By USMAN ABUDAH

If really there are saints amongst us the living, I haven’t had the singular opportunity to run into any or introduced to any either, other than claims that have never been established even in the witness box of a court of law. But there are still claims that have sounded more than traditional chorals which are embellished in absolute truth because these lyrics bear realistic compositions of daily life happenings which the artistic disciples render.

In the artistes’ surroundings are the genuine cavers, composers, dancers and instrumentalists whose individualistic interests are based on inheritance, apprenticeship and also on communal understanding amongst them. This is to ensure that the inheritance is sustained towards keeping the identity of the various communities on the map thus keeping their ancestors happy in the other world which we all would later on join them on the role call as the dead.

There are these talented disciples whose productions unfold very exciting designs which cannot be traced to any academic root, either in writing through research or sponsored grants from foreign agencies.

I would restrict myself to a few areas that I have on my own under took trying to satisfy my burning desire to see these disciples at work and hear what gains they get in their pursuits.

The result is painful and smacks of cheating on the part of those who define themselves as promoters of “our tradition and cultural heritage”.

This crop of un-tidy elements carry an air of absolute falsehood by deceiving the rural based genuine practitioners with the nauseating and irritating claim that “the government and traditional rulers sent them to invite them” to ceremonies.

As true and sincere disciples they are, they don’t ask questions, but would want to know how they would go there or who will provide transportation. Of course, the little exposed ones would dare ask what would they be paid as they would not go to their farms during the period of being away from home.

“We don’t have sponsorship and after this outing, we would see what government would do for you people”, they are told this tale of insincerity. Some wouldn’t budge, others would insist on being paid and the picture is clear, the funny characters would offer pittance, with promises of putting words on their behalf before government.

This is the prevailing situation between the rural based disciples and the city-based disciples of deceit.

I might be compelled in future to reveal specific cases of fraudulent case studies if reasons become imperative. I make bold to state here that even in government agencies that are supposed to tell the artistic disciples their realistic usefulness in promoting the themes of our peoples’ artistry are not better.

In my usual self sponsored trips in search of these genuine disciples, I was recently in a sprawling quiet village somewhere in the Edo North Senatorial District to meet a masquerade costume maker.

For record purposes, I met this middle-aged amiable gentleman, who presently works at the health department of a local government council.

He is Christopher Igiebu Ojior Ojior who is a tailor by training and was taught the artistry of masquerade costume production in Sapele, Delta State by Mr. George Okafor from Nsukka.

“I have been a tailor since 1963 and when I came back home, there weren’t much customers, so I decided to concentrate in costume production,” he calmly opened up.

Mr. Ojior Ojoir, with an air of pride, added. “All my children, including my wife Juliana all assist me when they are back from school and the farm. It’s in the family and when I die, they would continue”.

I reminded him that death doesn’t come-calling by age. he chuckled and continued: “I know”.

Mr. Ojoir Ojior is a devoted member of the St. Joseph Catholic Church Mass Centre of which he is also the chairman. As we chatted off record, a church member strolled in to remind him of the meeting slated for 5pm.

He expressed his delight over my coming and asked: “what are you going to do with this our talk today?” he asked, smiling at me calmly.

“I thank you for letting me into your selfless service in promoting creativity. Just wait, you will hear,” I replied, smiling at Alabi, head of a masquerade troupe who was my escort.

Abudah is Founder and Director Afenmai Heritage and Cultural Studies, Auchi.