Book Title: EMUME CHILEKE ORIE-UKWU
Author: Emeka Martins Iheoma, PhD
Reviewer: George O. Ndukwu, PhD
Year of Publication: October 2025
Publishing company: Not Stated
Number of Pages: Not Stated
Introduction / Mmalite — A Cultural Renaissance from the Heart of Ezinihitte
“Emume Chileke Orie-Ukwu” bụ akwụkwọ nke na-akọ akụkọ ndụ na okwukwe nke ndị Ezinihitte Mbaise, ndị bi na Imo State.
This enthralling traditional drama concerning Ezinihitte Mbaise, Imo State, SouthEast Zone of Nigeria, transcends mere entertainment — it is a resplendent celebration of origin, unity, and spirituality.
Inspired by the annual Orji Ezinihitte Cultural Festival, the play rekindles ancestral pride while challenging entrenched misconceptions about Africa’s historical narrative.
“Emume Chileke Orie-Ukwu” encapsulates the essence of a people, articulating the history, faith, and solidarity of ndi Ezinihitte Mbaise. From its very inception, the play transports us to the hallowed heart of Orie-Ukwu Oboama-na-Umunama, the site where the Ezinihitte people believe Chileke, the Supreme God, first manifested and fashioned humanity.
…N’echiche ndị Ezinihitte, ebe a bụ “Eden nke Africa.”
Through a harmonious blend of songs, storytelling, and dialogue, the play proclaims that Ezinihitte bụ ala ekere mmadụ mbụ.
It boldly confronts the erroneous notion that African peoples were devoid of civilization or faith prior to colonial incursions.
“Our Beginning, Our Belief – Reclaiming Africa’s Lost Narrative.”
Every community possesses a narrative that breathes life into its identity.
For the denizens of Ezinihitte Mbaise in Imo State, South-East Nigeria, that narrative is being eloquently retold through the compelling play titled “Emume Chileke Orie-Ukwu,” which translates to “The Feast of Chileke-Orie-Ukwu.”
From its opening pages, the play invites readers into the core of Ezinihitte ancestral consciousness. The narrative commences with a straightforward yet profound message: the Ezinihitte Mbaise people are not mere wanderers, but the original progeny of creation.
“Emume Chileke Orie-Ukwu” portrays Ezinihitte as the primordial land of creation.
The story unfolds at Orie-Ukwu Oboama-na-Umunama, venerated as the sacred site where Chileke-Oha (God of all creations), the Supreme God, created humanity — a spiritual epicenter often referred to as the “Garden of Eden of Africa.”
The play elucidates how Chileke, the magnificent God of creation, first revealed himself at Orie-Ukwu Oboama-na-Umunama, situated in Ezinihitte Mbaise.
It imparts the lesson that the Ezinihitte people are indigenous in origin, a people fashioned by God on their own land, possessing no tradition of migration from elsewhere.
Through vivid storytelling and dialogue, the drama asserts that Ezinihitte is the locus of human creation, reconstructing a neglected history, and contesting colonial narratives that once trivialized African societies as primitive.
Structure and Storytelling – Themes of Identity, Unity, and Decolonization
In an era when global cultures confront the peril of eroding identities, “Emume Chileke Orie-Ukwu” emerges as a vibrant testament to the essence of a people and their heritage. The play’s potency resides in its capacity to intertwine rituals, folklore, and philosophical discourse.
As the drama unfolds, each Act encapsulates a distinct facet of Ezinihitte life, from the celebration of harvests and wrestling competitions to inter-community conflicts and their peaceful resolutions through traditional justice systems.
Scenes of thanksgiving, community festivals, and conflict resolution immerse the audience in a realm where faith, morality, and communal harmony delineate existence. Through songs, dances, and storytelling, the drama rectifies the misguided belief that Africans lacked a historical or civilization foundation prior to European contact.
A Drama Rooted in History and Pride – Spirit of “Onyeaghala Nwanneya” (Be Your Brother’s Keeper)”
Beyond its historical themes, “Emume Chileke Orie-Ukwu” also advocates for peace, unity, and fraternity among the Ezinihitte people in particular, and Mbaise people generally.
The poignant Igbo adage “Onyeaghala Nwanneya” (“Let no one forsake his brother”) resonates throughout the narrative, serving as a moral compass that implores reconciliation and collective strength among the populace.
The narrative transports us across various Ezinihitte villages, illuminating achievements in agriculture, craftsmanship, music, fishing, trade, and justice, thereby affirming that civilization has flourished on African soil for centuries.
The play venerates the resilience and ingenuity of Ezinihitte’s original thirteen communities. Each community contributes its unique gifts, transforming Ezinihitte into a bastion of peace and progress, illustrating that authentic advancement emerges from unity.
– Onicha, Udo na Obizi— masters of agriculture
– Ife, Amumara, Itu, Eziudo — adept fishermen
– Okpofe — artisans and builders
– Oboama na Umunama — musical and artistic virtuosos
– Ihitte, Ezeagbogu — merchants
– Akpodim, Chokoneze – Advocates for Justice and Reconciliation
– And communal advancement in Umuhu – contemporary Aboh Mbaise LGA
All of these elements reveal that Ezinihitte transcends mere clan identity; it is a vibrant classroom of culture.
The Acts of the play whisk viewers across Ezinihitte and neighbouring Ngwa communities along the Imo River, where conflicts are resolved not through violence but through dialogue, communal courts, and the sagacity of the elders, exemplifying a justice system grounded in equity and peace.
