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Ogbugulu Mau Masquerade, Amuda Village
Black-and-white photograph of the Ogbugulu Mau (Ghost) masquerade performed in Amuda village, near Awka, Onitsha Province, South Eastern Nigeria. The image shows four masqueraders and their attendant. From left, Iro Ekpetu (Merciless) wears a black fierce face mask with white painted eyes and protruding teeth, cloth top and tights, and a raffia skirt. Eju Ono (Long Mouth) wears an animal-like mask painted black with white markings and horns, cloth top and tights, and a raffia skirt, holding two sticks. A …
Ngbangba Ikoro Masquerade at Abiriba
This black-and-white photograph by G.I. Jones shows the Ngbangba Ikoro masquerade at Abiriba, circa 1930s. The scene depicts performers and spectators outside a traditional thatched building. One figure wears a dark wooden mask painted white with horns, attached to woven sackcloth. A young boy touches this character. Another rounded mask with white bulbous eyes appears upside down. The audience includes women, men, and children wearing printed cloths. Jones documented that Abiriba carvers created masks for this masquerade, with copyright shared …
Ohaffia Masquerader in Okwanku Performance, Akanu Village
Close-up view of an Ohaffia Igbo masquerader during the Okwanku performance in Akanu village. The wooden face mask displays a high forehead, slit eyes, elongated nose and mouth, all coated with white pigment. Long raffia strands form a fringe around the mask and hang over the performer’s chest. Spectators appear in soft focus behind. According to Jones, Okwanku masqueraders enacted a comic drama in which the character Dibia poisoned and revived the Rain Driver. The mask type, known as Otili, …
Group Portrait from Royal Niger Company
This group portrait, photographed by William Henry Crosse between 1886 and 1895, captures Igbo individuals associated with the Royal Niger Company along the Niger River. The image provides insights into colonial trade interactions and social dynamics in the region during the company's operations.
Entrance Portico of Chief Ogbua's Iba
This black-and-white photograph, taken in 1961 by Z.R. Dmochowski as part of his documentation of Nigerian traditional architecture, features the entrance portico of Chief Ogbua's Iba (palace or house) in Onitsha. The entrance is adorned with intricate Igbo wood carvings on pillars and walls, depicting symbolic motifs and ancestral figures that reflect the owner's spiritual and social status.
Pot believed to hold the personal spirit (chi)
This decorated pot, known as Ihu Chi, from Ekpeye in 1916, is believed to hold an individual's personal spirit or chi, a central concept in Igbo cosmology often translated as guardian angel or spirit-double. In Igbo belief, chi is a fractal of the supreme creator, Chineke or Chukwu, influencing personal destiny and authenticity.
Onu Kamma Masqueraders at Nimo
Black-and-white photograph showing three Onu Kamma (Mouth stronger than sword) masqueraders at Nimo, Nri Awka, Onitsha province. Each figure wears a large conical faceless mask constructed from layered fibre with a cloth panel at the front. Their attire includes tie-dyed or batik upper garments, striped woven cloth trousers, and fibre skirts secured at the waist; cowrie shells are visible on the rightmost performer. Two masqueraders hold metal gongs, one striking his with a stick. A sizable crowd of bystanders observes …
Ogbugulu Mau Masquerader Performing in Amuda Village
This black-and-white photograph captures the Ogbugulu Mau masquerade performance in Amuda village near Awka, southeastern Nigeria, between 1932 and 1938. The masquerader Nwaogho Ehi (Heifer) wears a white helmet mask with distinctive v-shaped markings above and below the eyes, a brightly colored harlequin-like appliqué costume, cloth cloak tied around the neck, and ankle-rattles made from seeds. The photograph documents Igbo masquerade traditions among the Isuochi people, showing the elaborate costume design and performance context within a rural setting with mud …
Trader from Timbuctou and Rich Trading Woman
This photograph, taken by G.F. Packer in 1889 and housed in the Pitt Rivers Museum, features a trader from Timbuktu on the right and a rich trading woman on the left, possibly a member of the Onitsha women's Otu Odu (ivory group) society or an Omu, the female counterpart to the king. The woman wears large ivory anklets, indicative of high socio-economic status in this traders' group. The image illustrates long-standing trade connections across West Africa and Igbo commerce along …
An Igbo Elder from Awka, Wearing a War Helmet and Holding a Shield
This photograph, taken by Northcote Thomas around 1913, shows an Igbo elder from Awka wearing an okpu agha, a fibre 'crash' helmet plaited from coarse fibre of Colocasia antiquorum stems for defense against weapons, and holding an ekpeke, a woven shield. These items represent elements of traditional Igbo martial attire and protection in warfare.
