Igbo architecture explained

Igbo Architecture are architectural styles developed by the Igbo people. Igbo architecture particularly in the pre-colonial era, was deeply rooted in the culture, environment, and available local resources. While there might be variations based on different communities and regions within the Igbo territory, here are some detailed characteristics of traditional or pre-colonial Igbo architecture.^[1]

Traditional Igbo Architecture

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. As a result, there are various Igbo architectural styles ranging from the architectural styles of the Western Igbo speakers to the northern Igbo architectural style, etc.

Compounds (Ǹgwùlù/Ǹgwùrù)

Igbo compound spatial organizations are organized in ways that reflect the cultural, social, and architectural traditions of the Igbo people. The compounds are often arranged in a way that allows for communal living which fosters family bonds and support. It also comprises sections of housing units or quarters reserved for members of the family i.e. a wife or wives, In-laws, and other members of the extended family.^[2] Spatial organization in Igbo compounds varies since its arrangements are dictated by the social status and professions of the owner. Wealthy compound owners often marry multiple wives with multiple children evidenced by how many quarters are in a compound.^[1] Another way spatial organization in Igbo compound varies is by the material items for building homes within the compound which cannot always be found in every region. Several identifiers of Igbo compounds include gardens (some with water features like ponds), barns, central courtyards, religious alters or shrine. Compounds in Igbo communities are also one of the ways in which Igbo ethnic subgroups and clans form.^[1]

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In traditional Igbo architecture, the entrance to a compound holds a cultural and symbolic significance. The design of the entrance was often carefully considered to reflect the status of the family or community residing within the compound.

While there can be variations based on specific regions and communities, here are some general characteristics of Igbo compound entrances:^[3]

• Carved doors, Gateways, and Gates- Igbo compound entrances are typically marked by gateways or gates that serve as the main points of entry and exit. These gateways can vary in size and complexity, from simple wooden gates to more elaborately decorated entrances. In certain places in Igboland compounds with grand gateways are surrounded by a high wall often for protective reasons and are made of earth locally known as aja ngwuru or egwe Such compound walls often have wooden panels which are colored and carved and a large gate known as mgbo ezi. Carved gates or doorways are usually made for titled people.^[4]
• Decorative Elements- Many Igbo compound entrances feature intricate and decorative carvings, patterns, and motifs. These decorations often have symbolic significance and may represent ancestral spirits, animals, historical events, or other cultural symbols.
• Guardian Figures- Some entrances have statues or figures placed on either side of the gateway, serving as guardians or protectors of the compound. These figures can be both decorative and symbolic, representing ancestral spirits/ deities or used to signify a specific event important to the people who live within the compound.^[1]
• Thatching- Traditional Igbo compounds often have thatched roofs, and the entrance may be covered by a thatched roof or awning. This provides shelter from rain and sun while adding to the overall aesthetic.^[1]
• Low Doorways- The entrances to many traditional Igbo compounds have low doorways, which require people to stoop or bow when entering or leaving. This physical gesture is a sign of respect and humility.
• Courtyard Design- Igbo compounds are typically organized around a central courtyard, and the entrance often leads directly into this open space. The courtyard serves as a communal area for various activities and gatherings.^[1]
• Ceremonial Spaces- In some Igbo compounds, the entrance area may include a designated space for ceremonies, meetings, or social gatherings. This space may be marked by a special platform or seating area.
• Symbolism and Spiritual Significance- The entrance area is often considered a symbolic threshold between the external world and the private, sacred space of the compound. Rituals and ceremonies may take place at the entrance to mark important life events or transitions. The entrance area may hold spiritual significance, as it is often associated with rituals, offerings, and prayers to honor ancestors and protect the household.^[5]
• Use of Natural Materials- Traditional Igbo compound entrances are constructed using locally sourced materials, such as wood, mud, thatch, and woven palm fronds. These materials are both functional and culturally significant.

Wall/Fences and Moats (aja Ǹgwùlù/Ǹgwùrù)

The usage of fences (aja ǹgwùlù) in Igbo architecture is often for security fortification and demarcative reasons.^[6] Some fences in Igbo architecture include living fences that are made of plants or hedges these plants provide shade and even shelter from the sun.^[6] This can be very important in the hot and humid climate which encompasses most of the region. These living fences can also be economical since they can be made of certain plants that can yield crops or items that can be sold. Fences in Igbo architecture vary but can also include moats, ditches/trenches (Olulu) with walls sometimes attached to defensive towers known as Obuna Enu.^{[7] [8]}

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Walls surrounding Igbo compounds are typically made of mud, clay, bamboo, palm fronds, and sometimes stones.^[10] These walls provide security and privacy for the residents these walls also provide controlled access to the properties of the compound. Decorative motifs such as carvings and the usage of uli may be incorporated into the walls.^[11]

Thatched Buildings (ụlọ àkanya/Ílò/aju)

Thatch is utilized in Igbo architecture and it is the main traditional roofing method. Materials used in thatching include grass, palm leaves, or reeds, which are layered and woven onto the roof frame to create the thatched roof.^[1] The thatching is done in a way that allows for proper drainage and ventilation.^[1] Thatching requires skills and the know-how to ensure that the roof is water-resistant and can withstand the elements.^[1] Thatchers may use a variety of techniques, including bundling, weaving, and tying the thatching materials in place.^[12] Thatching is a common feature in traditional Igbo architecture it is utilized on fences, gateways, and buildings.

Thatched buildings in Igbo architecture are designed with materials that are common within the region such as

• Mud and Clay- Mud and clay are fundamental building materials in Igbo architecture. They are used for constructing the foundations of buildings walls floors and occasionally roofs.^[13] Mud and clay are readily available since they are a common material and they also provide insulation against heat. Mud and clay are also mixed with sand and silt giving the building materials strength while also adding a resistance to water damage.
• Wood- Wood is used for support structure this includes beams and columns. Wood especially hardwood in Igbo architecture are often carved such as columns or doors to create decorative elements and can be sourced locally from forests.
• Rocks (stones/Pebbles)- Stones are used for the foundations and, in certain cases they were used for building walls.^[14] Stones were also used in paving compounds and floors in buildings.^[15] Pebbles (aja iyi) in certain cases were also imperative in Igbo architecture.

Nsude pyramid shrines

See main article: Nsude pyramid shrines. The Nsude pyramid shrines are pyramidal shrines located in Nsude, a village in southeastern Nigeria.

These are structures that were constructed by the Igbo and are made of earth and clay. The anthropologist and colonial administrator G.I. Jones took photos of the pyramids when he saw them in 1935. Over time, the Nsude Pyramids experienced erosion and degradation due to their earthen construction and exposure to the elements. Today, only remnants remain.

Ten pyramidal structures were built of clay/mud. The first base section was 60 ft (18 m) in circumference and 3 ft (0.91 m) in height. The next stack was 45 ft (14 m)^[16] in circumference.^[17]

Originally, there were 10 pyramids in total, arranged in a circular pattern with a central open space. The largest pyramid was located at the center, surrounded by smaller ones. The arrangement of the pyramids is thought to have had symbolic and ritualistic significance.

Mbari

See main article: article and Mbari (art). Mbari is a visual art form practiced by the Igbo people in southeast Nigeria consisting of a sacred two-story house constructed as a propitiatory rite.^[18] Mbari houses of the Owerri-Igbo, which are large opened-sided square planned shelters contain many life-sized, painted figures (sculpted in mud to appease the Alusi (deity) and Ala, the earth goddess, with other deities of thunder and water).^[19] Mbari houses are made as a gift to Ala, as a way to acknowledge Ala's charitable and overarching presence. Some Mbari houses are dedicated strictly and solely to Ala. Sometimes, however, other gods are represented along with Ala in the structure.^[20] Other sculptures which could be included are of officials, craftsmen, foreigners (mainly Europeans), animals, legendary creatures and ancestors.^[19] Mbari houses take years to build and building them is regarded as sacred. Along with being representations of abundance and harmony, they are most usually created during times of peace and stability.^[21] A ceremony is performed within the structure for a gathering of town leaders. After the ritual is complete, going in or even looking at the Mbari house is considered taboo. Mbari are public shrine galleries where complex characters of Igbo mythology, folklore, and society are fleshed out in termite earth.

