0, and
if your parents don’t have money, life is leading you 2–0. Yes, this was the
reality of WhiteMoney whose life was leading by 2–0 and soon became 3–0 after
his mother was forced to relocate to the City of Lagos in search of greener
pastures.
In the beginning, the pastures were not so green, and his
mother was forced to hustle hard. She began selling food to care for him and
his siblings. As time went on, WhiteMoney joined in hustling. He did many menial
jobs to make ends meet, from opening a mama put to bathing, fixing generators,
riding okada, and once ran a music studio. He was also once a barber and
photographer, all because of husting.
**** Edited by Azizi Powell
Latest Update- October 9, 2021 [Update at the end of this post]
This pancocojams post presents information about Big Brother Naija 6 (BBNaija "Shine Ya Eyes") contestant who is known as "Whitemoney" (less often given as "White Money") , with a focus on sussing out the cultural meaning/s of that nickname for Igbos and other Nigerians.
This post also presents some examples of tweets, YouTube comments, and quotes from other online sources that refer to the word "white" as a referent to BB Naija 6's contestant "Whitemonkey".
The content of this post is presented for cultural and linguistic purposes.
Thanks to Whitemoney and thanks to all those who are quoted in this post. Thanks also to the producer of this embedded video and the publisher of that video on YouTube.
**** PANCOCOJAMS EDITOR'S NOTE
My interest in the meanings of colors in African cultures was reignited as a result of my noticing a top trending United States hashtag about Big Brother Naija 6 contestant "Whitemoney": https://twitter.com/search?q=%23VoteOnlyWhitemoney That hashtag trended #8 in the United States around 8:00 AM ET September 20, 2021). Reading those tweets, I learned that that hashtag also trended that day in Nigeria, Ghana, South Africa, and probably other nations.
These Nigerian connotations for the nickname "Whitemoney" and that nicknames' abbreviations "White" and "Whitey" are very different from the United States connotations for those nicknames. As an African American who had previously read about the Big Brother Naija series but wasn't familiar with the contestents for that 2021 iteration of that series, when I first read the hashtag "Vote for Whitemoney", I thought that "white money" referred to some United States corporation that was owned by White people. Or I thought that that hashtag would be full of shade (insults) towards people of color who acted like Uncle Toms by voting for the interests of White people against the best interest of Black people and other people of color.
After reading a number of tweets in that hashtag, and also reading the articles found below, as well as some other related articles and tweets,my inference and guess is that, to a large extent, the "white" in that Igbo male's nickname "Whitemoney" gets its meaning from the traditional Igbo connotations for the color "white"-, particularly the concept of purity and the connection to God and spirituality.
Specifically in regards to that BBNaija 6 contestant, my guess is that the nickname "Whitemoney" has the connotation of being blessed by God with the ability and opportunities to make, receive, and keep money.
In the United States "White" and "Whitey" are formal and informal referents for White people, with "whitey" sometimes being used as a sometimes playful referent to Black people with very light skin. However, I don't think that those referents have any connection to race or skin color in Nigerian cultures. Instead, my inference and guess (from reading tweets and other online examples of those nicknames used in reference to that BB Naija contestant, is that "White" and "Whitey" are abbreviations for the nickname "Whitemoney". As such, in their BB Naija context, the nicknames "White" and Whitey" have the same connotations in Nigeria as the nickname "Whitemoney"
The BB Naija contestant who is known as "Whitemoney" is what Black people in the United States refer to as "light skinned" and "fair complexioned". However, it should be emphasized that there is no evidence whatsoever that the Nigerian nickname "Whitemoney" or the nicknames "White" and 'Whitey" have any connection whatsoever to that contestants' skin color.
Here's an excerpt that points to why the "money" portion of that BB Naija contestant's nickname "White Money" is so apt for him:
From https://www.carmart.ng/public/blog/about-white-money-bbnaija/ White Money BBnaija Biography, Net Worth, Cars, And Houses, September. 14, 2021 "If you are a fan of reality shows, then you can’t have
missed the face of one of the male housemates in Nigeria’s biggest reality
show, Big Brother Naija. Now, I am talking about White Money, the guy with an
undeniable knack for business. Ever since White Money’s unveiling on 24 July
2021, he has been trending all over social media as fans keep seeking to know
about this dude who has decided to bring his ‘A’ game to win the grand prize of
90 million NGN.
[...]
White
money has been dubbed by many as the typical Igbo man because of his astuteness
to business. Being an all-around hustler, white money has ventured into
numerous businesses just to keep food on his table and a roof over his head."...
**** REPRINT OF THIS COMPLETE ARTICLE - "How God gave me the name ‘Whitemoney’ – BBNaija S6 housemate" From https://punchng.com/how-god-gave-me-the-name-whitemoney-bbnaija-s6-housemate/ by Victoria Edeme, 2 September 2021 "Big Brother Naija Shine Ya Eye housemate, Whitemoney, had
revealed that God gave him the name ‘Whitemoney’.
He revealed this to Queen* on Wednesday, day 39 of the show, as the duo was working in the kitchen.
The 29-year-old businessman whose real name is Hazel Onou,
came into the show with the nickname ‘Whitemoney’, which surprised fans and
viewers.
In their discussion, Whitemoney told Queen that God gave him
the name in the dream.
Queen asked, “The first day I came, I asked you, ‘why is
your name Whitemoney?’ So what is the motivation? Why are you called
Whitemoney?”
Whitemoney answered, “I didn’t give myself that name. It was
given to me by God.”
