Ohafia War Dance: Effect of modernity on traditional Igbo society

Civilisation and globalisation appear to have eroded several cultural values associated with African cultures such that in modern times, such traditional practices are only preserved in historical contexts for unborn children to know. In traditional Igbo culture especially in Abia state, the only way a man can be described as a warrior after a war is when he returns home with the head of his enemy. However, all of those are now history for certain reasons. SAM OBINNA IBE examines the Ohafia War Dance, though still popular, but only retained for historical and entertainment purposes.

The popular Ohafia War Dance is associated with the people of Ohafia where the dance originated from before other neighbouring communities joined in the dance maestro.

Ohafia is the headquarters of Ohafia Local Government Area of Abia state comprising clans such as Ohafia, Abiriba and Nkporo.

Ohafia men of Igbo extraction from years past are said to be skillful fighters renowned for their bravery during inter- tribal/communal wars. They were also reputed for returning home with the head of their enemy, a feat usually celebrated by the beating of the drums back home. According to His Royal highness Eze Oscar Kalu Osonwa, the traditional ruler of Eziafor-Ukwu Autonomous Community in Ohafia LGA and chairman Ohafia-South Traditional Rulers Council while sharing his mind with Blueprint said that the war dance is exclusively reserved for men and not women.

According to him, right from inception, it has been a male-dominated dance where women were not permitted to join but as mere spectators during such festivities.

History of Ohafia War Dance

It is an established fact that the Ohafia War Dance popularly found in the South-eastern part of Nigeria originated first from Ohafia clan and Abam Onyerubi clans (two brothers) before other neighbouring communities within the Abia-north axis borrowed the dance culture and said to have adopted it today as one of their rich cultural heritages. Those other clans include Abiriba, Nkporo, Item and Igbere, including other clans in Abia Central District such as Umuahia and Ikwuano people, respectively.

In all, there are five local government areas that make up Abia North Senatorial District. These include Arochukwu, Ohafia, Bende, Isuikwuato and Umunneochi Local Governments Areas of the state, but the war dance is performed by only Ohafia and Bende.

Ohafia is historically an Igbo-speaking community in present-day Abia, South-east of the country. The people live are surrounded by rival communities and shifting political alliances. Before colonial rule, warfare was common among many communities in the Cross River and Igbo hinterlands. In those wars, communities usually fought over land, trade routes, defence matters and political influence.

Over time, Ohafia gained a reputation as a warring society. Oral traditions and historical studies describe Ohafia men as highly skilled fighters who often served as mercenaries or defenders in regional conflicts.

An indigene of Ohafia LGA Chief Kalu Mbah in a chat noted that courage in battle became a major source of social status for every Ohafia man. He added that unlike societies where wealth alone determined influence, a typical, traditional Ohafia society places great value on martial achievement. He added that a man earned respect not only through age or inheritance, but through proven bravery.

To this end, Mbah pointed out that this military culture shaped social life, titles, songs, folklore and eventually the war dance itself.

The origin of Ikpirikpi Ogu (War Dance)

The term ‘Ikpirikpi Ogu’ roughly translates to ‘Dance of War’ or ‘Display of Warriors’. It originated from victory celebrations held after successful military expeditions.

It has been said that war dance is not peculiar to Ohafia people alone even though it was their culturally rich heritage borrowed by other surrounding clans around them.

According to His Royal Highness Eze Oscar Kalu Osonwa, the traditional ruler of Eziafor-Ukwu Autonomous community in Ohafia and chairman, Ohafia South Traditional Rulers Council, the war dance is synonymous with the people of Ohafia. Others borrowed the dance while citing the example of Abiriba that shares the same local government with Ohafia. He added that proximity may have aided the idea of borrowing the said culture.

Eze Osonwa said further that in the case of Abam War Dance, it is not surprising because both Ohafia and Abam are from the same lineage.

Meanwhile, Ohafia clan occupies the headquarter of Ohafia local government area of Abia which also comprises other clans like Abiriba and Nkporo, respectively.

On his part, an Ohafia elder Kalu Eziyi who hails from Asaga Ohafia told this correspondent that other neighbouring clans such as Abiriba, Igbere, Item and Nkporo also performed war dances but he said that all of those were hitherto borrowed from Ohafia.

This view was corroborated by Mr Kelechi Eke Udonsi, who hails from Okagwe Ohafia, but a media aide to the executive mayor of Umuahia-south on New Communication. He said that the war dance started from their place (Ohafia) before other neighbouring clans borrowed it as part of the cultural dance style.

Udonsi added by saying that, according to Ohafia oral tradition, warriors returning from battle were received with celebration by their communities.

“Those celebrations included drumming, chants of praise and dramatic reenactments of combat. Warriors danced to display their strength, fearlessness and achievements,” he noted.

One of the most discussed aspects of Ohafia warrior history, he said, is the practice of head-taking. Historical accounts and oral traditions indicated that victorious warriors sometimes returned with the heads of enemies as a proof of valor.

“In traditional Ohafia society, this act symbolised military success and personal courage. It was tied to the idea that a man can only prove his worth through visible bravery in defence of his people. While modernity may view this practice through a different moral lens, historians stress the importance of understanding it within its historical context.”

Across many pre colonial societies, warfare operated under cultural systems that were totally different from modern state structure. Over time, the physical realities of warfare disappeared, especially during colonial rule when British authorities discouraged inter-tribal conflicts and display of warrior celebrations. However, the symbolic celebration remained.

The actual acts of war became dramatised through dance, costume, music and story-telling. This transformation gave birth to the ceremonial form of Ikpirikpi Ogu known today as Ohafia War Dance.

