Ntroduction
I had predicted it since January when this national discourse started, that Justice Walter Onnoghen stood no chance of surviving the presidential and executive onslaught, using the CCT as its attack dog. Article after article, television discussion after television discussion, I hammered on the fact that Onnoghen stood no chance because the government was working from the answer to the question. There was no fair hearing at all, going by the indices of fair hearing. The entire judiciary became complicit, in cahoots with the executive, to lynch one of their own. It is heart-rending that a whole 
Court of Appeal would refuse to deliver judgement and rulings on matters argued before it, some of which had the potential of stopping the entire farcical trial of Onnoghen, months after they were argued. They looked the other way, while Onnoghen’s trial was being rushed on a daily basis as if it had become our nation’s Fundamental Objective and Directive Principles of State Policy. Nothing mattered except Onnoghen’s trial and conviction. At all cost.
Those members of the judiciary who have contributed in one way or the other to bring down Onnoghen and humiliate him are awaiting their turn. Today, tomorrow, or in the future. Yes, read my lips. What goes around comes around. Where is the place of Ngajiwa’s case? It was roughly discarded as of no moment. Selective justice, you would say. Why is there palpable unending persecution of Justice Ofili-Ajumoghobia, who was promptly re-arrested and again charged to court after her discharge and acquittal? What of Justice Gladys Olotu, who has been under sordid persecution and state and judicial-sponsored persecution and ordeal for over five years? What did she do wrong, other than that some powers that be wanted her out of office at all cost to satiate their dirty egos? What have the transducers of Ajumoghobia and Olotu gained other than ephemeral pyrrhic victory whose ricocheting effects cannot yet be appreciated or imagined? These guys are collectively destroying the judiciary by instalments, and some idiotic and myopic people are clapping for immediate political and ephemeral gains. When the chips are down, they would regret, gnash their teeth and swallow their pride. Today, Onnoghen has been judicially lynched, media-lynched, persecuted, humiliated, browbeaten and harassed. It could be your turn tomorrow. Go and read the immortal words of Martin Neimoller (1946).
Queen Idia in Accord Concordia, battling for Nigeria’s elusive unity (24)
Introduction
From time immemorial, the role and status of women in Nigeria have continuously grown. However, the image of helplessness, hopelessness, oppression, and marginalisation of the female gender have combined to undermine their potential. Little attention has been accorded to the various unquantifiable functions that Nigerian women have performed throughout history. This is very sad. Today, we shall continue our discourse of this series, x-raying two Nigerian heroines, Queen Idia of Benin and Hadiza Ladi Kwali. We must never allow the labour of our heroes past be in vain.
Queen Idia of Benin
A world-renowned warrior, skilled administrator, mystical woman and the first queen of ancient Benin Kingdom in Nigeria.
Early life
Iyoba Idia, popularly known as “Idia ne Iye Esigie”, was a renowned warrior-queen, skilled administrator and the first Iyoba (Queen Mother) of the Kingdom of Benin, capital of the present Edo State in Nigeria. Iyoba Idia’s visage is the most widely known face of an African royal woman after the Egyptian Queen, Ahmose-Nefertari or Nefertiti. Her face has gazed on us from countless museum pedestals the world over. It has been widely reproduced on commemorative trays, cups and plates, jewelry, ebony and brass plaques, and on textiles, specifically, george materials of the Intorica and Indian Madras labels, wax design cotton prints, and T-shirts. Idia was first an Olori (royal wife) of Oba Ozolua, a military strategist-cum-mystical warrior, before becoming an Iyoba, as well as the mother of Oba Esigie (1504-1550 CE), who was the first king of Benin to ascend the throne with the title Esigie in about 1504 and was the first leader in the West African sub-Region to establish diplomatic relationship with a European country.
Idia’s legendary victories and exploits
The Kingdom of Benin (in present-day Nigeria) was plunged into a state of turmoil at the end of the 15th Century, when Oba Ozolua died and left two powerful sons to dispute succession. His son, Esigie, controlled Benin City, while another son, Arhuaran, was based in the equally important city of Udo, about 20 miles away. The ensuing civil war severely compromised Benin’s status as a regional power and undermined Benin City’s place as the political and cultural centre of the kingdom. Exploiting this weakness, the neighbouring Igala people sent warriors across the Benue River to wrest control of Benin’s northern territories. Esigie ultimately defeated his brother and conquered the Igala, thus reestablishing the unity and military strength of the kingdom. His mother Idia received much of the credit for these victories as her political counsel, together with her mystical powers and medicinal knowledge, were believed to be critical elements of Esigie’s success on the battlefield. To reward and honour her, Esigie created a new position within the court called the “Iyoba”, or “Queen Mother,” which gave her significant political privileges, including a separate residence, with her own staff.