In surprise, Queen asked, “God? But you said it was from
your friends.”
“Because that’s what I wanted you to know,” Whitemoney
asked.
Queen asked, “So how did God give you Whitemoney? You saw it
in your dream?”
Whitemoney said, “I prayed for it. I woke up with it in my
mouth. Believe it or not, that’s the truth. If I tell people, they may not
believe me. So I just say people gave me Whitemoney.
“I prayed that I needed a name that would stand out; a name
that would cause controversy.” -snip- * Queen is a female contestant in BB Naija 2021.
Two things that are clear from this discussion is that the BB Naija contestant gave the name "Whitemoney" to himself, and he used it prior to his entrance in that television reality series.
**** SELECTED EXAMPLES OF ONLINE MATERIAL THAT SUGGESTS THAT THE NICKNAME "WHITEMONEY" AS USED BY THE BB NAIJA 2021 CONTESTANT HAS TRADITIONAL NIGERIAN MEANINGS
Some of these quotes are examples of the "White" or "Whitey" abbreviations of the nickname "Whitemoney".
The sources for these examples are given in no particular order. Numbers are added for referencing purposes only.
White mind, White soul, White spirit [emoji of Loudly crying
face]❤ [emoji of Loudly crying face] our blood is
Whitemoney"
** 2. ADA
@Proprietress01
"Whitemoney’s soul is as white as his name. A pure heart
dey say God never detest. #VoteOnlyWhitemoney #BBNaija"
** 3. Whitemoney Sugar baby [multiple emojis of Money bag and
Comet]
@WhitemoneyG
·"The money must be white #VoteOnlyWhitemoney"
**
4. For the Truth
@BBnaija2020N
"Whitey [multiple emoji of Fire]
#VoteOnlyWhitemoney #bbnaija
**
5. valentina ernest
@ErnestValentina
"My Whitey ready for the day #BBNaijia
#VoteOnlyWhitemoney"
**
6. Sandra Bridget
@Sanbridge01
"Omo! WMG una dey give me joy!!! My own is just to like
& retweet your tweets as we go all out for the man of the season;
Whitemoney aka Goldmoney aka God'smoney... Mazi of BBN season 6, Ozopurini ego
1 of the 042 state [emoji of Face with tears of joy] the wazobia himself [emoji
of Raising hands] #BBNaija #VoteOnlyWhitemoney " -snip- -snip- "Mazi" is an Igbo "title" for men which is sometimes said to mean "Mr,". However, some women can also be addressed as "mazi". "Mazi" is also sometimes given the meaning "elder".But in these tweets about WhiteMoney the word "mazi" seems to be more of an honorific (a title conferring high status and respect). Click https://www.nairaland.com/1358405/mazi-title-igbo-society "The "Mazi" Title In Igbo Society - Culture - Nairaland" for a six page discussion about the Igbo word "mazi".
** 7. NanaYaw Barima [Dizzy symbol]
@AlhajiTrinidad
"MaziMoney , GoldMoney, God’s Money , Whitemoney , You
the best ! #VoteOnlyWhitemoney G #BBNaija" -snip- "Mazi" is an Igbo "title" for men which is sometimes said to mean "Mr,". However, some women can also be addressed as "mazi". Mazi is also sometimes given the meaning "elder".But in these tweets about WhiteMoney the word "mazi" seems to be more of an honorific. Click https://www.nairaland.com/1358405/mazi-title-igbo-society "The "Mazi" Title In Igbo Society - Culture - Nairaland" for a six page discussion about the word "mazi".
"Whitemoney gang, I guess you all should understand that
White is on the top and we have to do everything possible to defend him. A lot
of bitter brainwashed fans are out there to bring up an agenda.
Whitemoney has been a fan favourite since the show began on 24 July . He also had the backing and support of his kinsmen and several Nigerian celebrities.
As winner, Whitemoney walks away with a total of ₦90m grand
prize which includes a ₦30m cash prize, cash in an Abeg digital wallet and
bitcoins courtesy of Patricia.
Others are a two-bedroom apartment courtesy of RevolutionPlus
Property, a top of the range SUV from a Nigerian automaker, Innoson Motors, and
a trip-for-two packaged by Travelbeta.
Emmanuel placed sixth, Angel came fifth, Cross was fourth,
Pere occupied the third place while Liquorose came second."...
This pancocojams post is Part IV of an ongoing series that presents quotes from various online articles that provide information about the meanings of certain colors, designs, and objects in specific traditional African cultures.
The excerpts in this post provide some information about the meaning of the color white in Igbo (Nigerian) culture.
Use pancocojams' internal search engine or click the "the meaning of colors in traditional African cultures" tag below to find other pancocojams posts on this subject.
The content of this post is presented for folkloric, cultural, and aesthetic purposes.
Thanks to the researchers who are quoted in this post.
-snip- Click http://pancocojams.blogspot.com/2018/01/olodumare-and-obatala-oxala-color-white.html for a closely related 2018 pancocojams post entitled "Olodumare And Obatala (Oxalá) & The Color White (information & videos)." Here's one quote that is included in that post: "The priests and devotees of the arch-divinity of Yoruba pantheon, Obatala...ahould also promote anything white and avoid black items in order to keep the ritual sanctity in connection with the worship of the divinity. ·White is a symbol of purity, holiness and peace. So, priests and devotees of Obatala should, during ritual activities, present themselves as'pure and holy. http://www.obafemio.com/uploads/5/1/4/2/5142021/04-1_162.pdfAJT/4:l/90 "Rituals, Symbolism And Symbols In Yoruba Traditional Religious Thought" [by], Dada Adelowo
** My interest in the meanings of colors in African cultures was reignited as a result of my noticing a top trending United States hashtag about Big Brother Naija 6 contestant "Whitemoney": https://twitter.com/search?q=%23VoteOnlyWhitemoney That hashtag trended #8 in the United States around 8:00 AM ET September 20, 2021). Reading those tweets, I learned that that hashtag also trended that day in Nigeria, Ghana, South Africa, and probably other nations.
