Igbo Metalsmiths among the Southern Edo

Bibliographic Data

ID9023531
AuthorsNancy C Neaher (corresponding author)
Year1976
Volume9
Issue4
Pages46
Publication date1976-07-01
Open AccessNo
TypeARTICLE
VenueAfrican Arts (JOURNAL)
Journal identifiersISSN: 0001-9933 • E-ISSN: 1937-2108
PublisherJSTOR (PUBLISHER)
DOI10.2307/3335053
OpenAlexW1996754945
LanguageEN
Citations received9
References cited2

T he Delta provides a fascinating geographical focus for the study of Nigerian bronzes' since many styles of unidentified origin are found coexisting in the context of local religious and leadership institutions. This discussion centers on one group of smiths, itinerant Igbo from Awka, and the part they may have played in the history of the bronzes found in the Delta. Until recently, interest in Nigerian bronzes was concentrated almost exclusively on Ife and Benin. Newer research, however, indicates that other bronze-casting centers also flourished and that some of these may have evolved independently of those bronze-casting workshops west of the River epitomized by Benin. William Fagg first observed this possibility and originated the term Lower Bronze Industry. It functioned as a provisional category for several bronzes found both at Benin City and along the Forcados River to the south, none of which conformed to the royal court style of Benin (1963:40). As further discoveries were made, these were also subsumed under the Lower Niger rubric. The term now incorporates bronzes as disparate as the Tada and Jebba Island complex, the Igbo-Ukwu castings excavated east of the Niger, and figural bronzes reflecting Benin themes. In addition, scores of small and sometimes undistinguished bronzes found in the Delta and across coastal southeastern Nigeria are also regarded as Lower Niger specimens. In sum, the Lower Niger classification applies to bronzes of southern Nigeria not identified as Ife or Benin court styles and not definitely linked to Yoruba centers of bronze casting. Dissatisfaction with the usefulness of the term Lower Niger bronzes is growing, and William Fagg himself readily acknowledges the tentative quality of this intentionally cumbrous appellation (1970:48). Responses to the challenge posed by Nigeria's enigmatic bronzes have followed two courses thus far. Specific loci of origin have been suggested, based on historical and cultural traditions, but without concomitant material evidence. A. F. C. Ryder's alternative to an Ife-Benin axis-the mysterious Ogane kingdom, which he places to the north of the confluence of the and Benue rivers (1965)--impelled Arnold Rubin to call for parallel art historical studies at the confluence to determine whether, indeed, an important polity with sizable metal workshops existed there at one time (1970). Presumably basing his statement on the historical record, Fagg theorizes that the Igala capital of Idah might also have cast bronzes (1963:40). Other competing centers are rumored, but arguments for their existence often lack supporting data and remain speculative. Recently a number of studies based on stylistic analysis have yielded important new information. Efforts have been most intensive in connection with bronzes dis

Ancient history · Archaeology · Art · Geography · Igbo · Linguistics · African history and culture analysis · Archaeology and Rock Art Studies · Colonialism, slavery, and trade · History · Philosophy

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