The need for play is a fundamental aspect of human development. Despite its importance, many adults feel ashamed to engage in playful activities. Conversely, children instinctively combine play and work, even when their schedules are busy. Play significantly impacts a child's development and is deeply rooted in cultural traditions.

For Igbo people living in the diaspora, preserving, and transmitting cultural heritage to the next generation is crucial. The rich cultural heritage of Igbo children is deeply rooted in traditional play and dance. These activities serve as an avenue for children to learn about their ancestors' stories and traditions, develop a more profound appreciation for their cultural identity, and shape their cultural values. However, there is a need for more research on Igbo play and dance in Western play theories.

Children from diverse cultures exhibit unique play patterns that impact their development positively. For instance, Igbo children have patterns of play that positively impact their development, although the play activities are not well-documented by play theorists' developmental norms. Unfortunately, most children's development research textbooks on play focus on European and Northern American perspectives and Western cultures, neglecting the experiences of non-Western cultures. This gap creates an ethnocentric perspective of play, leading to misunderstandings and misinterpretations of Igbo play and dance and its advantages. Research has also found that there are very large gaps in the studies concerning the understanding of trauma and coping mechanisms in therapeutic studies in Igbo and African cultures in general. 

Stella (2016) regretfully notes that beautiful and recreational Igbo children's cultural play is fading away due to modernisation. However, modernisation and the development of creative activities do not have to negatively affect the recreational activities that promote Igbo children's development. According to play theorists Piaget and Vygotsky, children learn through play, which involves observation and imitation and is called the Zone of Proximal Development.

Moreover, sociocultural play theorists (Piaget, 1962) and (Vygotsky, 1977) found that children use play, such as make-believe and symbolic play, to demonstrate life experiences. A child's development can only be fully understood when the social, cultural, and historical setting is referred to and understood, such as family history, cultural beliefs, and socioeconomic status.

Migration has risen by 60% in the last few years, and many children will bring their play patterns to new cultures. Therefore, inclusion and diversity are essential in understanding cultural differences in play, enabling appropriate professional practice across schools and children's services. Understanding other cultures' play behaviour and values helps understand other people's behaviours and child-rearing without discrimination.

Traditional Igbo play and dance are vital ways to preserve culture while providing numerous benefits for children's development. Igbo traditional play and dance are not just fun activities for children. They also help in their physical, emotional, and cognitive development. Children who engage in these activities are likely to have better memory retention and cognitive flexibility. Additionally, traditional play and dance often involve memorising steps and patterns, which can help improve children's memory and cognitive processing skills. Furthermore, children who engage in traditional play and dance are likelier to develop better motor skills, balance, and coordination. The rhythmic nature of the dance can help children develop their sense of timing and rhythm, which can translate to improved coordination in other physical activities.

Numerous studies have shown that traditional dance provides a range of mental benefits. Dancing releases endorphins, improving mood and reducing feelings of pain. It also helps to reduce stress, anxiety, and depression, making it an ideal activity for people of all ages. Traditional dance, particularly Igbo cultural dance, has been found to improve cognitive function, memory, and concentration. It supports the relaxation of nerves, classified as body embodiment, similar to the benefits of the well-known Western world's ballet dance. Additionally, Igbo traditional dance supports the relaxation of sensory organs by aiding blood circulation due to using barefoot during traditional dance activities, classified as sensory play. This is an extremely relaxing activity for both children and adults alike.

According to socio-cultural play theorist (Vygotsky, 1977) , traditional play and dance are vital for the emotional development of children. Through these activities, children learn to express themselves creatively, which can help them build self-confidence and self-esteem. They also learn to work together in groups, cooperate with others, and communicate effectively, allowing them to develop social skills that can translate into improved social skills in other areas of their lives. These skills are particularly significant in the classroom or on the playground, as they give children the confidence to teach other children and their friends from different ethnic backgrounds about their culture and the benefits of Igbo cultural play and dance. This is especially relevant in educational sectors and school environments.

According to studies by (Okafor, 2016) and (Kanu & Okoye, 2023), the uniqueness of Igbo cultural play patterns promotes the development of true citizenship through social acceptance. It gives children the satisfaction and opportunity for creative self-expression, allowing them to showcase their strengths. 

Igbo children acquire higher levels of knowledge and skills through play and joint activities that involve interaction with experienced adults, caregivers, or peers possessing potential skills. This form of learning is called the "zone of proximal development". By utilising this approach, Igbo children can operate at a level beyond their developmental stage, display resilience, take risks, and function effectively within the zone of proximal development. During Igbo cultural play activities, children can build their self-confidence, express their identity, and surpass their usual abilities, tendencies that are not always achievable in non-play environments. Igbo traditional and cultural play activities have facilitated the development of talents such as musicology, choreography, and local artistry among children, who acquire these skills through imitation and observation of peers and experienced adults. The mastery of skills through the zone of proximal development is achievable with the use of embellished objects from artists and sculptors, singing and dancing games, which have been passed down from generation to generation. 

 Presently, the Igbo culture has produced valued musicologists, choreographers, and local artists, including art craft, bronze makers, traditional flutes, called Oja, Ogene, Ichaka, and beautiful handmade head beads and belly chains used in Igbo traditional dance.

Igbo traditional handmade musical instruments 

Ichaka and Ogene Igbo handmade musical instruments.

 Ogene

(Femi, 2023)

Ichaka

The Igbo culture has a rich and diverse heritage that encompasses a variety of traditional plays and dances. One of the most popular traditional plays among the Igbo people is the "isu-ede," also known as "catcher." This game involves a group of children pursuing one designated child, the "catcher," with the aim of being caught by the "catcher." The objective of the game is for the "catcher" to capture as many children as possible. This game fosters the development of various physical and mental skills, including agility, speed, and quick thinking.

"Odi," alternatively known as "Hide and Seek," is a popular game among Igbo children, played in groups with one child designated as the "it." The game's objective is for the "it" to locate and tag the other children who have hidden themselves. This game encourages children to develop strategic thinking skills, promotes teamwork, and fosters problem-solving abilities.

Okwe, also known as Ncho, is a traditional game in the Igbo culture that involves a wooden board and seeds. The board consists of twelve holes, six on each side, with a larger hole at each end and four seeds placed in each hole at the beginning of the game. The objective of the game is to move the maximum number of seeds into the larger hole at the opposite end of the board before the opponent. Nchokolo is a highly engaging game that can help children develop strategic thinking and decision-making skills. As it requires patience, skill, and strategy, it is an excellent means of cultivating these qualities among the players.

Okwe 

(Nigeria, 2018)

Okwe game, also known as Ncho.  

 Dance is an integral part of Igbo culture, and the Igbo people have a cultural heritage that includes numerous traditional dances. These dances are often performed during social events, including festivals, weddings, and other cultural celebrations. Each dance has its unique meaning and significance and is typically accompanied by music and drumming. Some of the most popular traditional Igbo dances include Egwu Ogene, Nkwa Umuagbogho, Atilogwu, Egwu Adamma, Egwu onwa, and Egwu Egedege.            

 Atilogwu is one of the most popular traditional dances performed by both men and women wearing vibrant traditional attire. This dance involves several movements, including jumping, stomping, and spinning, which can enhance children's coordination and balance. 

Atilogwu dance 

 (Omipidan, 2023)

Young Igbo boys performing Atilogwu dance. 

Egwu Egedege is another prominent traditional dance that has recently been modernised to fit into modern dance patterns. During marriage celebrations, naming ceremonies, and New Yam festivals, Igbo women wear exquisite traditional attire with handmade beads made from natural materials while performing this dance. Egwu Egedege is a graceful dance that involves movements that can improve children's flexibility and posture. 

(9jainformed, 2021)

Theresa Onuorah, queen of Egwu Egedege. 

Egwu Ogene, also known as Achikolo dance, is characterised by delectable legwork, and is often performed in hip-hop music. The tone of the melody is produced by an ancient handmade musical instrument called ogene, which is played alongside other natural handmade instruments such as Oja, opi, Oyo ichaka, and udu. In ancient times, children and young people often performed this dance during moonlit nights. 

Egwu Onwa attire

Kaycee (2014)

Young girls in egwu Egedege/egwu onwa attire  

Nkwa Umuagbogho 

(Udeajah, 28 August 2016)

Young Igbo girls in Nkwa Umuagbogho costume.  

In conclusion, traditional play and dance are critical to preserving the Igbo cultural heritage and provide numerous benefits for children's development. As members of the Igbo community living abroad, it is vital to transmit these traditions to the next generation and ensure that Igbo culture thrives. Encouraging Igbo children to engage in traditional play and dance can help them develop physically, emotionally, and cognitively while preserving our cultural heritage.

About the author 

Ifemelumma Nweri is a highly motivated caseworker at a BAME charitable organisation, where she diligently provides support and assistance to children and families from diverse backgrounds. Coming from Nigeria, Ifemelumma's passion for her Igbo culture and dance is truly inspiring. She has successfully translated her passion into academic success, earning an MA in Developmental and Therapeutic Play from Swansea University.

Ifemelumma firmly believes in the significance of cultural play and dance in the development of children, and she works tirelessly to promote inclusivity and diversity in her organisation. Her primary objective is to promote cultural play and dance patterns and make these traditions more accessible to everyone, irrespective of their background.

