The Earth Mother, Ala, in an Mbari house in Ebele. 1946

Ala, also known as Ani, stands as the revered Earth Goddess in Igbo mythology. She embodies the earth’s fertility, morality, and creativity, playing a crucial role in Igbo cosmology. Her name, which translates to “land” in Igbo, signifies her deep connection to the earth and its bountiful fertility. As the giver of life and upholder of law, Ala ensures harmony and balance in Igbo society.

Historical and Mythological Background

Ala, also known as Ani, Ana, Ale, and Ali in various Igbo dialects, holds a central place in Igbo mythology. Her origins intertwine deeply with the creation myths of the Igbo people. According to these myths, Ala is not only the Earth Goddess but also the custodian of morality, fertility, and creativity. In Igbo creation stories, Ala nurtures her children and ensures the land’s fertility. One significant myth describes her role in creating the world alongside other deities. Her consort, Amadioha, the sky deity, complements her by overseeing the heavens while she governs the earth. These myths highlight Ala’s importance in Igbo cosmology and her enduring influence on the spiritual and cultural life of the Igbo people.

Attributes and Symbols

Ala appears in various forms of Igbo art and sculpture, with each representation highlighting her significance. She often appears as a queenly figure, sometimes seated on a throne, symbolizing her authority and maternal role. The python, representing fertility, protection, and the earth’s regenerative powers, frequently accompanies Ala in rituals and art.

Religious and Cultural Practices

Igbo religious and cultural practices deeply embed the worship of Ala. Traditional rituals and ceremonies dedicated to Ala honor her and seek her blessings for fertility, prosperity, and protection.

One significant aspect of Ala worship involves the construction of Mbari houses, sacred shrines built to honor her and other deities. These large, open-sided structures contain life-sized mud figures of Ala, painted in vibrant colors, alongside sculptures representing other deities, animals, and humans. For example, the sculpture of Ala in an Mbari house in Ebele depicts her holding a knife in her right hand and resting her left hand on the head of a smaller female figure, symbolizing her power and nurturing nature.

The New Yam Festival, known as Iri Ji, is an annual celebration that honors Ala by celebrating the harvest and giving thanks for the bountiful crops. During this festival, elaborate ceremonies and dances are performed, and yams are offered to Ala as a sign of gratitude.

Priests and priestesses, known as Ezeani, play a crucial role in conducting rituals, maintaining shrines, and ensuring adherence to Ala’s laws. The Ezeani of Neni, for example, is a prominent figure in Ala worship in Neni.

Chief Obudugbo, also known as Ezeani Obidigbo of Ugwudunu, was a significant figure in Neni, a Nigerian community. As one of the Ndị nwe Ànà, the guardians of Ani (Ala), he held a position of great spiritual significance.

Nsọ Ala

Nsọ Ala refers to the taboos and moral laws governed by Ala. These laws cover a wide range of behaviors, from agricultural practices to interpersonal relationships. Violating these taboos brings misfortune to the individual and community. Ala’s influence extends to legal systems, with disputes often resolved with reference to her laws. Rituals of atonement are performed to appease her when laws are broken, emphasizing her role as a mediator and enforcer of justice. Ala’s laws ensure ethical behavior and respect for the natural world, maintaining social order and harmony within the community.

Influence on Daily Life and Governance

Ala’s influence permeates various aspects of daily life and governance in Igbo society. Farmers perform rituals and offer sacrifices to Ala before planting and harvesting, seeking her blessings for a bountiful yield. Communities often resolve land disputes by referencing her laws, and they seek her approval in matters of land allocation and inheritance, maintaining social order and harmony. Ala is seen as the protector of women and children, with her blessings sought for fertility and the well-being of families. Community leaders often invoke Ala’s guidance in decision-making processes.

