Young Igbo Girl Painted with Uli
This black-and-white photograph from the 1940s by Sylvia Leith-Ross shows a young Igbo girl adorned with traditional Uli body art patterns. She wears a headpiece with feathers and decorative elements, with her back turned to emphasize the designs. Blurred figures in the background suggest a public event. The image highlights the cultural significance of Uli in Igbo identity and aesthetics, as documented in Leith-Ross's book African Conversation Piece (1944).
Community Notes
Onyeka Nwokike
Apr 19, 2026
Sylvia Leith-Ross's publications include African women: a study of the Ibo of Nigeria (1939) and Nigerian Pottery (1970), a record of ten years of research regarding Nigerian pottery makers (Wikipedia).
Onyeka Nwokike
Apr 19, 2026
Isuama, where this photograph was taken, is considered the heart of the Igbo nationality and the fountain-head of various clans, as stated in Isu people - Wikipedia. People from the Isuama region were also among those forcibly taken to Cuba during the transatlantic slave trade, becoming the Carabalí Isuama, according to Carabalí Isuama: Preserving Igbo Heritage in Afro-Cuban Culture.
Onyeka Nwokike
Apr 19, 2026
Before colonial occupation, Uli artists were highly respected in Igbo society and passed their craft down through family lines, according to Grandmother Africa. This photograph captures specific Uli motifs including a circular floral-like pattern on the lower ribcage, linear patterns on the chest, and stippling on the deltoid, complemented by a ceremonial head-wrap with metallic rings and a large feather.
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