Igbo Architecture are architectural styles developed by the Igbo people. Igbo architecture particularly in the pre-colonial era, was deeply rooted in the culture, environment, and available local resources. While there might be variations based on different communities and regions within the Igbo territory, here are some detailed characteristics of traditional or pre-colonial Igbo architecture. [1]
A traditional Igbo Architecture consists of Compounds, Wall/fence and Moats, Thatched Buildings, Verandas, Courtyards, Decorative motifs etc.
Traditional Igbo architecture is distinctive by several usual attributes and principled designs which is reflective of the cultural, environmental, and practical needs of the Igbo people. As a result, there are various Igbo architectural styles ranging from the architectural styles of the Western Igbo speakers to the northern Igbo architectural style, etc.
Igbo compound spatial organizations are organized in ways that reflect the cultural, social, and architectural traditions of the Igbo people. The compounds are often arranged in a way that allows for communal living which fosters family bonds and support. It also comprises sections of housing units or quarters reserved for members of the family i.e. a wife or wives, In-laws, and other members of the extended family. [2] Spatial organization in Igbo compounds varies since its arrangements are dictated by the social status and professions of the owner. Wealthy compound owners often marry multiple wives with multiple children evidenced by how many quarters are in a compound. [1] Another way spatial organization in Igbo compound varies is by the material items for building homes within the compound which cannot always be found in every region. Several identifiers of Igbo compounds include gardens (some with water features like ponds), barns, central courtyards, religious alters or shrine. Compounds in Igbo communities are also one of the ways in which Igbo ethnic subgroups and clans form. [1]
The aggregation of these compounds constitutes family groups known as kindred or umunna (meaning “the children of our father, the progenitor of that lineage, family group, or kindred”). Multiple umunnas form the village or quarter. The quarters aggregate to form the town, clan, or village group.
In traditional Igbo architecture, the entrance to a compound holds a cultural and symbolic significance. The design of the entrance was often carefully considered to reflect the status of the family or community residing within the compound.
While there can be variations based on specific regions and communities, here are some general characteristics of Igbo compound entrances: [3]
The usage of fences (aja ǹgwùlù) in Igbo architecture is often for security fortification and demarcative reasons. [6] [7] Some fences in Igbo architecture include living fences that are made of plants or hedges these plants provide shade and even shelter from the sun. [7] [6] This can be very important in the hot and humid climate which encompasses most of the region. These living fences can also be economical since they can be made of certain plants that can yield crops or items that can be sold. Fences in Igbo architecture vary but can also include moats, ditches/trenches (Olulu) with walls sometimes attached to defensive towers known as Obuna Enu. [8] [9]
Each master of a family has a large square piece of ground, surrounded with a moat or fence, or enclosed with a wall made of red earth tempered; which, when dry, is as hard as brick.
Walls surrounding Igbo compounds are typically made of mud, clay, bamboo, palm fronds, and sometimes stones. [6] These walls provide security and privacy for the residents these walls also provide controlled access to the properties of the compound. Decorative motifs such as carvings and the usage of uli may be incorporated into the walls. [11]
Thatch is utilized in Igbo architecture and it is the main traditional roofing method. Materials used in thatching include grass, palm leaves, or reeds, which are layered and woven onto the roof frame to create the thatched roof. [1] [ citation needed ] The thatching is done in a way that allows for proper drainage and ventilation. [1] Thatching requires skills and the know-how to ensure that the roof is water-resistant and can withstand the elements. [1] Thatchers may use a variety of techniques, including bundling, weaving, and tying the thatching materials in place. [12] Thatching is a common feature in traditional Igbo architecture it is utilized on fences, gateways, and buildings.
Thatched buildings in Igbo architecture are designed with materials that are common within the region such as
The Nsude pyramid shrines are pyramidal shrines located in Nsude, a village in southeastern Nigeria.
These are structures that were constructed by the Igbo and are made of earth and clay. The anthropologist and colonial administrator G.I. Jones took photos of the pyramids when he saw them in 1935. Over time, the Nsude Pyramids experienced erosion and degradation due to their earthen construction and exposure to the elements. Today, only remnants remain.
