Igbo Guide for Young Writers
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Okanga Royal Drum: the Dance for the Prestige and Initiates Projecting Igbo Traditional Religion Through Ovala Festival in Aguleri Cosmolgy
Global Journal of Arts, Humanities and Social Sciences Vol.8, No. 3, pp.19-49, March 2020 Published by ECRTD-UK Print ISSN: 2052-6350(Print), Online ISSN: 2052-6369(Online) OKANGA ROYAL DRUM: THE DANCE FOR THE PRESTIGE AND INITIATES PROJECTING IGBO TRADITIONAL RELIGION THROUGH OVALA FESTIVAL IN AGULERI COSMOLGY Madukasi Francis Chuks, PhD ChukwuemekaOdumegwuOjukwu University, Department of Religion & Society. Igbariam Campus, Anambra State, Nigeria. PMB 6059 General Post Office Awka. Anambra State, Nigeria. Phone Number: +2348035157541. Email: [email protected] ABSTRACT: No literature I have found has discussed the Okanga royal drum and its elements of an ensemble. Elaborate designs and complex compositional ritual functions of the traditional drum are much encountered in the ritual dance culture of the Aguleri people of Igbo origin of South-eastern Nigeria. This paper explores a unique type of drum with mystifying ritual dance in Omambala river basin of the Igbo—its compositional features and specialized indigenous style of dancing. Oral tradition has it that the Okanga drum and its style of dance in which it figures originated in Aguleri – “a farming/fishing Igbo community on Omambala River basin of South- Eastern Nigeria” (Nzewi, 2000:25). It was Eze Akwuba Idigo [Ogalagidi 1] who established the Okanga royal band and popularized the Ovala festival in Igbo land equally. Today, due to that syndrome and philosophy of what I can describe as ‘Igbo Enwe Eze’—Igbo does not have a King, many Igbo traditional rulers attend Aguleri Ovala festival to learn how to organize one in their various communities. The ritual festival of Ovala where the Okanga royal drum features most prominently is a commemoration of ancestor festival which symbolizes kingship and acts as a spiritual conduit that binds or compensates the communities that constitutes Eri kingdom through the mediation for the loss of their contact with their ancestral home and with the built/support in religious rituals and cultural security of their extended brotherhood. -
On the Economic Origins of Constraints on Women's Sexuality
On the Economic Origins of Constraints on Women’s Sexuality Anke Becker* November 5, 2018 Abstract This paper studies the economic origins of customs aimed at constraining female sexuality, such as a particularly invasive form of female genital cutting, restrictions on women’s mobility, and norms about female sexual behavior. The analysis tests the anthropological theory that a particular form of pre-industrial economic pro- duction – subsisting on pastoralism – favored the adoption of such customs. Pas- toralism was characterized by heightened paternity uncertainty due to frequent and often extended periods of male absence from the settlement, implying larger payoffs to imposing constraints on women’s sexuality. Using within-country vari- ation across 500,000 women in 34 countries, the paper shows that women from historically more pastoral societies (i) are significantly more likely to have under- gone infibulation, the most invasive form of female genital cutting; (ii) are more restricted in their mobility, and hold more tolerant views towards domestic vio- lence as a sanctioning device for ignoring such constraints; and (iii) adhere to more restrictive norms about virginity and promiscuity. Instrumental variable es- timations that make use of the ecological determinants of pastoralism support a causal interpretation of the results. The paper further shows that the mechanism behind these patterns is indeed male absenteeism, rather than male dominance per se. JEL classification: I15, N30, Z13 Keywords: Infibulation; female sexuality; paternity uncertainty; cultural persistence. *Harvard University, Department of Economics and Department of Human Evolutionary Biology; [email protected]. 1 Introduction Customs, norms, and attitudes regarding the appropriate behavior and role of women in soci- ety vary widely across societies and individuals. -
Ozo Title: an Indigenous Institution in Traditional Religion That Upholds Patriarchy in Igbo Land South-Eastern Nigeria Madukasi Francis Chuks
The International Journal of Social Sciences and Humanities Invention 5(05): 4640-4652, 2018 DOI: 10.18535/ijsshi/v5i5.02 ICV 2015: 45.28 ISSN: 2349-2031 © 2018, THEIJSSHI Research Article Ozo Title: An Indigenous Institution In Traditional Religion That Upholds Patriarchy In Igbo Land South-Eastern Nigeria Madukasi Francis Chuks. Chukwuemeka Odumegwu Ojukwu University, Department of Religion & Society. Igbariam Campus, Anambra State, Nigeria. PMB 6059 General Post Office Awka. Anambra State, Nigeria. ABSTRACT: In Igbo land, the institution of Ozo title has underpinnings of male chauvinism and often used by men to remind those who appear to be very forward of their subordinate place in the society. Among the Igbo people, the Ozo title is an indigenous institution that is