Global Journal of Applied, Management and Social Sciences (GOJAMSS); Vol.13 December 2016; P.95 – 103 (ISSN: 2276 – 9013)
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From Idol to Art: African 'Objects with Power': a Challenge for Missionaries, Anthropologists and Museum Curators
From idol to art African ‘objects with power’: a challenge for missionaries, anthropologists and museum curators African Studies Centre African Studies Collection, vol. 59 From idol to art African ‘objects with power’: a challenge for missionaries, anthropologists and museum curators Harrie Leyten Published by: African Studies Centre P.O. Box 9555 2300 RB Leiden The Netherlands [email protected] http://www.ascleiden.nl Cover design: Heike Slingerland Cover photos: Left: An Ikenga of the Igbo, Nigeria. Courtesy of the Pitt Rivers Museum, University of Oxford Middle: Asuman, probably of the Ashanti, Fanti and Sefwi, Ghana. Courtesy of the Afrika Museum, Berg en Dal Right: Nkisi mabiala ma ndembe of the Yombe, Congo. Courtesy of the Katholieke Universiteit Leuven Author has made all reasonable efforts to trace all rights holders to any copyrighted ma- terial used in this work. In cases where these efforts have not been successful the pub- lisher welcomes communications from copyright holders, so that the appropriate acknowledgements can be made in future editions, and to settle other permission mat- ters. Maps: Nel de Vink (DeVink Mapdesign) Printed by Ipskamp Drukkers, Enschede ISSN: 1876-018x ISBN: 978-94-6173-720-5 © Harrie M. Leyten, 2015 For Clémence Contents Glossary vi Foreword xv 1. FROM IDOL TO ART:INTRODUCTION 1 1.1 Two Epa masks in a missionary museum: A case study 1 1.2 From Idol to Art: Research question 11 1.3 Theoretical framework 15 1.4 Objects with power 29 1.5 Plan and structure of this book 35 2. IKENGA,MINKISI AND ASUMAN 40 2.1 Ikenga 40 2.2 Minkisi 49 2.3 Asuman 65 3. -
Bible Translation and Language Elaboration: the Igbo Experience
Bible Translation and Language Elaboration: The Igbo Experience A thesis submitted to the Bayreuth International Graduate School of African Studies (BIGSAS), Universität Bayreuth, in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy (Dr. Phil.) in English Linguistics By Uchenna Oyali Supervisor: PD Dr. Eric A. Anchimbe Mentor: Prof. Dr. Susanne Mühleisen Mentor: Prof. Dr. Eva Spies September 2018 i Dedication To Mma Ụsọ m Okwufie nwa eze… who made the journey easier and gave me the best gift ever and Dikeọgụ Egbe a na-agba anyanwụ who fought against every odd to stay with me and always gives me those smiles that make life more beautiful i Acknowledgements Otu onye adịghị azụ nwa. So say my Igbo people. One person does not raise a child. The same goes for this study. I owe its success to many beautiful hearts I met before and during the period of my studies. I was able to embark on and complete this project because of them. Whatever shortcomings in the study, though, remain mine. I appreciate my uncle and lecturer, Chief Pius Enebeli Opene, who put in my head the idea of joining the academia. Though he did not live to see me complete this program, I want him to know that his son completed the program successfully, and that his encouraging words still guide and motivate me as I strive for greater heights. Words fail me to adequately express my gratitude to my supervisor, PD Dr. Eric A. Anchimbe. His encouragements and confidence in me made me believe in myself again, for I was at the verge of giving up. -
History of Seventh-Day Adventist Church in Igboland (1923 – 2010 )
NJOKU, MOSES CHIDI PG/Ph.D/09/51692 A HISTORY OF SEVENTH-DAY ADVENTIST CHURCH IN IGBOLAND (1923 – 2010 ) FACULTY OF THE SOCIAL SCIENCES DEPARTMENT OF RELIGION Digitally Signed by : Content manager’s Name Fred Attah DN : CN = Webmaster’s name O= University of Nigeri a, Nsukka OU = Innovation Centre 1 A HISTORY OF SEVENTH-DAY ADVENTIST CHURCH IN IGBOLAND (1923 – 2010) A THESIS SUBMITTED TO THE DEPARTMENT OF RELIGION AND CULTURAL STUDIES, FACULTY OF THE SOCIAL SCIENCES UNIVERSITY OF NIGERIA, NSUKKA IN PARTIAL FULFILMENT FOR THE AWARD OF DOCTOR OF PHILOSOPHY (Ph.D) DEGREE IN RELIGION BY NJOKU, MOSES CHIDI PG/Ph.D/09/51692 SUPERVISOR: REV. FR. PROF. H. C. ACHUNIKE 2014 Approval Page 2 This thesis has been approved for the Department of Religion and Cultural Studies, University of Nigeria, Nsukka By --------------------------------------------- ------------------------------ Rev. Fr. Prof. H. C. Achunike Date Supervisor -------------------------------------------- ------------------------------ External Examiner Date Prof Musa Gaiya --------------------------------------------- ------------------------------ Internal Examiner Date Prof C.O.T. Ugwu -------------------------------------------- ------------------------------ Internal Examiner Date Prof Agha U. Agha -------------------------------------------- ------------------------------ Head of Department Date Rev. Fr. Prof H.C. Achunike --------------------------------------------- ------------------------------ Dean of Faculty Date Prof I.A. Madu Certification 3 We certify that this thesis -