Queen Idia: The face of FESTAC ’77
Idia’s face was immortalised in the 16th Century ivory mask presently tucked away in the British Museum. It became famous when the Nigerian military government chose it as the emblem for the Second Black Festival of Arts and Culture, known as FESTAC ’77, which Nigeria hosted in 1977. The visibility of the mask increased when the British government’s museum refused to release it on loan to Nigeria, even after demanding £2 million, which the Nigerian government put up. The late Oba Akenzua II, then reigning Oba of Benin, broke the impasse by commissioning the Igbesamwan (ivory carvers guild), to produce two replicas of the Idia mask that had been looted by British soldiers during the 1897 punitive expedition. The fine workmanship of the replicas established that modern Benin ivory carvers are consummate artists, as were their forebears, and, like the latter, responded with pride and reverence to the royal commission. The replicas were carved and FESTAC ’77 successfully hosted the entire African continent.
Thought for the week
“The failure of women to have reached positions of leadership has been due in large part to social and professional discrimination. In the past, few women have tried, and even fewer have succeeded.” (Rosalyn Sussman Yalow)
Hadiza Ladi Kwali (1925-1984): Early beginnings
Ladi Kwali, as fondly called, was born in the village of Kwali in the Gwari region of Northern Nigeria. Her first name ‘Ladi’ means “born on Sunday,” while her surname ‘Kwali’ is the name of her village in which she was born in Gwari, Northern Nigeria, where pottery was an indigenous female tradition. Pottery was a common occupation among women, so she learnt the art from her aunty using the traditional method of coiling. Ladi Kwali excelled in the craft and her wares were often sold even before they were taken to the market.
Ladi Kwali’s legendary
exploits and arrival on the national scene
During her early professional years, the traditional cultural environment moved her to produce pottery pieces that were influenced by the Gbagyi tradition and accentuated with personal idioms. Her approach to clay was echoed by mathematical undertones, made visible by the continuous display of symmetry. Several of her pots were acquired by notable men for decorative purposes, including the Emir of Abuja, Alhaji Suleiman Barau. Under the care of the emir, the pots were spotted in 1950 by Michael Cardew, the pottery officer in the Department of Commerce and Industry in the colonial Nigerian government. This led to Cardew getting interested in her and, in 1954, she joined Cardew’s pottery training centre in Abuja, as the only female potter. Ladi Kwali learnt the western techniques of pottery, like wheel throwing and glazing, and made dishes, bowls and beakers. However, she also continued to produce pots using her traditional hand building and decorating techniques. Through Cardew, Ladi Kwali’s work became known around the world.
Ladi Kwali’s major legend is being a symbol of limitless possibilities despite disadvantages. She was never formally educated. She could neither read nor write English. She couldn’t speak the language either. Yet, she was celebrated by the culture that owns the language and lectured at their universities. She was a testament of limitation being only a figment of the imagination once one is blessed with a gift one excels at.
Her prestigious awards
In 1962, she was awarded a Member of the Order of the British Empire (MBE), an honorary doctoral degree from Ahmadu Bello University in Zaria in 1977, the Nigerian National Order of Merit Award in 1980 and the national honour of the Officer of the Order of the Niger (OON) in 1981. Ladi Kwali was named “Radio London”, due to her zeal to share most of her tour experiences with people. She was also given Silver Award for Excellence, Tenth International Exhibition of Ceramic Art, Smithsonian Institute, Washington DC.
All Nigerian currencies have the faces of prominent people on them. But, the N20 note is one of the most used naira notes in Nigeria, mostly by the low class people. She is the only woman on the Nigerian naira note — the Twenty Naira Note. The front of the note has former Head of State, General Murtala Muhammed, while the back bears renowned Nigerian potter, Ladi Kwali.
Exit of an icon
Despite being married, Ladi Kwali died without an issue on August 12, 1984, and with her name permanently written into immortality as a feminist trailblazer during a time of immense disadvantages, but left a legacy.
(Next time, we shall continue our exposition into another Nigeria’s great female icon).