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161 views31 pagesNsukka Journal of The Humanities, Vol. 1 No.1 - A Lexicon of Igbo Uli Motifs
Uli
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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/ 31
Elizabeth A. Willis
A LEXICON OF IGBO UL/ MOTIFS
introduction
This lexicon has been compiled for two reasons: to provide a
comprehensive source of design motifs for artists anda designers,
and also to record U/l motifs in ordei to come to a closer under-
standing of aesthetic preferences in Igboland. The Igbo woman's
perception of all aspects of life and nature, and most notably, ideas
and objects which are held to be particularly important and repre-
sentative of Igbo culture, are transiated into a visual vocabulary
which provides important reference material for designers, art
historians, and ethnographers alike.
Material has been compiled frdm numerous sources, but the
majority of the entries have been drawn tram theses of students of
the Fine and Applied Arts Department, University of Nigeria,
Nsukka. Over the past fourteen years, there have been many
studies on the form and function of U/i painting as seen in specific
locations. K.C. Murray’s notes on U/# painting in the Bende area,
and M.D.W. Jeffreys notes on U// painting in Awka have provided
a significant number of motifs.
Asan art form, Ui painting expresses the culture of the people.
The motifs represent things of physical importance, aesthetic
appeal and relevance to traditional beliefs. The particular transfor-
mation that an abject undergoes to become a motif, indicates a
common aesthetic impulse to try to see the essential shapes and
patterns of natural form and to experiment, and represent it in an
organic, abstract way. However, not all motifs are representa-
tional. Many motifs are examples of abstract pattern-making,
where the most aesthetically appealing patterns are used again and
again, forming a style and being given a name.
In the 1930's, K.C. Murray, then a superintendant of Education
in Umuahia, collected a large number of U/i designs and complete
drawings. The motifs contained in the compositions were mainly
non-referential, purely decorative, abstract patterns which might or
might not have cultural meaning and associations. Even at that
time informants had forgotten many of their names and no more
than a few had been reliably named. The obscurity of some of the
Igbo words which were given as names for various motifs of a non-
referential nature, has meant that they have been omitted, and the
NSUKKA JOURNAL OF THE HUMANITIES, NO, 1, JUNE 1987 92 Elizabeth A. Willis
majority of entries in the lexicon are motifs that can be more
accurately identified since they represent objects, animals or plants.
M.D.W. Jeffreys and K.C. Murray attempted to analyse the
motifs created by the Ui artists, and it is possible to group motifs
into categories. Names are given to complete designs and to
details, for example the motif egw ggy would appear among the
designs which would decorate a lady wearing U/i kilj kj. Some
designs would be reserved for special occasions and would be
named accordingly; thus girls leaving the fattening house
(mgbede) about te be marcied would be adorned with U/i mgbede
patterns, Each district or village would have their own particular
patterns, and if a woman from another place saw and used a
design, she would acknowledge the fact and call it by the name of
its place of origin, for example, UW Bende, and Uli Oka. The styles
of U/ patterns vary from place to place. and with familiarity, they
become easily discernable.
Certain designs are invented and used because they enhance a
particular part of the body, thereafter they are called by the position
on which they appear, and so every district would have their own
designs with a general title such as UN imi, Uli obj, Uli aka, and so
on. Many designs however are interchangeable and the same
motif might decorate the arm or the caff.
The names of some'single patterns describe the technique by
which they are made. U/f gpjpja Is a method of producing a mark
by striking the edge of the Uli knife on the body, and U/i ngwoe isa
pattern made by the dextrous use of a strand of raffia palm. U/i
nguru nguru, would cefer to a stamped-on design. The stamp
would be made from the fibrous interior of a wine palm mid-rib.
Murray and Jeffreys refer to a number of motifs which are
named after (or rather have a name which describes) their appea-
rance. In these cases, the richness of the |gbo vocabulary is seen in
the variety of words that describe shapes, lines, hooks, coils,
bending, plaiting, dacning and also terms of a more technical type,
where the Ui artist describes her style of drawing or use of space.
