Igbo Archives

Month: March 2024

  • Obi of Onitsha Samuel Okosi I, the first Christian Obi of Onitsha. 1899

    Obi of Onitsha Samuel Okosi I, the first Christian Obi of Onitsha. 1899

    Obi Onitsha Sam Okosi I, the first Christian Obi of Onitsha, poses with European-style ‘royal’ regalia.
    Obi Onitsha Sam Okosi I, the first Christian Obi of Onitsha, poses with European-style ‘royal’ regalia. Image courtesy: Ukpuru on X 

    The image features Obi John Samuel Okolo Okosi I, the first Christian Obi of Onitsha, seated in a dignified manner. He is dressed in European-style royal attire, including an ornate crown and a richly adorned robe, signifying his high status. The backdrop includes two emblems with crowns, enhancing the regal and ceremonial atmosphere. The individuals standing beside Obi Okosi are also in ceremonial dress, adding to the grandeur of the scene.

    Obi Okosi’s reign marked a significant shift in Onitsha’s history. Born in Onitsha, he was baptized in 1862 and became a dedicated member of the Christian Missionary Society. His strong ties with missionaries helped him ascend to the throne in 1900, following the death of Obi Anazonwu. As king, he promoted Christianity, particularly Catholicism, and rejected traditional practices that conflicted with his faith. His reign significantly influenced the religious landscape of Onitsha, paving the way for the growth of Christianity in the city.

    Explore Further

    [lasso ref=”amazon-27″ id=”1890″]
    [lasso ref=”amazon-28″ id=”1892″]
  • Chief Obudugbo. “Ezeana of Neni”. c. 1910-11

    Chief Obudugbo. “Ezeana of Neni”. c. 1910-11

    Chief Obudugbo. "Ezeana of Neni". Photographed by Northcote Thomas, c. 1910-11. MAA Cambridge. Image Credit: Ukpuru on X 
    Chief Obudugbo. “Ezeana of Neni”. Photographed by Northcote Thomas, c. 1910-11. MAA Cambridge. Image Credit: Ukpuru on X 

    The image is a black and white photograph of Chief Obudugbo, also known as Ezeana of Neni, taken by Northcote Thomas around 1910-11. Chief Obudugbo is dressed in traditional attire, including a necklace with large beads and a patterned garment, reflecting his high status within the Igbo community.

    Chief Obudugbo was a significant figure in Neni, a Nigerian community. As one of the Ndị nwe Ànà, the guardians of Ani (Ala), the Earth Mother’s shrine, he held a position of great spiritual importance. The keepers of Ani are responsible for maintaining the balance between man and nature, highlighting the deep connection the Igbo people have with the earth. The Ani shrines are cultural landmarks that encapsulate the history, beliefs, and values of the people, and the role of the keeper extends beyond religious duties to include the guardianship of cultural identity and heritage.

    Explore Further

    [lasso ref=”ala-the-earth-goddess-in-igbo-mythology” id=”3698″]
  • A man and child from Igbariam, c. 1911

    A man and child from Igbariam, c. 1911

    A man and child from Igbariam, c. 1911.
    A man and child from Igbariam, c. 1911. © MAA Cambridge

    This image is a black and white photograph taken around 1911 by Northcote Thomas. It features a man and a child from Igbariam. The man is shirtless, wearing a traditional draped garment over one shoulder, while the child has intricate hair braiding and is also shirtless. This photograph offers a glimpse into the attire, physical appearance, and hairstyle of the Igbo people during the early 20th century.

    The Depth of ‘Nna’ and ‘Nne’ in Igbo Names

    In Igbo culture, names carry deep significance. The term ‘nna’ extends beyond ‘father’ to include the entire lineage, acting as a bridge to the ancestors and their enduring legacy. It’s not just about one’s immediate parent but about the collective ‘umunna,’ the extended family, and their guiding presence in the lives of the living.

    Names like ‘Nnamdi,’ meaning ‘my father is alive,’ are imbued with the belief in reincarnation and the ongoing influence of those who have come before. They assert the active role of ancestors in the present, ensuring that the wisdom and strength of past generations continue to resonate within the family line.

