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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

 

SOCIO-CULTURAL ROLE OF WOMEN IN EDEM FESTIVAL MASQUERADE DISPLAY AT 

EDEM DAY 

 

Nnanyelugo, Emelda Chinasa (chinasa.nnanyelugo@unn.edu.ng) 

Rev. Fr. Prof. Emmanuel Umezinwa(emmacumezinwa@gmail.com) 

Prof. Eunice U. Ibekwe(eu.ibekwe@unizik.edu.ng) 

 

Abstract  

Masquerade performance in Igbo tradition is a prerogative activity of the male gender. Women are 

normally excluded from such ritual. The narrative is no more the same at Edem-Ani community on the 

occasion of Edem Day at Nweke Edem-Ani in Nsukka Local Government of Enugu State Nigeria.  This 

study focused on the emerging roles of women in the socio-cultural practices in Edem-Ani which was 

observed during masquerade musical cultural display at Nweke Edem-Ani in Nsukka Local government 

of Enugu State.  On the occasion of Edem day which is celebrated every 28th day of every December 

with particular interest to 2022 celebration. The research employed investigative method using in-

depth study and focused group discussions whereby leaders of some of these masquerade groups 

were interrogated and data regarding the phenomenon under study were collected and analyzed. It 

was observed that women's involvement in socio-cultural events are gradually taking different 

dimensions which suggest gradual turn or change in the rigidity of masquerading activities and its 

membership selections. The finding calls for further studies into the area for more information on 

women participation in masquerade activities. 

 

Introduction  

African women prior to the pre-colonial masters have been a very supporting factor to the socio-

cultural practices in the African communities. Sometimes they take part in some dance display that 

helps to enhance the mood of the occasion.  There is no doubt that women have specific roles they 

play in the communities. These roles include preparing special delicacies for their husbands, children 

and other family members especially on those festive days. They also engage in the spiritual cleansing 

or rituals in preparation for the event whereby they take ritual items like yams, goats, cola nuts and 

other farm produce to accompany their husbands to the ritual point or shrine. Some of these women 

have spiritual duties like the priestess who help in divining for the smooth running of the occasion 

likewise the men in some parts of Africa.  This is also done for the development and progress of the 

entire community. Before now, women are not seen engaging in masquerade cult dance because, these 

masquerade cult groups are seen as sacred and representing the spirit being. They are held in high 

esteem and women are scared of even going close to it let alone leading its dance while the masquerade 

follows.   

 

Africans have so much been attached to their African culture and have various ways of handling issues 

in their traditional ways, and women were part of the key role players especially in matters that 

concern the societies’ socio-cultural and moral development. They are also involved in peace keeping, 

orderliness, children’s health, mental and social development, moral and physical development and the 

general progress of the communities. 

 



 

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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

The involvement of women in music, dance, drama, becomes a medium of creating awareness and as a 

medium of communicating the customs and traditions of the community including, maintaining peace 

and unity despite their individual differences.  

Nevertheless, it was said that in Akpa-Edem one of the four major communities that make up Edem, 

during the pre-colonial era, maidens were selected to be in custody of taking and making offerings to 

the god’s at a particular ritual occasion which is highly celebrated. This is supported by Yerima, 

(2006), that “in some communities, maidens are selected to represent their folk in the presentation 

of gifts to the gods in reparation for evil done in the land and blessings from the gods for the sake 

of the community”. In Akpa-Edem in Nsukka Local Government Area in Enugu State, the selection of 

these maiden involves all the young girls and any maiden whom her bride pride has not been fully paid 

but maybe partially paid. These maidens must partake in that ritual and also has to contribute money 

for the purchase of the gift which is usually a Ram “Ebule”, eggs, and kola nuts etc. This particular 

Ram “Ebule” is adorned and decorated in red ornaments and the horns are also colored with red. They 

themselves used the African beautification properties to adorn themselves to make them look 

practically like god’s own property when looked at. They are said to be “Umu-ma” meaning children of 

the gods. Before the presentation, there are other preparations which would take place, this includes 

the cleaning of the stream areas and as they do that, they sing and dance around the stream. If you 

are not yet up to a maiden you cannot partake in this ritual. It is also important to note that it is only 

maidens who are found worthy and who are virgins and are not in their monthly flow at that point in 

time that take part in the cleansing activities.  After the cleaning of the streams, they dress up and 

decorate themselves and carry their gifts to the gods and all the men in the village assemble at the 

shrine to welcome them and the mothers prepare meal that will be used for the celebration. 

