Mathias Chukwudi Isiani, Stanley Jachike Onyemechalu, Somtochukwu C. Osinem, Sopuluchukwu Amarachukwu Dimelu and Ngozika Anthonia Obi-Ani
This study examines the cultural history of the Api-Opi deity in Opi, Nsukka, Enugu State of Nigeria. The study sets out to examine the re-emergence of youthful worshippers of…
Abstract
Purpose
This study examines the cultural history of the Api-Opi deity in Opi, Nsukka, Enugu State of Nigeria. The study sets out to examine the re-emergence of youthful worshippers of Api-Opi, despite the penetration of Christianity in the area.
Design/methodology/approach
The study employed ethnographic observation and field visits to the shrine of Api-Opi in Opi community of Enugu State, Nigeria. In addition, this study uncovers new information drawn from semi-structured interview questions undertaken in the study area between March and October of 2019.
Findings
Against certain claims on the impact of Christianity on Africa's traditional religions, the study found that the Api-Opi deity has withstood these post-colonial changes, growing its followership, particularly amongst the youths. It demonstrated the resilience of Igbo Traditional Worship System even in the midst of culture clash and religious iconoclasm advanced by Christianity in Igboland, Nigeria.
Originality/value
Evidence from this study helps debunk the notions of Eurocentric scholars who say African traditional religions are fetish, barbaric or primitive. It also shows how indigenous communities have protected and preserved their religious heritage despite the wave of modernization and other eternal influences. The study contributes to the increasing conversations about the role of traditional religion in the cultural resilience/revitalization of indigenous communities.
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Mathias Chukwudi Isiani, Ngozika Anthonia Obi-Ani, Chikelue Chris Akabuike, Stanley Jachike Onyemechalu, Sochima P. Okafor and Sopuluchukwu Amarachukwu Dimelu
The overall aim of this research is to interpret Ikenga and Ofo creativity as it is revered in Igbo societies. Igbo creativity, especially interpreted through material culture…
Abstract
Purpose
The overall aim of this research is to interpret Ikenga and Ofo creativity as it is revered in Igbo societies. Igbo creativity, especially interpreted through material culture, suffers the threat of extinction resulting from the forces of modernity. Forces of modernisation, which appear in the personae of Christianity, education, urbanisation and industrialisation, denigrated indigenous creativity, brandishing them as devious, fetish and primitive. Ironically, in most cases, the drivers of such narratives keep these “fetish” items in their museums and will give a lot to preserve them.
Design/methodology/approach
This study centred mostly on several communities in the Nsukka area of Igboland, Nigeria. It relied on both primary and secondary sources of historical enquiry. This qualitative research discussed the nuances of the subject matter as it relates to Igbo cosmos. These approaches involved visiting the study area and conducting personal interviews.
Findings
Archaeologists do often rely on material culture to study, periodise and date past human societies. In this study, it is found that material culture, an expression of indigenous creativity, best interprets how society survived or related with their environment. This paper examined two Igbo sculpted artefacts – Ikenga and Ofo – while unearthing the intricacies in Igbo cosmology as regards creativity, spirituality and society.
Originality/value
The shapes, motifs, patterns and designs depict an imaginary history, the intellectualism of the past and even the present. This serves as an objective alternative to the twisted colonial narrative on Igbo material culture and consequently contribute to ongoing efforts to preserve, protect and promote cultural heritage resources in this part of the world.
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Stanley Jachike Onyemechalu and J. Kelechi Ugwuanyi
This study explored an alternative understanding of heritage through the lens of the Igbo cultural group in Nigeria. It used the Igbo concept of “Ihe Nketa” or “Oke” to examine…
Abstract
Purpose
This study explored an alternative understanding of heritage through the lens of the Igbo cultural group in Nigeria. It used the Igbo concept of “Ihe Nketa” or “Oke” to examine the complex relationship between indigeneity, attachment and sustainability in the context of heritage management and conservation.
Design/methodology/approach
A qualitative approach was used, and ethnographic methods of data collection that include interviews and focus-group discussions (FGD) applied. The interview participants included village chiefs and the elderly (men and women), and the FGD comprised village elders (men and women) and youths. The interview guide contained demographic questions to determine age and occupation, followed by interactive open-ended questions stemming from the study's objectives. The interviews were conducted in the language most preferred by the respondents such as the Igbo language, Nigerian Pidgin English and the English language. The evidence generated was thematically analysed in a descriptive and interpretive manner.
Findings
The study found that while the Igbo understanding of heritage have related meaning with the definitions offered by the United Nations, their approach to heritage conservation takes a different turn through the concepts of “Ihe Nketa” or “Oke,” which recognises the ephemerality of tangible heritage resources with particular focus on the preservation of intangible heritage–knowledge over objects. The Igbo approach describes the framework for the acquisition, use and transfer of heritage resources in the Igbo society.
Originality/value
This study contributes to the understanding of the concept of heritage through the lens of the Igbo of Nigeria. Against the centralised national management approach to heritage, this paper argues that achieving sustainable heritage management in a multi-ethnic country like Nigeria requires the recognition of the principles that conserve(d) and manage(d) heritage among the indigenous/local peoples.