Igbo culture () also called Odinala Ndị Igbo are the customs, practices and traditions of the Igbo people of southeastern Nigeria. It consists of ancient practices known as "Omenala" 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, dance forms, attire, food, cuisine and language dialects. Because of their various subgroups, the variety of their culture is heightened further.
Music
The Igbo people have a melodic and symphonic musical style. Instruments include Ọ̀pì, otherwise known as Oja, a wind instrument similar to the flute, igba, and ichaka.
A popular musical form among Igbo people is highlife, which is a fusion of jazz and traditional music and widely popular in West Africa.The modern Igbo highlife is seen in the works of Prince Nico Mbarga, Dr Sir Warrior, Oliver De Coque, Bright Chimezie, Celestine Ukwu, and Chief Osita Osadebe, who are considered to be some of the greatest Igbo highlife musicians of the twentieth century. Other notable Igbo highlife artists include Mike Ejeagha, Paulson Kalu, Ali Chukwuma, and Ozoemena Nwa Nsugbe.
Art
Igbo art is known for various types of masquerades, masks, outfits (symbolizing people), animals, and abstract conceptions. Igbo art is also known for its bronze castings found in the town of Igbo Ukwu from the 9th century.
Mythology
While today many Igbo people are Christian, the traditional ancient Igbo religion is known as Odinani. In the Igbo mythology, which is part of their ancient religion, the supreme God is called Chineke ("the God of creation"); Chineke created the world and everything in it and is associated with all things on Earth. To the ancient Igbo, the cosmos is divided into four complex parts:
OKIKE (Creation) ALUSI (Supernatural Forces or Deities) MMUO (Spirit) UWA (World)
Alusi
Alusi, also known as Arusi or Arushi, are minor deities that are worshiped and served in Igbo mythology. There are a list of many different Alusi that exists within each community and each has its own purpose. When there is no longer need for the deity, it is returned to its source, through the help of a Chief Priest or Dibia, who is aware of the procedure and ensures that its done properly.
Mmuo Mmuo simply means spirit. It is either a good and godly spirit (mmuo oma) or it is an evil spirit (mmuo ojo). For example, the Ogbanje spirit is seen as an evil spirit (mmuo ojo) and anyone possessed by this spirit is given spiritual attention. (Spiritual attention means a way of casting out the evil spirit through deliverance (Christian way) or through African Traditional Religion (i.e. digging out his/her “iyi uwa”. the ATR way)). Ogbanje is an Igbo (Nigeria) term that means a repeater or someone who comes and departs. Ogbanje is not a bad spirit in Igbo Cosmology. It is a word widely used to describe a kid or teenager who is claimed to die and be born repeatedly by the same person.
Yam The yam is the staple crop of the Igbo. There are celebrations such as the New yam festival () which are held Every August of Every year for the harvesting of the yam.
The New Yam festival () is celebrated annually to secure a good harvest of the staple crop. The festival is practiced primarily in Nigeria and other countries in West Africa.
Traditional marriage
Marriages in Igbo community follow a multi-step process before the bride and groom are proclaimed husband and wife in accordance with local law and tradition.
The traditional marriage is known as "Igbankwu Alumdi" in Igbo land, or wine carrying, since it involves the bride serving up a cup of palm wine to her fiancé. Prior to the wedding, the groom must go to the bride's compound with his father before the Igbankwu day to get the bride's father's consent to marry his daughter. If the bride's father is late, in this case, the bride's brother, uncle or male relative fills in for the bride's late father, as applies to the groom. On the second visit, when kola nuts (oji Igbo) are offered, the two fathers must arrange a price for the bride. In most cases, the bride's price is just symbolic, in addition to other requirements like kola nuts, goats, wine, fowl and so on. Normally, it takes more than one evening until the bride price is agreed upon, after which a feast is served to both parents. When the bride price is paid, another evening is set aside for the ceremony.
During the ceremony, the bride's father fills a cup with palm wine and hands it over to the daughter. Accompanied by her bridesmaids, known as umuagbo nwunye, she then searches for the groom among the crowd of wedding guests to offer him the drink. Once the drink is offered, the bride and groom dance to the bride's father. They kneel before him and he will give them his blessings. After that, the couple dances for a while before taking their seats, then refreshment takes place followed by presentation of gifts, at times a speech from the MC, and then closing prayer and departure.
Igbo Architecture
Igbo architecture refers to the architectural styles and building traditions of the Igbo people. The architectural style is closely tied to the Igbo society's culture, beliefs, and social structure. While the architectural style has evolved, traditional Igbo architecture shares some common characteristics such as:
Compound layout- Igbo architectural traditions often revolve around the concept of a compound which is characterized by an enclosed area encompassing multiple family residences, open central courtyards, verandas, and auxiliary structures. These compounds are meticulously planned and sometimes paved with flat stones to foster communal living and facilitate familial engagements. Additionally, certain compounds feature unique elements like Impluvium houses, Gardens, Moats, and water wells demonstrating the diversity within Igbo architectural practices.