    Similarly, ‘nne’ names extend beyond the immediate mother to include the broader maternal lineage and the powerful feminine forces within the Igbo worldview. These names often honor ‘Ala,’ the Earth Mother, and underscore the importance of women in nurturing and sustaining the community.

    The Significance of Naming in Igbo Culture

    Through the practice of naming, the Igbo people weave a narrative that honors their ancestors, acknowledges their roots, and affirms their identity. It is a narrative that speaks to the continuity of life, the reverence for the past, and the hope for the future. This practice ensures that each generation remembers and celebrates the contributions of those who came before.

    Reflect on the significance of your name within your culture. How does it connect you to your past, and what does it signify for your future? Share your thoughts and let’s celebrate the rich tapestry of cultural identities.

    Explore Further

    To learn more about the Igbo people and their naming traditions, consider the following books available on Amazon

    [lasso ref=”amazon-23″ id=”1881″]

    [lasso ref=”amazon-24″ id=”1883″]

  • Aro natives Cutting bush with matchets during the Anglo-Aro war, 1901.

    Aro natives Cutting bush with matchets during the Anglo-Aro war, 1901.

    Aro natives cutting bush with machetes during the Anglo-Aro War (1901-1902).
    Aro natives cutting bush with machetes during the Anglo-Aro War (1901-1902). © The Trustees of the British Museum.

    This sepia-toned gelatin silver print, taken in 1901 near Bende, Abia State, Nigeria, shows a large group of Aro men clearing vegetation to make a road. The men, wearing loin-cloths, are using tools to cut through the dense forest. This image captures a moment of forced labor imposed by the British during the Aro Punitive Expedition, highlighting the harsh conditions and the significant impact of colonial rule on the local population.

    Explore Further

    [lasso ref=”the-anglo-aro-war” id=”3666″]

    For a deeper understanding of the Arochukwu’s role in the Anglo-Aro War and the impact of British colonial rule on southeastern Nigeria, consider reading:

    [lasso ref=”amazon-33″ id=”1910″]

    [lasso ref=”amazon-30″ id=”1905″]

    These books provide an in-depth look at the broader implications of British colonialism in Nigeria.

  • An Igbo shrine with its priest and it’s slave in Orsu, West Isuama Igbo. 1930s

    An Igbo shrine with its priest and it’s slave in Orsu, West Isuama Igbo. 1930s

    An Igbo shrine (Alusi) with its priest seated and it’s osu (slave) in Orsu, West Isuama Igbo. G. I. Jones, 1930s. Jones Archive, Southern Illinois University
    An Igbo shrine with its priest seated and it’s shrine slave in Orsu, West Isuama Igbo. G. I. Jones, 1930s. Image source: Jones Archive, Southern Illinois University

    This photograph, captured by Gwilliam Iwan Jones in the 1930s, showcases a central figure in Igbo belief systems – the Alusi shrine with its priest seated and it’s slave standing behind the figure. These sacred figures, traditionally crafted from wood, mud, or a combination of both, served as a powerful link between the physical world and the spirit realm.

    The Alusi

    For Igbo communities, Alusi shrines were more than just religious icons. They were believed to house powerful spirits who could influence various aspects of life, from health and prosperity to warfare and divination. People from the community would approach the shrine to make offerings, seeking the spirit’s favor or intervention. These offerings could take many forms, including food items like kola nuts or palm oil, or even animal sacrifices.

    Notice the details on the shrine in the photograph? These carvings could hold specific meanings, representing the spirit housed within or perhaps the qualities and powers it embodied. Deciphering these symbols often fell to the Dibia, the priest entrusted with the care of the shrine.

    The Dibia

    The Dibia, the seated figure in the photograph, plays a critical role in Igbo spirituality. As the custodian of the Alusi shrine, he’s responsible for its upkeep, ensuring it remains a suitable dwelling place for the spirit. He also makes offerings on behalf of the community and interprets messages or signs believed to be sent by the spirit. Becoming a Dibia often involves undergoing specific training or possessing certain qualities believed to make them particularly receptive to the spirit realm. In the photo, the Dibia’s posture suggests respect for the power he interacts with.

