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518:," depicting a well-developed human figure with horns and a fierce expression. It is seated on a stool, holding objects in both hands. The right hand holds a knife with a pronounced handle and a slightly curved blade, the left hand a tusk or more often, a severed human head with eyes, nose, and mouth bulging out of the concave face. The warrior ikenga corresponds to the stage in life when men are expected to demonstrate their military prowess. Owned by many of the younger members of the age grade, it depicts the ideal young man: robust, wearing the warrior's grass skirt, and holding a knife and a severed human head. This pose used to be seen in warrior groups when they performed dances.
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occur on the lower part of the horns. Above the head are four ram heads and one or more leopards at the top. The motifs on the community Ikenga tend to have complex head dress signifying collective ownership. The motifs also depict what the community is known for, for instance whether they are known as warriors, hunters, traders or predominantly farmers. During the annual festival, all males born during the previous year are brought before the community Ikenga and thus are validated as community numbers.
481:, wine, kolanuts and alligator pepper are sacrificed to it. Consecrations are often more elaborate and occasionally less depending on the financial strength of the owner. If the owner is devoted, he feeds his Ikenga on a daily basis with Kola and wine and periodically, especially before an important undertaking, he offers sacrificial blood of a
591:, the king of the animals and an emblem of the political authority of a titled man. The horns of the ram or other animals, found on all ikenga figures, signify power and aggression. Many elaborate examples display a whole figure of a ram, or at least a full head. Snakes, birds, and turtles may also be included on the ikenga.
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bellowed out his fearsome shriek which thundered through the jungle in repeated echos that the verdue quivered in ominous pulses. The monster roused his fierce rage by scampering round his position as a means of revving up his momentum and sharpening a deadly attacking pulse. The vibrations burgeoned
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people and many Ododo warriors rode on the backs of mammoth sharks and crocodiles. Edo herbalists had the power to conjure large stones to fly and ram on the buildings of the Nkwo nations to destruction. The war was intense and lasted one month. For the first time, the use of green foliage camouflage
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Numerous ikenga, both the warrior and the titled person's types, have a row of pointed projections flanking the head, usually three or another odd number on each side. Ikenga in the southern Igbo area have three knobs on a horizontal bar. Besides being associated with Ikenga, the number three is also
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In the simpler examples of this group, the superstructure on a disk base supports animal figures. Other large Ikenga have very intricate superstructures consisting of two horns that circle the sides of the head and continue upward to form another circle terminating in snake heads. Pointed protrusions
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thundered underneath in his charge, but missed Ikenga's backside by centimeters, Ikenga flung himself on the top horns of the monster. The two combatants hurtled through jungle flora and fauna in mortal battle. Ikenga mustered the last gram of strength in a titanic muscle flex as he twisted the neck
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sent by Edo country were destroyed. When the Edo and Odo warriors saw that they were being defeated and were forced to retreat back to their territories they made a final desperate lunge to grab the only Ndi Ichi Akwa in Ngwu's possession. Ikenga rallied around his father's palace to repulse Ododo
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Ikenga is exclusively an Igbo symbol. Nevertheless, various peoples of
Southern Nigeria have slightly different notions of the components of an individual personality, but all agree that these various aspects can only be affected through ritual and personal effort. Some variants of it are found in
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Most of the elaborate ikenga bear the ichi scarification pattern, consisting of parallel vertical lines on the forehead and temples. Scarification was a professional specialization of experts from the Awka community. The ichi marks were used to distinguish the highest-ranking members of the title
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marks are represented on the face. Some of these figures, especially the very large ones, often are more than a meter high, do not belong to an individual but to an age set or a lineage segment. These community Ikenga figures stand for group rather than individual achievements and prestige, and
525:(the ikenga hand), and the ikenga is also called a shrine to the right hand. In recent times the overt violent element of the severed head and knife has been replaced by metaphorical way as symbols of aggression. The most characteristic of all the iconographic elements of the ikenga, the horns (
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of the beast which broke with such nerve shattering crack. There were few groans and whimpering followed by death throbs and ghostly silence pervaded the vast jungle. The Edo and Ododo warriors were stupefied by the incredible spectacle and in a momentary recovery they retreated in disarray.
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Two-faced Ikenga is the oldest concept of Ikenga in
Igboland. It is a two-faced god, with one face looking at the old year while one face looks at the new year. This is the basis of the oldest and most ancient Igbo calendar. As a god of beginnings, it has the praise name of
599:, cone-shaped pieces of chalk used in rituals. This native chalk, suggesting purity and protection, is sometimes applied to the eyes and temples. High-ranking people need magical protection because they are often objects of envy, which is commonly expressed by witchcraft.
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or ram to induce the spirit to help him succeed. Afterward, the owner also offers thanksgiving to his Ikenga for helping him achieve success. Success as believed, solely depends on their personal Chi, represented by Ikenga and the support of kinsmen.
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Ikenga is a personal embodiment of human endeavor, achievement, success, and victory. Ikenga is grounded in the belief that the power for a man to accomplish things is in his right hand. It also governs over industry, farming, and
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A second major ikenga type, an elaboration of the warrior form, has a superstructure with human or animal images, or both. The seated figure often displays a tusk in the left hand and a staff in the right. In many examples,
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which meant a climber of iroko tree without the aid of strings. Ikenga lead the Nkwo nation in the first and famous river of sea battle ever undertaken by any nation in the Oji country. Mermaids came to fight for the
506:(divination objects). The first is a fully developed human figure with horns, seated on a stool. The second is a cylinder with horns. The divination objects are small and simple and come in different shapes.
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societies, as well as sons and daughters of the nobility. A superstructure usually also consists of references to animals. One prominent animal used on the titleholder ikenga figures is the leopard,
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had charged towards Ikenga as he snorted and roared. Ikenga sprang onto an overhead tree branch like a huge cat and somersaulted round it to suspend atop on his hands like an acrobatic gymnast.
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title. The staff indicates authority, and comes in a complex hierarchy, from a simple wooden one to a rod of forged iron with brass rings. The most common type represented in ikenga is the
583:. It alludes to the elephant, a widespread symbol for power and leadership. A stool and tusk, though not a staff, were often carried for persons of high title by a young boy or a girl.
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The elaborate ikenga figures, especially those with superstructures, seem to correspond to the more advanced, title-taking stages in a man's life. The three-legged stool, known as the
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was introduced by Ikenga and his warriors so that they appeared as floating bushes on the seas, until they came close enough on their targets to rout the Edo and Ododo enemies.
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Ikenga requires consecration before usage. Normally, an Ikenga is consecrated in the presence of one's kinsmen or agemates by lineage head. Offerings of things like yam,
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136:. Ikenga is mostly maintained, kept or owned by men and occasionally by women of high reputation and integrity in the society. It comprises someone's
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into a nauseating earthquake in the area. He mixed his excrement with urine and splashed the corrosive mixture in Ikenga's direction. Ikenga used his
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and Edo stalwarts. Many casualties were sustained by both sides until Ikenga came face to face with the four eyed monster called
619:, Ikenga was the son of Ngwu, and was a bold warrior and fantastic wrestler. He was reputed with the ability of flying from one
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shield and in a series of athletic diving and feigning withered the ferocious onslaught. In the same split second however
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529:), also carries this lii, also carries this connotation. The Igbo proverb says, "The ram goes into a fight head first" (
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demonstrate continuity between the individual and society. They are related to the display figures known as
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which stands for personal determination. In the Urhobo areas it is also regarded as
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tree to another. He was the first living man in living memory to earn the title
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areas. Among the Isoko people, there are three types of personal shrine images:
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associated with males throughout West Africa. These projections may stand for
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Bentor, Eli. (1988). "Life as an
Artistic Process: Igbo Ikenga and Ofo."
686:(As long as my Ikenga is active I can wrestle in the land of the spirits)
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stool, was reserved for one of the highest rank of the title system, the
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According to M.D.W Jeffreys, there are three types of Ikenga:
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which symbolizes the right hand and personal endeavor and the
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Ndi Ichie Akwa
Mythology and Folklore Origins of the Igbos
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Ndi Ichie Akwa
Mythology and Folklore Origins of the Igbos
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Ndi Ichie Akwa
Mythology and Folklore Origins of the Igbos
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680:(Ikenga, gift of my chi, participate in the offering)
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575:, distinguished by openwork on the shaft. The tusk,
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Bentor, Eli. African Arts, Vol. 21, No. 2. Page 71.
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Bentor, Eli. African Arts, Vol. 21, No. 2. Page 69.
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Bentor, Eli. African Arts, Vol. 21, No. 2. Page 70.
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Bentor, Eli. African Arts, Vol. 21, No. 2. Page 68.
521:The knife is always held in the right hand, called
870:, Vol. 21, No. 2. (Feb., 1988), pp. 66–71+94.
692:(An Ikenga that is inactive, cut it for firewood)
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514:The most famous type of ikenga is probably the "
579:, held in the left hand, is used as a trumpet,
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117:literal meaning "strength of majesty ") is a
672:Proverbs and prayers associated with Ikenga
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603:Mythology and fables featuring Ikenga
52:Wooden statue of a man with ram horns
19:For the Novel by Nnedi Okorafor, see
740:"Ikenga In Traditional Igbo Society"
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684:Ikengam kwalu otu, njee mge ona mmuo
706:Traditional African religion portal
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188:and in the Edo areas it's called
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690:Ikenga na adigh ile, anya ya nku
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39:of Time, Success and Achievement
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245:Igbo religion and spirituality
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889:After God is Dibia Volume 2
882:After God is Dibia Volume 1
788:After God is Dibia Volume 2
775:After God is Dibia Volume 2
678:Ikenga chim nyelum, taa oji
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611:Wooden carving of Ikenga
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227:Consecration of Ikenga
16:Igbo cultural artifact
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438:Hoodoo (spirituality)
235:Part of the series on
201:Symbol of achievement
873:Nwosu, INC. (1983)
559:Titleholder's Ikenga
531:Ebune jị isi éjé ogụ
140:(personal god), his
887:Umeh, John. (1999)
880:Umeh, John. (1997)
744:Ngrguardiannews.com
645:who had six horns.
311:Legendary creatures
196:Functions of Ikenga
1163:Time and fate gods
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261:Divinities (Arusi)
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868:African Arts
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861:Bibliography
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849:Nwosu, INC.
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786:Umeh, John.
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773:Umeh, John.
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410:Ibini Ukpabi
313:and concepts
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1143:Horned gods
1105:Derivatives
419:Derivatives
214:God of time
126:Igbo people
94:Equivalents
73:Ram's Horns
1132:Categories
1070:Nze na Ozo
1034:Ogu na Ofo
968:(Primary)
790:. Page 49.
777:. Page 50.
713:References
573:nsuagilign
523:aka ikenga
375:Nze na Ozo
327:Ogu na Ofo
146:aka Ikenga
1138:Igbo gods
498:(human),
160:, Ishan,
1153:War gods
1112:Jonkonnu
1017:Concepts
1008:Njoku Ji
988:Amadioha
978:Agwu Nsi
891:. pp 268
884:. pp 146
759:Archived
433:Jonkonnu
380:Calendar
291:Agwu Nsi
276:Amadioha
134:artifact
1055:Odinala
998:Ekwensu
993:Anyanwu
926:Odinala
877:. pp 88
516:warrior
504:ntu aga
337:Ogbanje
296:Ekwensu
281:Anyanwu
240:Odinala
190:Ikegobo
142:Ndichie
130:Nigeria
1065:Mmanwu
1048:Topics
1024:Inouwa
1003:Ikenga
940:Chukwu
654:ekpeke
370:Inouwa
346:Topics
332:Inouwa
301:Ikenga
166:Urhobo
119:horned
111:Ikenga
103:Saturn
86:Number
70:Symbol
59:Planet
29:Ikenga
1117:Obeah
1086:Earth
970:Arusi
945:Arusi
718:Notes
621:Iroko
577:okike
428:Obeah
400:Earth
162:Isoko
122:Alusi
78:Color
37:Alusi
1060:Ekpe
1029:Mmuo
565:Awka
544:ichi
483:cock
479:cock
360:Ekpe
322:Mmuo
286:Igwe
186:Ivri
182:lvri
168:and
158:Ijaw
115:Igbo
64:Mars
1091:Nri
983:Ala
950:Chi
663:As
630:Edo
597:nzu
589:agu
581:odu
569:ozo
527:opi
405:Nri
365:Osu
355:Chi
271:Ala
178:Obo
174:Oma
170:Edo
150:ike
138:Chi
81:Red
1134::
831:^
819:^
807:^
795:^
742:.
726:^
223:.
192:.
164:,
918:e
911:t
904:v
746:.
466:e
459:t
452:v
113:(
89:3
23:.
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