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OWU ARU SUUN FESTIVAL: THE FULL HISTORY, SIGNIFICANCE, RITUALS, AND CURRENT PRACTICE

Published on October 7, 2025

INTRODUCTION

The Owu Aru Suun Festival, sometimes referred to as Owu-Aru-Sun, Owu Aru Sun Alali, or Owu-Aru-Suun) is voted to be one of the richest and most culturally significant festivals of the Kalabari people of the Niger Delta in Nigeria. It’s centre is in Buguma City, the seat of the Amachree ruling house, and it is organized by the Ekine Sekiapu society, the custodian of many ritual, belief, and masquerade practices of the Kalabari.

The Owu Aru Suun festival is not just a public celebration or entertainment. It is deeply spiritual, historical, political, and artistic. It involves masquerades, some of which are peaceful while some are fearsome, libations, rituals of purification, symbolic acts, and public display of culture. It occurs only after long periods, that often run in many years during which the community’s masquerades have been active and need ceremonial renewal and display.

This article gives a thorough description of the origins, history, rituals, significance, structure, social meaning, the changes that have taken place over time, and practical information about the Owu Aru Suun Festival.

ABOUT THE KALABARI PEOPLE, BUGUMA, AND THE EKINE SOCIETY

The Kalabari are a riverine ethnic group in Rivers State, Nigeria. They are part of the wider Ijaw-related groups in the Niger Delta. Their towns include Buguma, Abonnema, Bakana, Tombia, among others.

Buguma is the traditional seat of the Amachree ruling house, sometimes called Amanayanbo of Kalabari.

Ekine, or Ekine Sekiapu is a traditional society of masked dancers and ritual specialists among the Kalabari. They play major ritual roles, e.g., custodians of masquerades, ritual law and order, performing sacrifices, purification rites, and leading cultural display events. They are also involved in arbitration in older times.

ORIGINS AND HISTORY: EARLY ORAL TRADITION AND GENESIS

An oral tradition recorded in cultural overviews links the origin of some key masquerade practices to a legendary figure known as Ekineba. According to the story, Ekineba was a beautiful woman who was “adopted” by water spirits (Owu). After her time in the spirit realm, she returned to the human world and taught the people how to perform certain masquerades, especially Alagba. She is considered patroness of that masquerade society. This myth gives the festival part of its spiritual explanation and links between water spirits and masquerade performance.

The Kalabari belief system includes reverence for water spirits, creeks, swamps, and the ocean. These spirits, often called Owu are seen as powerful, both protective and dangerous. Many masquerades are thought to represent these spirits. The Owu Aru Suun festival is a moment when such spiritual beings are called out, appeased, honored, and then ritually “returned” to their domain.

HISTORICAL RECORD OF PAST FESTIVALS

The Owu Aru Suun Festival has been held at specific moments between the 20th and early 21st centuries. The years that are known include 1908, 1927, 1973, 1991, and 2009.

It is often said that, originally, the festival was held once every 30 years, though more recently, the interval has shortened. Some reports say every 18 years. This is because the festival is organized after the “exhaustion” of the various masquerades belonging to compounds and community groups over long cycles, often between 15-20 years.

WHAT THE NAME “OWU ARU SUUN” MEANS

“Owu” refers to the water spirits in Kalabari belief.

“Aru / Aru Suun / Aru Sun / Aru-Sun” is often understood as “return” or “going down / journey” (the phrasing varies in local usage) or representing the ceremonial display / alali associated with those spirits.

“Alali” in many sources is used along with Owu Aru Sun (i.e., Owu Aru Sun Alali) to refer to the alali (ceremonial outing / display) of the Owu.

The festival, thus, signifies a period when masquerades which represent water-spirits, ancestors, compound identities are publicly displayed, honored, and then ritually returned to their spirit realm, often the ocean or the creek until they are next called upon. It is like a renewal, a resetting of the ritual cycle.

STRUCTURE, RITUALS, AND SUB-EVENTS

The Owu Aru Suun festival involves many sub-rituals, days of preparation, purification acts, and final concluding rites. Below are the elements as documented in reports of recent festivals, especially the 2009 edition and oral tradition.