    The Osu

    The presence of the Osu in the photo adds another layer of complexity to the story of Alusi shrines and Igbo spirituality. Traditionally, the Osu were individuals dedicated to a deity or a shrine, often as a consequence of crimes, misfortune, or even as prisoners of war. They served the shrine and the Dibia, occupying a distinct social position within the community.

    The concept of the Osu system is a topic of ongoing discussion, with its historical roots raising questions about social hierarchy and past injustices. It’s important to acknowledge this complexity when exploring Igbo traditions. While the practice of assigning Osu status has largely faded in recent times, the legacy of the system continues to spark conversations about social transformation within Igbo communities.

    This photograph offers a valuable look into a bygone era of Igbo spirituality and social structures. By examining historical accounts, oral traditions passed down through generations, and the perspectives of contemporary Igbo communities, we can gain a richer understanding of the enduring significance of Alusi shrines.

    Do you have any stories or knowledge passed down through your family about Alusi shrines, the Dibia, or the Osu system? Share your insights in the comments below!

    Explore Further

    To deepen your understanding of Igbo spiritual traditions and their significance, consider exploring these insightful works:

    [lasso ref=”amazon-21″ id=”1874″]

    [lasso ref=”amazon-22″ id=”1876″]

  • An Igbo elder from Awka with wooden head dress, set with pearl buttons, c. 1910-11

    An Igbo elder from Awka with wooden head dress, set with pearl buttons, c. 1910-11

    Igbo Elder with Wooden Head Dress, 1912
    Igbo Elder with Wooden Head Dress, 1912 © MAA Cambridge

    This black and white photograph from 1912 by British anthropologist Northcote Whitridge Thomas, features an Igbo elder from Öka (Awka) adorned with a distinctive wooden head dress set with pearl buttons, referred to as “isi ojongo.” This traditional attire, particularly the isi ojongo, embodies the essence of Igbo identity and artistic expression. The photograph is part of the Northcote Thomas photo album from the Museum of Archaeology and Anthropology (MAA) in Cambridge.

    Igbo Elder from Awka on Oche Mpata, 1912.
    Igbo Elder from Awka on Oche Mpata, 1912 © MAA Cambridge

    This black and white photograph from 1912 by British anthropologist Northcote Whitridge Thomas, features the same Igbo elder from Öka (Awka). The elder is wearing a patterned sarong around the waist and has two large, white bands wrapped around each leg just below the knee. These white bands, known as “mgba ụkwụ,” are traditional leg ornaments that signify purity and high status. The background shows tropical foliage, indicating a warm climate typical of the Igbo region.The elder is seated on an “oche mpata,” a stool reserved for titled individuals, particularly those with the Ọzọ title. This title signifies success, honesty, and integrity. Women who held the Ọzọ title were respected leaders and played crucial roles in maintaining social order and cultural traditions. This photograph is part of the Northcote Thomas photo album from the Museum of Archaeology and Anthropology (MAA) in Cambridge.

    Explore Further

    [lasso ref=”igbo-womens-hairstyles” id=”3712″]
  • A Couple from Asaba, Nigeria, 1900

    A Couple from Asaba, Nigeria, 1900

    Photo: Museum of Fine Arts Boston
    A Couple from Asaba, 1900. Photo: Museum of Fine Arts Boston

    This photograph provides a look into life in Asaba around 1900. It captures a couple whose clothing reflects a blend of cultural influences. The man’s outfit shows signs of European fashion, while the woman’s attire incorporates traditional Igbo elements, illustrating the merging of local and colonial styles during that period.

    Explore Further

    For those interested in Asaba’s history and culture, consider these enlightening reads available on Amazon:

    [lasso ref=”amazon-19″ id=”1868″]

    [lasso ref=”amazon-20″ id=”1870″]

    These volumes offer a deep dive into the events that have shaped Asaba and its people, providing context and understanding of the city’s resilience and cultural vibrancy.

