Ögbü Compound

Ögbü (Awgbu), p.d. Anambra State, what was described as a store house by Northcote Thomas, tower in the background, May 1911. Part of Thomas’ British colonial government backed anthropological tour of the north-central Igbo-speaking area.

Ágụ́ is the Leopard

A 'lost-wax' cast vessel in the form of a shell surmounted by a leopard. Igbo-Ukwu, 9th century CE. National Museum, Lagos, Nigeria. Photo by Dirk Bakker.

The leopard is the prestige big cat in Igbo tradition and that of most southern Nigerian cultures. It is the king of the forest, noted for its wit when hunting and avoiding traps and for its dexterity, it is the latter that had inspired the nsibidi mimetic movements of the Ekpe leopard men's society (ekpe means leopard in Efik and some Igbo dialects). While the lion is the symbol of power and authority in other cultures, in Igbo society this position is held for the leopard, in fact the lion is nowhere near as significant in Igbo folklore as the leopard. The particular species of leopard found around the Igbo area is the West African forest leopard (P. p. leopardus), the reverence of leopards could be down to the greater prevalence of leopards compared to other bigger cats, especially the grassland-dwelling lions.

It is common for leopard skins to be collected and displayed in the homes of high-ranking individuals in society, titles were also given to those successful in leopard hunts which were regarded as no mean feat, this is reflected in names such as Ogbuagụ, leopard killer. Conversely, leopards were revered as a cult symbol in some communities and their killing expressly forbidden, certain lineages were believed to possess the 'medicine' (ọgwụ) enabling human-to-leopard metamorphosis (ịhi agụ), in such communities, hunting a leopard could be seen as good as hunting a potential kinsman.

The use of agụ as a praise name or compliment further goes to show the reverence the leopard and its nature has in Igbo society, calling someone agụ or agụ nwanyị denotes that the person exhibits the abilities and attributes of the most admired, valued, respected and revered animal in Igbo folklore.

Originally posted on Facebook August 29, 2017.

Men and Mask

Masquerades from different cultural regions of the Igbo area photographed by G. I. Jones in the 1930s.

Masquerades representing fierce animals and mythological beasts, and often a mixture of human and animal traits, emphasise humanity’s connection with the animal and natural world which also serves to tap into the primal animal energy existing within people. The imitation of women also serves a similar purpose as both a way to tap into a specific personal trait and to police and monitor that particular section of society and nature. By appropriating the virtuous aspects of animals, the masker defines the bounds and limits of the manifestation of animal energy in the community and in people, the masks work to have that energy directed to where and when it may be useful like in times of warfare, or to prevent animal attacks. By representing women, men enforce the power to channel female energy as they feel appropriate, at the same time acting out on curiosity and out of admiration of women all while being hidden behind a mask.

Isuochi man

A man who may possibly be from Isuochi (as the album was labelled). Photographed by G. I. Jones, 1930s.

Isuochi people

People who may be from Isuochi (as the album was labelled). Photographed by G. I. Jones, 1930s.

The ùrì body art of women who may be from Isuochi (as the album was labelled) [cropped].

Isuochi man

A man who may possibly be from Isuochi (as the album was labelled). Photographed by G. I. Jones, 1930s.

Ifogu Nkporo

"Ogu wooden face mask," part of the Nkporo people's Ifogu masquerade at Elugu Nkporo in p.d. Abia State, photographed by G. I. Jones in the 1930s.

Nkporo initiates

Young male Nkporo initiates dancing masks with tall fibre extensions, eastern Igbo area (p.d. Abia State), 1930s. Photo: G.I. Jones.