How Nigeria enhances Igbo freedom drive

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. 

Nigeria, indeed, typifies this prototype but even more. Nigeria’s is crude, loathsome, vindictive, remorseless: read or listen to or examine the deeds of any genocidist Nigerian on this subject – from an Obafemi Awolowo to an Ibrahim Haruna or a Rilwan Akiolu or a Muhammadu Buhari, an Olusegun Obasanjo, a Yakubu Gowon... If anything, these attributes should and do alert the people so targeted – the Igbo, in this case. In effect, in its very words and deeds, the Nigeria agency aids Igbo freedom markedly despite itself.

(Wayne Shorter Sextet, “The soothsayer” [personnel: Shorter, tenor saxophone; Freddie Hubbard, trumpet; James Spaulding, alto saxophone;  McCoy Tyner, piano; Ron Carter, bass; Tony Williams, drums; recorded: Van Gelder Studio, Englewood Cliffs, NJ, US, 4 March 1965])

Burden of history

If one goes through the copious analyses and papers by the Biafran leadership on the mindset of Nigerian génocidaires during 1966-1970, it is fascinating to note how the former’s very advanced thinking at the time has impacted contemporary genocide studies and the mode of pronouncement by many in international relations on the nature of the “global emergency” especially since 9 September 2001. Nearly 50 years ago, 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 historical precedent. 

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])

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