From Bende are the words echirechi, a scalloped shaped move-
ment of the hand, producing semi-circles, and epele to describe
triangular shapes, Awka yhas many designs based on circular
shapes, okilikili, and spirals agawplagwo, and plaited or criss-cross
patterns, akpalakpe and ntubu. |n Nri many of the motifs are in the
form of elegant, well-controlled line drawings, aXpela ul, Lines are
drawn to represent fotded cloth or tying a knot in a piece of thread,
akpala emely nlychi.
The motifs in this lexicon represent a broad spectrum of
NSUKKA JOURNAL OF THE HUS*ANITIES, NO. 1, JUNE 1987 ALEXICONOFIGBO UL/ MOTIF 93
‘subjects’, including animal motifs, designs derived from
vegetation and plant-life, and representations of objects that are in
daily use by members of traditional society. More recently,
references to modern life appear, wth aeroplanes and cars featuring
in contemporary murals. Certain images describe activities, and
movements, and a far larger number illustrate the U/i painters’
delight in the use of pattern, shapes and line. One or two entries
reveal that occasionally a saying or proverb has been given a visual
form by the Uli artist.
The format of the lexicon is as follows: the Igbo word or term,
the English translation or definition, the source of the information,
and the motif. In most cases, the village or town, the Local Govern-
ment Area italics) and the State are included. All the sources
9{ information are marked on the map of Anambra and Imo States,
(below). One or two or more motifs may be shown by each entry.
Motifs which are often depicted because of their widespread
cultural significance are represented by many variations on a basic
design.
MO STATES
NSUKKA JOURNAL OF THE HUMANITIES, NO. 1, SUNE 1987 94 Elizabeth A, Willis
| would like to acknowledge the time spent by Dr. Chukwuma
Azuonye in checking translations and correcting the spelling of all
the entries. However, it has stlll been difficult to satisfactorily
explain some of ‘the motifs. This is due to sither inadequate
information from the source or some difficulty with the precise
meaning, since one word can have a numbes of meanings, and in
some cases, there is apparent contradiction between what is
depicted and the name given to it. A question mark will be found
by entries which ara found to be most questionable.
It can be seen from the variety of entries that every object is a
potential source of design, and so there may be an infinite number
of additions which can be made to this collection, particulariy from
those areas in [gboland which as yet are undocumented. Knowing
the names of motifs is useful from an organisational point of view
when trying to learn something of Igbo culture from women’s
design motifs. However one shouid bear certain points in mind; the
Ufi artist is at liberty to name a design out of whimsy, or give it a
meaning very personal to her, or she may invent @ form or shape
and then put a name to it. In the majority of cases, meanings
reveal something about the U/i painter's response to the environ-
ment and reinforce the reality of the importance af symbolism in
igboland.
ABA: Medicine maf's ritual Agulu,
object, to “pin down" a spitit. Niikoka, — 4 f
tron hook for. fastening doors, Anambra,
windows or fixing 8 canoe.
ABA IGWE: Metal hack, Aguata, &
Aguata, bnO
Anambra. GY
ABYUBA OKWA: Agulu,
Guinea fowl feather. Niikoka,
Anambra,
ABYBA UGO: eagie’s feather. —_Etiti,
Sp
King of the birds, represents Etiti,
wisdom and power, the imo.
messenger for the earth and the
sky.
.
ABYBA UKWA: Agulu, >
Breadfruit feaf. Njikoka, Vig
Anambra.
NSUKKA JOURNAL OF THE HUMANITIES, NO. 1, JUNE 1967 AFO NGWELE: Lizara’s belly.
The motif shows the mark of the
belly, a lizard can fall from‘a
height and withstand the shock,
this motif symbolises strength.
AGABA; Tiny lines on forehead
and nose.
AGADA; Chair of an improvised
type.
AGAQBA, AGA:
Net for carrying calabashes.
AGH: Monitor lizard.
AGIGA: Fork
AGUBA: Biade, razor, used for
circumcision,
AGUBA NAABO:
Two joined or connected razors,
AGUIYi: Crocodile.
AGY UNG: Wall Gecko.
Symbolises achievement,
‘
7, AGY NWADIANI:
Leopard who has a right to the
land.
ALEXICON OF IGBO UL| MOTIF 95
Awka,
Awka,
Umuleri,
Anambra,
Anambra.
Awka
Awka,
Anambra.