Her exceptional determination and dedication to excellence have earned her extensive admiration, and she has already positively impacted countless children and families. Ifemelumma's work is a shining example of the transformative power of dedication and compassion, and she continues to inspire everyone around her.

9jainformed. (2021). Who is Queen Theresa Onuorah? Secrets People Don’t know about the Egedede goddess.  https://9jainformed.com/2021/10/24/who-is-queen-theresa-onuorah/

Femi. (2023, 26 January ). Egwu Nkwa Ndi Igbo: Traditional Igbo Music and Musical Instruments.  https://spinditty.com/genres/Egwu-nkwa-ndi-Igbo-Traditional-Igbo-Music-and-Musical-Instruments

Kanu, I. A., & Okoye, P. O. (2023). CHRISTIANITY AND THE FUTURE OF IKEJI FESTIVAL OF ARONDIZUOGU. Journal of African Studies and Sustainable Development. 

Kaycee. (2014, June 23,  2014). Igbos and Culture of Playing Under Moonlight (Egwu Onwa). https://obindigbo.com.ng/2014/06/igbos-culture-playing-moonlight-egwu-onwa/

Nigeria, G. (2018). Classic Nigerian Board Games That Have Stood the Test of Time. Nigeria, Guardian. 

Okafor, S. O. (2016). ENCOURAGING CHILDREN’S RECREATIONAL ACTIVITIES IN IGBO CULTURE FOR CHANGING COMMUNITIES (Vol. 12). 

Omipidan, T. (2023, June 12). Atilogwu Dance of the Igbo People. https://oldnaija.com/2017/09/27/atilogwu-dance-of-the-igbo-people/

Piaget, J. (1962). The relation of affectivity to intelligence in the mental development of the child. Bulletin of the Menninger clinic, 26(3), 129. 

Udeajah, O. A. a. G. (28 August 2016). Ndi Igbo: Girl-child and inheritance rites. https://guardian.ng/art/ndi-igbo-girl-child-and-inheritance-rites/

Vygotsky, L. S. (1977). The development of higher psychological functions. Soviet Psychology, 15(3), 60-73. 

Dathliad Cymru Affrica Festival (meaning ‘Celebration of Wales-Africa’ in Welsh) brings you a pan-African arts celebration. The weekend will be a celebration of the richness of diversity in Wales, specifically African diaspora culture and arts. We have guest bands from Africa (Mali, Sudan and the Democratic Republic of Congo), plus African artists based in Wales and from across the UK. 

Brought to you by The Successors of the Mandingue, Neuadd Ogwen, Butetown Arts & Culture Association (BACA) and Rahim El Habachi.

Click on the link to listen to https://www.buzzsprout.com/2068753/12918459

125 years ago, thousands of plaques and sculptures that decorated the royal palace of the Kingdom of Benin in what is now Edo State, Nigeria were looted by British soldiers during the Benin Expedition of 1897. This expedition was intended to consolidate imperial control over Southern Nigeria.

Countries in the Sahel region, including Niger and Gabon, have been historically susceptible to coups due to a combination of political, economic, social, and security challenges.The Sahel is considered to be the zone between the desert of the north and the savannas of the south. The  French colonised most of what would come to be their colonial territory in West Africa ( this includes present day Senegal, Mali, Burkina Faso, Benin, Guinea, Ivory Coast and Niger). This write up attempts to explore the factors that contribute to the vulnerability in the Sahel region and examine the role France plays in the region’s dynamics. 

Political instability is a common theme in many Sahel countries, including Niger. The region has experienced a series of weak or autocratic governments, often characterized by corruption, lack of accountability, and ineffective governance. It is not uncommon to find citizens of these countries blaming the Western countries, including the likes of France and America for imposing or helping to bring puppet leaders to power.  Sir MarkThatcher, son of former Prime Minister of the UK, tried to avoid being named in the coup in Equatorial Guinea but was  found quilty by a court in South Africa. He was living in South Africa at the time. He was accused of having provided finance for helicopters to be used in the overthrow. He was fined $500,000 and given a four-year suspended prison sentence. A court in Equatorial Guinea also convicted 11 foreigners and two local men on charges linked to the plot.

Corruption, the absence of strong democratic institutions and the concentration of power in the hands of a few individuals create an environment where political discontent and power struggles can escalate into coup attempts.

Economic hardships exacerbate the vulnerabilities in the Sahel region. High levels of poverty, unemployment, and income inequality contribute to widespread frustration among the population. The inability of governments to address these pressing economic issues can lead to public dissatisfaction, providing fertile ground for dissent and rebellion.

The Sahel region is characterized by its diverse ethnic and cultural groups, which have historical grievances and competing interests. These divisions can be exploited by political actors seeking to mobilize support for their cause, leading to instability and violence. In some cases, coups have been driven by ethnic tensions and regional disparities, as marginalized groups seek to gain power or assert their rights.

