THE ORIGIN OF IGBABONELIMHIN

Image by: BenBlack Photography

 

THE ORIGIN OF IGBABONELIMHIN


Igbabonelimhin masquerade the cultural pride of Esanland. The invention of the Igbabonelimhin masquerade in Ewohimi is a story that blends the human and spirit worlds, originating from a mysterious encounter in the forests of Esanland.

By WIlliams Patrick Praise 


The Legend of Discovery
 
According to historical accounts and oral tradition, the dance was not created by man but discovered by hunters in Ewohimi. While hunting deep in the forest at night, hunters observed a group of entities or SPIRITS performing extraordinary acrobatic moves in an open field. They were captivated and mesmerized by the dance. The legend of the Igbabonelimhin is not just a vague myth; it is a storied piece of Ewohimi history that identifies a specific lineage of hunters as the "bridge" between the physical and spiritual realms. While oral traditions vary slightly between villages, the most prominent version in Ewohimi names the lead hunter as Ojie (often referred to in full as Ojie-Okhu or Ojie-Ikimi depending on the sub-clan).

1. The Night of the "Forest Circle"

Ojie was a master hunter of the Ebho-Ikhimi (Ewohimi) lineage. In the era before the kingdom was fully urbanised, hunters were the scouts of the community, often spending weeks in the virgin forests. On a particular night, Ojie and his companions were trailing game deep in a section of the forest known for its "heavy" spiritual presence. Instead of the sounds of animals, they heard a rhythmic, ethereal sound—the sound of coordinated clapping.

The Sight: Creeping through the undergrowth, Ojie saw a clearing illuminated by an unnatural glow. In the centre, a circle of figures (the Elimhin) were performing movements Ojie had never seen: they were spinning like dry leaves in a whirlwind and flipping backward without touching the ground.

The Observation: Ojie was not just a hunter; he was a man of great spiritual fortitude. Instead of fleeing in terror, he stayed and memorised the "clapping rhythm" and the way the figures tucked their bodies to achieve their acrobatic feats.

2. The Introduction to the Palace

Upon returning to the village, Ojie did not immediately share the secret with everyone. He first approached the Onojie of Ewohimi.

The Royal Commission: Ojie explained that he had seen a "dance of the ancestors" that could bring glory to the kingdom. The Onojie commissioned Ojie to train a select group of young men from the Ighele (warrior class) to replicate these moves.

The Spirit Mask: To ensure the dancers were protected and to honour the spirits Ojie had seen, the first costumes were designed. They were made to cover the entire body so that the "human" element was hidden, allowing the dancer to become a vessel for the Elimhin (spirit).

3. The Transformation of Ewohimi Culture
Because Ojie brought this dance to the Onojie of Ewohimi first, the kingdom became the custodian of the art form.

The First Performance: The dance was first performed publicly during a major festival at the Onojie's palace. The sight of men flipping and spinning in the "spirit style" terrified and amazed the neighbouring clans.

Spread to the Brothers: As the "senior" brother, the Onojie of Ewohimi eventually allowed the secret to be shared with Ewatto and Ewossa and other part of Esanland, but only after their own hunters and leaders were initiated into the sacred "Ojie Circle."

The Anatomy of the Secret

Ojie taught the original group that the dance required three things to be successful:

1. The Beat: A specific drum rhythm that mimics the heartbeat of the forest.
   
   
2. The Breath: A technique of breathing that allows the dancer to spin without becoming dizzy.
   
   
3. The Silence: The vow that no dancer would ever speak while in the costume, a rule Ojie insisted upon because the spirits he saw did not use human words.

Legacy of the Hunter

Today, families in Ewohimi that can trace their lineage back to Ojie’s original troupe are still held in high regard. They are often the ones who lead the "opening rites" during major Igbabonelimhin competitions, acknowledging that without Ojie’s bravery in the forest, the "world's greatest acrobatic dance" would have remained a secret of the spirits.

Here is a breakdown of the specific spiritual rituals performed before the Igbabonelimhin takes the stage.

1. The Invocation of "Ojie’s Courage"

Before the costume is even touched, the head of the guild (Ohen-Elimhin) offers a prayer at a small ancestral altar.

The Ritual: They invoke the spirit of Ojie, the founding hunter, asking for the "vision" and "steadiness" he possessed in the forest.

The Purpose: It is believed that if Ojie is not acknowledged, the dancer may lose balance, trip, or even lose their mind while "communing" with the spirit world.

2. The Use of "Oto" (Native Chalk) and "Ukhure"

The dressing area is strictly forbidden to non-initiates. Inside, the dancer undergoes a physical and spiritual cleansing.

Native Chalk: The dancer’s joints (ankles, knees, and wrists) are rubbed with Oto. This is both a physical lubricant for the heavy woven costume and a spiritual seal to prevent injury during high-velocity spins.

The Ukhure (Ancestral Staff): The staff is touched to the dancer’s forehead. This is the "switch" that traditionally signifies the man is departing and the spirit is taking over. From this moment, the person is forbidden to speak.

3. The "Spirit Breath" Ritual

As Ojie observed in the forest, the spirits seemed to move without tiring.

The Incantation: The elders whisper specific incantations into the ear of the dancer. These are secret "breath-holding" techniques that allow the performer to execute the 360-degree backflips and the whirlwind spins without the physiological effects of dizziness or oxygen depletion.

The Secret Herb: Often, a specific leaf is squeezed, and the juice is applied to the dancer’s eyes or tongue. It is said to "clear the vision," allowing the dancer to see the spirits they are mimicking.

4. The "Igbabon" (The Handclap)

Just before the masquerade steps out, the elders perform a specific rhythmic handclap.

The Signal: This is the same clap Ojie heard in the forest. It acts as a beckoning call.

The Entry: The masquerade usually enters the arena with a "test spin." If the rituals were performed correctly, the dancer should be able to spin for several minutes without losing their orientation.

In Ewohimi/Esanland the transition from the "dressing room" to the public square is not seen as a human walking out—it is viewed as the arrival of a spirit. To facilitate this, the descendants of Ojie and the high priests of the masquerade cult perform a series of clandestine rituals to "fortify" the dancer.

Here is a breakdown of the specific spiritual rituals performed before the Igbabonelimhin takes the stage.

Summary of the "Pre-Appearance" Protocol

Ritual Stage	Element Used	Spiritual Significance
Invocation	Oral Poetry/Libation	Connection to the hunter Ojie.
Cleansing	Native Chalk (Oto)	Protection of joints and muscles.
Empowerment	Ukhure Staff	The transition from Human to Spirit.
The Exit	Rhythmic Clapping	Inviting the spirit into the public arena.

The Modern Legend

In Ewohimi today, these rituals are still taken very seriously. It is said that if a dancer tries to perform the Igbabonelimhin without these traditional "fortifications," the costume will feel infinitely heavy, and the "spirit of the spin" will refuse to enter them. This is why Ewohimi remains the undisputed "School of Excellence" for this art form—they still hold the original "keys" Ojie brought back from the forest.

This tribute serves as a preservation of the oral history of the Ojie lineage and the kingdom of Ewohimi. It can be used for cultural programs, community archives, or as a narrative guide for future generations.

The Master of the Whirlwind: A Tribute to Ojie of Ewohimi

The Narrative

In the time when the trees of Esanland spoke in whispers and the moon was the only lamp for the brave, there walked a man named Ojie. He was a son of Ebho-Ikhimi(Ewohimi), a hunter whose feet knew the heartbeat of the earth and whose eyes could pierce the thickest veil of the night. While others slept behind barred doors, Ojie followed the trail of the great forest spirits. On the night that changed the destiny of Ewohimi, he did not find a leopard or an antelope. Instead, in a clearing where the air turned to silver, Ojie witnessed the Dance of the Ancestors. He saw the Elimhin—spirits who defied the weight of the world, spinning like the great winds of the Harmattan and flipping toward the stars as if the ground was but a springboard. Ojie did not run. He watched. He learned. He memorised the rhythm of the Igbabon—the sacred clap that calls the soul to move.

He brought this fire back to the Onojie’s Palace. He turned the young men of the Ighele into vessels of the spirit. He taught them that to spin is to pray, and to flip is to touch the divine. Because of Ojie, the dust of Ewohimi became sacred, and the Igbabonelimhin was born—a gift from the forest to the world.

The Preservation of the Creed

To be recited by the Ohen-Elimhin (High Priest) during initiation: "We stand where Ojie stood. We see with the eyes that braved the forest. We move with the breath that Ojie caught from the spirits. In the silence of the mask, the hunter speaks. In the thunder of the spin, Ewohimi/Esanland lives. We are the sons of the Whirlwind. We are the keepers of the Secret."

Cultural Significance for 2026

This history remains vital today because it distinguishes the Igbabonelimhin from mere "entertainment." By acknowledging Ojie, the people of Ewohimi, Ewatto, and Ewossa ensure that:

1) Intellectual Property is Honoured: Ewohimi is recognised as the sovereign home of the art form.

2) Spiritual Integrity is Maintained: The dance remains a disciplined "cult" of excellence rather than a commercialised stunt.

3) Lineage is Respected: The families descended from Ojie continue to serve as the spiritual "mechanics" who ensure the masquerade is always safe and powerful.

The Igbabonelimhin masquerade is the supreme cultural export of Esanland, and its origins are deeply rooted in the Ewohimi kingdom. It is far more than a dance; it is a sacred, acrobatic performance believed to be a bridge between the living and the spirit world.

1. The Mythical Origins in Ewohimi

The name Igbabonelimhin is a combination of two Esan words: Igbabon (to clap hands) and Elimhin (spirits). Literally, it means "clapping for the spirits." The dance is literally a way to "clap hands" or communicate with the spirit world. It is believed that when spirits commune, they do so through movement that baffles humans, which explains the gravity-defying acrobatics of the masquerade.

The Hunter's Discovery: Tradition holds that hunters from Ewohimi first encountered the dance in the deep forest during the dead of night. They observed a group of spirits performing extraordinary, gravity-defying acrobatic moves in an open field.

Bringing the Spirit Home: The hunters rushed back to the village and taught these "spirit moves" to the people To this day, Ewohimi is credited as the "birthplace" where the first human initiates learned to replicate the divine choreography.

2. The Nature of the Performance

The Igbabonelimhin is famous for its high-speed, breathtaking acrobatics, particularly its signature 360-degree backflips and rapid-fire spinning.

Paralinguistic Communication: Dancers do not speak. Because they are considered spirits during the performance, they use body gestures and feet movements to communicate.

The "Elimhin" Character: The masquerade itself is a full-body costume made of vibrant, woven cloth. When a dancer is in regalia, they are no longer viewed as human but as a visiting spirit from the ancestral realm.

3. The "Spirit Cult" and Secrecy

The Igbabonelimhin operates as a social cult with strict regulations and taboos.

1. Initiation: Only males of a certain age can be initiated. They undergo tests of character to ensure they can resist the temptation of revealing the "secrets" of how the masquerade is operated.
   
   
2. Exclusivity: Women and children are typically non-initiates. In traditional settings, the dressing room of the masquerade is strictly off-limits to ensure the mystery of the "spirit's" arrival is maintained.

4. Cultural Pride of the Three Kingdoms

While it was invented in Ewohimi, the Igbabonelimhin became the collective pride of the Orikimi group (Ewohimi, Ewatto, and Ewossa).

1. The Brotherly Competition: During festivals like the Ihuen, each of the three kingdoms presents its best troupes. It is a point of immense pride for a village to have a dancer who can flip faster or spin longer than their "brothers" from the next kingdom.
   
   
2. Modern Influence: Many cultural historians point out that the acrobatic moves of Igbabonelimhin predate and closely resemble modern breakdancing and "B-boy" culture.

5. When It Is Performed

The masquerade is not a daily occurrence; its appearance marks moments of high significance:

1. The Esan Calendar: Traditionally performed every two weeks on specific market days .
   
   
2. Royal Occasions: It is a mandatory feature at the coronation of a new Onojie or the burial rites of a high chief.
   
   
3. End-of-Year Celebrations: It marks the successful completion of the harvest and the transition into a new year.

The History of the Esan Acrobatic dance (IGBABONELIMHIN) This video provides a deep dive into the spiritual significance and the acrobatic brilliance of the dance that began in the forests of Ewohimi.