Ventilation - Igbo architecture integrates strategic placement of openings in buildings to promote cross-ventilation, aiding in regulating indoor temperatures. Employing expansive openings facilitates air circulation, ensuring occupant comfort. Depending on the area with high temperatures and humidity, evaporation of sweat becomes challenging; however, airflow aids this process, enhancing comfort. Moreover, construction practices involve thick walls, thatched roofs, and raised foundations to mitigate environmental challenges. The thick walls maintain cooler interiors in hot weather and warmth during rainy seasons. Thatched roofs provide insulation from direct sunlight, offering shade and contributing to thermal comfort.
Shrines and Sacred Spaces- Igbo architecture often includes designated spaces in compounds or community areas for ancestral shrines/temples and secret society meeting houses. These spaces are considered sacred and are an essential part of Igbo cultural and religious practices. These sacred structures may vary in design, ranging from simple open-air spaces to more elaborate structures with specific architectural features.
Decorative Elements - Traditional Igbo architecture often incorporates decorative elements, including painted designs on walls such as uli, carved wooden door frames, and intricate patterns on ceilings. These decorations may have symbolic or religious significance.
Traditional attire
Igbo traditional attire varies across regions of Southeastern and south south Nigeria with various cultural significance.
Men
For men, common garments include uwe mwuda or afe ntutu ( robe) or efe elu, a basic shirt paired with underneath wrappers or skirts complemented by the Okpu Ozo (the feathered red cap), or Okpu aji (woolen cap), ofo, mkpara (staff) and Akupe (handfans) for ceremonial or titled occasions while loin clothes or waist wrappers were usually worn as casual wears or basic activities like hunting or farming.
Women
Traditional Igbo women's attire comprises many regional and age-based variants. The typical women's attire consist of a pair of matching wrappers known as eregbor na ntukwasi, efe obi (blouse), and Ịchafụ̀ (head-tie)Onyemaechi, Chukwu Christian (2026). Bia Mụta Igbo (3): Advanced Comprehensive Igbo Language Course. Chukwu Christian Onyemaechi. ISBN 9781105504518.
In ordinary circumstances, the women wear a short wrapper folded around the waist reaching the knee, paired with a blouse (efe obi) or tube top, and a headcloth. Traditional adornments include aka (coral beads), ngala (head beads), and mgbaji (waist beads), often complemented by other ceremonial accessories like the akupe (hand fans) and nza (horsetail whisks).Onyemaechi, Chukwu Christian (2026). Bia Mụta Igbo (3): Advanced Comprehensive Igbo Language Course. Chukwu Christian Onyemaechi. ISBN 9781105504518. Traditional attire and adornment form many parts of Igbo cultural expressions associated with age, status, ceremony, and identity.Glimpses of Igbo Culture and Civilization: Proceedings from a Pan-Igbo National Seminar and Workshop Organised by Renaissance Cultural Heritage Centre. Enugu: Computer Edge Publishers, 2000.Afigbo, A. E. (1987). The Igbo and Their Neighbours: Inter-group Relations in Southeastern Nigeria to 1953. Enugu: University Press.
Matching Double Wrappers (Eregbor na ntukwasi)
The eregbor na ntukwasi is a traditional women's double- wrapper attire unique to Igbo weaving traditions such as Akwete cloth. It consists of a pair of matching wrappers Descriptions of Akwete weaving note that such wrapper sets were engineered during the weaving process to be worn together. It is therefore sold in matching pairs. These wrappers are standardly paired with a blouse called uweobi and the Ichafu headdress. In ordinary circumstances, the women usually wear shorter wrappers folded around the waist wrapper and reaching the knees. This is combined with blouses or tubes and a headcloth. These clothings are also complemented with ngala, mgbaji and aka (beaded accessories) as well uli body arts. In some regions, The Uli body art was also used to decorate both men and women in the form of lines forming patterns and shapes on the body.
Uweobi (Blouse)
To complete the silhouette, the double wrapper set is paired with a Blouse (or uweobi), a traditional fitted blouse. knee-length wrapper styles are usually paired with tubular blouses.
Ichafu (Ichafo)
Ichafu is a head-tie or headdress worn by Igbo women, especially for church services, ceremonies and other social occasions. It forms part of a broader clothing ensemble that may include wrappers, blouses and jewellery. Tying the ichafu can be quite laborious, sometimes requiring assistance to achieve a satisfactory style,Nwigwe, C.; Morgan, T.V. (2013). "The Early Colonial Period and the Twenty-First Century Igbo Fashion: A Comparative Study". IKENGA: International Journal of Institute of African Studies. p. 505. which usually involves folding, twisting and pinning to achieve the desired form. It is typically worn matching the accompanying traditional attire their dialectical variations for Ichafu is Akwaisi, ulari, unari, nsu n'isi, ufu isi, asusu isi, nchafu , Akishi. In the descriptions and analyses of Chimamanda Adichie watching her mother dress in the Igbo fashion of tying eregbor na ntukwasi and Ichafu, the process of tying the Ichafu involved folding, twisting and pinning until it sits on the head like a large flower
Ichafu can take many forms and styles. Depending on the fabric, amount of material and method of tying, it may range from a relatively simple head covering to a high, large, voluminous, layered, folded, pleated, sculptural or otherwise elaborate arrangement. Descriptions of Igbo women's attire document both a “big head tie” known as Ichafu and arrangements in which the headwrap is folded, twisted and pinned into a large flower-like form.Textiles