A Socio- Economic History of Alcohol in Southeastern Nigeria Since 1890
CHAPTER ONE INTRODUCTION Background to the Study Alcohol has various socio-economic and cultural functions among the people of southeastern Nigeria. It is used in rituals, marriages, oath taking, festivals and entertainment. It is presented as a mark of respect and dignity. The basic alcoholic beverage produced and consumed in the area was palm -wine tapped from the oil palm tree or from the raffia- palm. Korieh notes that, from the fifteenth century contacts between the Europeans and peoples of eastern Nigeria especially during the Atlantic slave trade era, brought new varieties of alcoholic beverages primarily, gin and whisky.1 Thus, beginning from this period, gins especially schnapps from Holland became integrated in local culture of the peoples of Eastern Nigeria and even assumed ritual position.2 From the 1880s, alcohol became accepted as a medium of exchange for goods and services and a store of wealth.3 By the early twentieth century, alcohol played a major role in the Nigerian economy as one third of Nigeria‘s income was derived from import duties on liquor.4 Nevertheless, prior to the contact of the people of Southern Nigeria with the Europeans, alcohol was derived mainly from the oil palm and raffia palm trees which were numerous in the area. These palms were tapped and the sap collected and drunk at various occasions. From the era of the Trans- Atlantic slave trade, the import of gin, rum and whisky became prevalent.These were used in ex-change for slaves and to pay comey – a type of gratification to the chiefs. Even with the rise of legitimate trade in the 19th century alcoholic beverages of various sorts continued to play important roles in international trade.5 Centuries of importation of gin into the area led to the entrenchment of imported gin in the culture of the people. -
OF CULTURAL FESTIVALS and RELATIONS in WEST AFRICA: PERSPECTIVES on MBANO of SOUTHEAST NIGERIA SINCE the 20TH CENTURY Chinedu N
Mgbakoigba, Journal of African Studies, Vol. 8 No. 2. May, 2021 OF CULTURAL FESTIVALS AND RELATIONS IN WEST AFRICA: PERSPECTIVES ON MBANO OF SOUTHEAST NIGERIA SINCE THE 20TH CENTURY Chinedu N. Mbalisi OF CULTURAL FESTIVALS AND RELATIONS IN WEST AFRICA: PERSPECTIVES ON MBANO OF SOUTHEAST NIGERIA SINCE THE 20TH CENTURY Chinedu N. Mbalisi Department of History and International Studies, Nnamdi Azikiwe University, Awka [email protected] Abstract Africa is prominently known for its rich cultural heritage, festivals and traditional celebrations. The Igbo of southeast Nigeria are known globally for their addiction to their traditional way of life, belief systems and celebration of numerous cultural festivals. These traditional and cultural festivals form the basic foundation of the rich heritage of the Igbo. Most of these celebrations begin from birth. Usually, the birth of a new born baby is greeted with joy and fanfare by his/her parents and their relatives. The celebrations continue till the period of transition (death); from puberty to adulthood, marriage, title taking, old age till one rejoins his/her ancestors, then comes the final celebration. Mbano people of southeast Nigeria have numerous traditional and cultural festivals which form the nucleus of their relations with their neighbours. In fact, the cultural festivals depict the rich cultural heritage of the people and are used to show in most parts, the kinship between the people and their proximate neighbours. This paper essays to demonstrate the import of these traditional and cultural festivals to the nature of relationship prevalent between Mbano people and their neighbours in southeast Nigeria. The work adopts the orthodox historical method of narrative and analysis. -
THE AESTHETICS of IGBO MASK THEATRE by VICTOR