Orlu,
Ortu,
Imo.
Nr,
Nikka,
Awka,
Anambra.
Agulu,
Njikoka,
Anambra.
Etiti,
Etiti,
imo.
Awka,
Awka,
Anambra.
Awka,
Awka,
Anambra.
Umuleri,
Anambra,
Anambra,
Umuleri,
Anambra,
Anambra.
Umuleri,
Anambra,
Anambra,
TY
Vel
we
Hels
aap
mae
NSUKKA JOURNAL OF THE HUMANITIES, NO. 1, JUNE 1987 96 Elizabeth A. Willis
AGWA KA AGU:
Spots like the leopards.
AGWO: Snake
AGWOLAGWO/AKURUAKU:
Spiral, concentric circles.
AGWOLAGWo ETECHiL:
Spirals shaded in.
AGWOLAGWO MPIAGHAL:
Spiral folded back. Spiral made of
folded or plaited materials.
AGWUGWA: The patterns on an
animal's skin, such as a leopard’s:
spots or a snake's markings.
AvABA: Zig-zag pattern,
geometric forms, seen an door
panels, etc.
AJY AGBQGHO: Young gir!'s
ads, to aid balance and protect
the head. This design is worn en
the torso by mature women,
about to marry,
AKA NGWEOSE/AKA Q00:
Pestle for grinding pepper, /pestle.
Okigwe,
Jsuikwuato/
Okigwe, imo,
\demili,
Abatete,
Idemili,
Anambra.
Aguata,
Aguata,
Anambra.
Naewi,
Qraifite,
Nnewi,
Nr,
Ajikoka,
Anambra,
fsuikwueta/
Okigwe, tno.
Awka,
Awka,
Anambra.
Awka,
Awka,
Anambra,
(beku,
tkwuato!
Umuahia,
ima,
Awka,
Awka,
Anambra.
Oraifite,
Nnewi,
Anambra.
imo,
NSUKKA JOURNAL OF THE HUMANITIES, NO. f, JUNE 1987 ? AKA YMY OzI:
Literally, hand of errand runners.
Ear.
yoy ANS
AKABO /AKAMBO: Pangolin.
AKALA: Line, (sign or cut).
AKALA AKA: Lines on the palm
of the hand. Symbol of destiny.
AKALACHIE ARY: Proliferation
of Uli on the body, a deviation
from the standard ordering of
motifs in Abatete where motifs
appear in threes either vertically
or horizontally.
AKIKA: Patterns, marks.
AKPA: “Darning” or net like
pattern. Bag, usually woven.
AKPALA ULI: Uii tine. Long line,
AKPALAKPA: Lines plaited or
woven, like matting or
basketwork,
AKPALA EMELY NLUCHI:
Line that is folded, tying a loose
end, finishing off.
AKP]: Scorpion.
A LEXICON OFIGBO UL/MOTIF 97
Orlu,
Orlu, S
mo, ©
Bende,
Imo.
Awka,
Awka,
Anambra.
Etitt,
Etiti,
Anambra.
Abatete,
idemili,
Anambra.
Agulu,
Wjtkoka,
Anambra.
Awka,
Awka,
Anambra.
Njikoka,
Anambra.
Awka,
Awka,
Anambra.
Arochukwu/
Ohafia,
Imo.
Nri,
Niikoka,
Anambra.
Lal
Pus
NSUKKA JOURNAL OF THEHUMANITIES, NO, 1, JUNE 1987
Niikoka,
Aguata,
Anambra.
eee. 98 Elizabeth A. Willis
AKUPE: Fan, made from date
palm leaves.
AKWPE AKPUKPO:
Leather fan.
AKURUKO UL/AKURUKO |
OME Jl: Tendril of yam.
AkUROKO MMIRI: Tendril of
water plant, used to decorate
nave} of young woman and girls
during menstruation. There are
many variations,
AKWUKWO AKPU:
Cassava leaf.
ALURALU/AKULUAKY: Rings
painted on the face or elsewhere
‘on the body. Circles, very small
rings, coiled forms.
ALOS| NA MPATA:
Nature spirit and stool,
AMADIQHA: Thunder.
This is a powerful god in Etiti.
