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Download .Pdf University of Nigeria Research Publications ONUORA, Chijioke N Author Author PG/MFA/87/5652 IKORO: Monumental Drums of Igbo People Title Arts Faculty Faculty Fine and Applied Arts Department Department October, 1990 Date Signature Signature I am indebted to the following people for their 'contrihutf.ons towatds making thLs research a success: ' Dr. Ulco Akpai.de, my supervisor and friend; Dr. ChLke Aninkor, the Head of the Department of Fine and Applied Arts, University of Niger: a; Drs. C.S. Olceke, llmanlculor and MQki Nzewi, for allow!.ng me malcc usc of their materialo; B.N. Igwi1.0, V.C. Amnefunah and Obiora Udechukwu, Mr. Ugwu L G,S, for typing the manuscript; Chikc Oyeka, Okolo Okolonkwo, hrlyn Agbata, Sylvester O&echie Chudi Ugwu for their invaluable assistance, I am also deeply indebted to Nr. Ngworbia, Mr. Idika, Chief Chulcwudike , Chief 'Fe stuo Ne~nn1a.10, Udo Chukwu, and Mrs. A. O~CTI'Q for their assistance during my field work. I am also great1.y inclebteii to my brothers, Chigbo, Chuktruma and Ikechulm, and my parents Rev. and Mrs. J .C. Onuora for their .monumental support all these while. To other persons who by any means helped in making this worlc a success I am grateful, Responsibilities for errors and omissions, as well as views expre ssed , are entirely mine. Chi jioke Octobe iii In this research, I an usinc I1:oro drums to show the Igbo ideas of monwnen.lality in sculpture. The paper also gives an insight into %he dyncunic implications in the interpre tation of the conoc 1)t of mo~nunc?ntn:l.i.f;y'mong kl I(:! Igbo, where the ikoro drum is physically, symbolically/ concel)tually ruul func tionnl ly roon~uncntal. This s-h~dyi8 greatly em:',cl~cd by two major categories L of source mnter.ials - esi.:;tin;; literatures on I@o art and primary f nformation ob.tnined t11rouC;h cmeful. ob serva.tions and interviews during my fiel-d work. In this research, vernacular expressions and their translations were used because they hc1.p in bringing out more authentic meanings of the issues under ~~SCUSS~O~S. The project 5s prcsenlxd 5.n five chapters. Chapter me d2.scunses variova conae1;-1;s of monument by di:f ferent people. It also contains the research problems, approach, scope and the aim of the rcsoarch. Chapter two ~~SCUSS~S, broadly the llcoro under the title ' !,ha-t is ikord? 1 , while chapter three identifies ikoro drum types. Ilcoro production techniques is dlscnsscil in chal~terfour while the meanings and symbolism on ikoro Is discussed in L iconography1 . ThL s re search, however, does not contain everything on i1t0~0. My intention is to contribute in bringing the the Igbo ikoro culture to a wider audf.ence. Chi ji oke Onuora October 1990 \ Page i .. ii .. iii .. iv .. v 0. vii .. vix Conc-. of Mor.~~u~t .. .. 2 General. 'Eew .. .. 3 Western 'Tiew .. .. 3 Art Cri t.:cl. sn r1.c f':X tion .. 4 ~gboKelt .. .. .. 6 'Phe Big i utd 14on1.mt:,!,::3. 11. The Small but !.lm.-meri-tal. .. 13 . TI1 IKORO DR'JM TWF;1S .. .. 46 7. V IKORO PRI )DUC!l?I ON -HAP -PAGE i Map of I~boRefli~: Showing the five hb-Regions ii Map of Igbo Region: Showing Ikoro Drum Distribution . xi iii Map of Igbo Refion: Showing Motif Distribution on Ilcoro Drums ~ii -PAGE nubedike Monumcn-b at A~lnzi-~lni .. 8 Ol~pesimcestralobJcct .. .. I6 Umunze Ikoro infomatlon dis-trLbution nedmork .. .. .. 23 i The warrior stc1)s out ax1 goes into a dance drama. .. i .. 35 Ikoro Ogbunlca sho~,Lngrno ther ikoro and children of ikoro .. .. 36 I koro Ogbunka .. .. 37 Ilcoro Umuchu In form of a man lying on hisback .. .. .. 47 $'arts of a slit dnun . .. 48 Ikoro Obibialm in Umunze *. .. 50 Ikoro 0bj.bIah l LUITIOIUI~.~ .. 0. 51 Detail of ikoro Cll)i.hlaJm .. .. 52 Naturali s tl c and Ah st-ract approach to ilcoro 'carvin.g .. .. 53 Ikoro Ezi, Awka .. .. 54 Ikoro Udo, Ummze .. 0 0 56 viii 15 A man with a human hcail on one end of Ilcoro Wgele Ojii .. e. 57 16 Ikoro drum in Arnum~, Nbaise 0 ~17 Animal forms on Ikoro Np1.e Ojil, IJmunze 17a Some Ikoro dr~~msa.1; .buzu, Hbaise .. 18 Tradi tf onaJ camerst tools .. I 0% TWO types of IJ~WU((niL;~;cr) .. 19 l'ossihle p~d~ctionstages of Ilcoro Ogbunka M yossible pxoductfon sta,ys of Ikoro huzu 21 A traditional- hair style and its adaptation on ikoro .. .. .. 22 Ikoro re sonator device (Ebem 0hdia) .. 23 The use of space in . the vi ].lace square during Ekpe l1estfval (Ebem 0hafia) .. 24 Responses to ikoro message .. 25. Design motifs on some ilcoro dms .a -P IA 'IX -PAGE 1 Okorie Alachebe on Ikoro Eziagu .. 87 2 Ikoro drummer in hJmn Ollafin .. 91 3 Ikoro drummer in Ablriba ., .. 