The University of Abuja’s Convocation Ground came alive that afternoon for the Faculty of Communication’s Cultural Day, transformed into a vibrant tapestry of sights, sounds, and scents. Ankara fabrics fluttered along the walls, while stalls displayed woven mats, handmade jewelry, carved calabashes, and steaming trays of local dishes. The air was rich with the aroma of suya spice, palm wine, and freshly fried akara. Student ushers in native Friday wear guided guests to their seats, where the audience sat as a colorful blend of agbadas, aso-oke wrappers, isiagu shirts, babanrigas, raffia skirts, and beaded caps.

The event opened with the Yoruba troupe, whose men wore flowing white agbadas and coral beads, and women in gold and wine aso-oke with high geles. The talking drum conversed with the bata drum as dancers welcomed the crowd through energetic shoulder and foot movements. Laughter erupted when a Hausa student in the audience tried to mimic their shoulder roll.

The Hausa troupe followed with men in white babanrigas and bright turbans, and women in shimmering wrappers and matching hijabs. Their slow, graceful dance to the kalangu and flute soon gave way to lively footwork and a mock Sharo challenge, ending in a handshake to loud applause.

The Igbo troupe arrived with a burst of energy dancers in isiagu shirts and red caps, stomping in powerful rhythm to deep drums and sharp flute notes. Audience members shouted “Igbo kwenu!” in repeated call-and-response as the performers weaved among the crowd before uniting in a final spin.

From another corner, the Efik and Ibibio troupe entered with flowing grace. Women in raffia skirts and beaded crowns and men in George wrappers moved in the Ekombi dance, telling stories of honor and beauty with smooth waist sways. Their movements drew appreciative gasps and playful shouts.

The Igala troupe brought warlike intensity  bare-chested men in red wrappers with spears, and women in cowrie-decorated skirts danced the Egwu Amala with stamping, chanting, and war cries. The leader’s spear spin electrified the crowd, who shouted, “Igala no dey carry last!”

The Idoma procession swept in draped in red and black, led by the Och’Idoma with coral beads and a royal staff. Their Okocho dance, with rattles at the ankles and songs of unity, was met with Idoma students waving cloths and cheering.

The Gbagyi troupe, from the Film and Multimedia department, slowed the pace with gentle movements. Men in white tunics, women in patterned wrappers, and girls with beaded hair carried decorated calabashes, tapping them to kwa flute and drumbeats. They sang of farming and courtship, prompting even the GST lecturer to nod along.

The finale united all groups on stage, blending Yoruba talking drum, Hausa kalangu, Igbo flute, Efik/Ibibio drums, Igala chants, Idoma beats, and Gbagyi flute into one powerful rhythm. Dancers swapped moves, laughing as they tried each other’s styles. In the middle of this unity, an Igala and an Idoma performer engaged in a friendly wrestling match, cheered on by a tight circle of spectators. The victor was lifted high to chants of “Odogwu!”

Soon, the audience spilled into the open space, dancing, clapping, and ululating. The lecturer stepped forward, smiling, and declared, “In diversity, we find our beauty; in unity, our strength.” He praised the overall performance and awarded each department 20 marks toward their continuous assessment, closing a day that had celebrated Nigeria’s rich cultural heritage through music, dance, and shared joy.