AMALA: Paddle
Awka,
Awka,
Anambra.
Owerri,
Owerri,
Imo.
Aguata,
Aguata,
Awka,
Anambra,
Etiti,
Imo,
Aguata,
Aguata,
Awka,
Anambra,
Agulu
Njikoka
Anambra.
Etiti,
Owerri,
Isuikwuato/
Okigwe,
Imo.
Oraifite,
Nnewi,
Anambra.
Nri,
Agulu,
Njikoka,
Anambra.
NSUKKA JOURNAL OF THE HUMANITIES, NO. 1, JUNE 1987
o ,
9000 8 0000
°
AW,
\\ ‘
ANYA EGO AYOLU:
Literally, eye of cowry shells.
ANYA &JULE: Snail’s eve.
ANA EVI: Eyes of cattle,
‘I: Eyes of a fly.
ANYA OKWOGHO-KWOGHO:
Eyes of an owl.
ANYANWU,/ANYANWU-
UTYTY: Sun, /morning sun.
APATA: Lap. Drawn on young
girls during the New Yam festivals
Women in Etiti also use the
design during the Ogbom dance
in honour of Ala the earth
goddess.
Asi} GYBA AGBALA its) DEE
tu ONY): When a woman
hungers for gossip (she paints her
mouth with Uli).
AWA MMA: Knife blade.
ALEXICON OF IGBO UE/MQTIF = 99.
Awka,
Anambra.
Etiti,
Imo.
Umuieri,
Anambra,
Anambra.
Aguata,
Aguata,
Anambra.
Nei,
Njikoka,
Anambra.
Ibeku,
Jkwuato/
Umuahia,
Imo.
Agulu,
Njikoka,
Oraifite,
Nrewi,
Anambra.
Bende,
Imo.
Ibeku.
Ikwuato/
Umuahia
tite
Bende.
Ng
Nijikoka
Anambra.
Awka,
Anambra.
8 8 ¢
at
>
il] a
NSUKKA JOURNAL OF THE HUMANITIES, NO, 1, JUNE 1967 100 Elizabeth A. Willis
AWO: Toad, the toad can absorb
Physical shocks. This symbol
might be found on parts of the
body that are causing pain.
AWOLO EKE (OKPULY AFO
EKE): Python's skin, (markings
‘on the belly).
aren
AZ|ZA: Broom
AZ: Fish
EBE: Yam Beetle. Maggot in kola
and other nuts.
EBE ARAPUYLI) ARAPU:.
A space teft dpen in a design,
Uli uses blank space in a positive
way.
Soy hy
EBEREBE/EBELEBE: Something
sliced out, a cutting action. Cut,
series of lines repeated, showing
action of knife, @.g. in slicing
“cassava. Line drawn across the
forehead to echo the hairline.
ECHIREGH: Scallop shaped
movement of the hand producing
regular semi-circular shapes.
EGBE: Danegun.
Isuikwuasto/
\ho.
Nnewi
Anambra oes
Aguata, hl
Aguata, \ cn ,
Anambra. wes
Umuleri,
Anambra, x si :
Awkae, a) :
Anambra. 2
Nsukka, %
Nsukka, § *
Anambra.
Awka,
Awka.
Anambra, I a
Aguata,
Aguate,
Awka,
Anambra, t See
\beku,
tkwuato! £o
Umuahia,
Imo.
Aguata, —
Mjikoka,
Anambra.
NSUKKA JOURNAL OF THE HUMANITIES, NO. 1, JUNE 1987 EGBERE-OGU: Hoe handle
EGU QGU: Head of handte of
hoe.
EGWURUGWL: Rainbow
EJEMMA: Manila
EJUNA: Snail
EKE: Python.
Loe An
EKOLUEKO: A species of coco-
yam which grow quickly and large
LN NN .
EKPEREKPE: A represeritation
of grated cassava after it is
fermented,
EKPIKPE: Shield
X ‘,
EKPURU: Tortoise shell used by
a diviner.
ENYO: Mirror, (represented by
te Carved patterns on tne
backing frame), mirrors are used
frame), mirrors are used by a
@ Dibia to see the future, and
and they are worn by
masqueraders,
A LEXICON OF IGBO UL/ MOTIF 01
Awka,
Anambra.