regarded as a central aspect of African indigenous religious practice through which they engage questions about the meaning for life. Through an ethnographic study conducted in recent years, I propose to explore the origin of the Ozo title and the symbolic significance of this indigenous sacred institution with specific reference to its religious, cultural, political, ethical and social significance, a method by which the indigenous communities keeps in constant religious communication with their deities and ancestors. However, I propose to not only examine the various ways in which Ozo title as a sacred institution has been used by their initiates to mediate religious beliefs and practices in African religion, but to specifically focus on its members as agents or ambassadors of different communities. Through an evaluation of significant Igbo religious practices involving Ozo title as a sacred institution performed by initiated men only which upholds patriarchy, I wish to suggest that the Ozo title as a sacred institution has two significant and related functions. -
Ethnic Groups in Africa 1 Ethnic Groups in Africa
Ethnic groups in Africa 1 Ethnic groups in Africa Ethnic groups in Africa number in the hundreds, each generally having its own language (or dialect of a language) and culture. Many ethnic groups and nations of Sub-Saharan Africa qualify, although some groups are of a size larger than a tribal society. These mostly originate with the Sahelian kingdoms of the medieval period, such as that of the Igbo of Nigeria, deriving from the Kingdom of Nri (11th century).[1] Overview The following ethnic groups number 10 million people or more: • Arabic, speaking groups: ca. 180 million. See also Ethnic groups of the Middle East • Arab, up to ca. 100 million, see Demographics of the Arab Ethnic groups in Africa in 1996 League • Berber ca. 65 million • Hausa in Nigeria, Niger, Ghana, Chad, Cameroon, Cote d'Ivoire and Sudan (ca. 30 million) • Yoruba in Nigeria and Benin (ca. 30 million) • Oromo in Ethiopia and Kenya (ca. 30 million) • Igbo in Nigeria and Cameroon (ca. 30 million)[2] • Akan in Ghana and Côte d'Ivoire (ca. 20 million) • Amhara in Ethiopia, Sudan, Somalia, Eritrea and Djibouti (ca. 20 million) • Somali in Somalia, Djibouti, Ethiopia and Kenya (ca. 15-17 million) • Ijaw in Nigeria (ca. 14 million) • Kongo in Democratic Republic of the Congo, Angola and Republic of the Congo (ca. 10 million) • Fula in Guinea, Nigeria, Cameroon, Senegal, Mali, Sierra Leone Central African Republic, Burkina Faso, Benin, Niger, Gambia, Guinea Bissau, Ghana, Chad, Sudan, Togo and Côte d'Ivoire (ca. 10 million) • Shona in Zimbabwe and Mozambique (ca. 10 million) • Zulu in South Africa (ca. -
Yoruba Art Music: Fronting the Progenitors ______
African Musicology Online Vol. 8, No. 1, pp. 19-44, 2018 YORUBA ART MUSIC: FRONTING THE PROGENITORS __________________________ Ade Oluwa Okunade1; Onyee Nwankpa2 Department of Music, University of Port Harcourt, Port Harcourt, Nigeria *Corresponding Author Email: [email protected] ABSTRACT The bedrock of music genres in Africa today remains the traditional music. The western formal music education embraced by African schools during and after the scramble for Africa by the northern hemisphere has given ‘colorations’ to music genres both in the classroom and the larger society. Its legacies are found more in popular music. The most interesting thing is that essence of music remains undaunted in the faces of all new formalities in the educational system. Music still lives on stage and not on paper. This paper emerges as a derivative of the Yoruba Art Music (YAM) festival premiered in 2015 at the University of Ibadan, Nigeria. With bibliographical evidences and substantial interaction with a non-Yoruba speaking music scholar this paper sufficed that the YAM festival is worth doing and is capable of solving other attendant issues in music scholarship. Key Words: Yoruba art music, Traditional, Legacies, Music education, Popular music. INTRODUCTION The missionary who came to Nigeria in the 19th century came through the Yoruba land, in the Southwestern Nigeria. This gave early rise to western formal education in the area, of which music education was paramount. The Yoruba Art Music (YAM) festival emerged in 2015 with the concept of having discourse of what constitutes art music followed by stage production of Yoruba musical works. The authors involved non-Yoruba speaking scholars having in mind the conventional traits in African music, and only wanted to bring out the traits that point out identities from one region to another, to take part especially in the discourse. -
Igbos: the Hebrews of West Africa