 

Brief history of Edem Community.  

Edem is one of the communities in Nsukka local government area in Enugu state. It’s a community with 

a population of about 309,633 based on the national population census in 2006 (national population 

census, 2006). Edem is divided into 4 communities which include, “Akpa-edem”, “Ozi-edem” 

“Ugwunagbo-edem” and “Edem- Ani Ogwugwu. In each of these communities there are many villages 

and groups of kindred’s that make up these zones. For instance, Edem-Ani is categorized or subdivided 

into communities which include, Umuchagwo, Umuchoke, Owere, Ogbodo-umuchagwo, Uwani-

umuchoke, Ozara, Amaesumesu,Nkofi, Agu-eke, Amenu, Amaogwu, Owere-ugwu, Owere-agbo and 

Ubogidi. “Ozi-edem” is made up of Umuoko, Ukpara, Amankpume, Amaukpa, Amaukwa, IkweEzike, 

Amabunegu, Umueyi, Amauwena, Umuoji, and Obineguh. “Akpa-edem” is made up of Owa-edem, Uwenu-

obeke, Uwani-obeke, Dimunazu, Amankwa, Igoro-ugwu, Igoro-agbo, Amadimago, Isamani, Ama-oba, 

Okiti, Amadimba and Nkawushi. And Ugwunagbo-edem is made up of Amenu, Amogu, Isu, and Odojo, 

(Ezema, 2018).  

 

Edem community like every other community is musically oriented and enjoys music a lot. Music making 

in Edem varies in context amongst other communities and other clans in Nsukka. Music making and 

performances for the typical Edem person is a responsibility that one looks forward to attaining in 

one way or the other, its creative materials is what gives the music of Edem a voice and preference 

amongst the other musical groups in Nsukka Urban. The emphasis of this research is based on the 

masquerade musical display on the occasion of the festival called ‘Edem Day’ celebrated amongst the 

people of Edem-Ani Ogwugwu in Edem community. Edem-Ani Ogwugwu has a lot of musical practices 



 

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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

as well as various festive occasions by which these musical practices are displayed. These events 

include:  

Egba Omabe–  celebrated in three stages namely:  

Uda-omabe, Okiti-Omabe and Una-omabe. 

There are other festivals and events like- Egba Chukwu,  Edem week, OfalaEze,  Onunu,  Burials, 

Marriage ceremonies or wine carrying,  Chieftaincy and Ozor title taking,  Conferment of Loloanyi 

title, Coronation of Igwe, and New yam festival etc. (Omeje, 2018). 

 

In each of these events there are lots of musical display which include the masquerade display, women 

dance, maiden dance, youth music display, children musical group display as in the “Akunechenyi dance 

group” etc. These cultural groups are built on the concept of relationship maintenance amongst the 

people of Edem-Ani community with an ideological concept of building a healthy environment where 

people coexist as one entity, therefore building a mutual understanding and co-operations between 

the community and the neighboring communities.   (Esimone & Umezinwa, 2013; Agu, 1999; Onwuekwe, 

2013; Agu, 2012; and  Esimone, 2015) stipulates that music practices of a community, stirs up the 

spirit of creativity, acquisition of skills and enquiry in them, and at the same time help to straighten 

the understanding about who they are and what they do, what kind of musical culture they practice 

and their ideology and philosophical opinions they hold about their culture. In order words, it is a 

means through which the system of life which they live in is inculcated. A music performance in Edem-

Ani arises as the occasion emerges according to the communities’ timeline which is known and 

observed by the people. According to Blacking, 1976 (as cited in Okpala, 2015:19) “ the musical 

performances provide physical and spiritual well-being through mental, emotional and physical 

involvements in the performance activities”. 

 

Statement of the problem 

Women involvement in masquerade at Edem-Ani Ogwugwu Day in Nsukka Local Government Area in 

Enugu State has provoked serious debates amongst scholars, in recent time. The researcher 

therefore, investigated the level of women’s involvement in masquerade activities and those emerging 

roles they perform in the socio-cultural activities in Nsukka and its environs. 

 

Purpose of the study 

This research investigated those emerging roles of women in today’s masquerade cult musical 

practices and the socio-cultural activites in the community with emphasis on Edem-Ani Day festival 

of the 28th December 2022 in Nsukka Local Government Area of Enugu State. 

 

Significance of the study 

The result of the findings aided the establishment of the various roles of women in the cult musical 

practices and performance and their level of involvement in the socio-cultural activities of Edem-Ani 

community that have emerged other than the obtainable roles which they are known for. This in 

essence is to add to the already existing documentation in the area regarding socio-cultural practices 

and women’s involvement which will serve as an archive for future reference and education for cultural 

preservation as it concerns the people of Edem-Ani community in Nsukka local government of Enugu 

State. 

 

Scope and delimitation of the study 



 

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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

This work is delimited to Edem-ani community with reference to the masquerade musical display at 

Edem-Ani Day festival. An event celebrated every 28 December.   

 

 

 

Research Methodology 

This research employed investigative research method by which the musical cult groups were 

investigated and the leaders of these cult groups were also interrogated to know how they operate, 

what gender comprised their group members, the roles each member plays and what extent and  

limitations of each member in the groups’ activities. If at all there are limitations or hindrances, 

where there are female genders and the reason for inclusion. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The resercher investigating and interviweing the leader of the ‘Ebule’ Masquerade cult musical group 

on their mode of operations, their membership make-ups and the roles and function of each of the 

members. 

 

Response from the leader: “our masquerade group is a group that encompasses both female and male 

and these have their roles to perform in the group. The male are incharge of wearing the mask, 

beating the instrument, presenting kola and carring 

out the official peaceful offering and incantaton  before 

every musical display or competition and the females 

are responsible to create awareness and motivation songs 

and possibly move ahead of the male folks in a very loud 

voice to pull attention to their masquerade so that 

their will be some level of distractions that draws 

relivance to their musical group”. Which is why they 

are dressed in palm fronds and other distractive attire. 



 

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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

                   
  

 

The same question was asked this group leader, ‘akirinti’ masquerade group and some of his members, 

and these were their responses: 

“We do not incorporate women in our group but on the day of any performances, our women are allowed 

to take the lead in the dance and our masquerade follows. This is to create fun and draw peoples’ 

attention to our masquerade group. The men are responsible for everything except dancing.   

 

Data Analysis 

It was gathered from the discussions with the leaders and members of some of the masquerade music 

groups that, since the women are also part of the community and supporters or cheerers of the 

masquerades, they are permitted to dance as well as present themselves in a way that informs the 

people that they are solid supporters of the masquerade musical cult group. Which is why some are 

seen leading the dance group whereas others are seen putting on palm leaves on their waist with 

animal tusk in their hands moving in an authoritative way to the display ground or arena and others 

playing the wooden gong. These women in practical sense are young girls some are married while some 

are not. These women are being pre-informed of what to do before any performance or display. The 

interrogated masquerade groups amongst others were, the ‘Ebule masquerade group of the Umuchioke 

village’ and 'akirinti' Masquerade from Ubogidi.  

 

Research Findings  

Finding from this research shows that, the women’s involvement in the socio-cultural activities 

especially  masquerading activities have moved beyond the normal primary role of preparing different 

dishes for the cultural events to the point of following and leading the dance of the spirit, some on a 

distractive attire and as well play some of the instrument like the timeline and shakers, and finally 

create attention to the direction of their masquerade as a support and moral energy with which their 

masquerade determines to succeed in any competitive event. 

 This has become a norm among the people of Edem-ani community and the rest of the three 

communities that make up Edem. Notwithstanding, there are still other masquerade cult groups that 

still maintain its strictness of allowing only men both in composition, masking and performances like 

the ‘akpushi-agba’ in Amogu, ‘esato’ the village police, ‘Esoyig-okwu’naloenwureh and ‘ogbaru’ in 

Umuchiagwu, etc. 