Lead-up / Preparation Period

Compound and Haus (Canoe House) Masquerade Preparation: Compounds or canoe houses that own masquerades begin preparation well before the festival. This involves making/repairing costumes, headpieces, masks, regalia. They sometimes engage experts (masquerade head-makers, craftsmen) to assemble special ornaments.
Town Crier Announcements: The Ekine Sekiapu, through the town crier, sometimes known by the phrase “Kpo kpo gbo la bo” in local sources, publicizes the need to prepare for the upcoming Owu Aru Suun Alali. Chiefs, compounds, and masquerade-owners are expected to get ready.
Sacrifices and Purification Two Days Before the Main Festival: Leading up to the Owu Aru Suun festival, there are special sacrificial offerings. These offerings typically include white male fowl, eggs, white cloth, sometimes a split finger of plantain or similar ritual items. Offerings are made at strategic sacred sites – the waterside of the national deity Owameso, the entrance of the Ekine house, entrance of Adum (head of water spirits), Oferema Etele (the ancient sacred path), and Ebe Boko (a river inlet). These rituals are to appease spirits, cleanse disturbance, ensure peace, and pave the way for the spirits to safely return.
Purification of Ancestral Shrines and Headpieces: On the eve of the Owu Aru Suun festival, each masquerade’s headpiece, and sometimes the costume is purified in ancestral shrines. The male members of the respective families/compounds perform the necessary libations and sacrifices. Women may sing praise songs in certain parts, especially in front of ancestral memorial halls (Inkpu).

Festival Eve / Day 1

On the first public day, that is the festival eve, night vigil, etc., the major chiefs, elders, Ekine leaders gather. Libations are poured, and sacrifices are made for protection, for peace, for community wellbeing. Some rituals may be performed at the chief’s palace or at Ekine society house. Purification ceremonies are also held to cleanse the land and the people of impurity.

Additional rituals often include invoking the founding ancestors of Kalabari – seven founding fathers are often mentioned e.g., Amabiame, Endeme, Korome, Ituruame, Akialame, Igodome, Bukume. In some versions, the purification priest (Igba Alabo) performs specific acts, such as holding a glass of gin in one hand, egg in another, pouring libations to the ancestors, placing the egg on a shrine, etc.

Main Day(s): Display and Masquerade Shows

On the main day(s), all masquerade groups from the various compounds and canoe houses appear in full regalia. They line up at ancestral halls or compound entrances, and are then escorted to the town square, often Amachree Square or King Amachree Square in Buguma, for public performance.

At the square, the chief drummer, sometimes known as Akwa Alabo formally greets each masquerade group. Each masquerade performs its dance steps, distinctive styles, and showpieces. They may perform choreographed steps, dramatic entrances, processions, etc.

Women have specific roles during the Owu Aru Suun festival. They sing praise-song in front of memorial or ancestral halls. They may not perform masks themselves, but they participate in singing, praise, supporting ritual activities. Some smaller compounds may offer favors or requests through them during preparation or purification.

CONCLUDING RITUALS

After the masquerades have displayed, there is a ritual of return. The masquerades, symbolizing water spirits, are “sent back” to their spiritual abodes (ocean, rivers, creeks). In some versions, at the waterside, masqueraders remove headpieces and costumes and dive or enter the water violently one after the other. This dramatizes the journey of water spirits to their realm.

In performing this, the purification priest, at the water’s edge recites incantations, throws an egg into the river, dips an ivory horn anti-clockwise around his head, then in water, repeated cycles, often seven times. The ritual is thought to defeat or drive away any evil or disturbance that may obstruct the journey back.

After the waterside ritual, the masqueraders are escorted by masquerade calmers back to their respective memorial halls or ancestral shrines where they divest themselves of headpieces and regalia and change into ordinary clothes.

Some reports say a special drum (Ikinko) is rolled into a replica of the ancient town well (Ama Sube), symbolizing or formally marking the end of that masquerade season. This act is symbolic of closing the ritual cycle.

At the close of the Owu Aru Suun festival, customary prayers, libations, often led by ritual elders / Ekine leaders, are said for safe passage of spirits, peace for the community, and promise of return in the next cycle. Sometimes, the patron goddess of masquerades (Ekine Alabo) is invoked at this juncture.

MASQUERADE GROUPS, OWNERSHIP, AND COSTUME

There are many masquerade groups involved in the Owu Aru Suun festival. Some are community-wide. While some are owned by individual compounds or chiefs. Examples captured in reports include Alagba (by Abbi group), Peri-gbo (from the Georges Compound), Bekinaru Sibi (from Wokoma Compound), Gbasa (by Onbo group), etc

Costumes are often elaborate. Headpieces. Cloths. Regalia. Masks. Beads. Sometimes, feathers or special decorations that are unique to each masquerade. The assembly of headpieces may involve craftsmanship. Performance style (dance steps, procession order) may vary by group.