Obugulu Mau Masqueraders at Amobia Village
This colour transparency from the Jones Collection shows Obugulu Mau masqueraders seated in Amobia village, Nri Awka, Onitsha province. The masqueraders wear white face masks with black markings around the eyes, nose, and mouth, accentuating the eyebrows and cheeks. Their elaborate headdresses consist of colourful felt, string, and tassels. They are dressed in harlequin-like costumes. Spectators and trees are visible in the background. The photograph was taken by G.I. Jones, a British colonial administrator and ethnographer who documented Igbo culture …
Heavy Wood Door from Nri Awka
This heavy wooden door from the Nri-Awka region, known as ḿgbó èzí, is an example of traditional Igbo wood carving from the 19th-20th century. Carved from sacred hardwood like iroko with symbolic motifs and patterns, such doors served as entrances to compounds of influential families, conveying stories, status, and spiritual beliefs.
Eze Nri Obalike with his attendants and Chiefs at Enugwu-Ukwu
This photograph, taken by Northcote Thomas in 1911, shows Eze Nri Obalike, who ruled from around 1889 to 1926, surrounded by his attendants and chiefs at the Nkwọ Marketplace in Enugwu-Ukwu. Under the watchful eyes of British colonial officers, Obalike was forced, reportedly at gunpoint, to denounce nso and alu, traditional codes of taboo and abomination that underpinned Nri authority. This event marked the decline of the Nri hegemony and the end of its ritual control over Igbo communities.
Young Igbo Girl Painted with Uli
This black-and-white photograph from the 1940s by Sylvia Leith-Ross shows a young Igbo girl adorned with traditional Uli body art patterns. She wears a headpiece with feathers and decorative elements, with her back turned to emphasize the designs. Blurred figures in the background suggest a public event. The image highlights the cultural significance of Uli in Igbo identity and aesthetics, as documented in Leith-Ross's book African Conversation Piece (1944).
Portraits of an Igbo Woman in Oweri Province
These black-and-white portraits, taken by Northcote Thomas between 1909 and 1913 as physical type photographs in his anthropological survey, depict an Igbo woman from Oweri Province (now Owerri). The frontal view highlights her direct gaze and the gap between her front teeth, a cultural marker of beauty, with a simple headscarf against a plain background. The side profile shows her headscarf revealing neat hair lines, characteristic of Igbo styles, and a small earring, contrasting with her simple attire.
Oganochi Mgbedike Masquerader, Nimo
This black-and-white photograph shows an Oganochi mgbedike masquerader standing and facing the camera. The masquerader wears a full-length cloth costume with light and dark striped ruffles on the body, upper arms, and legs. Porcupine quills hang from the edges of the ruffles. The dark wooden helmet mask features white paint accentuating the mouth, teeth, and eyes. Two feathers are held in the front of the band at the bottom of the horns. Four carved horns curl inwards on top of …
Pyramids at the Nsude Village Shrine, Abaja Igbo, Northern Igbo
This black-and-white photograph from the 1930s by G.I. Jones shows a series of stepped earthen pyramids at the Nsude village shrine in Abaja Igbo, Northern Igbo. The pyramids, constructed of mud, feature rounded graduated levels decreasing in size and culminating in a pointed top. Tall grasses and vegetation surround the structures, which are strategically placed on elevated ground. The image documents the architectural and religious significance of these shrine pyramids, which were associated with the Uto deity and represent important …
Ohaffia Masquerader Performing in Okwanku Masquerade, Akanu Village
Black-and-white photograph by G.I. Jones showing a masked Ohaffia performer in the Okwanku masquerade at Akanu village. The figure wears a wooden face mask with white pigment, high forehead, slit eyes, long nose and mouth, surmounted by a hat, with long raffia hair hanging down. The performer plays a horned instrument while spectators watch in the background. Jones recorded that Okwanku masquerade characters performed comic dramas, including one in which the Dibia (Doctor) character poisoned and revived the Rain Driver. …
An Igbo couple from Asaba
