The largest single mbari structure still standing in 1966-67, and perhaps one of the largest ever built. Note the size of the priest who is standing beside the seated deity. [Nigeria, unknown date; maybe early 20th century].— Herbert M. Cole Location: Urata, Alaigbo | Date: 1960s | Credit: Cole
Abakaliki is Abakaleke; Afikpo is Ehugbo; Asaba is Ahaba; Awgu is Ogu; Awka is Oka; Bonny is Ubani; Enugu is Enugwu; Ibusa is Igbuzor; Igrita is Igwuruta; Oguta is Ugwuta; Onitsha is Onicha; Owerri is Owerre; Oyigbo is Obigbo; Port Harcourt is Diobu; Ogwashi-Uku is Ogwa Nshi Ukwu... any more will be added.
Wednesday, December 26, 2012
Monday, December 10, 2012
[Igbo] Ohafia war dance The [Igbo] Ohafia war dance iri agha. Adult male carrying a headhunters trophy (oyaya) on his head. The trophy is a rectangular shaped wooden frame decorated with feathers, leopard fur, cloths and animal fur at either end. He is wearing a striped shirt, and holding a ?metal rod in one hand. Behind him is a crowd of people and a Building with corrugated iron roof.— Jones, G.I. 1932 - 1939 Location: Ohafia, Alaigbo | Date: 1930s | Credit: Jones
EKWE HEADDRESS FROM UGBENE, SAID BY ITS OWNERS TO HAVE BEEN CARVED BEFORE 1940 BY OGBUANYI OF LEJA (IT MAY HAVE BEEN CARVED MORE RECENTLY). IT COMPRISES SOME TWENTY-FIVE HUMAN FIGURES AND ANIMALS, SEPARATELY CARVED AND NAILED ON IN AN INTERESTING MIXTURE OF OLDER STYLES AND TYPES OF DRESS, COIFFURES, AND STATUS SYMBOLS WITH MORE MODERN ONES. PHOTO 1982.— Herbert M. Cole Location: Ugbene, Alaigbo | Date: 1982 | Credit: Cole
Friday, December 7, 2012
Thursday, December 6, 2012
[Igbo] Rumuji Owu play with the character of Oterivinwe sitting on a chair. The masquerader is wearing a wooden, beautiful female, white face mask with two horns attached to the top. The neck is coiled and attached to the mask is a print cloth. The masqueradere is wearing white cotton trousers and seed anklets around the ankles. In the background are spectators and vegetation.Location: Rumuji, Alaigbo? | Date: 1930s | Credit: Jones
Wednesday, December 5, 2012
A Nwammuo [of the Ogume Ika-Igbo (now in Delta State, Nigeria] was a trophy used in a dance or play of the same name. It consisted of groups of little human figures arranged in tiers one above the other. The one I photographed [the photo attached] was two-tiered, with four figures in each tier, and surmounted by two birds, but Ufere was said to have carved Nwammuo with up to four tiers and sixteen figures. I gathered that the principal dancer would carry the trophy on his head and a paddle in his right hand, and that the others (who could be both men and women) would dance in a circle around him. [Nwammuo means ‘ghost-spirit child/offspring’ in Igbo]A Visit to Ogume in 1937, by G. I. Jones.
Location: Ogume, Ika, Alaigbo | Date: 1930s | Credit: Jones
Tuesday, October 16, 2012
Rumuji Owu play, the character is Abam (one who has visited placeds and learnt things) and the figure represents a fierce fish spirit. The headpiece is a long horizontal carved piece with a pointed head depiciting sharp incised teeth, round eyes, and fins on the sides and top. The headpiece is painted in different colours. On top of the carving is a square cloth panel (like a sail) that has four pieces of cloth sewn in the centre. The masquerader is draped in block printed cotton cloth. In the background are spectators.— G.I. Jones
Location: Rumuji, Alaigbo? | Date: 1930s | Credit: Jones
Sunday, October 7, 2012
“Horse funeral” ceremony, Amachara village, Afikpo Village-Group, Nigeria (1951-1953). When a mature male dies his eldest son is responsible for burial and the funeral ceremony. The burial is followed by a series of related rituals, which generally continue to express the relative positions of the descent groups. The first is the ‘goat funeral’. This ceremony is followed by the ritual of placing a shrine pot for the deceased in his ancestral house. At any later time the deceased’s eldest son may perform the ‘cow funeral’, giving his father’s matrikinsmen a cow, and a horse as well if he is rich. The ceremony is optional, and is a prestige ritual to honor the father and display the son’s wealth.”[Ottenberg, 1968: Double Descent in an African Society; The Afikpo Village-Group, Seattle: University of Washington Press, 1968].