Some masquerades are more prominent and command special ritual status. For example, Alagba is often considered major. These prominent masquerades are often expected to be performed last, or to make particular showpieces.

SOCIAL / SPIRITUAL / POLITICAL SIGNIFICANCE

Appeasement and honouring of water spirits (Owu), ancestral forces, and deities such as Owameso (often called national deity) are central to the Owu Aru Suun festival. These spirits are believed to influence the welfare, prosperity, protection, peace of the people. The Owu Aru Suun festival ensures that the unseen forces are respected, wrongs are cleansed, impurities removed, and spiritual harmony restored.

Many rituals are about purification – cleansing the land, people, shrines; sacrifices of fowl or other items; symbolic acts like dipping horn, throwing egg. These suggest strong belief that spirits respond to ritual precision.

SOCIAL IDENTITY / UNITY / CULTURE

The Owu Aru Suun festival is a strong display of Kalabari identity. It unites many compounds, ages, genders (although masked performance is mainly done by the male), chiefs, ordinary people, diaspora, friends. It reminds people of shared history, shared beliefs, and gives them a sense of belonging.

The Owu Aru Suun festival helps to preserve cultural arts, such as drumming, dance steps, mask-making, costume design, praise songs, oratory. Younger members learn from the older folks, and as such, knowledge is transmitted.

It serves political functions. The ruling house (Amachree), the Amanayanbo (king), chiefs, and the Ekine leaders show authority, legitimacy, moral oversight through festival leadership. The chief must appear. The leadership of Opu Edi or Amanayanbo is central. The Owu Aru Suun festival is also an occasion where the kingdom declares unity, peace, sometimes safety, and sometimes, even attracts government officials or politicians.

ECONOMIC AND TOURISM IMPORTANCE

The Owu Aru Suun festival draws people – indigenes, visitors from other towns, sometimes, from outside Nigeria. This brings offers business platforms in form of local hospitality, markets, lodging, arts (selling crafts, masquerade paraphernalia), palm wine, food etc.

Cultural tourism potential has been noted in Rivers State, with promotional efforts by cultural offices. The festival has been used to show the kingdom as peaceful and stable.

FREQUENCY, CYCLE, AND WHEN IT HAPPENS

The Owu Aru Suun festival is not an annual event. It is usually held after long periods when a number of masquerades have been active and need formal display, ritual rest, and symbolic returns. The documented cycle is often 15-20 years for the mask-plays, and the festival itself used to be held every 30 years, though it was later reduced.

Known past occurrences of Owu Aru Suun festival are thus:
• 1908: This was one of the earliest recorded public celebrations.
• 1927
• 1973
• 1991
• 2009: This is a well-documented recent edition held in Buguma under King Prof. TJT Princewill, Amanyanbo of Kalabari Kingdom.

On the time of the year for the festival, past reports place the 2009 edition in January (29th-31st). However, because the festival is irregular, the exact months may vary, depending on some factors like when it’s scheduled, readiness of mask-groups, weather (especially dry/wet season), and leadership.

CASE STUDY: 2009 EDITION (BUGUMA, KALABARI KINGDOM)

The 2009 festival gives a concrete example of how the Owu Aru Suun Festival works in practice. Many of its elements are well documented.

Dates & Duration: The event spanned three days, from 29th to 31st January, 2009.
Day 1 (29 Jan): Night vigil: The official beginning. Preparations, gatherings, libations. Masks did not yet perform publicly.
Day 2 (30 Jan): Purification, cleansing of the land. Sacrifices in different sacred locations, setting up headpieces in ancestral shrines, women singing, male members purifying the costumes, asking for favors/protection.
Day 3 (31 Jan): The core masquerade display. Over 35 masquerades including Tari Oboko and many others (some sources say more than 55 masquerades were there for the public display). The masquerades lined up, proceeded to main squares, greeted by chief drummers, danced, made their display. At the end, the water ritual (returning the “Owu”) at the waterside was performed. Then, purification, costume changes, and closing with drum ceremonies.
Prominent Roles: King Prof. TJT Princewill (Amanyanbo of Kalabari) presided over the 2009 Owu Aru Suun festival. Many chiefs, government officials, youth, elders and women were present. It was also used as occasion to declare the kingdom safe and united. Ethnic pride was a central theme.