Etiti,
Imo.
Umuleri,
Anambra,
Anambra.
Bende,
Imo,
Etiti,
Imo.
Nsukka,
Nsukka,
Anambra.
Nri,
Njikoka,
Idemili,
Anambra,
Nri,
Niikoka,
Anambra.
Uzuakoli,
Bende,
Imo.
idemili,
Idemili,
Anambra.
Etiti,
Imo.
Udi,
Awka,
Anambra.
Ibeku,
Jkwuano/
Umuahia,
Imo.
“\
[
>
Q0
@4 Be
©, ©
Siwy
NSUKKA JOURNAL OF THE HUMANITIES, NO, 1, JUNE 1987 102 Elizabeth A. Willis
an
EPELE: Name given to a variety
of triangular shapes,
dads ded .
ESELESE: Anything drawn.
Drawing or painting.
\ NAN NN NEN
ETECHILI ETECHI/ESECHILI
SSECHI: A term describing a
a filled in or shaded area of
design, e.g. AGWOLAGWO
“ETECHILI.
ETEWANYE: Just painted on
(carelessly). Block patterns
painted on Ogbanje shrines in
Oraifite. Occasionally painted on
children quickly and without
much care.
ETIWELU: Slits in an Ekwe drum
IBE QuT: One segment of kola
nut.
IBE ONWA; Segment of the
moan, New moon,
{fe EJI-CHO Azy MMA:
Something to beautify Azy, a
decorative element for Azu,
‘la carved door post).
IFE ONYE KWUTELU (0 DRT
A): {A person will bear the
consequences of) whatever he
says.
Ibeku,
Jkwuano/
Umuahia,
Imo.
Awka,
Aguata,
Anambra,
Awka,
Awka,
Anambra,
Aguleri,
Anambra
Onifite
Nnewi,
Anambra,
Umueri,
Anambra,
Anambra,
Agulu,
Nijikoka,
Anambra,
Agulu,
Njikoka,
Anambra.
Nri
Njikoka
Anambra.
Nei
Njikoka
Anambra.
NSUKKA JOURNAL OF THE HUMANITIES, NO. 1, JUNE 1987
Aad IFEOKY: A burning stick, a light,
a torch.
IFURU: Flower.
IGA: Chains, fetters.
IHE OLU: Tools
\JE AGWO: Snake's movement
IJEEKE: Python's movement
\JE NWA MGBADA:
The walk of a deer.
1JE NWA UGO:
The walk of a young eagle.
,
2? IKPUKPE: Scraping something
removing something, traingular
blade
IKWE: Mortar.
ALEXICON OF IGBO ULIMOTIF ~=103
fbeku,
dkwuano/
Umuahia,
Imo.
Mbano
Isuikwuato/
Okigwe,
Imo.
Aka,
Awka,
Anambra.
Nnewi,
Oraifite,
Nnewi,
Anambra,
Aguata,
Oraifite,
Naewi,
Aguleri,
Anambra,
Anambra.
dsuikwuato/
Okigwe,
Imo.
Oraifite,
Nnewi,
Anambra.
Ortu
Imo
Oraifite
Nnewi,
Anambra.
Awka,
Awka,
Anambra.
Oraifite,
Nnewi,
Anambra.
NSUKKA JOURNAL OF THE HUMANITIES, NO, 1, JUNE 1987 104 Elizabeth A. Willis
JSA NWA EGWE: Tadpoies.
ISH} KIRIKIAL: Palited hair
1S1-LAY! ODU-LAYI:
Head goes one way tail the other
iSt MMA; Matchet, cutlass,
knife handle.
1S! OBALA: Shaft of raffia
stem, (the end is used to print
Uli patterns),
Ist OGEDE: The new outgrowth
of a plantain.
Ist QU[/Ist NWOMI:
Head of kolanut.
JS1 UNELE: Head of banana
\re MMiLt: Waterpot, claypot.
ITE ONA:
Metal pat for cooking yam, etc.
WERINT): Earring.
NSUKKA JOURNAL OF THE HUMANITIES, NO. 1, JUNE 1997
Bende,
Imo
Abakaliki,
Anambra,
Ibeku,
tkwuana/
Umuahia,
Imo.