After reading a number of tweets in that hashtag, and also after reading the articles found below, as well as some other related articles and tweets, my inferences and guess is that to a large extent the "white" in that Igbo male's nickname "Whitemoney" gets its meaning from the traditional Nigerian connotations for the color "white", particulary "purity" and the connection of that color with God and spirituality. Specifically In the case of that BBNaija 6 contestant, my guess is that the nickname "Whitemoney" has the connotation of being blessed by God with the ability and opportunities to make, receive, and keep money.
Additions and corrections to these inferences and guesses are very welcome.
**** SELECTED EXCERPTS These excerpts are presented in no particular order and are numbered for referencing purposes only.
Excerpt #1 From https://re-entanglements.net/chalk/ "Nzu, orhue, sacred chalk" [by] Paul Basu with Glory Chika-Kanu, June 17, 2020 "The areas in which Northcote Thomas worked as a Government
Anthropologist in Nigeria and Sierra Leone have, of course, changed a great
deal in the 105 years since the end of his last tour. During 18 months of
fieldwork, retracing the itineraries of Thomas, we have, however, also been
struck by the many continuities. Despite urbanisation and Christianity,
cultural traditions are strong! Take chalk, for example…
Thomas’s reports and fieldnotes on the Edo- and
Igbo-speaking communities that he researched between 1909 and 1913 are full of
references to the use of chalk in rituals, ceremonies and customs. This chalk
is known variously as ‘calabash chalk‘ and ‘kaolin‘. In Igbo it is nzu,
in Edo orhue. As Thomas documented, this chalk is used in multiple ways
– as an offering to the deities and ancestors, as a medicine, as a symbol of
purity, of good fortune and hospitality. It is a sacred substance.
An Oviovia, a newly initiated member of the Ovia society,
Iyowa, with his forehead smeared with chalk (orhue). Photographed by Northcote
Thomas, October 1909. NWT 1288. MAA P.29446. [photograph caption]
Chalk is used in many ceremonies and rituals, from birth to
death. For example, Thomas describes the initiation of boys into the Ovia
society in Iyowa, north of Benin City. ‘The boy joins the society’, Thomas
writes in an unpublished manuscript, ‘by payment of a calabash of [palm] oil,
20 yams, a calabash of palm wine, 4 kola and 5 legs of Uzo [duiker]. The yams
are cooked and fufu is sacrificed to Ovia. The boy marks his face with chalk
and is then called Oviovia or the son of Ovia’.
Thomas recorded a number of what he labelled ‘birth songs’
in his travels in what is now the north of Edo State. The Omolotuo Cultural
Group interpreted a number of these when we visited Otuo, explaining that they
would be sung when the newly born child was presented to the community. To
celebrate, both the child and the community members would mark their faces with
chalk or arue as it is called in the Otuo dialect. The Omolotuo Cultural Group
performed such a song for us, marking their faces accordingly…
[…]
Title-taking and kingship
During our fieldwork in Okpanam, in present-day Delta State,
Obi Victor Nwokobia explained that nzu is part of the paraphernalia associated
with royalty, signifying blessing and purity. It is used in the coronation of a
new king (obi) and to invoke ancestral blessings on his guests at the palace.
[…]
‘Chief Mgbeze’ of Okpanam, photographed by Northcote
Thomas in 1912 after his title-taking ceremony. He holds a pair of alo staffs
and wears the eriri ukwu on his ankles, visual markers of his new status.
Mgbeze is painted with chalk to symbolize purity and communion with the
ancestors. We were told that this photograph was taken at the Udo shrine. (NWT
4093, MAA P.32104) [photograph caption]
Obi Nwokobia explained to us the use of nzu in the obi/eze
coronation ceremonies. Prior to the conferment of the title, the initiand is
rubbed with chalk all over his body. He also wears a white wrapper. The white
of the chalk and cloth represents purity and sanctification. The candidate must
then spend a period of 28 days in isolation. During this time, the white of the
chalk connects the initiand to the ancestors. When the candidate emerges from
this period of seclusion, he is considered pure and to have received ancestral
validation of his coronation. The newly titled man dances and throws nzu
on the people gathered as a mark of blessing on them. It is a moment that
Thomas captured in his series of photographs of Mgbeze’s title-taking. These
same practices are used in the coronation of an obi today.
Seeing beyond the visible
Among the hundreds of photographic portraits of individuals
made by Thomas can be found many in which people have chalk smeared around one
or both eyes. This could signify various things. The high female office of Omu,
for example, was entitled to wear chalk around both eyes, as can be seen in
Thomas’s photograph of the Omu of Okpanam (see centre photograph below)
Thomas notes that native doctors (dibia) were also
entitled to wear chalk around either one or both eyes, depending on their seniority.
The same was true of priests. Chalk around the eyes signifies an ability to see
beyond the visible world and into the world of the spirits. Chalk is still used
in this way among traditional doctors, diviners and priests, as we have often
encountered during our travels in Thomas’s footsteps. They are sometimes called
dibia anya nzu, meaning ‘native doctor with the eye of chalk’.
