This study extends the study and knowledge of Igbo masking beyond its social functions. It contextualises the many displays as the product of one consciousness and establishes the aesthetics of Igbo mask theatre. Providing a more inclusive performative landscape that covers the whole of Igboland, it draws on its many and diverse masking styles and forms.

A revisionist account of African masquerade carnivals in transnational context that offers readers a unique perspective on the connecting threads between African cultural trends and African American cultural artifacts

This lavishly produced voulume is the first reference work to focus on the symbols, meaning, and significance of art in native, or indigenous, cultures.

Igbo art is famous for its diversity, inventiveness, and aesthetic quality. This wide-ranging survey of art made by the 15 to 20 million Igbo people of southeastern Nigeria focuses on the 20th century but also takes a look at the extraordinary 9th- and 10th-century bce cast copper alloy and ceramic finds that influenced Igbo artworks created 20 centuries later. Ceremonial contexts and meanings are explained, covering art associated with individuals as well as communal works and ranging from personal decoration to architectural forms, from household objects to cult sculpture, title regalia, and public shrines. Many little-known objects are included alongside a generous sampling of the thousands of masks that are perhaps the quintessential forms of Igbo art.

The joy over the growth of Christianity in Africa is also a challenge to all concerned to help Christianity take roots, ennoble and become one with the cultural life of the numerous tribes of Africa. This missionary expectation is not yet fully realized in many local churches in Africa. From these perspectives, Adolphus Chikezie Anuka inaugurates a new brand of concrete, target-oriented emphasis on dialogical inculturation. In this book, the Mmanwu cultural institution of the Igbo people of south eastern Nigeria stands in central focus, opening itself to the influences of Christian values as well as speaking to the religious assumptions of Christianity. The theoretical results of this research work and its practical pastoral suggestions are both enlightening and appealing.

The Igbo are one of the most populous ethnic groups in Nigeria and are perhaps best known and celebrated in the work of Chinua Achebe. In this landmark collection on Igbo society and arts, Toyin Falola and Raphael Chijioke Njoku have compiled a detailed and innovative examination of the Igbo experience in Africa and in the diaspora. Focusing on institutions and cultural practices, the volume covers the enslavement, middle passage, and American experience of the Igbo as well as their return to Africa and aspects of Igbo language, society, and cultural arts. By employing a variety of disciplinary perspectives, this volume presents a comprehensive view of how the Igbo were integrated into the Atlantic world through the slave trade and slavery, the transformations of Igbo identities and culture, and the strategies for resistance employed by the Igbo in the New World. Moving beyond descriptions of generic African experiences, this collection includes 21 essays by prominent scholars throughout the world.

This collection is dedicated to a distinguished scholar and writer who for a quarter of a century wrote consistently on African literature and the arts and was a major voice in Nigerian literary circles. Ezenwa-Ohaeto made a mark in contemporary Nigerian poetry by committing pidgin to written form and, by so doing, introducing different creative patterns. He also saw himself as a 'minstrel', as someone who wanted to read, express and enact his work before an audience. First and foremost, however, Ezenwa-Ohaeto was someone who 'un-masked' ideas and meanings hidden in the folds of literary works and made them available to an international academic public. With his outstanding work on Chinua Achebe, he influenced the reception of African literary biography. His networks and connections were extensive and wide-ranging, and they are partly reflected in the essays, creative writing and personal notes assembled in this volume. In their various modes and expressions, the contributions included here constitute a tribute to Ezenwa-Ohaeto's many talents and achievements. As an extension of Ezenwa-Ohaeto's legacy, they expand on various aspects of minstrelsy and the un/masking of texts in a Nigerian and broader African context. The book is divided into six sections. "In Memoriam" contains personal tributes by long-standing colleagues, mentors and friends. "Poetry and Fiction" collects the voices of three generations of Nigerian writing from the 1960s to the present day, followed by poetic and pictorial insights into the domestic and social life of the scholar and family man. Section Four comprises two interviews, while Sections Five and Six are devoted to critical evaluations of Ezenwa-Ohaeto's work and to contemporary perspectives on Nigerian literature respectively.