Aguata
Anambra,
Uzuakoli,
Benda,
{mo.
Oraifite,
Noewi,
‘Anambra.
Bende,
Imo.
Agulu,
Nn,
Niikoka,
Oraifite,
Nrewi,
Agueta,
Anambra.
Oraifite,
Nnewi,
Anambra.
Nri,
Njikoke,
Oraifite,
Nnewi,
Anambra.
Nr,
Nijikcka,;
Anambra.
Agutu,
Njikoke
Anambra.
WY
Jf Jigloa: waist beads.
KILIKILI: Tiny, smail, a word to
describe smail things, stars,
spices, spots.
ar
KPAKPANDO: Star
MBARA/MBASALAGHA: Wide
‘scattered. A style of Uli where
patterns which constitute the
tne main decoration are used
several times over, spaced about
two to three inches apart.
MBE: Tortoise; cunning subject
of numerous folktales. Crafty,
symbol of wisdom and long life.
MBO AGiJ: Leopard's taior /claw
MBQ OKUKO: Hen’s claws.
.
MBUNUKWU: Cioth worn
around the waist, when dancing.
A LEXICON OF {GBO UL/MOTIF 105,
Oraifite,
Anew a
Anambra.
Agulu
Ajikoka,
Oraifite, .
Nnewi, ‘
Anambra.
Aguata
Nnewi, ‘
Ontisha, .
Anambra. Me
Etiti, . 3K
Imo,
tbeku,,
ikwano/
Umuahia
Imo, ee
Nri,
Nikoke, en
Anambra. Oo Q
Etiti,
Imo.
Aguata
fnamor, an An
Awka,
Awka,
Anambra. AN} Vv
Oraifite,
Nnewi,
Anambra.
NSUKKA JOURNAL OF THE HUMANITIES, NO. 1, JUNE 1967 106 Elizabeth A. Willis
MMA MKPA: Scissors.
MMA NWOLI: small narrow
bladed knife used for painting Uli
MMA OBELE: Little knife.
MMA ODI: A saw, (used for
sawing ivory tusk into bracelets)
MKPACHE: Hemming, turning
up or finishing off cloth.
y
MKPIS} {GWE: {ron pin, spoke,
skewer to take yam from the pot
MKPO or UKPALA: Walking
Stick
MKPULU: Seed or unit, of a
similar size and shape.
MKPULG AFA: Divination seeds,
during divination the seeds are
formed into diamond shapes.
MKPYLY MGBO: Single bullets
MKPULD OKA: Grains of maize
Umuahia,
ikwuana/
Umuatia,
imo.
Awka,
Awka,
Anambra.
Awka,
Awka,
Anambra.
Awka
Awka,
Anambra.
Awka,
Awka,
Anambra.
Nnewi,
Anambra.
Uzuakoli,
Bende,
imo.
Umuieri,
Anambra,
Anambra.
Umuleri,
Anambra
Anambra.
Awka,
Awka,
Anambra,
Aguata,
Aguata,
Anambra,
NSUKKA JOURNAL OF THE HUMANITIES, NO, 1, JUNE 1987
‘ .
mam o8o $
oa
5 So fa do MKPULU AKA ISE: The five
fingers of the hand. (“All the
fingers of the hand are not
equal’, Proverbs)
MKPUTU: Pin motif.
MMEPO: An empty space. Uli
uses blank spaces to bring
interest, contrast and balance to
a design.
\ ¥ -
MMONWY AGADOGWU:
Agadogwu masquerade, huge
and ferocious masquerade.
MPIAGHALE: Foiding over,
back and forth. Pia = arrange,
ghali = to repeat.
MPOKIJA: Water reptile
Voy
MYO: Sieve (for sifting meal)
yoy
NCHI: Grasscutter
NCHIAGHALE: Turning round
and round, curvilinear lines.
NCHIWA/NCHIWA ULI:
A parting in hair. Two or mare
garallel lines, they may be curved
or straight./Boldly designed Uli.
.
NCHIWA OKA: Linear rows of
grains of maize/Bold Uli
ALEXICON OF IGBO UL/MOTIF 107
Orlu wv
Imo
Uzuakoli,
Bende, \mo
Awka,
Awka,
Anambra.