  • An elder of Obomkpa, c. 1912-13

    An elder of Obomkpa, c. 1912-13

    An elder of Obomkpa Photographed by Northcote Thomas, c. 1912-13. Credit: Uchechi Ogbonna
    An elder of Obomkpa Photographed by Northcote Thomas, c. 1912-13. Credit: Uchechi Ogbonna

    This photograph, captured by Northcote Thomas around 1912-13, presents an elder of Obomkpa, providing a unique glimpse into the heart of this community. The elder’s expression and attire reflect the wisdom and traditions that define Obomkpa.

    Explore Further

    [lasso ref=”northcote-thomas” id=”3624″]
  • Igbo Houses Decorated with Paintings and Carvings: Artistic Expressions in Igbo Architecture

    Igbo Houses Decorated with Paintings and Carvings: Artistic Expressions in Igbo Architecture

    The artistic elements of Igbo houses are not merely decorative but serve as a rich tapestry of cultural narratives and social hierarchies.

    Symbolism in Carvings and Paintings

    Each carving and painting on an Igbo house tells a unique story. Figures, patterns, and objects depicted hold specific meanings, often related to the community’s values and traditions. For example, a figure wielding an axe might symbolize the importance of hunting within the community, a vital source of sustenance and livelihood.

    A base of a wooden pillar with a carved figure. Nri Awka, early 20th century. Image Source: Ukpuru on X 

    Connection to Spirituality

    The carvings might also depict deities from Igbo mythology, serving as a bridge between the physical realm and the spiritual world. These portrayals offered the Igbo people a way to connect with their ancestors and the divine, reminding them of the spiritual forces believed to influence their lives. Some carvings depict scenes from everyday life, offering a window into the traditional occupations and social interactions of the Igbo people.

    Use of Color in Wall Paintings

    Igbo houses often incorporated vibrant wall paintings to further enrich the visual storytelling. These paintings depicted various aspects of Igbo life, including ceremonies, rituals, and daily activities.

    Wall painting in Okwu village. G.I. Jones, 1932 - 1938
    Wall painting in Okwu village. G.I. Jones, 1932 – 1938

    This particular painting depicts figures in masquerade costumes, hinting at the role of masquerades in Igbo ceremonies and rituals. Masquerades often played a significant role in Igbo society, acting as a bridge between the physical and spiritual realms, enforcing social norms, and offering entertainment during festivals. By studying these wall paintings, we gain valuable insights into the diverse cultural practices of the Igbo people.

    Social Status and Artistic Expression

    The intricacy and detail of the decorations on an Igbo house could reflect the social standing of the homeowner. A more elaborate display with intricate carvings and vibrant paintings might signify a person of high rank within the community, perhaps a wealthy merchant or a respected village leader. Conversely, a simpler design could represent a family of more modest means. This use of artistic expression served as a subtle yet effective way to communicate social hierarchy within Igbo society.

    Two men pose on a house decorated with carvings. Credit: Kaycee Alozie and Isioma Ani
    Two men pose on a house decorated with carvings. Credit: Kaycee Alozie and Isioma Ani

    By exploring the traditional architecture of the Igbo people, we gain a deeper appreciation for their cultural heritage and the ways in which they have adapted to modern influences while striving to preserve their unique identity.

    What do you think about the traditional Igbo houses and their cultural significance? Share your thoughts and any personal experiences in the comments below!

    Explore Further

    [lasso ref=”amazon-8″ id=”3168″]
  • An Igbo Elder from Awka, Wearing the Okpu Agha and Holding the Ekpeke, c. 1913

    An Igbo Elder from Awka, Wearing the Okpu Agha and Holding the Ekpeke, c. 1913

    An Igbo elder of Awka wearing a war helmet Photographed by Northcote Thomas, c. 1913. Credit: Isioma Ani
    An Igbo elder of Awka wearing a war helmet Photographed by Northcote Thomas, c. 1913. Credit: Isioma Ani

    This photograph, taken in the early 1900s, transports you to Awka (present-day Anambra State, Nigeria). It portrays an Igbo elder, adorning his head with the okpu agha, the war helmet. In his hand, he grasps a sturdy ekpeke, a woven shield. These aren’t mere decorations; they’re a warrior’s full regalia, a powerful symbol of valor and a window into Igbo martial traditions.

    Explore Further

    [lasso ref=”northcote-thomas” id=”3624″]