One of the obvious features any student of genocide picks up quite quickly about the perpetrator of this heinous crime is how open, less subtle, and often brazenly defiant they are with respect to their programme/policy towards a prescribed or targeted people.
(Wayne Shorter Octet, “Mephistopheles” [personnel: Shorter, tenor saxophone, Freddie Hubbard, trumpet; Alan Shorter, fluegelhorn; Grachan Moncur III, trombone; James Spaulding, alto saxophone; Herbie Hancock, piano; Ron Carter, bass; Joe Chambers, drums; recorded: Van Gelder Studio, Englewood Cliffs, NJ, US, 15 October 1965])
Fifty years ago, to the day, the Igbo, particularly their intellectuals, clearly articulated the existential threat they faced (and still face) and responded accordingly. The Igbo today, including their intellectuals, therefore do have a historic precedent to sustain their round-the-clock scholarship on the varying spheres and facets of arguably the most long-drawn-out and savagely pursued genocide of contemporary history.
No one else, howsoever their altruistic credentials, resolves someone’s burden of history except themself. Surely, the Igbo couldn’t think otherwise!
(Andrew Hill Septet, “Compulsion” [personnel: Hill, piano; Freddie Hubbard, trumpet; John Gilmore, tenor saxophone; Cecil McBee, bass; Joe Chambers, drums; Renaud Simmons, conga, percussion; Nadi Qamar, percussion, African drums, thumb piano; recorded: Van Gelder Studio, Englewood Cliffs, NJ, US, 8 October 1965])