Nii,
Nilkoka
Anambra.
Awka,
Awka.
Anambra.
Agulu,
Nijkoka,
Anambra.
Nri,
Njikoka,
Anambra
Agulu,
Niikoa,
Anambra.
Awka,
Awka,
Anambra.
Abatete, a
sdernili, 2
Awka,
Anambra.
(10!
Niikoka 0|
Anambra 0
NSUKKA JOURNAL OF THE HUMANITIES, NO. 1, JUNE 1987 108 Elizabeth A. Willis
\
Noi MGBOORI: A design from
aiden times,
ApYDY (EJL-ADUTA IFE
NITE): Skewer, (for taking yams
from cooking pot).
NGADO INQ/AGA NAANO:
Central pattern, with four arms
extended from it.
say Sang
NGWELE/NGWERE: Lizard,
The Lizard is used in rituat
sacrifice in Etiti,
NKACHATA; Curve,
sss
NKATA: Woman’s basket
NKIRU-IHU: Motif to decorate
the face, the dye used /s indelible
NKO: A metal blade. Scrapers.
or weeders, the ends fit into a
a wooden handle.
AKU EGBE: Kite’s wing.
AKU IBA: Wings of an tba (a
small black bird).
NSUKKA JOURNAL OF THE HUMANITIES, NO. 1, JUNE 1987
tbeku,
Jkwuano!
Umuahia,
imo,
Nri,
Njikoka
Anambra,
Idemili,
Awka,
Anambra.
Njikoka,
Umuleri,
Anambra,
Anambra.
Etiti,
Imo.
Umuieri,
Anambra,
Anambra,
Awka,
Awka,
Anambra.
Etiti,
Ima,
Awka,
Aguata,
Anambra.
Nsukka,
Nsukka,
Anambra.
Awka,
Awka,
Anambra, NKUJI: Filled in, blackened out.
NRA IST: Combs
NSEWA: Peel off, or example
with knife ior finger nails.
NTUBU: (Two patterns) crossing
NTVPOQ: Dots, natural spots or
markings on animals.
nTbTu isi, /ATU NSH:
Hair pin. Two pronged pin.
NTUWA: Long line, like oil
floating in water. A line like this
this is often drawn to
symmetrically divide the face.
x
NVESA: Scattering, splashing
paint.
NWA NKOCHI: To look or hook
together.
A LEXICON OF IGBO UL/ MOTIF
Ibeku,,
Ikwuano/
Umuahia,
Imo.
Awka, sual
Awke,
Anambra,
Oraifite,
Nnewi, J i
Anambra.
Awka,.
Awka, ax Le
Anambra.
Uzuakol,
Bende,
Imo.
Nnewi,
idemili,
Awka,
Anambra.
Awka,
Awka,
Anambra.
Awka,
Awka,
Anambra.
Umuleri, &
Anambra. Lo YZ
Anambra. ve
Ibeku,
/kwuano/
Umuahia,
Imo.
NSUKKA JOURNAL OF THE HUMANITIES, NO. 1, JUNE 1987 110 Flizabeth A. A, Wits
OBE: Cross
‘OBiat: Sticing., Two long lines
with divisions, describes the
appearance of Ukpaka seeds
when cut in two.
Oplukpakra:
Cut as if in slices one way.
ODIGBONGBO: This design is
derived from a fiute played by
young mén which produces very
deep sounds,
OGBE NDUKO: Potato tuber
OGBE QUT: Kola pod. Long kala
pod.
dqBudTOB0 NA-ANYA
UGBQ: Hippopotamus hunter
paddting (his) canoe.
x »
OGENE: Cong.
OGENE EGWH: Dance gong.
NSUKKA JOURNAL OF THE HUMANITIES, NO. 1, JUNE 1987
Umuleri,
Anambra,
Anambra,
Etiti,
Jmo
Idemili,
Awke,
Anambra.
Aguteri,
Anambra
Oraifite,
Nnewi,
Avvka,
Anambra,
Oraifite,
Nnew!
Anambra.
Urauteri,
Anambra,
Anambra,
Awka,
Awka,
Anambra.
