IKENGA AND ITS RELEVANCE TO THE IGBO NATION

Ikenga is a cultural artifact and one of the most popular symbols of the Igbo people as well as other ethnic groups like the Edo, Ijaw, Isoko, Urhobo and Igala people. The widespread nature of the usage shows that the various ethnic groups must have interacted closely both in commercial, political, social and cultural affairs before the coming of the white man. Among the Edo people it is known as Ikegabo while the Isoko people ‘‘recognizes three personal shrines images which are the ‘’Oma’’ which represents ‘‘spirit double’’ in the other world, ‘’Obo’’ symbolizes the right hand and personal endeavour and the Ivri represents personal determination.’’ The Igala people recognise it as “Okega”.

Source: Mcollections.artsmia.org 

The Igbo believe in using totems in their worship and these totems are one of the most important because they reflect the economic and political prowess of a man. Therefore, a man’s Ikenga represents “the essence of his individuality in addition to his commitment to his society. It also represents his source of power, economic success and physical prowess as it is the right hand that he holds his hoe, sword and tools of workmanship.’’ It is an embodiment of what a man has achieved or aims to achieve commercially, politically and socially. Sometimes, a man sees it as a symbol of his achievement or acquires it to help him achieve success in all his endeavours. Ikenga is a wooden carved object which represents a man’s right Hand, his accomplishment and achievements as earlier stated. The Ikenga figure is carved in a variety of styles and forms. However, each of them is represented with a “human head bearing two powerful carved horns stretched upwards.’’ There are three main types of Ikenga. Firstly, there is Ikenga Madu (which is a fully developed human figure with horns, seated on a stool. These include subtypes of warrior, title holder and the community Ikenga). Secondly, there is the Ikenga Alusi (Cylinder with horns) and thirdly ‘‘Ntu agu’’ (small and simple found in different shapes). Common features of Ikenga include; they are made of wood, some are human figures with sharp horns (horns symbolize power). Some horns are straight, others are spiral and others are more elaborate. While the Ikenga Alusi (Spirit Ikenga) have these features; cylindrical, armless torso, stylized facial features https://www.imodara.com/discover/nigeria.ig)

Source: Priston University Art Museum.

Source: Ikenga: en.wikipedia.org 

Meek C.K. (1937) sees Ikenga as a personification of a man’s strength of arm and consequently of his good fortune. At Owerri, the symbol occurs only in the form of a forked piece of wood (Otiri) or Oha tree depending on the part of the Igboland with three or four branches. The spiritual aspect involves a diviner who will direct the owner to a particular relation (or relative) that will bless the Ikenga and hand it over to the owner. Such a relative must be one who is rich and owns an Ikenga himself. The owner regularly offers sacrifice to his Ikenga especially when he wants to embark on an important project like going on a business trip or before a farming season. Consequently, the Ikenga is the cult of the right hand of a man. It is not inherited; for, at the end of a man’s life, the Ikenga is disposed of in any way; some throw it into the bush or throw it away. Ikenga figures are placed in personal shrines of the owners where offerings, honour sacrifices are made before the owner (male Igbo) completes any goal. Titled men may own very elaborate versions which ‘‘depict a male seated on a stool and holding the emblems of office”. In present times, the Ikenga token has almost disappeared into Oblivion due to Christianity and westernization. People attend Church services to pray to God for promotion and believe it is fetish. For one to have an Ikenga because of this, the trend of making or having an Ikenga is at its lowest ebb like other cultural activities.

REFERENCES: 

Meek, C.K (19937). Law and Authority in Nigeria Tribe. A Study in Indirect Rule. London; Oxford University Press. 

Usman, P.M (2014). Groundwork of Nigerian Arts. Ilorin; Haytee Press and Publishing Company. Internet: https://www.imodara.com/discover/nigeria-ig

Article By Mr Moore Henry Okwudili 

Lecturer, Institute of Archaeology and Museum Studies, Jos