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 1996 The composite scene: the aesthetics of Igbo mask theatre Ukaegbu, Victor Ikechukwu http://hdl.handle.net/10026.1/2811 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. THE COMPOSITE SCENE: THE AESTHETICS OF IGBO MASK THEATRE by VICTOR IKECHUKWU UKAEGBU A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY Exeter School of Arts and Design Faculty of Arts and Education University of Plymouth May 1996. 90 0190329 2 11111 COPYRIGHT STATEMENT. This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author's prior written consent. Date .. 3.... M.~~J. ... ~4:l~.:. VICTOR I. UKAEGBU. ii I 1 Unlversity ~of Plymouth .LibratY I I 'I JtemNo q jq . .. I I . · 00 . '()3''2,;lfi2. j I . •• - I '" Shelfmiul(: ' I' ~"'ro~iTHESIS ~2A)2;~ l)f(lr ' ' :1 ' I . I Thesis Abstract THE COMPOSITE SCENE: THE AESTHETICS OF IGBO MASK THEATRE by VICTOR IKECHUKWU UKAEGBU An observation of mask performances in Igboland in South-Eastern Nigeria reveals distinctions among displays from various communities. -
Imperatives and Significance of Igbo Traditional Practices of Ancient Bende Indigenes of Abia State, South-East, Nigeria
International Journal of Development and Sustainability ISSN: 2186-8662 – www.isdsnet.com/ijds Volume 7 Number 1 (2018): Pages 250-268 ISDS Article ID: IJDS17102402 Imperatives and significance of Igbo traditional practices of ancient Bende indigenes of Abia State, south-east, Nigeria Christian Chima Chukwu 1*, Florence Nneka Chukwu 1, Okeychukwu Anyaoha 2 1 Department of Sociology/Intelligence and Security Studies, Novena University, Ogume, Delta State, Nigeria 2 Department of Sociology, Imo State University, Owerri, Nigeria Abstract The overriding concern of this paper is to highlight that Ọkpukpere-chi has a critical mandate in the affairs of respective Bende communities, and represents a solemn communion with Chineke the supreme power as the creator of everything (visible and invisible) and the source of other deities. How truly involved are the people in the practice of Ọkpukpere-chi? And, to what extent has its practice guarantee social stability within the Bende communities? This study articulates the idea of that Ọkpukpere-chi anchors its existence on only, but one Supreme Being: Chineke (God) and many lower supernatural beings or deities (Arusi).The world view of Ọkpukpere-chi cements relations among the various Bende communities. This assertion is clearly reflected in the way and manner that, Ọkpukpere-chi practice in more ways than one, served as an umbilical cord which connected and coordinated all other facets of life. All activities in the society, whether farming, hunting, marketing, social relations, and even recreation are governed by laws and taboos, and all blend inextricably in a complicated ritual with a view to throwing light on its structure, functions and modus operandi. -
Omenala and Omenachukwu in Igbo World View: a Philosophical Equipoise
OMENALA AND OMENACHUKWU IN IGBO WORLD VIEW: A PHILOSOPHICAL EQUIPOISE Jude I. Onebunne* Abstract Omenala and Omenachukwu are wings of basic and fundamental human trado-religious activities and interactions in Igbo society. Omenala as basic human culture can be defined as shared pattern of behaviour and interactions, cognitive constructions and affective understanding that are learnt through a process of inter and intra socialization. Omenachukwu translates essentially as Divine Culture and in a large sense, Christianity and by extension, inculturation. Omenala and Omenachukwu are basic human activities within human society in relation to a patterned way of life as well as to a being of a sort. In this paper, the researcher using the method of unaided critical analysis finds out that in Igbo Society, between omenala and omenachukwu is a vital activity seen in ‘ome’ and the conjunction ‘na’ relates the activity either to culture as expressed in the concept of ala and Chukwu as to a supreme being. Keywords: Omenala, Omenachukwu, Tradition, Religion, Culture, Socialization Introduction The Igbo is an ethnic group native to the present-day south- central and southeastern Nigeria. Geographically, the Igbo homeland is divided into two unequal sections by the Niger River; an eastern (which is the larger of the two) and a western section. The Igbo people are one of the largest ethnic groups in West Africa. They are socially and culturally diverse. Igbo culture (Omenala) includes the customs, practices and traditions of the Igbo people. They have a dynamic and fascinating cultural heritage that says much about them. It Nnadiebube Journal of Philosophy, Vol.3(1), 2019 comprises archaic practices as well as new concepts added into the Igbo culture either by cultural evolution or by outside influence. -
Sneak Peak! Chapters
