BENIN CITY — Reactions have continued to trail reports of the alleged suspension of the Isikhuan Women’s Society, an all-female palace guild in the Benin Kingdom, following claims that members of the group performed outside the palace.
The Isikhuan Women’s Society is traditionally regarded as a palace guild headed by an Okao. Its principal responsibility is to sing odes in honour of the Oba of Benin, eulogising the monarch while recounting the heroic deeds of his reign, those of his predecessors and his ancestors.
According to accounts of the tradition, members of the guild are not permitted to perform outside the palace of the Oba.
The controversy reportedly followed a performance involving members of the society at the residence of Chief Gabriel Igbinedion, the Esama of Benin, prompting questions over whether the appearance was authorised by the palace and the capacity in which the women performed.
The development has sparked a heated debate online, with some commentators insisting that palace traditions must be respected, while others have questioned whether the women, as individuals, should be restricted from performing outside the palace.
One commenter asked whether the women were adequately compensated, arguing that financial considerations could have influenced their decision to perform outside the palace.
Another cited the biblical passage in Matthew 6:24, writing: “You cannot serve two masters at the same time. You cannot serve God and Mammon.”
Some commentators, however, focused on the status of Chief Igbinedion within the Benin Kingdom, questioning why performing at his residence should be regarded as a breach of tradition.
One commenter asked: “Please, this Esama is the Esama of where? Is it not the same Bini Kingdom? The Esama is not just a chief, but the chief prime minister of the Bini Kingdom? You people are making it look like they performed and sang the praises of Olu of Warri.”
Others sought clarification on the circumstances surrounding the performance, asking whether the women appeared at Chief Igbinedion’s residence in their official capacity as members of the Isikhuan Women’s Society.
“The question is, in what capacity did they perform in Chief Igbinedion’s house? Did they perform in Chief Igbinedion’s house as Isikhuan?” one commenter asked.
Another suggested that such an appearance could have been permissible if it was specifically authorised by the monarch as a special honour, provided it did not become a recurring practice.
There were also calls for the palace to investigate the matter and, if necessary, caution the women rather than impose a severe punishment.
“If they are aware of the law, why did they perform for the Esama? I appeal to the palace to warn them but also forgive them. I believe they will not do such act again,” another commenter wrote.
However, others took a stricter position, arguing that the guild’s traditional role makes performances outside the palace inappropriate.
“Rules are meant to be obeyed. If their songs are meant to be odes to the Oba, why should they sing for any other person?” one social-media user queried.
Another commentator likened the situation to an artist operating under an exclusive contract, asking whether membership of the palace guild automatically prevents the women from exercising their individual freedom to sing or perform elsewhere.
“Or because they are members of Isikhuan, they thereby lose their human rights to sing or perform anywhere else? Like artists under record label contracts forbidden by their record labels from performing outside the consent of the record labels?” the commenter asked.
Beyond the immediate controversy, the discussion has also sparked concerns about the preservation and appreciation of the Edo language and Benin cultural traditions.
One commenter who identified as an Edo woman said she had never heard of the songs or known much about the women’s society, lamenting what she described as declining appreciation of the Edo language among some people.
The controversy has consequently reopened broader conversations about traditional institutions, palace protocols, cultural preservation and the extent to which members of traditional guilds are bound by the rules governing their respective societies.
As reactions continue, attention remains focused on the circumstances surrounding the reported performance and whether it was authorised by the Benin Palace.