911 4 Ikoro drum overlookin@ the arerln and. pavillion in Adazi-Nnukwu . .. 1% ----------CIL2.PTER om INTRODUCE ON There are two major ti~inptlmt made me ' consider doing a research on Ikoror firstly, my ~'lhyalcalcontact wlth the monumental ikoro drum in ~cwo~munze ,' secondly, Chike Aniakorl s alaim that ilcoro drums rtil I. cxiot In J.arce numbers in I~bolc~de The sul~jectof ikoro is tlicrcfore an interesting one. Large numbers of ilcoro drums still exist in Ohafia, Arochukw , Bende md Af ikpo in:. :a, I~l~mta,hkpa Ukwu, Urnaz~ux,~ and Umuyoto in Okigwe aroa. Ilroro could still. be f'ound in 2 parts of Nova, Orlu, OmrrL, Abakaliki and Ohaozara. Basden identified ilcoro drum at Acbala shrine m'ove In Ezi-Awka. Ilcoro: tradi tion also extends to Nllt? and Nsude In Udi area, Mgbaghu '; Cmunity in Ezeagu; Ebenebe ; O,yu and Ihe in Awgu area; Achi : and Inyi in Oji River area. In A@sta area ikoro drums are located in the following communities : Ot~erri-Ezukala, hjalli , O~bunka,lJk&ofi, TJmuchuc, Ilaiiqu, Achina, Uga, I suof in, EzirA, and Umunze .(~nio~~dr9Pj).~heone tlmt was at Umuornaku was burnt dm by the rival Ezira in May, 1988. Attempts made by some writers to research on slit drums of African people has given me insight into the nature and use of slit drums for cornmn~mica.l;ion. 13asden (1921) brought to focus what he called the wonderful tom tom of UmunzeOv 6 lhlking drums of the peolllc of Southern NLgeria was part of Talbotlls research in 1926. Ruth Finnegm (1920) did some analysis of drum I Lterature In Africa. She omitted Ikoro. Recent renearchc s by D. 11. Znca (1 376) , Onwudiwe Kalu (1 906) Chike Aniakor (1383), ad IIerbert Cole (1384), have been ' L able to unravel a lot of thhgs about ikoro drums. Some studies on ikoro susgest that they perhaps, parallel the mbari c1ayvorl:s of Owerri area, I j de masquareade of Anambra area, and Obu ITkwa shrine house of Asaga Ohafia in imp~rtance.~Ilroro tradition is an interest- ing area for research because all other arts seem to converge there. Ikoro experience involves archI.tecture, music, dance 4 drama, sculpture, pol2 tico and warfare, religion and orahrev. It is from these points of view that the monumentality in ikoro would be discussed. General Kew: To the man on the street a monument is a very big sculpture or bullding. In a brozid sense, however, monuments , include all objects of wlmiev~rsize or nature that has been put into vlew for the prfmary 1)url:ose of cel.ebrathe; and preserving the memory of a person, m event, or,an idea. It could be a relic of almost my kind whfch by its survival bears witness of things past. Western View: In advanced civilizakions, monuments are mostly either architecture or scul.pt~lre. This is because painting, due to its less durable charnctcr, has seldom, seemed so suitable a medium for preserving a memory into fndeffnite future. It is true that emlnent people are still painted for posterity desyf te the cliall enp of photography. More attention, however, is pald to such type of art that could be imposinc enough as wel.1. as havlng the abil-ity to ' resist change' . This is why Herbert Red believes that the unity ve call monument is an ambiguous word that may sometimes mean architecture and oihor times s~ulp~e.~In otherwords the union between sculpture and archltecture takes us back to an object we can call a monument, Art Criticlm Definition: , In art criticFsm the .term 'monumentalt is often applied to a work of ark .that is usually though not necessartly, l,vge in size, elevated in idea; gives an impression of grandeur of f om, nobili t-y or simpl.lcl.l;y of conception, enduring significance or architectural quality. Some of the works of architecture with mon~uncntalpurpose from the past incl-ude the Pantheon, the Triumphal. Arch, The Obelisk, The Cenotaph, !?he war memorial and. the pyrCmid.s. Sculpture, partlcul.arly stone, apart from architecture, is capable of creat2.n~a sen:;@ of triumph of art over time more emphatical1.y thm other ark forms. Sculpture has a physical. presense which three dimensional. imqe natural1.y exerts with the characters of permanence. The type of material used also has a way of putting more glory hto the work. b 5 Man could almost convince 115?1scl.f -l-haata monumental sculpture in solid gold would last forever. Size of sculpture hclps to gl.orify as well. as preserve memory, idea, or event. It is true that a If fe-size sculpture made of weather-resistln~ material could be used to celebrate a person, an evcii-1; or m idea; but the ultlrnate In monumental sculpture is to turn a mountain into a sculpture.
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