Ancestor Worship

The term ancestor worship is defined as religious practice based where ancestors are represented as supernatural parents in terms of both their authority and their involvement in everyday life (Fortes 1961, 1965 cited in Cole and Middleton 2001). It is believed to be formulated foe West Africa region. Magesa (1997) claims that in these spiritual practices ancestors “are sometimes referred to as gods” (pp. 49) and he further argues that “the ancestors, though dead, are present and continue to influence life in their erstwhile communities on earth; indeed, they are expected to do so. The presence of the dead is assumed.” (pp. 48).

            In Tess Onwueme’s The Missing Face, ancestor worship was richly manifested through the integration of rituals and traditions. Onwueme used ancestor worship in order to intensify emotions and at the same time include the presence of deity and other spirits they believe into. Also, the integration of ancestry worship showed the high regard of the characters to their elders; their faith; and other virtues. The idea of ancestor worship was seen on the encounters of the play’s characters particularly Nebe. For instance, when Nebe called the gods of the land to save her son Momah from the fate of Meme – the great father, who stepped out to be initiated manhood, hit his left foot on a stone, and ended in the hands of marauders who hawked him to sharks across seas (pp. 18-19). She called the intervention of the gods of the land which may be in form of ancestors. Another particular example is when Nebe called the aid of the ancestors when Amaechi is searching for his mother, Ida Bee and threatened his father, Momah to shoot him. Nebe chanted: Ancestors! Your children call upon you! The yoke of a new dawn. Clear the path. (pp. 45)

            Other ways in which ancestor worship are depicted is when Odozi offered a ritual in the Grotto (pp. 46-52). Odozi pleaded the help of the ancestors in resolving the conflict between Momah and his family.

            In the play, the portrayal of ancestor worship showed the love and respect of Africans to their departed ones. Through the said practice, Africans are directly communicating to the ancestors and asking their interventions on the matters of the family and life in general. Aside from using ancestor worship as a key subject of the play, Onwueme employed this in order to integrate the distinct identity of Africans and send the message of cultural heritage. The concept of ancestor worship also gave a feeling of enchantment to the readers as it elicits anticipation and contributes new knowledge about the cultures of African regions and its people particularly on the rich rituals and traditions inherent to them. In general, ancestor worship put spice to the whole play’s narrative.

References

Fortes, M 1961, ‘Pietas in Ancestor Worship: the Henry Myers Lecture, 1960’, Journal of the Royal Anthropological Institute, 91; pp. 166-91, in Cole, J & Middleton, K 2001, ‘Rethinking Ancestors and Colonial Power in Madagascar’, Africa, vol. 71, no. 1; pp. 1.

Fortes, M 1965 `Some reflections on ancestor worship in Africa’, in Cole, J & Middleton, K 2001, ‘Rethinking Ancestors and Colonial Power in Madagascar’, Africa, vol. 71, no. 1; pp. 1.

Magesa, L 1997, African Religion: The Moral Traditions of Abundant Life, Orbis Book, New York.

Onwueme, TO 2002, The Missing Face, 3rd ed., African Heritage Press, New Rochelle, New York.