Ụ́kpụ́rụ́

Vintage and retro images from the lower Niger Delta.
I do not own any of these images. Removal on request.
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14

EKE’S HOUSE, WITH HIS MEETING HOUSE (BARELY VISIBLE ON LEFT) IN THE TOWN OF UMUONA, AWKA DIVISION. THESE HOUSES AND THE COMPOUND WALLS ARE ERECTED BY MEMBERS OF THE COMMUNITY UNDER THE DIRECTION OF EKE’S PRIEST.

Herbert M. Cole, Art as a Verb in Igboland, 1969.

EKE’S HOUSE, WITH HIS MEETING HOUSE (BARELY VISIBLE ON LEFT) IN THE TOWN OF UMUONA, AWKA DIVISION. THESE HOUSES AND THE COMPOUND WALLS ARE ERECTED BY MEMBERS OF THE COMMUNITY UNDER THE DIRECTION OF EKE’S PRIEST.

Herbert M. Cole, Art as a Verb in Igboland, 1969.

Tagged: #Igbo #Nigeria

drapetomaniakkk:

a—fri—ca:

Young dancing girl from I[g]bo Land - Eastern Nigeria, 1964

(delcampe.net)

37
Masquerades in the Niger Delta [Ijo people?], Edward Chadwick, early 20th century.

Masquerades in the Niger Delta [Ijo people?], Edward Chadwick, early 20th century.

8
Fisherman at Brass, Niger Delta [in what is now Bayelsa State, Nigeria], Edward Chadwick, early 20th century.

Fisherman at Brass, Niger Delta [in what is now Bayelsa State, Nigeria], Edward Chadwick, early 20th century.

9
Ancestral and spiritual figures in Western Igbo region [Ogwashi Ukwu?], Edward Chadwick, early 20th century.

Ancestral and spiritual figures in Western Igbo region [Ogwashi Ukwu?], Edward Chadwick, early 20th century.

10
Inside an Igbo house, Edward Chadwick, early 20th century.

Inside an Igbo house, Edward Chadwick, early 20th century.

168

On another note:

This is a Nigerian film/series about a masculine sexually ambiguous woman hunter that was raised as a boy by her father, in this 2014 Nigeria, which is not surprising at all.

My favourite [para]quotes from the series are:

"That girl is a l-, l-, l-… local girl"

"If I’m not the man, then are you the man?" She: "Ehen, you never knew?"

"Grandmothers prophecy came to pass, your father was always asking the gods for a son and he got one in the disguise of a woman"

And when she talks about not wanting to be married. The film is actually set up to sympathise with her and her struggles against various men that harass her and her ailing father. She is the hero of the film. She breaks many taboos, but she eventually wins the admiration of her cousins and the film doesn’t head towards changing her into a ‘good woman’, well, as a far as I watched. The only thing I don’t like, apart from the melodrama and quality, is the exaggerated ‘ritualist’ backstory and subsequent scenes, and it’s in English.

It’s quite interesting to see how traditional (Igbo) Nigerian society is completely removed in the minds of Nigerians from whatever is currently going on now. Nnya, this is a good fim doe.

27

Rumuji Owu Play with the character of Utobuo (hippo). A close up view of the masquerader. The mask consists of a carved wooden basin shape with scalloped carving around the sides and painted with designs; at each corner is a carved pieces of wood with mirrors. In the centre of the head piece are two carved white faces with black paint to accentuate the facial features, and a large square mirror placed above the larger head. The costume consists of a a cloth sack with white borders, around the ankles are seed anklets. In the background are raffia fronds and spectators.

G. I. Jones, 1930s.

Rumuji Owu Play with the character of Utobuo (hippo). A close up view of the masquerader. The mask consists of a carved wooden basin shape with scalloped carving around the sides and painted with designs; at each corner is a carved pieces of wood with mirrors. In the centre of the head piece are two carved white faces with black paint to accentuate the facial features, and a large square mirror placed above the larger head. The costume consists of a a cloth sack with white borders, around the ankles are seed anklets. In the background are raffia fronds and spectators.

G. I. Jones, 1930s.

Tagged: #Igbo

16

A wood carver carving a mask for the Rumuji Owu play. The carver is sitting on stool and is carving a horizontal shaped mask which appears to have the face of a fish with incised teeth, a round eye, fins and other pieces of carved wooden projections attached; some are pointed, rounded, coiled etc. The headpiece is resting on a wooden plinth. In the foreground is a collection of metal tools used in carving the mask. The photograph is taken inside.

G. I. Jones, 1930s.

A wood carver carving a mask for the Rumuji Owu play. The carver is sitting on stool and is carving a horizontal shaped mask which appears to have the face of a fish with incised teeth, a round eye, fins and other pieces of carved wooden projections attached; some are pointed, rounded, coiled etc. The headpiece is resting on a wooden plinth. In the foreground is a collection of metal tools used in carving the mask. The photograph is taken inside.

G. I. Jones, 1930s.

Tagged: #Igbo

12

A documentation photograph of a mask from an [Igbo] Ogbukere play. The mask is wooden and represents a fish? or animal form. The head of the mask depicts eyes, a bordered neck in a chain link pattern,and is carved with many geometric patterns of curved designs and peg like protrusions. The mask is painted in different colours. The mask has a square bottom resting on two legs. There are holes at the back of the mask which were used for attaching cloth.

G. I. Jones, 1930s

A documentation photograph of a mask from an [Igbo] Ogbukere play. The mask is wooden and represents a fish? or animal form. The head of the mask depicts eyes, a bordered neck in a chain link pattern,and is carved with many geometric patterns of curved designs and peg like protrusions. The mask is painted in different colours. The mask has a square bottom resting on two legs. There are holes at the back of the mask which were used for attaching cloth.

G. I. Jones, 1930s

12
Igbo feather box, ọ́kwạ́ ùgó for storing fish-eagle feathers, also for parrots’ feathers. Chalk is applied to the outside the preserve the contents. British Museum.

Igbo feather box, ọ́kwạ́ ùgó for storing fish-eagle feathers, also for parrots’ feathers. Chalk is applied to the outside the preserve the contents. British Museum.

Tagged: #Igbo

63

[Igbo] Onyema Agadia, a boy’s mask on a masquerader.

G. I. Jones. 1930s.

[Igbo] Onyema Agadia, a boy’s mask on a masquerader.

G. I. Jones. 1930s.

Tagged: #Igbo

67

Two Igbo names written in nsibidi. The left (three characters) reads “Onuaha” [Onuoha?], the right (circles with crosses) reads “Okereuki” [Okereke?], both recorded by J. K. McGregor before 1909.

835
Masqueraders from eastern Igboland, Nigeria, taken in the 1930s by G. I. Jones.

Masqueraders from eastern Igboland, Nigeria, taken in the 1930s by G. I. Jones.

Tagged: #Igbo #Nigeria

32

[Igbo] Rumuji Owu play with the character of Ajibodo who is kneeling in the centre of the arena. The masquerader is wearing a wooden face mask that is painted white with dots and with a feather sticking out at the top. The character is covered in long fibrous raffia. In the background are the attendants identified by their plaid waist wrappers and spectators.

G. I. Jones, 1930s.

[Igbo] Rumuji Owu play with the character of Ajibodo who is kneeling in the centre of the arena. The masquerader is wearing a wooden face mask that is painted white with dots and with a feather sticking out at the top. The character is covered in long fibrous raffia. In the background are the attendants identified by their plaid waist wrappers and spectators.

G. I. Jones, 1930s.

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