When we met Paul Okafor, chief priest of the Nge-Ndo Ngene
shrine in Nibo, Anambra State, he wore chalk on his forehead and left eyelid.
He explained that the mark on his forehead granted him access into the spirit
world, while that on his eyelid allowed him to see into the spirit world so as
to be able to solve his clients’ problems. Okafor further explained that he
must wash the nzu off before going to bed, or else he would not be able to
sleep, but rather continue to commune with the spirits until the next morning.
[…]
According to Nwandu, a dibia we met at Ebenebe, he
uses nzu as a medium to communicate with the ancestors. He also applies nzu
to part of his eyelid to be able to see the spirit world, and he
demonstrated for us how he draws chalk lines on the ground when performing
spiritual consultations – igba afa – for his clients.
Ọgbọ obodo and the Mkpitime cult
In the fourth part of his Anthropological Report on the
Ibo-speaking People of Nigeria (1914), concerning the ‘laws and customs’ of the
Western Igbo or Anioma people, Thomas provides an interesting account of the
Nkpetime or Mkpitime cult. Mkpitime is the name of a female deity associated
with a small lake close to Onitsha Olona, now Delta State, which Thomas visited
in October 1912. Thomas evidently spent time with the orhene or priest of
Mkpitime, a man named Mokweni, whom he also photographed. His visit coincided
with the annual Iwaji (New Yam Festival).
During the festival, the orhene is said to ‘go
into nzu (chalk)’. This is a period of seclusion during which no one is
allowed to make a noise, quarrel or fire a gun. Three days after going ‘into
nzu‘, the orhene is supposed to make offerings at Lake Mkpitime and swim in its
waters. On the fourth day, the orhene comes out of seclusion,
accompanied by drumming and dancing before the mmanwu (spirits manifest
as masquerades). Thomas describes how a woman created figures on the earth of
the dancing ground using chalk, but also charcoal, red mud and ashes. Thomas
notes that this is called obwo [ọgbọ] obodo – translating as ‘circle of
dance’. The motifs represent various ‘totemic’ animals and other aspects of
local cosmology, including a leopard, ‘tiger cat’, pangolin, monkey, viper,
cross-roads, mirror, the sun, moon and Mkpitime herself. According to Thomas,
domestic animals such as goats, ducks and fowls must not step on the figures.
However, they are soon obliterated by the dancing feet of the celebrants.
Chalk at shrines
Chalk is associated with many deities throughout Southern
Nigeria, including Ovia, Ngene and Mkpitime, mentioned above, but also Olokun,
Ake, Imoka and others. Artist-educator, Norma Rosen, has written about chalk
iconography in Olokun worship, for example, and some of the designs she
discusses are not dissimilar to those Thomas photographed in Onitsha Olona. In
an article Rosen wrote with the art historian Joseph Nevadomsky, the scene is
described in which this ‘elaborately drawn chalk iconography’ is similarly
‘obliterated by dancing feet’, sending ‘vaporous messages fly[ing] back and
forth … between the other world and earth’.
[…]
A symbol of goodwill, friendship and hospitality
In some areas of Igboland, nzu is used instead of or
alongside kola-nut in traditional hospitality ceremonies. The most senior man
or traditional priest will draw or sprinkle lines of chalk on the ground while
uttering a prayer. The number of lines drawn is often four, corresponding to
the four deities or market days of the week – eke, oye, afo and nkwo. The
prayer is addressed to Chukwu (the supreme God), lesser deities and the
ancestors, asking for long life, wealth, peace and fairness. At the end of each
prayer, those present will respond by saying Ise!”… -snip- This article contains additional text and also includes photographs and YouTube videos that aren't included in this excerpt.
Ebonyi State University Journal of Mass Communication
ISSN: 2449-0369 Vol. 5, Issue 1, pp. 196-202, October 2018 "Fading Fortune of Colour Communication in Igboland of
Nigeria" [by] Nkwuda, Jacinta
Ijoema
Abstract
This study examined the fading fortune of colour
communication in Igbo land focusing on three dominant colours:Nzu (white chalk),
Uhie (red powder) and Odo (yellow powder). The work was anchored on
Cultural imperialism theory. The survey research method was adopted.
A total of 400 copies of the questionnaire were distributed at the
state capitals of the five major states that make up the core states of Igboland.
Findings show that majority of the respondents no longer make use of Nzu,
Uhie and Odo for colour communicative purposes in the area; this has
grave consequences for the Igbo culture. The study recommends
public enlightenment programmes for cultural revival among people
of the Igbo extraction and sensitization of the indigenous people. The
traditional agents of socializations – the family, age grades, schools,
churches, the governments at the various levels have got specific roles to
play respectively in the cultural recovery crusade.
Key Words: Colour Communication, Fading, Igboland, cultural
revival
Introduction
Before the advent of modern media of communication, colours
were largely used for dissemination of important information in typical African societies. These
traditional ways of communication were very effective and believable to the people because they are
indigenous and not alien like the modern mass media system. However, as modernization continued to take
root in the society, the use of colours for communication continued to wane among the indigenous people
of Igboland of Nigeria. According to Okpala (2016), Igbo people are endowed with the use of
colours to communicate. These colours portray and promote the cultures of the people. Prominent among the
colours in Igboland are Nzu (white chalk), Uhie (red powder) and Odo (yellow powder). These colours
havehuge traditional significance in the area, and they communicate significant messages even more
eloquently than the verbal words. People make use of them to share certain symbolic traditional meanings.