Ten pyramidal structures were built of clay/mud. The first base section was 60 ft (18 m) in circumference and 3 ft (0.91 m) in height. The next stack was 45 ft (14 m) [16] in circumference. [17]
Originally, there were 10 pyramids in total, arranged in a circular pattern with a central open space. The largest pyramid was located at the center, surrounded by smaller ones. The arrangement of the pyramids is thought to have had symbolic and ritualistic significance.[ citation needed ]
Mbari is a visual art form practiced by the Igbo people in southeast Nigeria consisting of a sacred two-story house constructed as a propitiatory rite. [18] Mbari houses of the Owerri-Igbo, which are large opened-sided square planned shelters contain many life-sized, painted figures (sculpted in mud to appease the Alusi (deity) and Ala, the earth goddess, with other deities of thunder and water). [19] Mbari houses are made as a gift to Ala, as a way to acknowledge Ala's charitable and overarching presence. Some Mbari houses are dedicated strictly and solely to Ala. Sometimes, however, other gods are represented along with Ala in the structure. [20] Other sculptures which could be included are of officials, craftsmen, foreigners (mainly Europeans), animals, legendary creatures and ancestors. [19] Mbari houses take years to build and building them is regarded as sacred. Along with being representations of abundance and harmony, they are most usually created during times of peace and stability. [21] A ceremony is performed within the structure for a gathering of town leaders. After the ritual is complete, going in or even looking at the Mbari house is considered taboo. Mbari are public shrine galleries where complex characters of Igbo mythology, folklore, and society are fleshed out in termite earth.
Odinani, also known as Odinala, Omenala, Odinana, and Omenana, is the traditional cultural belief and practice of the Igbo people of south east Nigeria. These terms, as used here in the Igbo language, are synonymous with the traditional Igbo "religious system" which was not considered separate from the social norms of ancient or traditional Igbo societies. Theocratic in nature, spirituality played a huge role in their everyday lives. Although it has largely been synchronized with Catholicism, the indigenous belief system remains in strong effect among the rural, village and diaspora populations of the Igbo. Odinani can be found in Haitian Voodoo, Obeah, Santeria and even Candomblé. Odinani is a pantheistic and polytheistic faith, having a strong central deity at its head. All things spring from this deity. Although a pantheon of other gods and spirits, these being Ala, Amadiọha, Anyanwụ, Ekwensu, Ikenga, exists in the belief system, as it does in many other Traditional African religions, the lesser deities prevalent in Odinani serve as helpers or elements of Chukwu, the central deity.
The Igbo people are an ethnic group in Nigeria. They are primarily found in Abia, Anambra, Ebonyi, Enugu, and Imo States. A sizable Igbo population is also found in Delta and Rivers States. Ethnic Igbo populations are found in Cameroon, Gabon, and Equatorial Guinea, as migrants as well as outside Africa. There has been much speculation about the origins of the Igbo people, which are largely unknown. Geographically, the Igbo homeland is divided into two unequal sections by the Niger River—an eastern and a western section. The Igbo people are one of the largest ethnic groups in Africa.
Ala is the female Alusi (deity) of the earth, morality, fertility, and creativity in Odinani. In Odinani, Ala rules over the underworld and holds the deceased ancestors in her womb. Her name literally translates to "ground" in the Igbo language, denoting her powers over the earth and her status as the ground itself. Ala is considered the highest Alusi in the Igbo pantheon. Ala's husband is Amadioha, the sky deity.
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Igbo art is any piece of visual art originating from the Igbo people. The Igbo produce a wide variety of art including traditional figures, masks, artifacts and textiles, plus works in metals such as bronze. Artworks from the Igbo have been found from as early as 9th century with the bronze artifacts found at Igbo Ukwu. With processes of colonialism and the opening of Nigeria to Western influences, the vocabulary of fine art and art history came to interact with established traditions. Therefore, the term can also refer to contemporary works of art produced in response to global demands and interactions.
Igbo culture are the customs, practices and traditions of the Igbo people of southeastern Nigeria. It consists of ancient practices as well as new concepts added into the Igbo culture either by cultural evolution or by outside influence. These customs and traditions include the Igbo people's visual art, music and dance forms, as well as their attire, cuisine and language dialects. Because of their various subgroups, the variety of their culture is heightened further.
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Mbari is a visual art form practiced by the Igbo people in southeast Nigeria consisting of a sacred two- story house constructed as a propitiatory rite. Mbari houses of the Owerri-Igbo, which are large opened-sided square planned shelters contain many life-sized, painted figures. Mbari houses are made as a gift to Ala, as a way to acknowledge Ala's charitable and overarching presence. Some Mbari houses are dedicated strictly and solely to Ala. Sometimes, however, other gods are represented along with Ala in the structure. Other sculptures which could be included are of officials, craftsmen, foreigners, animals, legendary creatures and ancestors. Mbari houses take years to build and building them is regarded as sacred. Along with being representations of abundances and harmony, they are most usually created during times of peace and stability. A ceremony is performed within the structure for a gathering of town leaders. After the ritual is complete, going in or even looking at the Mbari house is considered taboo. Mbari are public shrine galleries where complex characters of Igbo mythology, folklore, and society are fleshed out in termite earth.
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