Igbos: The Hebrews of West Africa by Michelle Lopez Wellansky Submitted to the Board of Humanities School of SUY Purchase in partial fulfillment of the requirements for the degree of Bachelor of Arts Purchase College State University of New York May 2017 Sponsor: Leandro Benmergui Second Reader: Rachel Hallote 1 Igbos: The Hebrews of West Africa Michelle Lopez Wellansky Introduction There are many groups of people around the world who claim to be Jews. Some declare they are descendants of the ancient Israelites; others have performed group conversions. One group that stands out is the Igbo people of Southeastern Nigeria. The Igbo are one of many groups that proclaim to make up the Diasporic Jews from Africa. Historians and ethnographers have looked at the story of the Igbo from different perspectives. The Igbo people are an ethnic tribe from Southern Nigeria. Pronounced “Ee- bo” (the “g” is silent), they are the third largest tribe in Nigeria, behind the Hausa and the Yoruba. The country, formally known as the Federal Republic of Nigeria, is in West Africa on the Atlantic Coast and is bordered by Chad, Cameroon, Benin, and Niger. The Igbo make up about 18% of the Nigerian population. They speak the Igbo language, which is part of the Niger-Congo language family. The majority of the Igbo today are practicing Christians. Though they identify as Christian, many consider themselves to be “cultural” or “ethnic” Jews. Additionally, there are more than two million Igbos who practice Judaism while also reading the New Testament. In The Black -
Wajiar Vol.21 No.2 March 31, 2020
West African Journal of Industrial and Academic Research vol.20 No2. March 2020 1 West African Journal of Industrial & academic research Vol. 21 No. 2. March 2020 West African Journal of Industrial & Academic Research Editor-in-Chief: Prof. Oliver E. Osuagwu, DSc CS, PhD IT, FNCS, FBCS CITP, MIEEE, MACM Editorial Board: Prof Tony B.E. Ogiemien, PhD, BL, (USA), Engr. Prof E. Anyanwu, Ph.D, FNSE, Prof. G. Nworuh, PhD,, Dr. B. C. Ashiegbu, PhD ,Prof .E. Emenyionu, PhD, (Connecticut USA,) , Prof. E.P. Akpan, Ph.D, Engr. Prof. C.D. Okereke, Ph.D, Prof. B.E.B. Nwoko, Ph.D, Prof. N..N. Onu, PhD, Prof M.O. Iwuala, PhD, Prof C.E.Akujo, PhD, Prof. G. Okoroafor, PhD, Prof Leah Ojinna, Ph.D (USA), Prof. O. Ibidapo-Obe, PhD, FAS., Prof. E. Adagunodo, PhD, Prof. J.C .Ododo, PhD, Dan C. Amadi, PhD (English), Prof.(Mrs) S.C. Chiemeke, PhD,FNCS, Prof (Mrs) G. Chukwudebe,PhD, FNSE, Prof. E.N.C. Okafor, PhD, (Mrs) I. Achumba, PhD, T. Obiringa, PhD, Prof S. Inyama, PhD, Prof. C. Akiyoku, PhD, FNCS, Prof. E. Nwachukwu, Ph.D, FNCS, Prof. S. Anigbogu, PhD,FNCS, Prof. H. Inyama, PhD, FNSE, Prof J..N. Ogbulie, PhD, Prof. M..M. Ibrahim, PhD, Prince Oghenekaro Asagba, PhD câuÄ|á{xw uç Olliverson Industrial Publishing House The Research & Publications Division of Hi-Technology Concepts (WA) Ltd YÉÜ g{x International Institute for Science, Technology Research & Development, Owerri, Nigeria & USA All rights of publication and translation reserved. Permission for the reproduction of text and illustration should be directed to the Editor-in-Chief @ OIPH, 9-14 Mbonu Ojike Street, Ikenegbu, Owerri, Nigeria or via our email address or the international office for those outside Nigeria ‘ © International Institute for Science, Technology Research & Development, [IISTRD] Owerri, Nigeria/USA West African Journal of Industrial and Academic Research vol.20 No2. -
Dictionary of Ò,Nì,Chà Igbo
Dictionary of Ònìchà Igbo 2nd edition of the Igbo dictionary, Kay Williamson, Ethiope Press, 1972. Kay Williamson (†) This version prepared and edited by Roger Blench Roger Blench Mallam Dendo 8, Guest Road Cambridge CB1 2AL United Kingdom Voice/ Fax. 0044-(0)1223-560687 Mobile worldwide (00-44)-(0)7967-696804 E-mail [email protected] http://www.rogerblench.info/RBOP.htm To whom all correspondence should be addressed. This printout: November 16, 2006 TABLE OF CONTENTS Abbreviations: ................................................................................................................................................. 2 Editor’s Preface............................................................................................................................................... 1 Editor’s note: The Echeruo (1997) and Igwe (1999) Igbo dictionaries ...................................................... 2 INTRODUCTION........................................................................................................................................... 4 1. Earlier lexicographical work on Igbo........................................................................................................ 4 2. The development of the present work ....................................................................................................... 6 3. Onitsha Igbo ................................................................................................................................................ 9 4. Alphabetization and arrangement.......................................................................................................... -
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. -
My Quest for an Internet