Artistic and Literary Representations

Ala is a prominent figure in Igbo art and literature. She is depicted in sculptures, masks, and Mbari houses as a regal figure, often with a small child in her arms, symbolizing her role as a nurturer and protector. Ala is a central character in stories that highlight her wisdom, justice, and nurturing nature. These tales preserve the cultural heritage and moral values of the Igbo people. Contemporary Igbo writers and artists draw on Ala’s symbolism and stories to explore themes of identity, morality, and the connection between humans and the earth, underscoring her enduring relevance.

Conclusion

Ala, the Earth Goddess, stands as a pivotal figure in Igbo mythology, embodying the land’s fertility, moral authority, and creative spirit. Her significant role in Igbo cosmology and culture is undeniable, influencing various aspects of life, from agriculture to social norms and artistic expressions.

Book Details

Title: Mbari: Art and the Life Among the Owerri Igbo

Author: Herbert M. Cole

Publisher: Indiana University Press

Publication Date: April 22, 1982

Format: Hardcover

Pages: 292

ISBN-10: 0253303974

ISBN-13: 978-0253303974

Language: English

Author Profile

Herbert M. Cole, affectionately known as Skip, is a professor emeritus and a revered figure in African art history. His extensive field research in Africa, spanning over four years, has led to significant contributions to the understanding of African art. Cole has organized numerous exhibitions and has been honored with a Leadership Award from the Arts Council of the African Studies Association, recognizing his lifetime achievements in the field.

Overview of ‘Mbari’

“Mbari: Art and the Life Among the Owerri Igbo” is a pioneering work that offers readers an exhaustive exploration of the mbari art form, a central cultural expression among the Igbo people of Eastern Nigeria. Herbert M. Cole’s book emerges as the first in-depth study on this subject, drawing from his extensive fieldwork in the region. The book meticulously examines the intricate process of building mbari mud houses, which are created to honor the gods.

Cultural Context and Artistic Process

The book provides a detailed look into the socio-cultural systems and religious beliefs of the Owerri Igbo, setting the stage for the elaborate and time-consuming process of constructing mbari houses. These structures are not simply architectural feats but are deeply embedded in the values and beliefs of the community, serving as a living testament to their way of life.

Historical Significance and Anthropological Insights

Cole traces the history of mbari houses and their role within Igbo culture, offering readers historical and anthropological perspectives on this art form. The book reveals how mbari houses serve as a medium for cultural expression and communication, embodying the community’s identity and reverence for their deities.

Visuals and Analysis

The volume is adorned with rare field photographs and exquisite line drawings, which complement Cole’s descriptions, offering a vivid portrayal of mbari art. These visuals are not merely decorative; they play a crucial role in helping the reader appreciate the complexity and artistry of the structures.

Key Features

• Illustrations: The book’s high-quality visuals bring the art of mbari to life, enhancing the reader’s understanding.
• Comprehensive Analysis: Cole’s thorough examination of mbari provides a deep insight into the art form.
• Interdisciplinary Approach: The work integrates art history, anthropology, and cultural studies for a well-rounded view.

Target Audience

This book is an invaluable resource for students, scholars, and anyone interested in African art, anthropology, or the cultural history of the Igbo people. It also serves as an important read for those who wish to gain a deeper understanding of the Igbo’s artistic heritage.

Pros and Cons

Pros:

• Rich Visuals: The illustrations and photographs are a highlight, showcasing the beauty and complexity of mbari art.
• In-Depth Research: Cole’s extensive research offers a comprehensive look at the mbari tradition.
• Cultural Insight: The book contributes to the preservation of the Owerri Igbo’s artistic legacy.

Cons:

• Niche Focus: The specialized subject may appeal to a particular audience interested in African art forms.
• Accessibility: The book’s availability might be limited due to its publication date.

Conclusion

“Mbari: Art and the Life Among the Owerri Igbo” by Herbert M. Cole is an insightful and thorough exploration of the mbari tradition. Its detailed analysis and illustrations make it an essential resource for anyone interested in Igbo art and culture. Despite its niche focus and potential accessibility issues, the book’s depth of research and visual appeal offer significant value, making it a worthy addition to any collection on African art.