THE RETURN OF THE EARTH MOTHER SERIES: BOOK 1 DAUGHTERS OF NRI RENI K AMAYO PRAISE FOR DAUGHTERS OF NRI ‘Oh . my . goddesses! This book is something special. There is so much myth, fantasy and genuinely great storytelling packed into the pages of this novel. Excellent writing, brilliant book.’ Dorothy Koomson, Best-selling author ‘From a rich and deep culture, Amayo weaves a world of literary magic. Daughter’s of Nri is a beautifully written novel paving the way for a powerful collection to follow.’ Buzzfeed ‘A phenomenal debut from a brilliant writer which kept me on the edge of my seat from the first page. This is a beautiful story full of heritage, passion and bravery that every young black girl should read.’ Black Girl Book Club ‘With Daughters of Nri, Reni K Amayo conjures a magical world that truly centres black sisterhood. Combining lush prose with a fast-paced plot, this is one read that everyone – but especially black teens – will struggle to put down.’ Alex Sheppard, Author of ‘Oh My Gods’ ‘This book is a love letter to black women. It is beautifully written and its message is so powerful and incredibly important. Every black woman needs to read. We deserve this story.’ WCAN First published in Great Britain in 2019 by Onwe Press Ltd This paperback edition was first published in 2019 All rights reserved; no part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except for the use of brief quotations in a book review. -
Uli: Metamorphosis of a Tradition Into Contemporary Aesthetics
ULI: METAMORPHOSIS OF A TRADITION INTO CONTEMPORARY AESTHETICS A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Sandra A. Smith May, 2010 Thesis written by Sandra A. Smith B.A., Kent State University, 2006 M.A., Kent State University, 2010 Approved by __________________________, Advisor Fred T. Smith __________________________, Chair, School of Art Christine Havice __________________________, Interim Dean, College of the Arts John R. Crawford ii TABLE OF CONTENTS LIST OF FIGURES ............................................................................................... v ACKNOWLEDGMENTS ...................................................................................... vii CHAPTER Page INTRODUCTION .................................................................................................. 1 I DESCRIPTION OF IGBO HISTORY, CULTURE AND ART ...................... 8 Igbo-Ukwu .................................................................................................. 9 Igbo Culture and Society .......................................................................... 10 Igbo Religious Beliefs and Practices ....................................................... 12 Igbo Deities .............................................................................................. 13 Masked Spirits ........................................................................................ 14 Aspects of Belonging ............................................................................. -
Leadership Symbolism in Onitsha Igbo Crowns and Ijele Author(S): Richard N
Leadership Symbolism in Onitsha Igbo Crowns and Ijele Author(s): Richard N. Henderson and Ifekandu Umunna Source: African Arts, Vol. 21, No. 2 (Feb., 1988), pp. 28-37+94-96 Published by: UCLA James S. Coleman African Studies Center Stable URL: http://www.jstor.org/stable/3336526 Accessed: 01/06/2010 12:37 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=jscasc. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. UCLA James S. Coleman African Studies Center is collaborating with JSTOR to digitize, preserve and extend access to African Arts. http://www.jstor.org LeadershipSymbolism in Onitsha Crowns and Igbo Ijele RICHARDN. -
Interface Between Igbo Theology and Christianity
Interface Between Igbo Theology and Christianity Interface Between Igbo Theology and Christianity Edited by Akuma-Kalu Njoku and Elochukwu Uzukwu Interface Between Igbo Theology and Christianity, Edited by Akuma-Kalu Njoku and Elochukwu Uzukwu This book first published 2014 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2014 by Akuma-Kalu Njoku, Elochukwu Uzukwu and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-6390-4, ISBN (13): 978-1-4438-6390-2 TABLE OF CONTENTS Introduction ................................................................................................. 1 Akuma-Kalu Njoku and Elochukwu Uzukwu Part One: Challenging the Project – Interface between the Theology of Igbo Indigenous Religions and Christian Theology Christianity Meets Igbo Traditional Religion ............................................ 10 Francis Cardinal Arinze The Interface of Igbo Theology and Christianity ...................................... 20 Msgr Theophilus Okere Ofo na-Ogu and Mmanwu: Ritual Symbolism in the Interface of Igbo Indigenous Religion and Christianity ........................................................ 31 Christopher