Reweigh: ( have another look)

Former French President Nicolas Sarkozy stood on African soil in 2007 and bluntly declared “the tragedy of Africa is that the African has not fully entered into history”. Africans seethed at the insulting, many even believed racist, tone of that speech. But as the world commemorated the centenary of the end of World War One during last weekend, and as historians and the media recounted the many sides of its history, I came to see that Sarkozy might even have been generous.  Neither the exceptional contributions of native Africans, nor their unique sufferings, in that senseless conflict was even footnoted in any of the written commentaries and TV documentaries that I reviewed. If you saw any, please let me know about it. Did anyone mention that, apart from the thousands of Africans who died fighting as enlisted soldiers for the various colonial (German, British, French, Belgian and Portuguese) powers, an estimated 1.5 million   African “labour corps” men, women and

In this essay, I use “ akwa isiag ụ ” as metaphor to illustrate that Igbos have not done exactly well to preserve their language and culture. I posit they have abandoned their unique cultural symbol. That they are now parading a symbol of foreign popular culture as their foremost emblem. But I also present perspectives that might ignite a quest for self-rediscovery.   Akwa Isiag ụ Akwa isiag ụ is the clothing fabric patterned with motifs showing fierce-looking lion’s head and mane. Some designs show a less stern lion’s head, with two or three cow horns besides it. Since the last 50 to 60 years Igbos have managed to portray this fabric design as their classic cultural emblem. In fact, as something of a totem. Igbo chiefs and nze and ọzọ titleholders use it to make their ceremonial gears. At native marriage ceremonies and similar cultural events, isiag ụ garments of different colours and styles grace the day. Igbo people feel a certain sense of pride when they dress i