According to Wilson (2006) symbols could be object, person or event whose meaning or code of abstraction
is generally shared among people in the community.
[...]
[page] 2
Colour Communication
In a traditional Igbo society, Nzu (white chalk), Uhie (red
powder) and Odo (yellow powder) communicate beyond literal meanings to traditional
purposes. Nzu is got from clay, while Uhie and Odoare products of cam wood tree usually prepared by
grinding the substance into powdered form mostly by mothers in the villages. They serve ritual
purposes, initiations, marriages, ornaments, etc.
Cultural Significance Nzu (white chalk)
Nzuwas used in olden days for prayers for welcoming visitors
in Igboland. This act is known as ‘igo ofor ndu’. It symbolizes peace, purity and clean heart.
Nzuin a traditional Igbo society is believed to have mystic ritual powers and functions as facilitators of
communication between men and their gods. A diviner paints the region of his eyes with ‘nzu’ which
signifies his ability to see beyond the visible. ‘Nzu’ is given as sacrificial offerings. Many
shrines are piled high with cones of nzu as sacrificial offerings too. Nzu and kola nuts are most
frequently used together for the success of social or ritual undertaking. Nzu is also an essential
object for purification in Igboland.
Nzu also has social significance in Igboland. In many social
gathering where kola nut is shared, the formalities often include the passing of a
lumpor fine grains of nzu used to mark the ground and/or certain parts of the body as a means of
indicating one’s serious participation. Again, pregnant and breast feeding women use it as ornaments and as
a sign of spiritual and moral purity. It is rubbed on a pregnant woman’s abdomen and later on the
newborn baby to celebrate the arrival.
Economically, people engage in ‘nzu’ business. Nzu is
produced into lumps and sold in the market.
[…]
[page] 3
Similarly, the uhie, the red powder is got from cam wood tree. The tree grows
tall and blows out into a gigantic tree with spread out branches. Its
leaves are relatively small. Its body has white, ash and black. The wood of the mature one is
very hard, and the wood is red as blood. The tree is found in thick forest and along
river banks. It is prominent in Northern Izzi of Abakaliki of Ebonyi state, NigeriaIkebe
(2018).
In a traditional Igbo society, when a young lady gets
married and goes to her husband’s house and become pregnant, she adorns herself with uhie to communicate
her new condition. Uhie is used as perfume when a woman delivers a baby to stop minimize odours
associated with new delivery. It is used by those undergoing adult physical and ritual circumcision.
Echiegu (2016), observes that adult men and woman, who have undergone physical circumcision and those
undergoing ritual circumcision, rub ‘uhie’ during the healing period. Economically, some persons trade
on ‘uhie’ as a business.
In the vein, odo, the yellow powder, got from yellow cam
tree also has huge communication significance in Igboland. For instance, in Abakaliki area,
Echiegu (2016) explains that when a youngman, with neither wife nor a child dies, his corps is dressed
with an unadulterated ‘odo’ in preparation for burial. Again, just like nzu and uhie, odo has economic
significance too. Some women do business in ‘odo’. They make cream out of it. It sold like hot cake
during hot weather because it cools the body when robbed. Socially, it is of significance to those undergoing
adult physical and ritual circumcision. Echiegu (2016), observes that adult men and woman, who have
undergone physical circumcision and those undergoing ritual circumcision, also rub it during the
healing period, especially on the legs. It serves as decorative cosmetics. Young girls and pregnant women wear it
as makeup.
[…]
[page] 4
[…]
Table 2 shows that, out of the 384 respondents, 27.9% people
make use of nzu, uhie and odo, 78.6% people rarely make use of nzu, uhie and odowhile13% people
do not make use of nzu, uhie and odo again.
6.5% of the respondents have no opinion on the issue. This
shows that People rarely make use of nzu, uhie and odo in Igbo land. This shows that few people now
make use of nzu, uhie and odo in Igbo land while majority of the people rarely make use of them.
[…]
[Page] 5
[…]
In table 3 above, respondents agree that colour
communication is fading in Igbo land due to influence of foreign culture(44.8%), non-availability of the
materials(21%), new technology in communication(17%), lack of interest for the use(8.8%) and Lack of knowledge
about the use(7.8%). This shows that colour communication is fading in Igbo land due to influence of
foreign culture.
[…]
Findings and Recommendations
The first finding of this study indicate that only 27.9% of
the respondents indicate that they still make use of nzu, uhie and Odofor colour communication while majority
of them, 78.6% indicated that they rarely do. The study further found that colour communication is
fading in Igbo land due to influence of foreign culture, non-availability of the materials, nzu, uhie and
odo; as well as the influence of new technology in communication are some of the factors responsible for the
decline in the use of colours for communication in Igboland.These findings agree with the
observation of Okpala (2016), who reports in her study of traditional music in Igbo culture, that Igbo
culture is fast fading in most communities as the younger generation is losing interest in traditional music.
They also agree with the observation of Mmuo (2014) who indicates that the impact of foreign cultures and
ideologies on the traditional Igbo culture are very profound and have made the people especially the youths
to abandon their Igbo cultures, thereby threatening their survival.
[page 6]
On what should be done to revive the trend, findings
indicate campaigns for cultural revival, sensitization of the people on the need to preserve and
protect their culture which represents their identity, as well as synergising of traditional with modern media of
communication for greater interest and effectiveness.” -snip- This is the end of that journal article except for references.