CHANGES OVER TIME AND CONTEMPORARY ISSUES

Shortening Cycles: What used to happen every 30 years appears to have been reduced (or intended to be reduced) to about every 18-20 years in some reports. This change reflects pressures from maintenance of ritual knowledge, costs, public interest, readiness of masquerade groups.
Modern Influences: Christian and Muslim influences affect how strictly some rituals are done. Some dangerous or “taboo” practices seem to have been modified. Public safety, media, local government regulation have also influenced how masquerades may display, where they can perform, how many people attend. Though detailed reports of alteration are fewer, this is a common pattern in many traditional festivals, and is implied in discussions of the festival’s modern staging.
Tourism & Media: The 2009 festival had significant publicity. There is a documentary film: The Kalabari People and the Owu Aru Sun Festival by Aduks Digital Productions, 2009 that records many aspects of the festival like settling of the people, culture, customs, masquerades, etc. This increases visibility and imposes certain expectations for spectacle.
Cost, logistics, and community burden: Given that each masquerade group must prepare costumes, pay for headpieces, musicians, participants, logistics (moving dancers, keeping crowds, arranging refreshments, etc.), and perform ritual sacrifices and purification, the Owu Aru Suun festival involves substantial cost. Compounds must plan ahead and mobilize resources. These financial and human costs influence how often and how big the festival can be. Reports often mention that many masquerades, elaborate costumes, etc. are involved.

RITUAL DETAILS: SACRED SITES, DEITIES, ANCESTRAL FATHERS

Deity Owameso: This is the “national deity” of the Kalabari people. Some sacrifices are made at the waterside of this deity. Rituals acknowledge Owameso’s authority over water spirits and community welfare.

Owame Akaso / Obiana: In purification rites, special shrines are involved, including shrines of figures like Obiana, sometimes, Owame Akaso’s daughter, etc., in ritual acts. The purification priest may place the egg on the Obiana shrine.

Seven Founding Fathers: Amabiame, Endeme, Korome, Ituruame, Akialame, Igodome, Bukume: These ancestral founders are honoured during purification rites and libations. Their names are evoked in formal speeches and rituals.

Sacred Paths / Locations:
• Oferema Etele: The ancient sacred path in the northwest part of the town.
• Ebe Boko: An inlet off the main river leading toward the ocean.
• Ancestral shrines / memorial halls (Inkpu).
• Town well replica (Ama Sube) in some closing drum ritual.

SYMBOLISM AND MEANING OF KEY RITUAL ACTS

Sacrifices of white fowl, egg, white cloth etc.: This symbolizes purity, appeasement of spirits, peace, cleansing of wrongdoing or impurity. White is often symbolic of peace and purity.

Purification of costumes and headpieces: Cleansing ritual objects so they can properly channel or represent spirits without impurity. It shows respect to ancestors.

Throwing egg into river / dipping horn anti-clockwise / sevenfold incantations: Symbolic release, return to source, driving away evil. Seven is often sacred number.

Masquerades diving into or entering water, stripping costume/headpieces: The journey of water spirits back to their realm; the end of their public presence; showing that the masquerades are not permanently in the human world.

Rolling drum (Ikinko) into well (Ama Sube): Symbolic closure of ritual season; linking present to ancient foundation. Well = source of community life.

Processions and display of masquerade regalia: Claiming of identity, display of craftsmanship, of wealth, solidarity of compounds; spectacle as affirmation.

PERFORMANCE, ART, MUSIC, DANCE

Drumming: This is central. Drum masters lead masquerade processions; the chief drummer (Akwa Alabo) is especially important. Rhythms differ by masquerade; steps and dance match rhythms.
Song / Praise Works: Women often sing praise songs in public parts. Also, orators or chiefs give speeches about unity, heritage, peace.
Mask/Headpiece Styles: Different masquerade groups have distinct headpieces, costumes, regalia. Visual variety is important: cloths, colours, beads, shape/design stand out. Some are more elaborate or large. The craftsmanship is a point of pride.
Dance Steps andMovement: Each masquerade has its characteristic dance style, steps, manner of entrance and exit. Some are slower and more formal, others more dramatic or energetic. Displays often include processional entry, dance in the square, performative bowing or salute to the king or chiefs.

THE ROLES OF AUTHORITY AND GOVERNANCE

Amanayanbo of Kalabari Kingdom (Amachree House): The king has a central role in the Owu Aru Suun festival. As custodian of the culture, patron of the Ekine society, he presides over festival ceremonies, participates in rituals, gives approval and gives legitimacy. The festival cannot start and is not complete without his presence or sanction.

Opu Edi: This is another titled traditional office. Historically, he is the leader under which the Ekine Sekiapu operated in past festivals.

Ekine Sekiapu Society: This is the group that organizes, owns, and performs masquerades; enforces customs; leads rituals; maintains tradition.

Head Chiefs of Compounds / Canoe Houses: Those who own specific masquerades are responsible for their upkeep, costume, performance, and securing community approval/funding. They coordinate with Ekine to prepare.

Purification Priests and Ritual Specialists: The job of these persons is to perform cleansing rites, sacrifice, invoke ancestors and water spirits, lead libations. Some are titled (Igba Alabo, according to some reports) and have ritual authority.

CULTURAL AND SOCIAL IMPLICATIONS

By gathering all compounds, masquerades, families, chiefs, elders, and common people to one event, the Owu Aru Suun festival reinforces social bonding. It is also an opportunity for reconciliation, perhaps resolving disputes under the aegis of ritual and chiefs, though direct accounts of this are less documented.

Younger generation learn crafts, dance, song, oratory. Without such a large public spectacle, some of these arts may fade.

The rituals of purity, sacrifice, community offerings remind people of tradition, of spiritual rules, of respect for ancestors, for water spirits, for sacred sites.

For traditional leadership (king, chiefs, Ekine), the festival shows their role is alive, respected, and they continue to shape community life.

Speeches and local reports often emphasize that the festival is evidence that the Kalabari Kingdom is united, peaceful, safe, and culturally rich. It is a proud marker of identity locally, and for people abroad.

CHALLENGES, CRITICISMS, AND CONSTRAINTS

Cost / Funding: The financial burden of holding the Owu Aru Suun festival on compounds, costume owners, and chiefs can be high. Preparing masquerades, headpieces, paying ritual specialists, feeding people, organizing security etc. require resources. This sometimes delays or complicates planning.
Preserving Authenticity vs. Spectacle: With increasing outside attention (media, tourism, cultural promotion), there is risk of some aspects being “staged” or modified for show rather than ritual correctness. Balancing performance demands with tradition is delicate.
Weather and Season: Because the Kalabari area is riverine, wet season vs dry season matters. Processions and waterside rituals are more feasible in dry seasons. Flooding or rains can disrupt the ceremony.
Changing Belief Systems: As more people are becoming either Christian or Muslim, certain ritual beliefs or practices may be challenged or curtailed. Some participants may not believe in the spiritual effectiveness of past rituals, which could affect participation.
Preservation of Artisanal Skills: Mask-making, headpiece carving, costume design are handicrafts. If fewer young people learn them, they risk being lost.

WHY OWU ARU SUUN FESTIVAL IS STILL RELEVANT

The festival still matters today, regardless of the challenges and criticisms, and here are the reasons:

It serves as a link between past and present for the Kalabari people. It carries memory, belief, traditional laws, ancestor worship, spiritual cosmology.
It gives people a chance to take a break from modern life (oil industry, migration, urbanization) and re-root in traditional culture, reconnect with the land, rivers, spiritual environment.
It serves both internal (identity, unity, moral order) and external (cultural tourism, State recognition, media visibility) purposes.
It helps to sustain local economies – crafts, performance, tourism, food, lodging during the event.

OBSERVED KNOWLEDGE GAPS

Despite available information in the public domain about the Owu Aru Suun festival, some knowledge gaps exist:

The exact date of origin of the festival before colonial period is not well documented in writing. Oral history gives myths, but historical records before 1908 are sparse.
The precise meaning of certain steps e.g. significance of specific dance steps, mask-design variations, symbolic colours vary by compound, and in many cases, are not fully documented in published academic literature.
The degree of change, precisely, how much Christian or Muslim presence has altered ritual practice is less well detailed in write-ups.
The internal rules as regards who may see certain masquerades at certain stages, restrictions e.g., by gender, age, taboo behaviour, etc., vary and are not fully published in many sources.

CONCLUSION

The Owu Aru Suun Festival is more than a masquerade spectacle. It is a ritual covenant, a declaration of identity, a spiritual renewal, and a powerful cultural asset of the Kalabari people. Through its myths like Ekineba, its long cycles, its elaborate masquerades, its purification rites, and its well-defined structure, the festival binds together the past, present, and future of the community.

Another edition of the Owu Aru Suun festival seems to be around the corner. Any scholar, visitor, or person interested in Niger Delta culture should seize the opportunity to see Owu Aru Suun, not only as art or culture, but as a living ritual matrix where belief, power, and community converge. The festival is vital for preserving traditional knowledge, craftsmanship, and social unity in a time when many of such face pressure from modernization, changing belief systems, and loss of ritual knowledge.