Acknowledgement 11 Forward 13 General Introduction 15 1 African Traditional Beliefs and Experiences 24 1.1
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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 -
Saharan Africa: the Igbo Paradigm
Journal of International Education and Leadership Volume 5 Issue 1 Spring 2015 http://www.jielusa.org/ ISSN: 2161-7252 The Re-Birth of African Moral Traditions as Key to the Development of Sub- Saharan Africa: The Igbo Paradigm Chika J. B. Gabriel Okpalike Nnamdi Azikiwe University This work is set against the backdrop of the Sub-Saharan African environment observed to be morally degenerative. It judges that the level of decadence in the continent that could even amount to depravity could be blamed upon the disconnect between the present-day African and a moral tradition that has been swept under the carpet through history; this tradition being grounded upon a world view. World-view lies at the basis of the interpretation and operation of the world. It is the foundation of culture, religion, philosophy, morality and so forth; an attempt of humans to impose an order in which the human society works.1 Most times when the African world-view is discussed, the Africa often thought of and represented is the Africa as before in which it is very likely to see religion and community feature as two basic characters of Africa from which morality can be sifted. In his popular work Things Fall Apart, Chinua Achebe had above all things shown that this old Africa has been replaced by a new breed and things cannot be the same again. In the first instance, the former African communalism in which the community was the primary beneficiary of individual wealth has been wrestled down by capitalism in which the individual is defined by the extent in which he accumulates surplus value. -
L'aula D'idioma Com a Mitjà D'integració I D'enriquiment
L’AULA D’IDIOMA COM A MITJÀ D’INTEGRACIÓ I D’ENRIQUIMENT MULTICULCULTURAL José Luis Bartolomé Sánchez Curs 2004-2005 Centre de treball: IES Montsacopa (Olot, Garrotxa) Especialitat: Llengua anglesa Supervisió: Neus Serra (Servei Inspecció Delegació Territorial d’Educació de Girona) Llicència d’estudis retribuïda concedida pel Departament d’Educació de la Generalitat, Resolució del 16 de juliol de 2004 (DOGC núm. 4182 de 26.7. 2004) “The White Man Drew a Small Circle” The white man drew a small circle in the sand and told the red man, 'This is what the Indian knows,' and drawing a big circle around the small one, 'This is what the white man knows.' The Indian took the stick and swept an immense ring around both circles: 'This is where the white man and the red man know nothing.' Carl Sandburg « L'home blanc va dibuixar un cercle petit » L'home blanc va dibuixar un cerce petit a la sorra i va dir al pell roja: "Això és els que coneixeu els indis" i tot seguit va dibuixar un cercle gran al voltant del petit: "Això és el que coneixem els homes blancs." L'indi va agafar el pal i va escombrar un enorme cercle al voltant dels altres dos: "Això és on ni l'home blanc ni el pell roja no coneixen gens". 2 3 4 5 Índex Pàgina Introducció 7 Greencards for Cultural Integration 11 Readers 113 - Around the world in ten Tintin books 118 - Australia 129 - America 139 - Far and Middle East 155 - Africa 177 - Far East. China & India 217 Pop Songs 249 Movies 357 Conclusions 428 Bibliografia 433 6 INTRODUCCIÓ 7 L'experiència personal dels darrers anys com a docent d'institut en un municipi amb un augment espectacular de l'arribada de famílies i alumnes d'altres països m'ha fet veure que l'entrebanc principal de contacte amb aquestes persones -l'idioma- resulta de vegades paradoxal. -
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. -
Z Em a N Ek-Mü N Ster
Zemanek-Münster www.tribal-art-auktion.de Tribal Art Auktion 80 27. Juni 2015 Würzburg Zemanek-Münster Auktion 80 Tribal ArtTribal 27 Juni 2015 Würzburg Zemanek-Münster 80.Tribal Art (190. Auktion) Zemanek-Münster Würzburg Samstag, 27. Juni 2015 – 2 – Ansprechpartner / Contact Vorbesichtigung Preview 24. bis 26. Juni 2015 – 10:00 bis 19:00 Uhr 24th to 26th June 2015 – 10:00 am to 7:00 pm 27. Juni 2015 – 9:00 bis 13:30 Uhr 27th June 2015 – 9:00 am to 1:30 pm Karin Zemanek-Münster Ernst Zemanek David Zemanek Auktion Auction Geschäftsführung Geschäftsführung Master Ethnologie Auktionatorin Auktionator Afrika / Ozeanien Würzburg, Auktionshaus Würzburg, auction house Auktionator Samstag, 27. Juni 2015 – 14:00 Uhr Saturday, 27th June 2015 – 2:00 pm Hinweis nächste Auktion Be advised next auction Unsere 81. Tribal Art Auktion findet statt Our 81st Tribal Art Auction will take place am 31. Oktober 2015. on the 31st of October 2015 Howard Nowes Bren Heymans Petra Felder Master History of Art Repräsentant Belgien/ M.A. Kunstgeschichte Kunstauktionshaus Zemanek-Münster Präkolumbien / Antiken Niederlande Redaktion / Marketing 97070 Würzburg Berater für Ethnographie Hörleingasse 3 - 5 / Schildhof 2 Tel. +49 9 31 1 77 21 Fax. +49 9 31 1 77 36 [email protected] www.tribal-art-auktion.de Inhaber / Owner Karin Zemanek-Münster e.K. Öffentlich bestellte und vereidigte Kunstauktionatorin Sabine Reis Eva Rübig Nadine Waldmann Repräsentanten / Representatives M.A.Kunstgeschichte Marketing M.A. Kunstgeschichte Katalogbearbeitung Katalogbearbeitung Katalogbearbeitung Belgien & Niederlande Tel. 0032 (0)475 965 220 USA Zemanek-Münster c/o Ancient Art – Art of Eternity 303 East 81st Street, New York City, NY 10028 Impressum Bankverbindung Redaktion / Editor: Petra Felder M.A. -
Global Journal of Applied, Management and Social Sciences (GOJAMSS); Vol.13 December 2016; P.95 – 103 (ISSN: 2276 – 9013)
Global Journal of Applied, Management and Social Sciences (GOJAMSS); Vol.13 December 2016; P.95 – 103 (ISSN: 2276 – 9013) DEMARGINALIZING INDIGENOUS AFRICAN DEITIES IN AN AGE OF TERROR ABBA A ABBA (PhD) Head of Department of English and Literary Studies, Edwin Clark University, Kiagbodo, Delta State, Nigeria [email protected]; +234 803 675 8759 & CHIBUZO ONUNKWO (PhD) Department of English and Literary Studies University of Nigeria, Nsukka [email protected] Abstract The demonization and consequent marginalization of African indigenous religious practices by the colonial West has indeed led to the erosion of African values. Despite the terrors orchestrated by alien religions across the globe in general and Africa in particular, only a few scholars have called for the demarginalization of indigenous African spirituality as a means of rebuilding the man and his world. For instance, Soyinka, one of Africa’s foremost literary scholars has contended that African spirituality has been marginalized by the aggressive, often bloody intrusion of Christianity and Islam on African soil. And for him, African spirituality provides sources of spiritual strength to its people and acts as rallying point in their struggle for liberation and human dignity. In its attempt to further this line of thought, this paper argues that African indigenous deities have been misrepresented, demonized and pushed outside the margins of the continent’s discourse of spirituality by the practitioners of alien religions who at the momentseek to bring the world to a state of nothingness. Focusing on some selected Igbo deities, the paper interrogates some disgruntled mistranslations that demonize heroic indigenous deities in order to establish instances of the epistemological damages which the colonizer has done to the colonized. -
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. -
The Typology of Spirits in Igbo-African Ontology: a Discourse in Existential Metaphysics
IDEA – Studia nad strukturą i rozwojem pojęć filozoficznych XXIX/2 Białystok 2017 Nelson Udoka Ukwamedua, Moris K. O. Edogiaweri (Abuja, Okada, Nigeria) THE TYPOLOGY OF SPIRITS IN IGBO-AFRICAN ONTOLOGY: A DISCOURSE IN EXISTENTIAL METAPHYSICS Introduction Gleaning from tradition, history, experience and research, it is bare-faced that the African ontology is incomplete without the transcendental and meta- physical domain. As a matter of fact what differentiates the African ontology from others is the seeming inevitable alliance between the physical and the su- per-physical realm. A typical explanation and illustration of this submission is blatant in Edeh’s work Towards an Igbo Metaphysics (1985) where he outlined the three broad categories of beings with sub-categories. The first category is: Spirit and Forces. The subs in descending order are (i) the Supreme Deity (Chukwu/Chineke (ii) Powerful Spirit (Agbara) (ii) Ancestral Spirit (Ndichie) (iv) Spirit of the dead, (v) human Spirit, (vi) Spirit associated with the persona- lity of all things, (vii) forces which may be phenomena, or related to certain human endeavours, (viii) forces which are immanent in natural objects, (ix) Evil spirit- devil (akalaogoli, ogbanje). In the second category: Human being (Madu) in descending order (i) Priests (Ndiezemmuo) (ii) Diviners (DibiaAfa), (iii) Medicine men (NdidibiaOgwu), (iv) Elders (NdiOkenye) (v) Wealthy/titled men (NdiOgaranya/NdiNzenaozo), (vi) Ordinary men (Ndiefu) (vii) Women and children, (viii) the unborn. In the last category are: (i) Animals (including birds and insects), (ii) Plants, (iii) inanimate objects and elements. Interestingly Nelson Udoka Ukwamedua, Moris K. O. Edogiaweri 318 and most importantly for this research, each of these beings is permeated by spi- rits and forces. -
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 .............................................................................