**** Excerpt #3 From https://www.baltimoresun.com/news/bs-xpm-2007-04-18-0704180243-story.html "Unmasking the meaning behind color in African art" by Glenn McNatt, April 18, 2007 The Baltimore Sun "In the art of Africa, the mask is a versatile, multipurpose
facade. It may signify identity and the ancestors, politics and medicine or the
invisible world of the spirits. And in whatever form a mask appears, color is
integral to its meaning.
Now color is the subject of the second installment of
Meditations on African Art, a three-part series at the Baltimore Museum of Art
that explores African art from the point of view of the people who created it.
The modestly scaled show presents about 30 traditional
African masks from the museum's collection arranged in four groups: red, white,
black and the tricolor that incorporates all three hues.
"In European art, color is generally understood
in terms of the primary colors red, yellow and blue," says Karen
Milbourne, the BMA's curator of African art. "But throughout much of
Africa, the primary colors are red, white and black. They don't mean the same
thing to every group, but they appear over and over again."
Among many African peoples, the color white, for example,
may signify the spirit world of the ancestors, the procreative power of sperm
or the nurturing quality of mother's milk, Milbourne says.
Red, by contrast, might signify the blood shed in warfare or
in childbirth, while black may connote the unknown.
Still, there is no single interpretation of color among
Africa's many peoples, Milbourne cautions.
"Among the Urhobo people of Nigeria, for example, red
refers to the ideal feminine beauty of a nubile bride," she says.
"But among Pende people in Congo Zaire, red is the color of masculinity,
and for Bullom people of Sierra Leone, it's the color of blood lost in
childbirth and warfare, so it has to do with the transformations of life."
The show focuses on the ways in which the qualities
associated with red, white and black manifest themselves on various types of
masks, one of the African art forms most familiar to Western viewers.
For example, the section devoted to the color white
includes a group of three "maiden" masks used by the Igbo people of
southeastern Nigeria, for whom white signifies the beauty and purity of a young
bride.
The section devoted to the color red, by contrast, includes
three male masks used by the Pende people of Congo, while the section on the
color black displays a trio of masks with distorted features created by
Nigeria's Ibibo people that represent antisocial behaviors that should be
avoided.
These groupings of three illustrate the diversity of
styles found even among artists of the same tribe. All three of the white Igbo
"maiden" masks, for example, depict the young woman's hair in
elaborate coiffures, but there are also subtle variations in the facial
features and ornaments of each mask.
"What we see is how one culture can take the same form
and realize it in distinctive ways," says Milbourne. "For example, in
the section on the color black we have three masks, with crossed eyes and
twisted noses, because they're meant to be moral prohibitions. They perform to
illustrate what is not acceptable behavior.
"In the first, the artist has turned the nose in one
direction and the mouth in a completely different direction," Milbourne
says. "Another has bared teeth and an owl on its head. Its eyes are
cockeyed, so it's sort of comical, but it's still an expression of the need to
handle negative forces in order to foster social good. The third mask has horns
and a very crusty surface."…. -snip- I added italics to highlight those sentences.
This pancocojams post is Part III of an ongoing series that presents quotes from various online articles that provide information about the meanings of certain colors, designs, and objects in specific traditional African cultures.
The excerpts in this post provide some information about Olodumare and Obatala (Oxalá) and the color white in Yoruba traditional religion and in the Santeria and Condomble religions which it has influenced/influences.
Eight videos are also included in this post. These videos are from Nigeria, Brazil, Cuba, Trinidad & Tobago, and the United States.
Use pancocojams' internal search engine or click the "the meaning of colors in traditional African cultures" tag below to find other pancocojams posts on this subject.
The content of this post is presented for folkloric, cultural, and aesthetic purposes.
Thanks to the researchers who are quoted in this post. Thanks also to the publishers of these videos on YouTube.
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EXCERPTS ABOUT OLODUMARE AND OBATALA AND THE COLOR WHITE
Pancocojams Editor's Note:
With the exception of the Excerpts given as #1 and #2, these excerpts are given in no particular order and are numbered for referencing purposes only.
I added italics to highlight statements in these excerpts about the color white.
Ritual Sanctity
This has to do with the various taboo in connection with the administration of the various rituals and rites that constitute Yoruba traditional religion. This can also be called ritual holiness. The taboo are what the Yoruba call eewo, a ku see, ohun.
Each ritual has its taboo that should be avoided by the priest-king, Olofi dwon [woro, other priests, [woro or Abore, and the worshipers. For examples the priests and devotees of the god called Esu should avoid having any contact with palm nut oil (Yoruba: adi) in order not to incur the wrath of Esu. Moreover, the priests and devotees of the arch-divinity of Yoruba pantheon, Obatala, should avoid palmwine completely in order to maintain ritual sanctity with regard to the worship of Obatala. They should also promote anything white and avoid black items in order to keep the ritual sanctity in connection with the worship of the divinity. ·White is a symbol of purity, holiness and peace. So, priests and devotees of Obatala should, during ritual activities, present themselves as'pure and holy.
[page] 164
[...]