1 T h e L ast Speaker of Igbo Has Died! © PHILIP EMEAGWALI My Quest for an Internet In the 11th installment of our weekly series at emeagwali.com, we walk down memory lane to March 26, 1974. The scenario: Philip Chukwurah Emeagwali “discovers” that black Americans no longer speak their native African languages. The First Africans in America Transcribed and edited from a lecture delivered by Philip Chukwurah Emeagwali. The unedited video is posted at emeagwali.com. I did not know that the first Africans arrived in Jamestown, Virginia, in 1614. I thought Nnamdi Azikiwe, my hometown hero, was one of the first (Zik nwa jelu obodo oyibo). He was in Storer College, Virginia, in the 1920s, 50 years before my arrival in the United States. Three hundred and sixty years (360) earlier, Africans arrived in the United States, via Portugal. Africans arrived in Portugal, as slaves, 170 years before their arrival in the United States. Lagos is a Portuguese word. Madam Tinubu (of Tinubu Square, Lagos) was a wealthy 19th century slave-trader. Pidgin-English was invented to trade with Portuguese. My first awareness of black America came in 1968 from reading the classic “Up From Slavery “ by Booker T. Washington. I read it as a 13-year-old refugee living in a refugee camp located at Saint Joseph’s Primary School, Awka-Etiti, Biafra. So for a period, I carried the image of Africans in the United States, who could still speak some African languages, two centuries after they were liberated from slavery. http://emeagwali.com ™ [email protected] 2 T h e L ast Speaker of Igbo Has Died! © PHILIP EMEAGWALI As I remember, the first time I saw black Americans in everyday context was in 1972 in Jet magazine in Ibuzor. -
Harnischfeger Igbo Nationalism & Biafra Long Paper
Igbo Nationalism and Biafra Johannes Harnischfeger, Frankfurt Content 0. Foreword .................................................................... 3 1. Introduction 1.1 The War and its Legacy ....................................... 8 1.2 Trapped in Nigeria.............................................. 13 1.2 Nationalism, Religion, and Global Identities....... 17 2. Patterns of Ethnic and Regional Conflicts 2.1 Early Nationalism ............................................... 23 2.2 The Road to Secession ...................................... 31 3. The Defeat of Biafra 3.1 Left Alone ........................................................... 38 3.2 After the War ...................................................... 44 4. Global Identities and Religion 4.1 9/11 in Nigeria .................................................... 52 4.2 Christian Solidarity ............................................. 59 5. Nationalist Organisations 5.1 Igbo Presidency or Secession............................ 64 2 5.2 Internal Divisions ................................................ 70 6. Defining Igboness 6.1 Reaching for the Stars........................................ 74 6.2 Secular and Religious Nationalism..................... 81 7. A Secular, Afrocentric Vision 7.1 A Community of Suffering .................................. 86 7.2 Roots .................................................................. 91 7.3 Modernism.......................................................... 97 8. The Covenant with God 8.1 In Exile............................................................. -
MOBILE INTERNET and the RISE of DIGITAL ACTIVISM AMONG UNIVERSITY STUDENTS in NIGERIA Thesis Submitted for the Degree of Doct
MOBILE INTERNET AND THE RISE OF DIGITAL ACTIVISM AMONG UNIVERSITY STUDENTS IN NIGERIA Thesis Submitted for the degree of Doctor of Philosophy at the University of Canberra by Temple Uwalaka News and Media Research Centre Faculty of Arts and Design October, 2017 ABSTRACT ___________________________________________________________________________ Digital activism literature has proposed several ways in which social media impacts collective actions. These include providing news and information not available on traditional platforms, assisting in the coordination of protests, helping users to join political causes, creating opportunities for protestors to interact with one another, spreading enthusiasm and facilitating emotional contagion (Bennett & Segerberg, 2011, 2014; Chadwick & Howard, 2010; de- Zúñiga, Jung, & Valenzuela, 2012; Gerbaudo, 2012, 2016; Halupka, 2014, 2016; Reedy & Wells, 2010). However many of these previous works (a) do not focus upon mobile social networking applications, and (b) are located within either legacy democracies or authoritarian regimes. In order to bridge this research gap, this study focuses upon the use of mobile social networking applications to support digital activism within the nascent democracy of Nigeria, a country that has only recently returned from military dictatorship. Specifically, this study investigates the impact of mobile internet on the rise of digital activism among Nigerian university students from two universities in Nigeria during the 2012 Occupy Nigeria protest against the removal of petroleum subsidies by the Federal Government of Nigeria. The movement lasted for one month and took place in all the major cities in Nigeria. A mixed-methods approach was adopted featuring two principal methods: (a) a cross- sectional quantitative survey of media platforms used by protestors (n=440); and (b) semi- structured qualitative interviews on protestors’ experiences before, during and after Occupy Nigeria (n=19).