Categories: METRO

Igbos Are The True Nigerians – Mazi Okereke

The composer of the Biafra national anthem, Mazi Charles Okereke has described Ndigbo as true Nigerians, saying they are qualified and have the capacity to lead the country in 2023.

In an interview with ABN TV on Friday, Mr. Okereke said Ndigbo are found everywhere across the globe where they identify with their host countries and help in developing it.

He said Ndigbo must support each other in achieving the presidency and avoid making enemies as the race for 2023 approaches.
Mr. Okereke explained that the Igbo have for long been marginalized, appealing that they should be supported in getting the presidency in 2023.

With the title, “Cry of A Biafran Child” his song was later renamed Biafra national anthem.
Mr. Okereke, an indigene of Bende local government area of Abia state said he composed the song at the age of 14 in 1970 when Biafra officially surrendered.

The song won the African Union anthem competition in 2003 on behalf of Nigeria, a feat for which he said he was not recognized by the country and his state, Abia.

“The Nigerian civil war ended on January 12, 1970. I was there when it ended”, Okereke said.

Chief Charles Okereke (Left), Late General Chukwumemeka Odumegwu Ojukwu (Right)

BELOW IS THE HISTORY OF “ALL HAIL BIAFRA” [Narration by Chief Charles O. Okereke ]

All Hail Biafra was a song that came to my lips as a child (14 years old) in Okporo, Orlu on January 12, 1970, the second federal troops stopped shelling the last Biafran stronghold, about seven minutes after General Philip Effiong commenced his surrender speech on Voice of Biafra. There was peace and short-lived silence as the bombardment of the town ceased as most that took cover on the ground from fear of deafening artillery fire rose up in tears. Everybody around me was crying presumably because of the unquantifiable human suffering and bloodbath that resulted in nothing but an unconditional surrender. I was so moved, refrained from crying but in tears, repeatedly inspirationally sang “All Hail Biafra; Land of the rising sun, we love and cherish; We have vanquished our enemies; All Hail Biafra.” Over the next few months, I sang the partial song in my dream until it came to me as a full two verse hymn (song). The third verse came to me later, still a child. The song became very popular over the years. It is all over on the Internet and different groups both in Nigeria and in the Diaspora sing the song on special occasions. Some even refer to it as the “Biafran National Anthem” or “New Biafran Anthem”. The truth is that the composer and history of the song remained a mystery until recently.

My first public pronouncement of authorship of the song was at the colloquium on Ahiara Declaration, January 17, 2012, one of frontlines of activities commemorating the life of late Dim Chukwuemeka Odumegwu Ojukwu. I sang All Hail Biafra at the end of my speech to a spellbound Igbo elite, some of whom asked me at the end of the event why sing of Biafra at such a sensitive occasion. I explained to them that there was nothing wrong with people singing nor talking about their history, which they agreed with. I also made it known to them that the song was my composition.

My acknowledgment of authorship of All Hail Biafra is to let people know its history. The song can simply be described as a child’s cry for his people’s wanton bloodshed and persecution in a world that did nothing to unimaginable human catastrophe. The hymn sooths the soul, heals the wounds and scars, and courageously drives away fears. Leaders will learn the lesson that a child witnessing human rights abuses might be writing or singing about them and one day the world may read or listen to music about the abuses. I would also have sung if the violence was meted out to any other group or tribe in Nigeria. The same thing would have been the case if it were animals that were being abused and killed. It is about humanism and love of God’s creation. People must be accorded their fundamental human rights. Do not be afraid to demand or defend them. Power to the people!

More revelations would be made on “All Hail Biafra” in my forthcoming book on Biafra. These will include names of those that contributed to the success of the recording of the song in 2003 and disclosure on a 4th verse that was dropped because it was not part of the original composition.

Track no. 6 on this CD “Newstalk Symphony” is my recreation of the background music of Okoko Ndem’s Newstalk on Voice of Biafra. Almost everybody I interviewed, with exception of two, said they could not recollect any music in the background of the newstalk. The tune whether an inspiration (just like All Hail Biafra) or reality, was in my lips over the years (just like All Hail Biafra) until its recreation and recording in 2003.

I will never forget January 12, 1970, the day the war ended, because there was intense and sustained shelling of Orlu and environ as millions of civilians and soldiers were holed up in the enclave. Our entire family, my parents, myself and siblings were in the encirclement. Voice of Biafra only played Church hymns with intermittent announcement that there would be a “special announcement” at 2.00 pm as our world was heavily bombarded. We listened to the radio for the announcement as we lay face-down on the floor undercover. I will never forget General Effiong’s voice coming in much later after 2.00 pm to broadcast the surrender announcement. Federal troops stopped shelling the enclave about seven minutes into Effiong’s speech.

This song is dedicated to the memory of three of my grandparents who lost their lives as a result of the Biafran war, and to all those who died in Biafra. Rest in peace.

May God grant us peace.