Let us start with the ritual in connection with the worship of God - Olodumare and gods - Orisa. There is a specific cult of Olodumare in Yorubaland. This may baffle those foreign arm-chair investigators who hold the thesis that Olodumare is not an object of worship in Yoruba religion. The point here is. because 016dumare cannot be confined into space (the Yoruba described Him as A-te-rere-K'aye - One who occupies the whole extent of the world); the ritualistic worship offered to Him takes place in the open and not in building like temples and mosques. The worshiper makes a circle of ashes (Yoruba: eeru) or white chalk (Yoruba: efun); within the circle, which is a symbol of eternity, he pours a libation of cold water, and in the centre he places his kolanut (Yoruba: obi on cotton wool- Yoruba: owu etUtu). He then takes the kolanut, splits it and holding the valves within the circle. Often, a white fowl (Yoruba: adiefunfun) is offered in the same way. In lle-Ife, the ancestral home of the Yoruba, there is a priest-chief whose duty is to offer this ritual every morning in the name of the Doni and of all the people. However, it is unfortunate to note that the direct ritualistic worship of 0lodumare, as a regular aspect of cultic
activities in Yorubaland, is dying out. In some places, according to Bolaji Idowu, it is no longer known; in some, it has become the cult of women.
[...]
[page] 165
[...]
The Yoruba used wood and metal carvings, plants and animals as symbols of gods and ancestral spirits. Before we go further, iris important to note that, as said earlier, these symbols are not ends in themselves but means to certain ends. Thus those who are out to conduct a genuine research into the religious situation in Yorubaland should not take appearance for reality, means for an end, symbol for the symbolised and reality for shadow.
Divinities and ancestors are sure objects of worship and reverence among the Yoruba. However, it is to be noted that they are a means to get to Olodumare - God, the ultimate End of everything. The Yoruba 'have never made the mistake of putting God, Olodumare, on the same pedestal with the divinities (arisa) and the ancestors.
In their belief, 0lodumare is unique, incomparable. The. uniqueness of Olodumare is one reason why there are no images-graven or in drawing or in painting - of Him in Yorubaland. Symbols there are copious, but no images of Him. Symbols or images of deities or divinities abound in Yorubaland. Orisa'nla, the arch-divinity of Yoruba pantheon is usually pictured as an ancient figure in white and bedecked with white
[page] 168
ornaments. His temple, especially the inside, is washed white, his emblems are to be kept in white containers and consists, among other things, of white chalk and white beads. His priests and priestesses are robed in white and wear white ornaments.
Those who do not understand the religion of the Yoruba might think that the items are the things that matter here. This is patently wrong. The message here is that all those white items point to Orisa-'nla as presenting, to the Yoruba, the idea of ritual and ethical purity, and therefore the demands and sanctions of high moral pattern.
The white items are mere symbols symbolising purity, holiness, cleanliness on the part of the ritual leaders and the worshipers of Orisa- 'nla.”
[page] 169
[...]
Concluding Remarks
So far we have been able to give a broad survey of rituals, symbols and their implications in Yoruba traditional religion. It is seen in the paper that the idea of the supreme Being, called 0lodumare in Yoruba religion, is central in and crucial to Yoruba belief system. We have seen this rituals, symbolism and symbols have ultimate reference to Olodumare who is believed to be the Maker,the Creator, the Owner of Life.
It is also made clear in the paper that the Yoruba are not worshipers of woods, plants, animals and so on as erroneously conceived by some foreign researchers.
Rather, they employ those items to give some kind of concrete and objective reality to their religious dreams and aspirations. Thus all items in their religious thought, apart from the supreme Being, are a means to an end, the end itself being the supreme Being known as 0lodumare, Oluwa; Olorun, 0lofin drun, EImaa. Those who do riot know but are ready to learn and know should realise that in all things the Yoruba are religious. The focal point of their religious aspiration is God. It would be proper then for those who want to conduct a genuine research into the traditional religious thought of the Yoruba to avoid prejudice and preconceived notion and show extra caution, openness and sympathy by calling the Yoruba what they actually call themselves. There is no point pontificating on items that are alien to one. Such would lead one to commit academic fallacy that does not augur well for true scholarship.
Obatalá (also spells Obbatala or Obatala) is the eldest of the orishas in Santeria and king of the religion in orun (heaven). He is also the father of many of the orishas and as such is given great respect and deference by the other orishas in matters of great importance. He also acts as the “referee” or judge when the orishas have quarrels, working to restore and preserve peace at all times. To reflect his place of importance in the LukumĂ pantheon, Obatala’s shrine is always placed higher than any other orisha in the home. Obatala is the owner of all heads, because it is said that he molded the bodies of humans before Olodumare breathed life into them. As such, Obatala protects all people, and acts as a guardian for those who do not yet know who their guardian orisha is.
Obatala along with Oshun, Yemaya and ChangĂł is one of the four pillar orishas that every olorisha receives at his kariocha initiation. Obatala is unique in that half of his roads are female and half are male. In that sense Obatala transcends gender, further demonstrating his ability to act impartially in orun (heaven) and with the orishas. If there is ever a debate about who a person’s guardian orisha is, they can safely be initiated with Obatala as he is the owner of all heads. Obatala is often depicted as elderly, with a full head of white hair, dressed in white robes.
Symbols, Numbers, Colors and Attributes of Obatalá
Obatala’s eleke is always made with white beads. This unique Obatala eleke has mother-of-pearl and purple beads added for the road Oba Moro.
Number: 8
Sacred Place in Nature: hills, mountains or high places
Color: White
Tools: A horsetail fly-whisk (some roads use a sword or cane)
Temperament: Calm, reasonable, quiet (some roads, like Ayáguna are youthful and fiery)
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EXCERPT #4
From https://lukumipeople.wordpress.com/2013/04/01/the-orisha-who-do-you-most-identify-with/
The Orisha, Who Do You Most Identify With?