Structure and performance of the dance

The Ohafia War Dance is highly theatrical and symbolic. Every aspect of the performance reflects the warrior traditions from which it emerged through the costumes and warrior identity.

The obvious visible sign is that the dancers dress like traditional warriors. One of the most recognisable elements is the Okpu Agu (leopard cap), which symbolises courage, strength and authority. The image of leopard is significant because it is associated with fearlessness, courage and power in many Igbo communities.

Also, the dancers may wear waist wrappers, animal skins, beads and charms, anklets and rattles, carry staffs, cutlasses or mock weapons

These costumes are not random decorations, but they recreate the image of the victorious warrior returning from a battle.

Music and instruments

Music is central to the dance. The performance is driven by intense drumming and chants that create a feeling of urgency and triumph. Traditional instruments  include akwatankwa drums, metal gongs rattles, wooden percussion instruments

The rhythm controls the dancers’ movements and helps to recreate the atmosphere of war preparation and victory celebration. The chants often praise ancestors, recount heroic deeds or call attention to communal unity and bravery.

Movements

The movements of Ikpirikpi Ogu imitate battle actions like sudden jumps, aggressive footwork, mock combat weapon displays, chest expansion and body stamping.

These movements communicate masculinity, courage, readiness and dominance. Traditionally, the dance was also a way for warriors to publicly display their physical fitness and military capability.

Symbolism and cultural meaning

The significance of the Ohafia War Dance goes beyond warfare itself. The dance became a symbol of the values that defined Ohafia society. In a traditional Ohafia culture, bravery is one of the highest virtues. The dance celebrates fearlessness and endurance. A successful warrior represents strength not only for himself but for his entire family and community. The dance therefore is a public performance of masculinity and social honour.

Ikpirikpi Ogu also functions as a symbol of communal identity. Through the dance, the people remember their ancestors and maintain continuity with the past. Cultural historians often describe Ohafia as ‘the land of warriors’ and the war dance helps to preserve this identity in modern times. It reminds younger generations of their history and cultural roots. Before written documentation became widespread, the history in many African societies was preserved through oral tradition, ritual, music and performance.

Ohafia War Dance serves this exact function. The chants, movements and costumes communicate stories that might otherwise disappear. In this sense, the dance acts as a living archive.

Colonialism and transformation of the dance

The arrival of British colonial rulers in South-eastern Nigeria changed many traditional institutions. This is because the colonial authorities discouraged warfare, they dismantled local military systems and imposed new political structures. As warfare declined, the practical role of warrior culture waned.

However, the cultural importance of bravery and communal pride remained strong. Ohafia people adapted by transforming Ikpirikpi Ogu from a war ritual into a ceremonial and cultural performance. Instead of celebrating real military victories, they appear to appear and dance during notable ceremonies.

The war dance has become a popular traditional dance in Igbo land, especially during festivals like New Yam Festivals, Ekpe Cultural Festivals, burials, housewarming, traditional stools coronation/ chieftaincy installation, state and national organised events. In that regard, individuals/corporate bodies and governments at all levels usually request the services of the Ohafia War Dancers to entertain guests at such events.

It also included funerals of respected elders, national cultural events, and community celebrations. This transformation allows the tradition to survive while adapting to changing social realities.

Today, Ohafia War Dance is viewed less as a celebration of warfare, but more as a symbol of resilience, heritage and identity. Modern performances focus on cultural pride, historical remembrance, community unity, artistic expression, and respect for the ancestors.

The war dance also serves as a great tourism potential to states and the nation at large. It has also become part of Nigeria’s broader cultural heritage, performed at state functions, tourism events and cultural festivals across the country. Most importantly, younger generations have continued to learn the dance style by ensuring that the tradition remains alive despite modernisation, but in the face of globalisation.

In summary, Ikpirikpi Ogu (war dance) is not simply a traditional dance; it is a historical expression of the warrior culture that shaped Ohafia society for centuries. Emerging from victory celebrations and military traditions, the dance evolved into a powerful symbol of courage, honour, identity and communal memory.

Its costumes, music, chants and movements preserve stories of a time when bravery defined social status and survival depended on collective strength. Today, Ikpirikpi Ogu stands as both cultural performance and historical testimony, a reminder that traditions can adapt with time while still carrying the memory of the people that created them.

Unarguably, Ohafia people are the custodians of the war dance. It is popular and often associated with them more than any other clan. Little wonder, one often hears of Ohafia War Dance, Abam War Dance, Abiriba War Dance, Item or Igbere War Dance.

HRH Eze Osonwa said the art is exclusively male-dominated as a symbol of attaining manhood. The royal father also revealed that women can only participate in the dancing but not as members.

Also lending his voice on the matter, Elder Kalu Eziyi noted that it is a cultural dance for men. He said the only time women participate in during the open festivals, where they may join in dancing but not appear half naked like the menfolk.

In the same vein, Udonsi said women cannot participate, as, according to him, they can only watch as spectators and not as participants like their male counterparts.

Any initiation rite before one can participate?

Udonsi also opined that in the olden days where inter communal war prevailed, there used to be an initiation for who goes to war and returns with the head of the enemy. Only then would the fellow be assumed to have attained manhood and initiated to the war dance, but today, he said, there are no wars, adult male of Ohafia people who mastered the dancing steps can join without any form of initiation.

According to Eze Osonwa dancers need not be intoxicated because the drumming and rhythm of dance alone can move the dancers; so, they must behave responsibly while dancing so that it doesn’t bring shame to the people.