Notes and References

1. Ene-Orji . Chinedu . 2022 . Traditional Igbo Architecture: A Symbolic Evaluation . African Arts . 55 . 2 . 66–81 . 10.1162/afar_a_00657 . 248545706 . 1937-2108.
2. Aniakor . Chike C. . 1978 . House Types and Decorations in Southern Nigeria . Présence Africaine . 108 . 19–37 . 0032-7638.
3. The traditional architecture of the Igbo of Nigeria . Thames Polytechnic . May 1987 . Ph.D. . en . Godwin Chikwendu . Nsude.
4. Web site: Ebere . Lucky . 2019-11-29 . Igbo Carved Doors: Long Lost Precolonial Relics of Ancient Igbo Architecture . 2023-09-05 . vocalafrica.com . en-US.
5. 1981-01-01 . An Interpretation of Igbo Carved Doors . African Arts . 3336006.
6. Agukoronye . Okechukwu C. . 2001-04-01 . Landscape Practices in Traditional Igbo Society, Nigeria . Landscape Research . 26 . 2 . 85–98 . 10.1080/01426390120045391. 144239054 .
7. Book: Dmochowski, Zbigniew R. . An Introduction to Nigerian Traditional Architecture: South-Eastern Nigeria : the Igbo-speaking people . 1990 . Ethnographica . 978-0-905788-28-9 . en.
8. Book: Dmochowski, Zbigniew R. . An Introduction to Nigerian Traditional Architecture: South-Eastern Nigeria : the Igbo-speaking people . 1990 . Ethnographica . 978-0-905788-28-9 . en.
9. Web site: Strom . Adam . 2020-05-15 . Olaudah Equiano: My People . 2023-09-20 . Re-imagining Migration . en-US.
10. Ikegwu . Jacinta U. . Traditional Fences (Ogige) and Fortifications in Oshiri Community of Ebonyi State . Journal of Nigeria Languages and Culture . 13 . 2 . November 2011.
11. Web site: Basu . Paul . 2021-12-26 . Uli: art and archive . 2023-09-20 . [Re:]Entanglements . en-GB.
12. Web site: Nigeria . Guardian . 2020-02-23 . Pre-colonial Traditional Architectures of Nigeria . 2023-09-23 . The Guardian Nigeria News - Nigeria and World News . en-US.
13. Aniakor . Chike C. . 1978 . House Types and Decorations in Southern Nigeria . Présence Africaine . 108 . 19–37 . 0032-7638.
14. Book: Dmochowski, Zbigniew R. . An Introduction to Nigerian Traditional Architecture: South-Eastern Nigeria : the Igbo-speaking people . 1990 . Ethnographica . 978-0-905788-28-9 . en.
15. Book: Dmochowski, Zbigniew R. . An Introduction to Nigerian Traditional Architecture: South-Eastern Nigeria : the Igbo-speaking people . 1990 . Ethnographica . 978-0-905788-28-9 . en.
16. Web site: Nsude Pyramids: The Pride of Ancient Igbos - by Ego Mbagwu Zaccheus Onumba Dibiaezue Memorial Libraries . 2023-08-11 . zodml.org.
17. Web site: Afrikaufundicollective . 2020-09-17 . The Nsude Pyramid — Nigeria . 2023-08-11 . Medium . en.
18. Book: Cole, H.M.. Mbari: Art and Life among the Owerri Igbo. 1982. Indiana University Press. Bloomington.
19. Web site: African architecture . Geographic influences, Palaces and shrines, last paragraph . Oliver . Paul . 2008 . 2008-11-23 . Britannica Online Encyclopedia.
20. Cole. Herbert M.. 1969. Mbari Is Life. African Arts. 2. 3. 8–87. 10.2307/3334390. 3334390. 0001-9933.
21. Obichere. Boniface I.. Cole. Herbert M.. 1973. Mbari: Art and Religion among the Owerri Ibgo. African Arts. 7. 1. 86–87. 10.2307/3334765. 3334765. 0001-9933.