Location: Amachara, Ehugbo, Alaigbo? | Date: Early 1950s | Credit: Ottenberg
24 Feb 1905. Ikot-ekpende. [Aro-Igbo] bride and her mother. [In Ibibio territory where the Aro (originally from Arochukwu from what is now Abia State Nigeria, but settled all over eastern Nigeria) were known as Inokun, now Akwa-Ibom State, Nigeria]— Charles Partridge
Location: Ikot Ekpende | Date: 24 February, 1905 | Credit: Charles Partridge
Thursday, October 4, 2012
The interior of an Obu meeting house in Asaga village showing two large life-sized figures of a male and female standing on a raised platform.— G. I . Jones
Location: Asaga , Ohafia, Alaigbo | Date: 1930s | Credit: Jones
Tuesday, October 2, 2012
A Ngbagba Ikoro masquerade with a close up view of Otiri, the principle masquerade character. The mask of Otiri consists of a circular base with layers of white feathers adorning it; the head is shrouded in a woven cloth. In the background is a thatched building.— G. I. Jones, 1930s.
Location: Mba Miri, Alaigbo | Date: 1930s | Credit: Jones
Saturday, September 29, 2012
Obugulu mau masquerade. A close up view of the masquerader wearing a white and black painted face mask adorned with an elaborate superstructure. The top of the mask consists of pieces of cloth, ribbon, felt. tassels, carvings, and mirrors. The costume is harlequin like appliques material.— G. I . Jones. 1930s. Igbo peoples, Nigeria.
Location: Onicha, Alaigbo | Date: 1960s | Credit: Dmochowski
Sunday, July 29, 2012
ONITSHA. Chief Ogbua’s house. Entrance portice seen from within.— Zbigniew Dmochowski, Introduction to Nigerian Traditional Architecture: South Eastern Nigeria v. 3.
Location: Onicha, Alaigbo | Date: 1960s | Credit: Dmochowski
Friday, July 27, 2012
[Ichi] scarification is not a tribal mark, but a sign of status, rank, or nobility. It was taboo for persons thus marked to perform any menial task, such as to carry a load on the head; their persons were privileged and sacrosanct and they were never molested. It was also customary for the local native police, if sent to apprehend such a person, never to handcuff him.
In [ichi] scarification no attempt is made to raise keloid scars. The patient is placed supine on the ground and then, with a sharp-pointed, leaf-blade knife, strips of skin are gouged out, leaving long, raw furrows to heal. The operation is a severe test of courage and endurance and may take as long as an hour and a half to complete; it is sometimes followed by grave sepsis involving loss of sight and even of life. The victim, whether adult or child, must not wince or whimper or utter a sound.
Location: Nri, Alaigbo | Date: 1951 | Credit: M. D. W. Jeffreys
Tuesday, July 17, 2012
Location: Aguleri, Alaigbo | Date: 1902 | Credit: J.B. Piolet
Idigo, king of the Agouleris, before his conversion
“…the Father pronounces his first homily and announces his intention to constitute a Mission. In response to his words, Idigo [chief of the Aguleris] bows down before his idols, exclaiming: “Oh my deities, I am grateful that you have sent me this White today. There will be happiness and peace for all. – Leave your idols, responds P. Lutz, they have nothing to do with my arrival.” (pp. 212-213)
Friday, June 29, 2012
Virginia Gazette (Purdie & Co.), Williamsburg, March 21, 1766. COMMITTED to James City prison an Ibo Negro fellow about 5 feet 6 or 7 inches high, about 40 years old, has on a blue coat with metal buttons, a cotton waistcoat, a pair of buckskin breeches, has five gashes of his country mark on each cheek, and says that he was sold about 6 years ago by Col. Hunter, late of Hampton, to David Sallen, waterman. The owner may have him on proving his property, and paying charges, of WILLIAM LANE.— William Lane
Location: Williamsburg, Virginia | Date: March 21, 1766 | Credit: