interpreting some major signs and symbols in igbo

https://ajosing.com African Journal of Social Issues Vol.3 No. 1; 2020

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INTERPRETING SOME MAJOR SIGNS AND SYMBOLS IN IGBO

COSMOLOGY

IGBOKWE, Benedict Nkemdirim

Directorate of General Studies, Federal University of Technology, Owerri, Nigeria

[email protected]

Abstract

Signs and symbols are numerous in Igbo cultural life. The Igbo of South-eastern Nigeria

are culture people. Signs and symbols have been with the people right from the beginning

of their existence, and these symbols and signs say a lot about the Igbo, hence the

traditional Igbo society take these signs and symbols as the life of the Igbo, because they

believe in the message they transmit. Regrettably, it has been observed that most Igbo of

the present generation can hardly identify nor interpret the meaning of the numerous signs

and major symbols in Igbo tradition thereby losing out in the important messages and

information carried by these signs and symbols. This paper therefore is committed to

identifying these major signs and symbols interpreting and documenting them for posterity,

in such a way that the upcoming generation will not lose out in the numerous informational

benefits of these symbols. This paper applied a theoretical orientation, the dream symbol

theory of Sigmund Freud, in looking into the meaning of signs and symbols, identification

of some major signs and symbols and their uses, and the popularity of these signs and

symbols in the lives of the present Igbo.

Keywords: Signs, Symbols, Culture, Tradition, Igbo, Nigeria.

Introduction

Igbo cultural signs and symbols represent the identity, traits, moral values, belief,

ethical needs, virtues, religion, arts, and sacrifices of the Igbo. According to Anozie (2003)

The Igbo are predominantly located in the Agbor and Kwale in

the state of Delta. They spread to Ahuda, Diobu, Ikwerre and

Umuabaya, around Port-Harcourt; Arochukwu in Abia State to

Afikpo and Isiagu in Ebonyi State. Igbo land spreads to

Nsukka, Adam and Nzam in the Northern part of Igbo land, up

to Izii, Ikwo and Ezaa, in Abakaliki. Awka, Onitsha, Enugu,

Agbaya (Ezeagu, Udi, Nkanu, Ogwu, Oji and Okigwe), make

up the Igbo heartland” (Anozie, 2003: 17).

From the above citation, it is obvious that though the Igbo can be found in all parts of the

world, but they are densely found in the states of Abia, Anambra, Enugu, Ebonyi and Imo.

In Igbo culture, there are many signs and symbols that communicate meanings in the

lives of the Igbo. These signs and symbols manifest in the lives of the Igbo, both in their

dreams and the physical reality. Most of these things encountered in the dreams signify

people’s condition and what they will further encounter in their life, in due course. When

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one dreamt of a raw bloody meat, it signifies an untimely death roaming about. A matured

woman who dreamt of plucking ripe fruits knows that she is going to be pregnant that

month (Ohaeri, Obimba, and Okonkwo, 2011). The Igbo used these signs and symbols in

their communication in the olden days. Before the era of western education, the Igbo have

their system of communication. An elder who sent a child on an errand to borrow money

for instance, will usually give that child his walking stick, which the child will present to

the money lender. With the walking stick, the money lender will automatically identify the

owner of the walking stick and the purpose of the visit.

In Achebe’s Things Fall Apart, Okonkwo’s father used the symbol of drawing on the

wall to show or remark the different debts he owed. Some of these signs and symbols are

being modified these days in the form of posters, sign posts, triangular warning road signs

and other warning signs.

Meaning of Symbols and Signs

Symbols and signs can be grouped under different areas but for the purpose of this

work they are grouped under national, cultural, religious and ritual symbols as classified by

Nwaorgu (2001: 3).

National symbols are symbols created to preserve or develop national traits. A trait is

a form of behaviour that distinguishes a person or a group of persons. This includes a way

of speaking, form of behaviour of individual community. Traits and symbols are related

because traits may be represented by symbols to serve as signs, objects or activities to

develop new habit in a community.

Nwaorgu, (2001) aptly explains national symbols when he talks about the functions

of symbols as:

National symbols are things or events which constantly remind the

people of the need for unity, loyalty and identity of their country.

They are also used to remember and honor people who have

contributed greatly to the building of a great nation. Those symbols

are National Flags, National Coat of Arms, the Pledge, National

Anthem, National Passport, Special Stamps and Currency. In the

case of National Flags, when they are lowered or flown at half mast,

the action is immediately recognized as symbolic. There are also

national days such as Children’s Day (May 27 of every year) and

Independence Day (October1st of every year) (Nworgu, 2001: 1).

June 12 every year has also been approved by the Government of Nigeria as

Democracy Day. National symbols and cultural symbols differ. While national symbols

represent the national or common traits used in bringing the people of the same nation

together, cultural symbols stand for common traits of virtues among people of ethnic

groups. Each ethnic group has its own cultural symbols which represent the people’s

peculiar habit in terms of religion, chieftaincy, moral values, sacrifices, traits and cultural

practices which distinguish them from other group.

Igbo cultural symbols are those things which express or stand for the beliefs,

identity’s traits, moral values, ethical ideals, virtues, religion, signs, arts, etc, of the Igbo.


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The Igbo cultural symbols are seen in their day to day life, like in the homes during

ceremonies such as marriage, birth, funerals, festivals and wars. Igbo cultural symbols are

mostly classified under religious, rituals and social.

Religious symbols are essentially hydrophanes, as they are in one form or the other

manifestation of the sacred. They reveal man’s experience of the ultimate reality and seek

to integrate the various levels of his awareness, which are the preconscious, the personal

and transcendental. Religious symbols mediate knowledge about the cosmos and man’s

place in it.

Ejizu (1986: 2) is of the view that religious symbols are “…not simply

communication media: they are held to be effectively charged, non-neutral in their

emotional and intellectual value. Moreover, they are also envisaged as possessing a

spontaneous power in themselves, projecting the mind towards the absolute”.

Ritual symbol has a basic characteristic of multimodality, which is the ability to

communicate multiple meaning in one single formation. Ritual symbols are capable of

expressing simultaneously a number of meanings whose continuity may not be evident on

the plane of immediate experience, and sometimes some of the referents may not be strictly

compatible. The ọfọ as a dominant ritual symbol of the traditional Igbo possesses the

multifocal or multivalent property. Similar symbols like ọfọnaogu, colours, ashes, ọmụ,

tribal marks, carved stools, masks, crosses, linguistic symbols, rosaries, etc, have different

symbolic meanings. The symbols have the ability to speak to man about many things. The

yellow palm frond leaflets (ọmụ) may stand for peace, danger, decorative element, sacrifice

or ogu (innocence) in Africa or elsewhere, while in Igbo cosmology, “ọmụ” stands for

peace. In the Christian world view, dove is the emblem of peace or the Holy Spirit

(Nwaorgu, 2001:3).

Social symbols are used amongst people of the same culture community. People use

these symbols in relating to each other as well as their communities. Social symbols, like

kola nut, palm wine, ọfọ, masquerades and others, play significant roles during the social

moments of the Igbo cultural communities.

Giddens (1997: 565) defines symbols as “…something that stands for, represents a

person, idea, letter figure, or signs that express a sound, a number or a chemical

substance”. In addition, Cohen (1974: 926) posits that, “symbols are objects, acts,

relationship or linguistic formation that stand ambiguously for a multiplicity of meanings”.

This implies that one symbolic form may be capable of several interpretations. Radcliffe

(1969: 142) in his view argues that “whatever has a meaning is a symbol and the meaning

is what is expressed by the symbols”.

Symbol is an unconscious form of communication. Hornby (2000: 1215) defines

symbol as “…a person, an object, an event, etc, that represents a more general quality or

situation.

From the above citations, one can state that an unconscious reading of symbols is a

way of thinking and a form of communication. Schein (1990) as quoted in Rafaeli and

Worline (1999), specifically identifies symbols as “…the first layer of culture comprising

the observable artifacts that make up the sensory experience of the organization”. The idea

is that symbols reflect underlying values or realities. Gagliardi (1990: 568), talking about


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the nature of symbols says, “symbols enable us to aim directly at the heart of culture

because they represent and reveal that which is tacitly known and yet unable to be

communicated by an organization’s members”.

By the above citations, symbols represent underlying values, assumptions,

philosophies, and expectations and organizational life. They influence behaviour by

eliciting internalized values and norms. Symbols act as frames of reference that facilitate

conversation about abstract concept (Rafaeli and Worline, 1999).

Theoretical Orientation of Symbols

Theoretical framework as an authority will help one understand the issue of discuss

appropriately. In this paper, the dream symbol of Sigmund Freud is referenced.

The Dream Symbol of Sigmund Freud

Sigmund Freud offers a theoretical frame connected with dream symbols and their

interpretations. In Freud, dreams are simply messages from the supernatural world or realm

that enable people to look into the future. Molly explains that “Sigmund Freud introduces

his view of the dream as a door into subconscious levels of mind”. He argues that, “…by

understanding dreams symbolically, we can understand our hidden needs and fear” (Molly,

2002: 8). This is why Freud concludes that, dream symbols are multi-vocal, which means

that they are capable of many meanings.

This therefore lays emphasis on the multi-referential nature of symbols. Freud says

that “symbols are multi-vocals…” this applies to not only one cultural community, but

also, to other cultural communities.

Freud’s theory of dream symbols offers some bases of alignment and relevance to

religious symbolism, as a lens into the subconscious levels of the human mind. That is why

some scholars like Joseph Campbell and Carl G. Jung applied Freudian symbolic theory of

dreams interpretation and analysis of religious experiences (Molly 2002: 8). Turner also

used Freudian symbolic theory in analyzing African rituals when he argues that, “intra

psychic and inter psychic symbols both formed in processes of human interactions and

transactions, have a greater deal in common” (Tuner, 2001: 21-22).

Again, in the Old Testament of the Bible, dream was an important symbol and sign

of religious communication (Jacob’s dream at Bethel, Genesis 28: 10-22, Joseph’s dream,

Genesis 37: 5-11, The wine Steward and the Chief baker in prison, Genesis 40: 5-23, The

King of Egypt’s dream, Genesis 41:1-36). Even today, many religions attach significant

meaning and interpretations to dream symbols as a window of spiritual communication and

a leap into the spiritual realm of the world.

The Relevance of Freud’s Dream Theory to the Religions of the Igbo

Frued’s theory of dream symbols offers some bases of alignment and relevance to

religious symbolism, as a lens into the subconcious levels of human mind. Turner used

Fruedian symbolic theory in analyzing African rituals when he argues that “ intra psychic

and inter psychic symbols both formed in in processes of human interactions and

transaction, have a greater deal in common” (Turner 2001: 21-22). Today, many religions


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attach significant meaning and interpretations to dream symbols as a window of spiritual

communication and a leap into the spiritual realm of the world.

In African traditional religion, which the Igbo are involved, dream symbols serve as

the vehicle through which religious meanings are conveyed and interpretations established

to help clearer understanding. This is why this paper looks at interpreting some major signs

and symbols in Igbo cosmology.

The Igbo life can not be discussed without signs and symbols. It is sad to note that,

most of the Igbo pay little or no attention to the essence of these cultural signs and symbols

and are not willing to pass them on to the future generations. The younger ones of this

present age could neither identify one out of many signs and symbolic objects nor make

proper application of them in their daily lives. If this urgly situation is not nibbed in the

bud, in due course, it will be most difficult for the upcoming generation to make any

meaning out of many sacred signs and symbolic objects, hence the Igbo culture, norms and

values which are wrapped up in signs and symbols may go into extinction.

This study is aimed at identifying and interpreting cultural symbols and signs in

Igbo cosmology, highlight their significance and uses as well as document them for

posterity, since the elders who are the custodians of Igbo cultural life have to transfer such

values to the upcoming generation before joining their ancestors. This study would draw

the attention of the younger generation of the Igbo to the essence of cultural signs and

symbols, as a way of harnessing the values wrapped up in signs and symbols.

Every race has symbols and signs in their culture. The essence of these symbols

depends on the method and condition of application. Igbo culture is stocked with symbols

and signs. These symbolic elements have been identified as follows:

Animal Symbols:

In Igbo culture, some animals are regarded as sacred and symbolic. Such animals

are discussed below:

Udele (the Vulture) This is also adopted in the symbolic scheme to represent the highly

perceptive ability of Agwụ. The vulture seems quite apt, given its extraordinary power to

sense carcasses even when such are quite far away. The exaggerated dimension to which

myths and folklore have celebrated this power in the vulture makes its choice for symbolic

representation of analogous Agwụ property quite appropriate. Far more than other deities,

Agwụ detects the most hidden misdemeanor. The Dibịa, who possesses a carved vulture

(udele Agwụ), is assisted by the deity to exercise a great power of perception of events and

situations. He needs not be physically present to be aware of the facts of certain matters

and events (Aguwa, 1995: 60).

Informant’s account reveals that the presence of vulture during sacrifice symbolizes

the presence of the spirits, hence the Igbo proverb; “A chụwa aja hapụ ịhụ udele, Ị mata na

ihe ukwu mere n’ala ndị mmụọ” (Any sacrifice without a vulture signifies that something

serious happened in the land of the spirits). It is the writer’s view that the youth of this

generation and the up coming generation may not appreciate this perceptive ability of the


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vulture, unless they are educated. The may regard the vulture as an ordinary animal that

feeds on cacasses.

Mbe (The Tortoise) This is another symbol of the Agwụ cult, and apparently, a very

indispensable one. In traditional folktales, the tortoise is the trickster, the most intelligent

and crafty of all animals. The tortoise has, therefore been chosen in the symbolization of

the omniscient attribute of the Agwụ, reckoned as the most intelligent and shrewd of divine

beings for which reason it is their spoke’s person. Agwụ is the spirit of divination in which

sphere it manifests unlimited knowledge on most things. The tortoise is a fitting symbol of

this ever transcending attribute.

Rather than a sculptural representation, a real shell of the tortoise is used. This is

understandable, given that, it is durable and available and in its representative status, more

intensively eloquent and evocative. During divination, the diviner beats the shell to

summon the spirits (Aguwa, 1995: 60). Mbe symbolizes wisdom and mental alertness.

Young Chicks (Nwa ụrịọm/Nwa sịịsịị) Young chick symbolizes purity, innocence,

freshness and cleanliness. The young chick is everywhere used in Igbo land for offering

sacrifice to the evil spirits (ịkwa aja) and purification rituals like ikpụ arụ (removing

abomination), ịjụcha ala (ritual purification of the land) and ịmacha ahụ (ritual cleansing

of the body). Ekwunife (1990) supports this view:

The chick is made a vicarious victim that bears the iniquities

of the people. Through it, the people’s contradictory

experiences of life are once more resolved in transcendence

since their moral and other evils which the chick bears can

only be removed in the world of invisible spirits (Ekwunife

(1990: 127).

The purity and innocence, which the young chick symbolizes, make it attract

human sympathy most of the times, especially, when they are accidentally crushed, or

marched upon with their feet. The same sympathy is responsible for the usual hooting or

shouting which people usually give whenever an eagle bird or wolf carries a young chick

away.

Nkịta (The Dog) The dog is one of the domestic animals found in several families of the

Igbo. Aguwa (1995) describes the dog as:

another important source of the symbolisms in Agwu cult. The

carved image of the dog is an essential article of Agwu cult

paraphernalia. The dog features very much in the rites of the

cult, not only for sacrifices but also as the animal that could be

dedicated to Agwu. The carved dog which the dibịa acquires

and calls Ọgaoziagwu (the messenger of agwu) provides him

access to vital agwu perfections of swiftness and perceptivity

(Aguwa, 1995: 61).


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Some qualities of the dog may have justified its association with agwụ. It has

natural swiftness and it has a keen perceptive power which enables it to smell out bad

medicine where they are hidden. In the dark, dogs are able to see, not only humans, but

also spirits. That is why most times dogs may be barking vigorously but the owner will not

be able to see what the dogs are seeing. An unexperienced person may refer to such dogs as

mischievious or disturbing, whereas in the actual fact the dogs are raising alarm against an

impending danger. Those dogs that are presumed to have four eyes (Nkịta Anya anọ) are

greatly valued in rituals for they mostly embody these qualities.

The Serpent (Agwọ) The serpent is a symbolic animal full of ambivalence. It is a

generator of contradictory emotions in human. Madu (1996: 256) supports this when he

says:

It is a great enunciator of binary oppositions. It has been

cursed. It has been worshipped. It has been admired. It has

been dreaded; no species surpass it in inciting ambivalent

feelings of awe and revulsion, veneration and active

antagonism. Because of this, the serpent remains the world’s

best-known symbol for evoking contradictory themes.

Unlike some other animals which are either terrestrial or subterranean, serpents are

aquatic, terrestrial, and subterranean animals. They can slither from the waters as from

underground. They survive in holes as well as on land. These features make humans regard

them as “messengers from the great mother earth from the dead, from the depths”. It is a

messenger from the underground world. Perhaps, it is this feature that endears it to many

Igbo sub-cultures as a cult animal or totem.

Acholonu, Olumba and Parbhakar (2009:326) describe the serpent thus:

The serpent, whose graphic form is spiral, is the centre point of Igbo culture and religion. It

is believed that the python is the child of the earth goddess and the water goddess. The two

goddesses are sacred to the Igbo. All Igbo shrines are decorated with the image of the

serpent or the goddess, with serpent coiled around, above or beneath her. Thus image of

coiled serpents take centre place in Mbarị temples and shrines, where annually, the goddess

is celebrated in an orgy of communal art. The serpent also symbolises wisdom. That is

why, in the Holy Bible, Christ admonished His disciples to be as wise as the serpent

(Matthew, 10: 16). The serpent has lidless eyes, voicelessness and unbroken awareness,

supporting the popular saying that ”the wise know more but talk less”.

The serpent also symbolizes deceit. This quality enabled it to cajole Eve into eating

“the forbidden fruit” in the Bible book of Genesis 3: 1-13.

Ehi Igbo (The short-horn Cow) Ehi or Efi is Igbo symbol of pre-eminence. A naghị achọ

isi ehi achọ n’ite ofe. (The cow’s head is too big to go missing in a pot of soup). The pre-

eminent never gets lost in a crowd. Ehi is the most valued among other domestic animals.

Osuagwu (2009) states,

The ancient Igbo civilization was an agricultural civilization

that domesticated certain crops and animals for special


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reasons. Among the domesticated crops, ji (yam) is the

biggest in size and king; among the domesticated animals,

Ehi (the short-horn cow) is the biggest in size and king of

domestic animals (Osuagwu, 2009: 1).

Ehi is just not any cow; hence it is called Ehi Igbo (Igbo cow), to distinguish it from

other cows, like lama-cow of the Fulani, with which it cannot be substituted for ritual

purposes. Ehi Igbo is much more valued and costs much more, even though physically

smaller, than these other cows.

Relating Ehi Igbo to the highest ọzọ title in Igbo land, Osuagwu (2009:2), supports,

Ogbuehi literally, means one that feasts the community with a

cow; pre-eminent citizen; great achiever. Ehi Igbo symbolizes

achievement, heroism and eminence among the Igbo. Folks name

their children Ogbuehi (one who killed a cow for communal

consumption) as a sign of achievement and fulfillment.

Ehi Igbo remains a critical family friend and a sign of dignity to the Igbo man. Another

symbolic quality of Ehi Igbo that further humanizes it in Igbo traditional society is that, it

bears singletons, one child at a time, like human beings. A community can also accept a

cow in exchange for the execution of a condemned person.

Symbols Related to Humans, Spirits and Other Cultural Objects

In Igbo culture, some human natural phenomena, some spirits and some cultural

objects are regarded as sacred and symbolic. These are examined below:

Mmadụ (Man) Mmadu, for the Igbo, is the highest of all creatures. Madu (1996: 159)

opines,

It is not an overstatement to assert that the gateway to a people’s

understanding of a man and his destiny is man himself. This

means that whatever ideas of human’s destiny that prevail within

a culture are fashioned by that culture’s understanding of man,

especially his ontological constitution, his possibilities, and his

limitations.

The Igbo name, Mmaduka (human is greater), confirms the above argument. The

same idea is conveyed when the Igbo refer to Mmadu as isi (head), e.g. Mmadụ bụ isi. In

this latter sense, man is seen as master of other creatures, as the head is said

morphologically, to be primary to the other parts of the human body.

Chi (Personal God) Chi symbolizes a personal God in Igbo cosmology. It is the vital

agent which dispenses a person’s destiny and can also protect and guard him, much like the

Christian angel. It is the spark of the Supreme God as shared by each individual but more

specifically in his aspect as giver and author of destiny. Madu (1996: 178) supports,

The traditional Igbo maintain that every life is unique in significant

ways and is subject to series of unforeseeable hazards and unexpected


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rewards all mapped out by chi. What the individual makes of his life

depends on the very last analysis, on his chi.

Chi may be chosen by the individual or granted at his request before his birth, or it

may be an affixture by Chukwu (the Supreme God).

Acholonu, Olumba and Parbhakar (2009: xxxii) share the same view in the citation thus:

Every man and woman has his/her Chi, the spark of God’s spirit

of which he or she is the physical incarnation or embodiment.

The relationship between him and his chi is one of mutual

influence. By this the Igbo assert that man is the god of his

environment, the creator and shaper of his own fate “onye kwe

chi ya ekwe”

Every Igbo person is born with an unshakeable faith in himself/herself and his/her

own ability to be anything he/she chooses to be; the ability to re-write his/her own destiny

and shape his/her environment.

Old Age and Grey Hairs Old age and grey hairs symbolize a fulfilled and advanced life,

and this often earn one the right to courtesy and politeness (Onwubiko, 1991: 35). Certain

Igbo proverbs like, “Onye sọpụrụ okenye, okenye eru ya aka” (He who respects an elder

shall attain old age), shows the significance of old age in Igbo land. One visible sign of old

age is grey hairs.

Nudity of Young Girls The material object, nude girl directly symbolizes utter purity and

innocence. With reference to the girl he saw bathing nude on the sea shore, Conton, as

cited in Onwubiko (1991: 38) says:

Africans are very conscious of the importance of symbolism in

life; and that happy has been worth returning to Africa for; so far

as I know, set eyes on this particular girl again, but neither have I

ever forgotten the intensity of her happiness or the utter purity

and innocence of its source.

In traditional Igbo life, nudity of young girls is a sign of virginity.

Virginity Virginity symbolizes purity, not only of the body, but also of moral life and, a

virgin bride is the greatest glory and crown to her parents, husband and relatives.

The Igbo society abhors both male and female lack of chastity before marriage. Any

girl, who has lost her virginity, has a great disadvantage in marriage. In fact she is rejected

in marriage and sent home to her parents. Achebe (1974: 122) narrates:

Although Okuata emerged at dawn feeling awkward and bashful in her

unaccustomed cloth, it was a very proud bashfulness. She could go without

shame to salute her husband’s parents because she had been found at home.

Her husband was now even arranging to send the goat to her parents, to

present to the mother in Ụmuezeanị for giving him an un-spoilt bride. She

felt greatly relieved for although she had always known she was a virgin…


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The excerpt above underscores the concept of preserving virginity until marriage.

In Igbo land, the bride groom of an “un-spoilt bride” sends things which may include he-

goat, a hen, wrapper, powder, pomade, soap and other edibles to his mother-in-law to

congratulate and thank her for giving him such a bride. The happy mother then invites her

peers to come and rejoice with her. It was a thing of pride for a man to get married to a

virgin bride, but as things have turned out, men care less whether or not the girl is a virgin.

The Colonial Masters driven civilization ironically declined the cultural values. Then, pre-

marital sex was a taboo and as a particular culture may demand, it is a punishable act with

shameful consequences (Anna, 2012: 31). Presently, pre-marital sex is no longer regarded

as a taboo, and this is therefore, a wake up call that Ndi Igbo return to their cultural values

again, holding it with high regards as it were then.

Masquerades According to Igbo belief, masquerades represent images of dead relatives

coming from the world beyond to this earth for one reason or the other, after which they

disappear (Ogbukagu, 1977: 91).

Masquerades are highly respected in Igbo land. It is usually a male affair, as they

help to entertain, as well as maintain peace and order in the community.

According to Okodo (2009: 260):

The masquerade is called up from the ant hole by making

libation. The libation involves pouring palm wine into the ant

hole and making some incantations while beating the metal gong.

When satisfied, the masquerade arises from the hole. The people

organize themselves with whips and follow it about if it is the

flogging type…

There are other masquerades that are not the flogging types, such masquerades go

about singing and dancing in the company of their followers. The youth of this age need to

change their wrong impression about masquerade as only engaging in violence and scaring

people, rather they should appreciate Igbo masquerade as performing other functions as

law enforcement agency, collection of levies and fines, exposing and purnishing criminals

and offenders, stoppage of children’s cry , including entertainment.

Ikenga (Human’s Male Deity) Ikenga symbolizes the strength of man’s right hand.

Sometimes a man’s right hand is called “aka ikenga” (Ikenga hand or powerful hand).

Metuh (1981:98) describes Ikenga as:

…a deity whose roles are very similar to that of chi. Ikenga is

essentially a human male’s deity. Women do not have Ikenga…

Ikenga on the other hand guards a man and inspires in him

courage, strength, ambitions and achievements, which are pre-

requisites for success of every man of status.

Accordingly, Ikenga is involved under the title of “Ikengaọwaọta”, that is, Ikenga

who splits shields; hence it is called the strong one or the brave one. Ikenga is a carved

symbol of success, which symbolizes Ndị Igbo as a people. If an Igbo man achieves

something manly, he attributes the success to his Ikenga, hence certain expressions like,


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“Ikenga m kwu ọtọ taa”( My Ikenga is standing upright today). Among the household

deities, Ikenga holds the premier rank.

Ogu (Symbol of Moral Purity and Righteousness) The ogu in Igbo religious thought

means ‘moral power’, bulwark of strength, the invisible morel protection, an antidote or

amulet against all forms of evil including those of the spiritual enemy and a breast plate of

righteousness.

Onyeọcha (1992: 33) explains ogu as “the solemn utterances one makes, and the

ideas and principles of the good life one invokes”. He further explains that ọfọ and ogu are

so closely bound together that you could hardly talk of one without the other. Acholonu

(2009: xxxiii) supports this view in the citation below.

Ọfọ works with ogu as its driving force, and ogu is the Igbo word

for right action, equity, justice or impeccability. It is the state of

being above reproach before God and man with regard to any

given issue or bone of contention. Impeccability or ogu as a

permanent feature of character is driving force behind the making

of the god-man in Igbo life and Cosmos.

The affixation of ogu in Igbo names shows its importance in the life of the Igbo,

Oguzie, Oguamanam, Ejiogu, Ogundu, etc.

Nzu (White Clay) Nzu symbolizes sacredness and goodwill in Igbo land. Nzu, which is

produced from white clay, is also used in offering kola.

Ogbalu (1974) states:

Ihe e jikarị nzu eme n’ala Igbo bu ọjị. Onye bata n’ulọ onye

okenye, e nye ya ọjị na nzu. Ọburu na ọjị adịghị, e nye ya nzu. Ọ

na-ewere nzu ahu kaa n’ala. Ụfọdu na-aka akara anọ nke dịịrị

ahịa anọ dị n’ala Igbo. Eke, Orie, Afọ, Nkwọ, nke a na-egosi

ikpe ekpere ka ubọchị dịịrị mmadu mma. Ụfọdu mmadu na-ete

nzu n’anya, tumadị ndị dibịa. Ebe a kabidoro nzu na-egosi ebe dị

nsọ nke na-abughị mmadu niile ka a ga-ekwe ka ha jee ebe ahu.

Ụmunwanyị dị ime na-ata nzu na urọ n’ihi na ha kwenyere na ha

na-eme ka nwa gbasie ike (Ogbalu, 1974: 66).

Nzu is mostly used in offering kola in Igbo land. Whoever visits an elderly

person is offered kola nut and white clay (nzu). In the absence of kolanut, nzu

is offered. The nzu is used to draw lines on the floor. Some draw lines,

representing the four market days of the Igbo. Eke, Orie, Afọ, Nkwọ. This

signifies prayer for a successful day. Some people rub nzu on their eye lids,

especially native doctors. Wherever nzu is used to draw a line of

demarcation, people are prohibited entrance. Pregnant women always eat

nzu, because they believe it strengthens their unborn babies.

Also, nzu is rubbed on a new born child as a sign of life. The values placed on nzu

in the traditional Igbo soceity goes beyond what is shared to children to eat where a new

baby is born.


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Ọfọ (Symbol of Ancestral Power and Authority) Ọfọ is the most important symbol of

the ancestors among the Igbo. It is a section of branchlet of the ọfọ tree or deuterium

Senegalese which is believed to have been set aside by Chukwu as a symbol and guarantee

of truth.

Similar to this view, Ejizu (1986) states:

For our forefathers, ọfọ meant truth, justice, righteousness,

power, authority, wholeness and moral innocence. And these are

the things it means for us, and it will always mean. In the final

analysis, they say it was Chukwu himself who gave ọfọ to

mankind to serve as a medium of contact between man, and the

spirit-world, and to signify God’s truth among man (Ejizu, 1986:

122).

Every ritual use of ọfọ by the Igbo is a repetition of actions done in the beginning. It is a

continuation of a tradition that is rooted in our ancestors. It is efficacious.

In affirmation, Acholonu (2009) states:

Ọfọ is the unfailing power of the spoken word rested in a sacred

tree of the Detarium Elastica family, the stick of which when

ritually consecrated is imbued with the supreme power of the

earth’s life-force and becomes a potent, unfailing instrument in

maintaining order and justice within the Igbo micro-and macro-

environment (Acholonu, 2009: xxxii).

Ọfọ also represents the supernatural sanction which it introduces. On the part of the

assembled elders, their individual ọfọ symbols are their testimony of the truth and sincerity

and commitment to the age-long traditions of the land.

According to Ilogu (1974),

The ọfọ stick is the abode of the spirit of the dead ancestor, hence

the authority and the sacredness of the ọfọ as well as special

place given to it as the individual or the group possessing that ọfọ

(Ilogu, 1974: 18).

The ọfọ symbols function in the following areas; prayer, ritual sacrifices, contact

with spirit patrons, magico-religious uses, naming ceremony, determination of calendar,

events, affirming moral uprightness, sealing covenants, legitimation of status/office,

decision making, settlement of disputes, oat-taking, promulgation and enforcement of laws

(Ejizu, 1986: 61). Ọfọ should not be viewed as an ordinary stick, rather as a symbol of

authority in Igbo culture.

Ikoro (Big Wooden Drum) The Ikoro is a relic of the ancient times still found in many

towns and villages in Igbo land. In describing the sacredness and sanctity of Ikoro, Ogbalu

(1974) says:

The Ikoro is taken care of and preserved in such a way that

termites won’t destroy it… It is mostly activated by a cock and

sometimes human beings are used. There is always blood on the


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body of Ikoro… only men who are men dance the dance of

Ikoro… (Ogbalu, 1974: 38)

Among the Igbo, the Ikoro is used to transmit message. Every autonomous village in

any given town owns one central Ikoro. The Ikoro, therefore, symbolizes the equity status

of each of the villages in a given polity among the Igbo.

Nnọchiri (1989) explains:

Not all messages are transmitted by the Ikoro. Ordinary messages

are sent round the village or town by town crier using Igbugbo or

ekwe while Ikoro is used to send messages that are ceremonial or

very important and urgent (Nnọchiri, 1989:30).

A sudden and vehement sound of Ikoro at any time signifies an emergency. Basden

(1982: 18) summarizes the uses of Ikoro as “… used chiefly for spreading information for

certain ceremonial purposes, and at sacrificial festivals; meetings are called by their use,

and various announcements proclaimed”.

By inference, the emotion aroused in the people by the various kinds of tempo or

rhythm of the Ikoro beating helps them interpret the message carried by the Ikoro. It is

unfortunate and regrattable that the modern day technology tend to undermine the essence

of Ikoro in the area of information disemination, substituting it with radio, television and

telephones. Therefore it is important that this symbolic object is documented for posterity.

Odo (Yellow Chalk) Odo is a yellow chalk, which is normally used by the native doctors.

It symbolizes peace and calmness. Native doctors rub it on their eyelids during divination.

According to informants’ account,

Odo na-eme ka ihe doro. A na-etinyekarị ya mgbe a na-agwọ

ọgwu e ji agwọ ọrịa nakwa nke e ji anaputa mmadu n’aka mmuọ

ọjọọ, iji meda mmuọ dị etua obi, ma meekwa ka udo dịrịkwa

n’etiti ha ọzọ.

Odo makes things calm. It is usually added when a charm is

being prepared for healing and delivering a person from bad

spirits, in order to placate such spirit, and bring back peace

between them.

Mmiri (Water) Water is always sacred. Water is life, the primordial source of existence

and the bearer of life of plants, animals, human beings and even the gods. Because of its

great potency, water, like blood, has been widely used in purificatory and expiatory rites to

wash away defilements and restore spiritual life. It has also been used along with wine as

an important offering to the dead as reviving force.

Water also symbolizes coolness. It is something used to quench the fire; turning hot

things cold, watering the throat of one who is thirsty. Idiomatically, when somebody is

asked to “pour water on your heart” (Kwọsa mmiri n’obi), it’s a plea to one to calm down

from anger or provocation.


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Mbarị (House of Creation) Mbarị is a people’s way of life, a very significant aspect of a

people’s culture. Mbarị is derived from the Igbo word for creation. Mbarị may be

understood therefore as a house of creativity (creation) (know your Igbo.

http//234next.com/cms/sites).

A thorough study, even a cursory peep into a typical Mbarị house in Mbarị Cultural

Centre Owerri Imo State will reveal it as being much more than the traditional religious

belief system of the Igbo. It depicts to a large extent, the Igbo culture as explained by Cole

(1975),

Mbarị is life and language. It is about the daily life of action and

thought encoded in minds, symbolic language of ritual, proverbs

and myth, encrypted in colour. It is about the promises and hopes

of a people, graphically presented in a house erected as a

monument to a powerful deity, such as the earth deity, Ala,

believed to possess the power of fertility over the people (Cole,

1975: 104).

In a typical Mbarị, such as the Mbarị Cultural Centre in Owerri, Imo State, one finds apart

from the images of Chukwu Abịama, Amadịọha and some lesser gods, art works such as

Ikoro (communication device), enyinnụnụ (ostrich), alakuku the giant, a depiction of 13

lunar months of the Igbo as well as their 4-day week displayed on the wall (Ejiogu, 2009:

11).

Mbarị is a rich heritage of the Igbo. Ezimọra (1972: 4) opines: “Mbarị is not

celebrated in any particular shrine. Usually a new site is chosen near the shrine of the god

in whose honour it is being marked. It is usually fenced or walled round. It is a museum”.

This explains why Mbarị is found in different parts of Igbo land. From the earliest times, it

existed in Nguru, Enyioguru and Okwuatọ in Agbaja clan of Mbaise and other parts of old

Owerri province.

Ọdụ-aka (Ebi) This is an object, the main constituent of which is the horn of a wild animal

called Ele. The ọdụaka is a symbol of those who have been admitted into the society of ndị

sara aka (acquisition of power to know). They are believed to possess great powers,

especially the power of quickly activating the initiates’ special powers in response to

human problem. It is a symbolic representation of the power in man’s right hand that

enables him stretch out to achieve success in life (Nwosu, 1989: 2). Ọdụ-aka enables the

initiates to detect missing or hidden objects.

Social Status Symbol Title taking is a symbol of integrity. Social class stratification is a

natural phenomenon in every society. People like to climb the social ladder as quickly as

possible. To achieve a certain goal in life, one must identify with certain groups. Entrance

into a desired group or social class helps to open the horizon for more opportunities and

social mobility.

According to Ndiokwere (1994)

… in every society, some men are identified as superior and

others as inferior, patricians and plebeians, the twice-born and the


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once born, aristocrats and commoners, masters and slaves, etc.

These contrasts between higher and lower, rich and poor,

powerful and powerless, ruler and ruled, constitute the substance

of social stratification (Ndiokwere, 1994: 233)

In the light of the foregoing argument, there is the desire to belong to a high social

class. Acquisition of titles is one of the easiest ways of climbing the social class ladder as

quickly as possible.

Vocal Symbols Vocal symbols are sound symbols which include language, music and

other sounds. Language includes proverbs and parables. Proverbs are languages wrapped in

symbols, they are short statements used often by a group of people for the purpose of

emphasizing a point, making a moral principle, supporting an argument, giving service, or

in general, stating what is out to be true and natural (Nwaorgu, 2001: 410).

Parables belong to the category of the symbol. Hornby (2000: 845) describes parable

as “a simple story designed to teach a moral or spiritual lesson”.

In the area of music, certain music, songs and chants represent certain occasions or

moods in Igbo culture, hence they have, ekere mgba for wrestling, uri nwaọkwa for

performing the ritual rite of ịwa nkịta anya, egwu awọrọ, nzọgbu nzọgbu (to trample one to

death), for emergency situations like carrying the dead (like the corpse of a daughter of the

community under dispute) or even during a dispute between a community and another.

Also, ibi-oro (ululation), which is usually done by women, symbolizes the arrival of a new

born baby or any good thing that happens to the community.

Ukwu Azịza (Bunch of Broomsticks) In Igbo culture, ukwu azịza symbolizes unity,

togetherness, joint effort and the virtue of being one’s brother’s keeper. The concept of

‘gidigidi wu ugwu Eze, abubu ka ọkukọ jiri buo ibu, nku wu ike nnunu, a nyukọọ mmamịrị

ọnu ya agbọọ ufufu, igwurube chịkọọ ukwu ọnu ha agbawaa ite’ (all expressing the

positivity of communalism and unity of purpose in Igbo life), is epitomized in ukwu azịza.

Ukwu azịza practicalizes the saying, ‘united we stand, divided we fall’ in the sense

that it is easy to break a single broom, but difficult to break the bunch of brooms.

Azịza (broom) also symbolizes cleansing. It is used to cleanse the land of defilement.

A certain political party in Nigeria, (All Progressives Congress, APC) uses the broom as

their party logo. Their choice of this symbol is born out of these values encapsulated in the

bunch of brooms.

Ụsụ (Bat) In Igbo culture, ụsụ symbolizes indecision, irresolute and sitting on the fence.

Usụ can neither be classified as a bird nor a rodent. Therefore, it dangles in between these

species of animals. When one is called ụsụ in Igbo land, it means that the person cannot be

identified with a particular group or line of thought. The person could neither be called a

Christian nor a heathen, neither practices Igbo culture nor western culture, etc. Again,

because ụsụ sees well in the dark than in the bright day light, it is identified as a symbol of

negativity, that which prefers darkness to light. In Igbo parlance, onye ihe ọma na-adịghi


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mma (he that abhors good things), or ihe na-adị ibe ya mma anaghị adị ya mma (he is not

happy with what pleases others).

Ugwumagala (Chameleon) Ugwumagala symbolizes inconsistency. It changes its body

colour to the colour of whatever environment or whatever object that it crosses. Ndị Igbo

describe it as “a hu ucha a chawaucha, a huoji e jiweoji” (if it sees white colour it becomes

white, if it sees dark color, it becomes dark). Such attitude is being frowned at in Igbo

community, because, any person identified with such vices is unreliable, and will not be

trusted by anybody in the community.

Mamịwọta (Marmaid) Mamịwọta symbolizes beauty and temptation. Mamịwọta is mostly

used to compare beauty, mostly of women. For instance, ọmara mma dịka mamịwọta (she

is as beautiful as mamịwọta). Mamịwọta is also regarded as a tempter, who could lure

people into sin and evil, hence people dread ‘onyinye mamịwọta’ (the gift from mamịwọta)

because such gift is regarded as the gift of regret (onyinye weta isi bịa were isi).

Akwa Eke (Python’s Egg) Akwa eke symbolizes precious, valued object and something

that should be handled with utmost care. It stands for something delicate and something

that can be rarely seen. To gain access to where the python lays eggs is not easy, because,

the eggs are surrounded by some other dangerous animals including the python itself.

Therefore, even if one manages to get hold of the egg amidst the risk and struggle, the

akwa eke has to be handled with utmost care so that it does not break. Also, if the akwa eke

is mentioned, it means that the object is precious, of much value, and has to be handled

with utmost care and vigilance.

Ịza Ikoro (To Answer the Ikoro) This is also restricted as well as different from the

spontaneous response to the emergency call of Ikoro by the men of the village. Ịza Ikoro is

a ceremonial dance of the Ikoro during the village festivals. On such occasions such as the

New Yam Festival, Men of valour and titled ones can answer the Ikoro. The Ikoro calls

them by their titles as they dance in the arena. In response, the titled men could do a

demonstration showing their valour in war, hunting or success in farming (Ezeji). If he

owns a gun, he will either release some shots to himself or commission his followers to do

so as he does the dance of the Ikoro. The Ikoro drummer is also rewarded for his dexterity.

Mpata Mpata is the social symbol of ọzọ title holders. It is a carved stool, which the title

holders sit on. It is not an anyhow sit which anybody may sit on. It signifies the social

symbol of ọzọ title holders. In Nkwesi, Oguta Local Government Area of Imo State, Nze

na Ọzọ title holders carry their Mpata along as they attend meetings and other social

functions. According to Nwaorgu (2001: 5), “Mpata is a carved stool, which signifies the

social symbol of ọzọ title holders”. It is usually the duty of their attendants or children to

carry the Mpata for them.


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Manila The manila is the old money unit which is used in sacrifice to symbolize wealth,

temporal blessings and monitary transactions. In sacrifice, the putting of manila in a

person’s hand and removing it symbolizes the buying off of the person from the hands of

the evil spirits that had been sent to torment and trouble him. The manila can be used in a

charm for wealth or to make people poor.

Ebo/Egbo Osuagwu (2013) describes Ebo/Egbo as the symbol of the Igbo and Igbo land.

In his words, anybody who visited Igbo land before 1960 would be struck by the

ubiquitous presence of Ebo/Egbo. The goal post, like the Passover Gate, Ebo/Egbo, was

the gate into every clan, town, village, market square and compound. The Igbo land would

be manifestly recognized as Ebo and Egboland. In the last 50 years Ebo/Egbo symbol of

Igbo land and Igbo people, has more or less disappeared from Igbo land. When young Igbo

hear the saying “onye nọ ebe a na-eke Ebo/Egbo mechie ọnu ya, e kekọta ọnu ya” (one

present when an Ebo/Egbo is being consecrated and shuts up, has his view lost forever/is

damned forever).

The purpose of Ebo/Egbo is to ward-off, wall-off problems before they arrive;

solving problems before they occur, pre-solution. All life’s vicissitudes are, together, called

‘mkpa’, (stressors) by the Igbo. The central mission of Igbo life is towards keeping them

off, “igbo-mkpa”. The ‘bo/gbo’ root, therefore, comes into “problem-preventive acts’.

Disease prevention is “ibo/igbo-ọrịa; damming, walling-off a river is ‘ibo/igbo” iyi”.

Eating to avoid hunger is “ibo/igbo agụrụ”. Door and wall that prevent troubles entering

houses are “ibo/igbo-ụzọ and ibo/igboaja, respectively. The Igbo term for “ahead of time”,

earliest possible is Gboo. One conception of Igboness is, therefore, “Ndịgboo”, the early

people, the ancient people.

Egbo/Ebo symbolizes commitment to the ideal of “Ịgbambọ”, by the community or

the individual. By popular consent, anybody committed to Ịgbambọ is an Igbo; non-

commitment to Ịgbambọ defines non-Igbo. “Onye na-agba mbọ wu onye Igbo, onye na-

amaghị mkpa awughị onye Igbo. Ebo words off death and loss.

Social Status Symbol (Titled Men)

The Igbo regard title taking as a symbol of integrity. The life of a titled man, like Nze

and Ọzọ, is centered around his integrity. He is expected to live above all mean behaviours.

He must not scramble for food in any gathering. He must wait for his turn. He must not

embezzle public fund or encourage others to do so. He must not show partiality in

judgment since his testimonies are taken to be correct. As the custodian of the people’s

tradition, he must cherish and observe all the progressive norms of his people. Also he

encourages others to grow by way of either advising them or providing them with material

support. Members of his household should live exemplary lives, while he himself should

be a symbol of peace, love and unity in the community.


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Vocal Symbols

Vocal or sound symbols are used in symbolizing one thing or the other in Igbo

cultural life. In the area of language, proverbs and parables are put to play. They involve

short witty statements or simple stories with the intention to teach moral and spiritual

lessons. In the area of music, the Igbo have numerous songs, music and chants which

represent their different moods and occasions. For example, Uri nwọkwa is performed

during the ritual rite of ịwa nkịta anya, ekere-mgba for wrestling, egwu awọrọ, - nzọgbu

nzọgbu, for emergency situations like carrying the dead (especially a corpse under dispute).

The same song signifies dispute or disagreement between one community and the other.

There is also ibi-oro (ululation), which women usually do to symbolize the birth of a

new born baby, marriage or to celebrate good things in the community. On the other side,

Igbo men, usually symbolize their gatherings with their greeting – “Igbo kwenụ!” and the

corresponding refrain “Iyaa!”

In most Igbo communities, there are certain expressions or exclamations that signal

security and emergency situations. For instance, in most parts of Owerri zone, Imo State,

especially Ụmuọmumu Mbieri in Mbaitoli Local Government Area, if someone shouts

“Egbe o hohoo!” or “Onye e kwela ụzọgaa o!” it means there is problem somewhere and

this calls for people to rally round for either rescue in the case of somebody held by

danger, or to separate people fighting to death, or to wage a criminal, who may be on the

run after stealing somebody’s valuables, or rescue someone from a killer, herdsmen, etc.

In some cases, if two people are quarrelling and one utters a very offensive word to

the other, such shouts like “egbe o hohoo!” will attract the attention of their colleagues

who will come out and collect an instant fine from both of them, pending when the case

will be looked into and decided upon, at the general meeting.

What is indicated in this paper is that, there are many cultural symbols in Igbo

culture. These symbols have meaning according to the culture of the people where they

exist. Most of these symbols perform similar functions for the different areas where they

exist.

The Future of Cultural Symbols in Igbo Land

Igbo cultural symbols were handed down from one generation to another just like

other oral traditions and cultural heritage. But it is unfortunate that, wrong perception of

civilization and advent of Christianity, acculturation and social change have had an adverse

effect on the culture of Igbo people. Basden (1982: 285) observes, “… from feeble and

uncertain beginnings, Christianity progressed, gathered momentum and extended its

influences daily on the Igbo and every aspect of their lives…”

Most of the cultural symbols of the Igbo were seen as fetish and unchristian by the

early missionaries. The present adherents of the white missionaries’ teaching and

inductrination condemn those who secure and recognize such cultural symbols. They

regard them as heathens, pagans, idol worshippers etc. Such people need to appreciate the

interpretation of what Iheriohanma (2002) describes as “outward sign for inward grace” in

looking at Igbo cultural symbols and what they actually represent. Symbols, in actuality,

have abstract existence and expression and are derivatives of experiences. According to


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Iheriohanma, Chukuezi and Nwosu (2020: 35), symbols express abstract concepts

represented with visible or physical objects and which people attach deep significant

meanings to. The people use the symbols to communicate amongst themselves. To an

uncritical observer, these symbols may make no meanings or may wrongly be interpreted

like the early missionaries did. These negative attitudes arising from misinterpretations and

or prejudice will, surely, militate against passing on of these cultural values and heritage to

the upcoming generations.

For instance, on the 25th of April, 1999, the inhabitants of Owerri, the Imo State

capital woke up in the morning and discovered that their Ikenga and Ọfọ symbols, moulded

at Wetheral Road/Okigwe Road roundabout and Cherubim junction, respectively, had

disappeared. This sacrilegious taboo attracted comments from well-meaning Igbo hence

Ibejiakọ (1999: 15) opines: “Ikenga statue does not depict idol worship or indulgence in

juju. Ikenga depicts strength and respect of an Igbo man…”

It is the researcher’s opinion that the Ikenga and ọfọ sculptural symbols must have

been removed by modern religious fanatics, who did not understand what those symbols

stand for. In the same vein, most of the plant symbols like Ogirisi, Abọsị and Ọha trees are

hardly allowed to stay. They are being cut off, with excuses that they are the abode of some

malevolent spirits.

In the year 2018, a certain government administration in Imo State, Nigeria, pulled

down and destroyed two Mbarị houses in the State Cultural Centre, crushing and damaging

all the artifacts and sculptural works representing symbols in Igbo culture. Amongst the

symbolic objects damaged were- Eke (python), Mpata, Ọfọ na Ogu, Symbols of the Igbo

four market days, Alakuku de Giant, Ehi Igbo, Ugo, Mbe de Tortoise, Amadịọha the god of

thunder, Ala the earth goddess, Ikoro, Man who died of swollen stomach, and many other

symbolic objects. This act is condemnable by this research work, because it denied the up -

coming generations opportunity and access to these cultural symbols and what they

represent.

The Role of Igbo Cultural Symbols

From the discussions above, it is clear that Igbo cultural symbols perform so many

functions in the life of the Igbo, but generally speaking, cultural symbols perform the

following functions:

a) Give identity to their cultures of origin

b) Function as historic facts towards re-enacting and reconstructing events of the given

religious tradition.

c) Serve cultural and religious faithful as empirical illustration of the mental images

created by their various ideas and abstract concepts of belief, which ordinarily would

be difficult or impossible to express.

d) Symbol is a specialized medium of communicating religious and cultural

experiences through art, as it mediates an imaginative origin, bringing out, perhaps,

what is the very best in human experience.

e) Function as instrument for maintaining order and unity among members of the same

religion and culture.


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f) Provide references and models for adherents to follow. That means, they provoke

emotional responses and stimulate appropriate religious and cultural activities,

actions and inactions.

g) Disclose power and potency inherent in nature as a channel of sight and vision.

Symbols are powerful instruments in communication context. Symbol is any entity

composed of two essential and correlative elements, which by virtue of such a composition

has innate power of evoking the other objects by itself, rendering them in some way

present, even though it may not be perceived.

In Igbo traditional set up, one can hardly go to any shrine without seeing symbols

like the “ọfọ” and “ikenga”. These manifest a lot of things in the lives of every worshipper,

especially those in authority. The symbol has a reference character, indirectly mediating

the relationship between man and the supernatural. It is a vehicle of divine power. It

guarantees the presence and efficacy of that power. The sense of awe, the intense

emotional feeling which particular ritual symbol rouses in different places, even the

activities of feeding and speaking directly to the ritual “ọfọ” stick among the traditional

Igbo worshippers exercise great influences in worship.

There was relative peace when cultural symbols were recognized; for instance, the

settling of disputes where ọmụ was placed, to scare or stay action. Where ọfọ is brought

out, issues are addressed in the correct and reconciliatory manner. In those days,

agreements were sealed by ọfọ and they remained the same, unlike now when people go to

police, carry guns, etc. It is an established fact therefore, that Igbo world view is replete

with symbols and these symbols are sources of insights into Igbo ordinations to life that

conveyed awe, spirituality and conviviality.

Summary

This work centered on the interpretation of major signs and symbols in Igbo

cosmology. It brought to light the functions and uses of these signs and symbols. The

dream theory of Sigmund Freud was used as a framework to guide research efforts in

interpreting and understanding the major signs and symbols in the lives of the Igbo of

South Eastern Nigeria. These signs and symbols, by the reason of this work are

documented for the future generations in order not to allow the culture from going into

extinction.

Recommendations

Elders should teach the younger ones the meaning of Igbo signs and symbols.

Scholars and research fellows should work hard in the area of identifying and

interpreting the meanings of these signs and symbols in order to impact them on

students and pupils to appreciate.

Modern religious fanatics should be well informed concerning what Igbo signs and

symbols stand for. They should appreciate them rather than condemn them.

Creative Artistes should be encouraged to carve or mould some of these symbolic

elements for aesthetic displays.


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The establishment and maintenance of Mbari houses in the state cultural centers in

Igbo land should be given serious and urgent attention by government.

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interpreting some major signs and symbols in igbo

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