This black and white photograph shows a young girl adorned with traditional body art. The woman’s skin is painted with Uli patterns. She is wearing a headpiece with feathers and other decorative elements. Her back is turned towards the camera, showing the designs on her skin more prominently. The blurred figures in the background suggest that this photo was taken at a public event or gathering. This image showcases the Igbo traditional art form of Uli. This art form holds significance in terms of identity and aesthetics within this community.
This image captures an Igbo masquerade character known as Ogaranya (meaning ‘Rich’ or ‘Wealthy’), taken in the 1930s in Nimo, southeastern Nigeria. The masquerader is seated on a wooden chair, draped in richly patterned, flowing fabric. Its mask features bold…
This black-and-white photograph features the entrance portico of Chief Ogbua’s Igbo traditional house (iba). The visible wall carvings show geometric and symbolic designs, which were typical of Igbo architecture. The door leads into another section of the house, suggesting this…
This black-and-white photograph showcases a profile view of a young Igbo man with a domed, plaited hairstyle adorned with beads. His neck is decorated with a traditional bead necklace, reflecting the cultural emphasis on personal adornment in Igbo society. The image, a gelatin silver print taken between 1880 and 1939, captures both the artistic and cultural significance of these features.
This 1932-1938 photograph showcases a "Mau" or ghost masquerade, known as Iro Ekpetu, from Amuda village in the Onitsha Province. The image captures the masquerader, seated and holding a stick, adorned in a fierce black mask with intricate carvings, white-painted eyes, and exaggerated facial features like a bulging mouth with protruding teeth. The mask is topped with a raffia hairpiece, adding to its menacing appearance. The background reveals a traditional Igbo setting, with mud huts and lush vegetation, grounding the cultural significance of this Igbo masquerade tradition.
These 1909-1913 portraits of an Igbo woman from Oweri Province capture her beauty. The first, a front view, highlights her calm gaze, while the second, a side profile, reveals her intricate braids, earrings and headscarf, embodying Igbo dignity.
A black and white photograph of an Igbo woman, circa 1910. She has her hair styled in an elaborate pattern with geometric designs. She is wearing a beaded necklace and a cloth wrapped around her chest. The photograph was taken by Northcote Whitridge Thomas.
This photograph, taken between 1880 and 1939, depicts an Igbo man tying yams onto a large frame made of poles inside a traditional yam barn. He wears a loin-cloth and sits on a carved stool. The image offers a rare glimpse into the traditional methods of yam preservation in Igboland, Nigeria.
The photograph shows a group of titled men, possibly members of the prestigious Nze na Ozo society. The image highlights their traditional attire, which includes symbolic robes, headgear, and the iconic red caps known as okpu mme. The presence of ceremonial staffs and ivory bracelets signifies their high status.
This 1921 photograph from G.T. Basden’s “Among the Ibos of Nigeria” presents an Igbo dibia in action, surrounded by his tools. The dibia, a respected figure in Igbo society, is known for his extensive knowledge of herbal medicine and his role as a spiritual intermediary between the physical and spirit worlds.
The Ikoro drum holds a special place in Igbo and Ibibio cultures. Known as "ikorok" in Ibibio, these large slit drums were used for communication over long distances. Their loud sound could summon people for war, festivals, or emergencies, making them central to community rituals.
This historical group portrait, captured by Dr. William Henry Crosse between 1886 and 1895, shows individuals from the Niger River Igbo area in Nigeria. Taken during the period of the Royal Niger Company’s operations, this image is part of the…
A photograph from around 1880 to 1905 by Nigerian Photographer J.A. Green. The image depicts a young Igbo woman, adorned in traditional wedding attire. She wears a patterned textile dress, elaborate beaded jewelry, and a unique hairstyle. A patterned textile serves as the backdrop.
This photograph captures a wood carver from Nri-Awka Igbo at work. His hands skillfully shape the wood, transforming it into a powerful figure: an Ikenga. In Igbo culture, the Ikenga is more than just a sculpture. It's a symbol carved from wood, representing an individual's potential for achievement, success, and even their destiny.
This heavy wooden door, known as ḿgbó èzí in the Igbo language, is more than just an entrance. It’s a statement piece, a symbol of status, and a testament to the artistic heritage of the Igbo people. These doors were…
Ceramic group of figures on a stand, made of pottery. In the centre is a man holding a drinking-horn in his left hand and a fan in his right, both signs of his status. Either side of him are two…
This sculpture, captured by William Fagg on February 28, 1946, and currently housed in the British Museum, depicts Ala, the Earth Mother, in Igbo spirituality. She holds a knife in her right hand and rests her left hand on the…
The Nsude pyramids are among Nigeria’s most fascinating historical treasures. Located in Abaja, near the villages of Ngwo and Agbaja Ọwa, these unique structures showcase the ingenuity and cultural depth of the Igbo people. Built entirely from sun-baked clay, the…
Chineke: A Duality, Not a Dichotomy The Relationship Between Chi and Eke In Igbo cosmology, Chineke transcends the simplistic notion of a single God. Instead, it embodies the union of two fundamental forces: According to Igbo oral traditions, Chineke is…
This photograph from the British Museum captures a devastating moment in Igbo history: the burning of Arochukwu, the capital of the Aro Confederacy, in 1901. The image shows mud huts engulfed in flames, a stark reminder of the violence that erupted during the Aro Punitive Expedition.