Nei,
Njikoka
Anambra.
Oraifite,
Nnewi,
Anambra.
Exiti,
ima.
Oraifite,
Nnews,
Anambra.
\
JAN
AV
was OGENE MKP}: Twin metal gong
OGENE MKPT NAABO:
Twin gong
5
2 OGILF: Plant with compound
leaf, wit which Ogili Ygba
(used far spicing soup) is made.
OGL NKITA: Dog tight.
OKE UNELE: Flower of male
banana.
\
OKILIKILI/OKE.GKOLO;
Circular shape.
OKOROKO: Circles.
OKPOviy (EGO 1GWE):
Metal money, (manilta).
QKUKO me (esi-ECHt OCHI
MGBE GBOO)}: Calabash horn,
(for plaod-letting in the past.
The gourd’s bottle shaped
flutetike, elongated end was.
used for sucking out blood from
swollen parts of the body, in a
process called Igbu Ochi).
OMU NKWQ: Tender yellow
shoot of the oi] palm tree, which
matures into the green fronds
{A sacred symbol essentially
protective, it warns people af
ritual danger).
ALEXICON OF IGBO UL/MOTIF 111
idemili,
idem, v4
Anambra.
Abatete,
Idemili
Awka,
Anambra. A.
Nei, y
Niiikoka & oF
Reece
Anambra.
Awka, ral}
Awka, 8 vv
Anambra.
Oraifite Q
Nirewiy
Awko, ” )
Anambra,
pom of}
Anambra.
rm Q 68
Umuleri,
Anambra, +
Anambra.
Nii
Njikoka
Anampora.
Nii
Njikoka
Anambra.
NSUK4 JOURNAL OF THI HUMANITIES, NO, $, JUNE 1987 112 Elizabeth A. Willis
ONYE NO N'URA AMAGH{
SHE NA-EME N'INE: A sleeping
persan sees nothing.
So .
OPI OzALA: Elephant’s tusk.
Horn cf the wilderness.
OTE NKWY: Palmwine tapper.
OTUTU: God of the anvil, fa
piece of metal may be driven into
the earth and dsed as a shrine;
the name also stands for the anvit
itself and the hammer).
? OTO NAMKWA. Archaic
stool of office.
yo
SBOGWU MMILt:
Water duck
QDY: Animat horn, used by
priests.
+ x
QDY AGWO/ODY EKE:
Snake's tail. Python's tail.
Ve
QDY AKA: Ivory bracelet.
OD EGBE: Kite’s tail.
ODY NNK: Pestle.
\
OFQ: Symbol! of Justice.
Nsukka
Nsukka
Anambra.
Nsukka,
Njikeka,
Anambra.
Oraitite,
Nnewi,
Anambra.
Abatete,
Jdemiti
Anambra
Oraifite,
Nnewi,
Anambra.
Nei,
Njikoka,
Anambra.
Euti
uno.
Awka,
Awka,
Anambra.
Etiti,
imo.
Awka,
Awka,
Anambra.
Nei,
Niikoka,
Anambra.
Awka,
Awka,
Anambra.
NSUKKA JOURNAL OF THE HUMANITIES, NO. 1, JUNE 1987
Re HEN
+9
O
>
y
fy
we
as, SGAALY: A curvilinear pattern,
following the contours of the
body and covering the body
entirely. The Ogaalu dye is
extracted from the Qgaalu plant,
Itis used to decorate young
women who are about to marry.
OGBAKULY: Centipede.
OGY): Large hoe,
ye yoy oy
OKALA DIMKPA: A matchet,
literally, half a full grown man.
DKALA ISI Qui:
Half head of kola.
7 KE OSISI (DACHILI YZO):
Big tree (that has fallen and
blocked the road).
\ aSoy
QKPA EGBE IGBO:
Butt of a Dane gun.
wot oy
QKPA ITE GWE:
Legs of an iron pot.
- 5
QKPA QKYKQ/OKPA
DBOGWI): Chicken’s foot,
(claws) /Duck’s foot (claws).
QKPAEVU: Symbol of the god
of guidance, kept in a family
Shrine or entrance of compound.
ALEXICON OF IGBO ULIMOTIF = 113.
Aguleri,