This studio portrait from around 1900 depicts an Asaba man in riding gear or English recreational dress posing with his wife, illustrating the blend of traditional and colonial influences in Asaba. Asaba was a site of resistance to European invasion by the Igbo in the early 19th century, where British explorers Richard and John Lander were taken captive in 1830 during their expedition to trace the course of the Niger River. Later, Asaba became a trading post and administrative headquarters …
Iro Ekpetu of the Ogbugulu Mau Masquerade
This photograph by G.I. Jones documents the Ogbugulu Mau masquerade in Amuda village, featuring Iro Ekpetu ('Merciless'). The masquerader wears a black carved mask with white painted eyes and protruding teeth, a raffia hairpiece and skirt, and cloth top and trousers. The performance, held during the dry season usually in December, involved eight masked characters accompanied by two bands and a chorus of young men. Jones noted that these masks threatened the crowd with wands or sticks while wearing loose …
G.I. Jones at Nsude Village Shrine Pyramid
A black-and-white photograph from the 1930s showing anthropologist G.I. Jones seated in front of a stepped earthen pyramid at the Nsude Village Shrine in Abaja, Northern Igbo region. The pyramid structure consists of rounded graduated steps decreasing in size and culminating in a pointed apex. The structure, made of mud, stands in an open area surrounded by grasses and vegetation. Jones is wearing shorts, a white shirt, and a pith helmet. The Nsude pyramids were temples dedicated to the deities …
Aro men in loincloths clearing thick forest overgrowth under direction of colonial forces
This photograph, taken by Donald A. MacAlister as part of a series from the Aro Punitive Expedition, shows a group of Aro men clearing forest vegetation with machetes to facilitate British colonial troop movement during the Anglo-Aro War of 1901. The war sought to dismantle the Aro Confederacy and the Ibini Ukpabi (Long Juju) oracle, marking a significant event in British colonial efforts against indigenous powers in eastern Nigeria.
Igbo Elder in Knit Hat Portrait
This black-and-white photograph from the 1930s by G.I. Jones shows a close-up portrait of an elderly Igbo man. He wears a white tunic shirt and a distinctive striped knit hat with a pom-pom. The man's weathered face displays pronounced wrinkles, suggesting advanced age, with a neutral expression. The dark background with vertical elements appears to be natural vegetation or architectural features. This image is part of a series of portraits (N.13292.GIJ to N.13316.GIJ) for which no prints have been found. …
Igbo Woman with Elaborate Geometric Hairstyle
This photograph, taken by Northcote Thomas around 1910 as part of his anthropological documentation, features an Igbo woman with an elaborate geometric hairstyle. In Igbo culture, hairstyles often signified age, social status, and marital status, offering insight into personal adornment practices in early 20th-century Igbo society.
Group Portrait of Titled Igbo Men
This photograph from between 1900 and 1915 shows a group of titled Igbo men, likely members of the prestigious Nze na Ozo society. Their traditional attire includes symbolic robes, headgear, and red caps known as okpu mme, with ceremonial staffs and ivory bracelets indicating high status.
Igbo Elder from Awka on Oche Mpata
These black-and-white photographs, taken by Northcote Thomas between 1910 and 1911 as part of his anthropological survey, feature an Igbo elder from Öka (Awka). The first shows a close view of her face and head, adorned with a wooden head dress set with pearl buttons, known as “isi ojongo,” embodying Igbo identity and artistic expression. The second depicts the elder seated on an “oche mpata,” a stool reserved for titled individuals with the Ọzọ title, wearing a patterned sarong and …
Oji Onu Masquerade with Janus-Faced Helmet Mask
This black-and-white photograph shows a close-up view of a seated masquerade character in the oji onu masquerade, photographed by Gwilliam Iwan Jones between 1932 and 1938 in Akama, Anambra State, Nigeria. The masquerader wears a janus-faced helmet mask featuring two distinct faces: one with deep-set eyes, a hooked nose and wide open mouth, the other with a hooked nose and long downward curving beak. Both faces are painted white with features highlighted in dark pigment. The mask is topped with …
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