"In the Yoruba based religions, the Orisha are angelic emanations of The Creator (God Almighty) manifesting through nature. To put it simply, God created the universe and everything in it. God then manifested bits of himself creating lesser gods or guardian angels, governing over the various forces of nature. So yes, for every force of nature, there is a spiritual being governing it.
[...]
Obatala’s day is Sunday.
The day for settling differences. Useful for long-range planning and the perfect day for the preparation of amulets and charms for longevity and good health.
Obatala is the Father of the White Cloth, Peace, Calm. His domain is the Sky, Clouds, Mountaintop."...
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EXCERPT #5 Santeria: The Beliefs and Rituals of a Growing Religion in America
https://books.google.com/books?isbn=0802849733
Miguel A. De La Torre - 2004 - History white dove is a symbol of Obatala, and for this reason he is petitioned for peace when his fellow orishas act cruelly toward humans. While Obatala has been revealed through several Catholic saints, he is best known as Our Lady of Ransom. (As mentioned earlier, crossing between genders is common among the orishas.”...
Obatalá (Obbatalá) is called the creator of earth and the sculptor of mankind because he was given this job by his father Olodumare, the supreme God in the Lucumà pantheon....
In the Americas
SanterĂa
Obatalá (also known as Ochalá or Oxalá; Orichalá or Orixalá) is the oldest "Orisha funfun" ("white deity"), referring to purity, both physically and symbolically as in the "light" of consciousness. In SanterĂa, Obatalá is syncretized with Our Lady of Mercy and Jesus Of Nazareth.
The annual and popular Lavagem do Bonfim festival is attended by thousands of people who come to not only take part in the ritual blessing but to also join in the celebrations afterwards.
The procession travels for about 10 miles to the Church of Bonfim where even more spectators are gathered, eagerly awaiting the blessing that takes place there. During the blessing, the perfumed water that has been so carefully carried is subsequently poured over people's hands and on their heads.
One popular tradition is to have a Bonfim ribbon tied around your wrist and to make a wish, if the ribbon wears off naturally then it is believed that your wish will come true.
[...]
This festival takes place usually the second Thursday of January every year. This ritual has been occurring in Salvador since 1754.
There are also horse-drawn carriages, musicians, as well as government officials, including the mayor of Salvador. The Carnaval group Filhos de Gandhy (Son of Gandhi), who traditionally lead the procession, march right behind the Baianas all the way to the Church of Bonfim."...
-snip-
This article includes a number of photographs. One of the photographs about Bonfim, shows that Bonfim ribbons can be of any color, including white.
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SHOWCASE VIDEOS
Example #1: Ilu Aye - Obatala video by DennisFlores.com
Dennis Flores. Published on Mar 26, 2006
ILU AYE (Literally, "The Drum of the World" in Yoruba)was founded in 2004, to celebrate the connections between the peoples and cultures of the African Diaspora. Bringing together the next generation of Afro-Puerto Rican, -Dominican, and -Cuban percussionists and singers, ILU AYE is dedicated to preserving and promulagting the rich cultural legacy of Africa in the Americas and the Caribbean, through performance, educational workshops, and community-centered gatherings where the rhythms of the African Caribbean reign. Trained by master musicians from all three islands, and versed in sacred and popular rhythms such as bata, guiro, rumba (Cuba); bomba and plena (Puerto Rico); and palos, salves, and kongos (Dominican Republic), ILU AYE interprets traditional songs and reinvigorates the genres with original compositions by renowned akpwon, Osvaldo "Bembe" Lora....
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Example #2: Orisha Dance
Baba Abayomi, Published on Jul 20, 2007
Song and Dance For Orisha Obatala from 17th annual African Street Festival.
-snip-
Here's a comment from this video's discussion thread about this African Street Festival:
rbso6, 2009
"this was at the Annual African Street Festival in Brooklyn sometime in th 80's This the Afrtican Traditional Religion of Ifa. They are singning for the various orisas. This song is for Obatala."
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Example #3: Obatala and Oshun Festival 2009 Part II of III
Iya Fayemisi Shangobukola, Published on May 13, 2009
Obatala and Oshun Festival 2009 Part II, Ode Remo, Ogun state, Nigeria.
African Traditional Isese Festival.
During this Yoruba festival the followers worship Orisa Obatala and Oshun with dances, songs and traditional donations. This festival took place in February - March, 2009 in the Ode Remo town, Ogun state, Nigeria.
The organizator of this festival is IyalOrisa Iya Afin Iyedola Onajoko Oduwole Sokunmbi, among with the female community of Obatala priestesses.
-snip-
Here's some information about Osun from http://www.ancient-origins.net/myths-legends-africa/oshun-african-goddess-love-and-sweet-waters-002908
..."Although Oshun (also spelt Osun) is regarded principally as a goddess of love, there are other aspects to this Orisha as well. One of the most important roles that Oshun plays is that of the goddess of the sweet waters and the protective deity of the River Oshun in Nigeria....
Although Oshun governs love and the sweet waters, she is also regarded as a highly benevolent deity. Oshun is said to be the protector of the poor and the mother of all orphans. It is Oshun who brings to them their needs in this life. Additionally, Oshun is regarded as a healer of the sick, the bringer of song, music and dance, as well as prosperity and fertility. Oshun is also depicted as a teacher, who taught the Yoruba agriculture, culture and mysticism. She also taught them the art of divination using cowrie shells, as well as songs, chants and meditations taught to her by her father Obatala, the first of the created Orishi."...
-snip-
Osun's color is honey yellow.
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Example #4: Nigeria- Obatala Shrine in Ile Ife