 

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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

 

Summary  

Generally in Africa, women’s involvement in the socio-cultural activities only limits them to the primary 

role of presenting dance, watching and cheering the performances as well as the domestic duties of 

cooking for the occasion, taking sacrifices to the gods in company of their husbands and gracing the 

occasion in their best outfits. But the narrative is practically different with the recent events where 

women are now a part of the masquerade musical cult display and are seen partaking in the dance of 

the spirit. The most amazing aspect is that some of these women lead the dance and the masquerade 

follow behind which prior to this day, it was a taboo. In fact women were not even allowed to come 

near the performance arena in the history of Edem-Ani. In contemplation to this resent phenomenon, 

from the research which is geared by inquisitive, there are findings that in some part of the country, 

women are initiated into the masquerade musical cult but with some limitations. This assertion 

suggests that some feministic limitations are becoming eased off unlike what it is used to be, as 

opined by some scholars like (people and Bailey: 2006). There has also been an established Concept 

of Cultural Construction and Gender Asymmetry in music with regards to women’s involvement which 

points to the Abdulmalik’s  perception of gender participation. He states that “human beings think 

and act within the framework of a cultural system that affects worldviews and social behavior among 

others. (Ampene, 2005;  Charry, 2000; Smith & Riley’s 2009; and  Burns, 2009,) from the discussions, 

such cultural constructions about gender roles actually defines the female gender.  

 

With different views about culture been an autonomous force for steering society, there is a 

manifestation in the different roles and limitations found in every performance. Gender asymmetry 

in music is also manifest in the work of Ebeli, (2015). These constructions are linked to hegemonic 

processes of gender type of cultural reproduction and resistance. In the face of such cultural 

typecasts females in contemporary times have proven beyond every doubt that they are capable of 

performing some roles traditionally reserved for men.  

 

This is evident in academic institutions where males and females are required to undertake the same 

task in drumming for assessment. “Hence, this standpoint must inspire music practitioners to break 

away from the classification of music and differential roles based on the premise of seemingly natural 

biological differences” (Pp.20-21). Supporting the above assertions, Amali, (2020) disclosed some 

African society whereby women perform pivotal role in creating a masquerade and thus involve in its 

performances. Such is that of the Idoma community. Here according to him, women play important 

role in the origin of masquerade and that if a man does not have a female child, while alive, he cannot 

be re-incarnated into the Alekwu masquerade spirit because that child will be sacrificed to the 

service of the masquerade cult. But Lawal in contrary stipulates that women are not allowed to 

participate in ‘Gelede’ masking for it is believed that women involvement would draw the spirits’ anger 

on them or be interference to their reproductive power or nature. This is also same with the people 

of Edem-Ani whereby since the inception of the community masquerade cult performances have been 

done and performed by men alone excerpt for  recently where it has been a reoccurring events where 

women are seen partaking in the performances of some of these masquerade display as observed in 

the current Edem-Ani day celebration  at Nweke Edem-ani in Nsukka Local Government of Enugu 

State on the 28th December 2022. 

 

Conclusion  



 

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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

The emerging roles of women in socio-cultural practices, in Edem-Ani in Nsukka Local Government of 

Enugu State, like that of the Idoma community and some African communities that would be discussed 

in subsequent works, have opened up another explorative direction or stage in the study of 

ethnomusicology. According to Akunna (2016), “these stages have socio-cultural significance and 

relate differently to the formal and informal power structures within communal existence”. This 

means that there are still a lot to explore as far as ethnomusicology is concerned. These findings 

highlighted the emerging roles women play in the socio-cultural environment in the African community 

which are very important especially when it comes to the social, economic, political and religious 

affairs that enhance the smooth running of the African community with regard to gender balancing 

and equity.  

 

 

 

 

 

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Onwuekwe, A. I. (2013) The compositional techniques of ekelebem music and its role in the 

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Appendix 

Below are the pictures of Ebule masquerade & Akirinti masquerade and his wife behind him. 

 
 

Women taking lead in the dance of the spirit.  See pictures below 

 
Above are the pictures of two women in white and black taking the lead in the masquerade dance 

display while the masquerade follows also the next picture with two women, one dressed in a 

masquerade-like manner with animal tusk or horns with palm leaves tied round her waist and the one 

with timeline which she plays as member of the masquerade cult group, both heading to the display 

arena. 

 
 