Dialogue Between Tradition and Change
The playwright astutely juxtaposes indigenous belief systems with the advent of colonial missionaries, depicting both the misunderstandings and resilience that characterized early encounters.
The drama encapsulates the traditional and cultural pride of Ezinihitte, asserting that the people had long believed in and worshipped one Supreme God prior to the advent of Christianity.
In one unforgettable moment, a poignant exchange between a traditional leader and a visiting missionary stands out as a respectful yet assertive defense of African spirituality.
Na mkparịta ụka n’etiti omenala na mgbanwe_ – the dialogue between OBO, a sagacious traditional leader, and Mr. Taylor, a British missionary, beautifully encapsulates the tension between indigenous faith and foreign religion.
In this touching scene, the missionary implores the people to renounce their gods. The elder responds with dignity, “We worship only one true God — _Chileke-Oha, the Creator of heaven and earth.”
This encounter underscores African wisdom and spiritual maturity. The audience is reminded that the Ezinihitte people had already acknowledged the one true God long before the arrival of Christianity.
A Cultural Lesson for the Modern Generation/Ihe ọmụmụ omenala
In an era when many young Africans are drifting away from their cultural heritage, this drama serves as a poignant reminder that our culture is our identity, and our faith is our strength.
“Emume Chileke Orie-Ukwu” imparts the lesson that a tree devoid of roots cannot endure; no people can achieve progress by forsaking their origins. _Ọ na-akụziri anyị na ndị na-apụghị icheta ebe ha si, apụghị, ịmata ebe ha na-aga.
Beyond its cultural storytelling, the drama conveys a compelling message for contemporary youth: progress devoid of identity is vacuity. Through the Feast of Chileke-Orie-Ukwu, the play revives rituals of gratitude, songs of unity, and ceremonies of renewal — all intricately woven into a dramatic performance that bridges the past and the present.
It advocates for a renaissance of cultural self-awareness — not as a rejection of modernity, but as a foundation for self-respect and social harmony.
What renders the drama particularly pertinent today is its message to younger generations. It reminds them that cultural awareness is not a regression, but rather a cornerstone for advancement.
“No people can be deemed civilized if they neglect their history,” the narrator cautions — a sentiment that resonates profoundly within Nigeria’s ongoing cultural Renaissance between tradition and modernity.
“Emume Chileke Orie-Ukwu” transcends mere performance — it is an odyssey into the essence of a people. It imparts the wisdom that to comprehend our identity, we must first recollect our origins. This work endeavours to restore cultural confidence by venerating Ezinihitte’s contributions to the tapestry of civilization.
What renders “Emume Chileke Orie-Ukwu” profoundly exceptional is its capacity to amalgamate theatre, history, and spirituality into an indelible experience. It challenges antiquated stereotypes and affirms that African civilizations possess — and continue to possess — profound reservoirs of wisdom, artistry, and societal order.
The playwright harnesses drama to rekindle pride and faith in the ancient narrative of the Ezinihitte people — illustrating that prior to the arrival of colonial powers, they had already established a relationship with the divine, possessed social structure, and experienced tranquillity.
It is more than a theatrical production; it serves as a cultural testament that reminds a people of their identity, their beginnings, and the God who has shaped their destiny. It beckons every individual — not solely from Ezinihitte but from all corners of Africa — to rediscover the transformative power of storytelling, music, and community.
Ultimately, the play stands as both a cultural document and a clarion call to action. It reminds every Ezinihitte son and daughter — and indeed every African — that culture is not an artifact of the past but a vibrant compass for the future.
Final Thought / Nchikota
“Emume Chileke Orie-Ukwu” is not merely a historical drama; it invites its audience to commemorate Ezinihitte’s spiritual significance while recognizing its invaluable contributions to human civilization.
“Emume Chileke Orie-Ukwu” serves as a declaration — a poignant reminder that faith, culture, and unity form the bedrock of progress. This work transcends literature.
It embodies a cultural renaissance. Crafted with fervour and pride, the play stands as a testament to the resilience of indigenous cultures and their intrinsic capacity to narrate their own stories.
“Emume Chileke Orie-Ukwu” is a cultural manifesto. At the core of this work lies the timeless Igbo philosophy of brotherhood — In Igbo we say, “ Onyeaghala Nwanneya” (Let no one forsake his brother or Be Your Brother’s Keeper).
This principle encapsulates the essence of the narrative — togetherness, peace, and love.
It illustrates that peace, faith, and brotherhood are enduring values that continue to guide the Ezinihitte people today.
Book Reviewer’s Note/Nkwupụta Onye Nyochaa akwukwo edemede ejije
As a scholar of culture and a specialist in development communication, I perceive in this drama a clarion call for self-awareness, unity, and pride. The narrative extends beyond the Ezinihitte community — it resonates with every African society striving to remember and reconstruct.
It serves as a reminder that modernization without cultural balance, devoid of cultural equilibrium, is akin to a river that forgets and neglects its source.
Ka anyị cheta na omenala bụ ndụ, Ka anyị chekwaa ya. Culture is life — and when we keep it alive by nurturing it, we preserve and keep our humanity alive too.
“Emume Chileke Orie-Ukwu” merits a place in every Nigerian classroom, cultural center, and library.
- Book Reviewer, Dr. George Ndukwu holds a PhD in Development Communication – de*************************@gm***.com
