The pre-1940s history, indigenous culture, and heritage of the Ìgbò and their neighbours.
[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
Wall paintings in Okwu village painted by an Anang artist in the style of Ngwomo ghost houses.— Jones Location: Okwu, Alaigbo | Date: 1930s | Credit: Jones
[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
Interior of Igbo Mbari house. Sculpture in foreground representing adult male riding animal, second adult male standing in front of animal.Location: ?Unknown?, Alaigbo | Date: ?Unknown? | Credit: Edward Chadwick
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.
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
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
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.
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.
[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: Aguleri, Alaigbo | Date: 1902 | Credit: J.B. PioletIdigo, 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)
Location: Bonny Island (Ụ̀banị̀) | Date: 1880-1905 | Credit: Jonathan Adagogo Green, British Museum.