The presence of armed groups and insurgencies further contributes to the vulnerability of the Sahel region. Extremist organizations such as Boko Haram and the Islamic State in the Greater Sahara (ISGS) have conducted attacks, destabilizing the security situation in several countries. Weak security forces and porous borders make it difficult for governments to effectively combat these threats, leaving a power vacuum that could be exploited by coup plotters.

Historically, coups have been a recurring theme in the Sahel region. Past successful or attempted coups can create a culture of political violence and instability, leading to a cycle of coup attempts and counter-coup actions.

France has had a significant presence in the Sahel region, particularly in former colonies like Niger. The country has maintained military, economic, and political ties with several Sahel nations, aiming to promote stability, counterterrorism efforts, and support development initiatives. However, France’s role has been a subject of debate and controversy. The recent attack on the french embassy shows the amount of contempt

France’s military involvement in the Sahel has been evident through operations like Barkhane, where it deployed troops to combat extremist groups and enhance security cooperation with regional forces. While these efforts were aimed at curbing terrorism, some critics argue that the military approach alone might not address the root causes of instability and may inadvertently exacerbate tensions.

France’s economic and political ties with Sahel countries have provided it with a degree of influence in the region’s affairs. Economic partnerships and aid programs are meant to support development, but they can also create dependencies and unequal power dynamics, leading to perceptions of neocolonialism.

France’s policies and actions in the Sahel have faced criticism from various quarters. The use of drones, airstrikes, and military operations has led to civilian casualties, causing resentment and potentially fueling anti-French sentiments among local populations. Additionally, questions have been raised about transparency and accountability in how French forces operate in the region.

Apart from military involvement, France has also engaged in humanitarian assistance and diplomatic efforts to address the crisis in the Sahel. These initiatives seek to promote dialogue, conflict resolution, and humanitarian aid to alleviate the suffering of affected populations.

It is essential to recognize that the role of France in the Sahel region is multifaceted. While its efforts to combat terrorism and support development are appreciated by some, others view its actions with suspicion, considering historical legacies and potential geopolitical interest's 

Countries in the Sahel region, including Niger, are susceptible to coups due to a combination of factors, including political instability, economic challenges, ethnic tensions, security threats, and historical precedents. France plays a significant role in the region through military intervention, economic partnerships, and diplomatic efforts. While some aspects of France’s involvement are aimed at promoting stability and security, others have generated controversy and concerns about neocolonialism. Addressing the root causes of instability and finding inclusive and sustainable solutions will be crucial to reducing the vulnerability of countries in the Sahel to coups and fostering long-term stability in the region.

Many braved the rain to witness what could be said to be a one in a life time event. It was the coronation event of King Charles III. It’s as if the rain poured to cleanse and bless the occasion. Some believe it was a blessing from God. A sort of baptism. An approval from the most high.

A South African propeller aircraft crashed in Lagos yesterday afternoon. Footage of the plane crash has been widely circulated on line. Reports reaching Africa Welsh News indicate that Lagos State Governor, Babajide Sanyo-Olu, and Nigerian President, Bola Tinunbu, visited the crash site on his way back from neighbouring Benin Republic.

The plane is believed to have crashed on Oba Akron road in Ikeja, Lagos. Oba Akron is a very busy area in Ikeja . Initial reports indicated that it was an helicopter crash but this was later corrected. A light single single engine aircraft, crashed on a major road and burst into flames.

Reports from major local news sources said the incident occurred about 1.41 pm close to AP Filing station and Oba Akron branch of United Bank Of Africa.

The plane, which is believed to be owned by a tour company, had onboard a pilot and one passenger and it was said to be on a test flight from the international wing of the Lagos international airport

Jubril A Gawat, special assistant on New Media to the Lagos State Governor said on his Twitter page that the Governor thanked first responders to the crash site. Reports state that the pilot and passenger both survived the crash

https://twitter.com/Mr_JAGs/status/1686453047331835904?t=27QvVYO_ScXr_vH-BUD8RA&s=19

Sixty-six years of Ghana independence was celebrated over a weekend of remembrance and fun. A flag raising ceremony kicked off the weekend at Bute Town Community Centre before an evening function of dance, food and fun and a Sunday service at St Andrews, Birchgrove, Cardiff.

Tobi Amusan needs to be celebrated. What she achieved was a major feat by any means. But this is not the case. It is obvious that  there are people who want to taint her achievements in controversy.

“More often, Wales needs festivals like this”. Two full weekends of the Dathliad Cymru Africa Festival , one in Bethesda in north Wales and the other at The Millennium Centre in Cardiff .