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Igbo architecture refers to the architectural styles and building traditions of the Igbo people. The architectural style is closely tied to the Igbo society's culture, beliefs, and social structure. While the architectural style has evolved, traditional Igbo architecture shares some common characteristics such as:
These customs and traditions include the Igbo people's visual art, use of language, music and dance forms, as well as their attire, cuisine and language variation. Due to the various subgroupings of Igbo society, Igbo culture is quite diverse.
Igbos in diaspora celebrating Iwa-Ji in Dublin, Ireland. The New Yam Festival of the Igbo people (known as Orureshi in Idoma, or Iwa ji, Iri ji, Ike ji, or Otute depending on dialect) is an annual cultural festival by the Igbo people that is held at the end of the rainy season in early August.
In some cases, Igbo traditional religion practice known as ọdịnala was syncretised with Christianity, but in many cases indigenous rites were demonised by Christian missionaries who pointed out the practice of human sacrifice and some other cultural practices that were illegal under the colonial government.
A traditional Igbo Architecture consists of Compounds, Wall/fence and Moats, Thatched Buildings, Verandas, Courtyards, Decorative motifs etc. . Traditional Igbo architecture is distinctive by several usual attributes and principled designs which is reflective of the cultural, environmental, and practical needs of the Igbo people.
The northern Igbo Kingdom of Nri, rising around the 10th century based on Umunri traditions, is credited with the foundation of much of Igboland's culture, customs, and religious practices. It is the oldest existing monarchy in present-day Nigeria.
In the Igbo tradition, the men's cultural attire is Isiagu (a patterned shirt), which is worn with trousers and the traditional Igbo men's hat called Okpu Agwu. The women wear a puffed sleeved blouse, two wrappers and a headwrap. [89] Hausa men wear barbarigas or kaftans (long flowing gowns) with tall decorated hats.
The use of masks within Igbo culture has been usually portrayed as an uninterrupted tradition or as a tradition impossibly altered by cross-cultural interactions. More recent scholarship, however, perceives contemporary Igbo masquerade performance to be the product of selectively-adapted external influences that perpetuate the traditional aims ...