The New Igbo Folktales

By Vincent Prince

The Igbos, like many great peoples, have a long and venerable mythological and folkloric tradition, and even up to the British colonization the Igbo were generating new myths and stories to explain their history, culture, (pre-Christian) religion, and philosophy. This book intends on becoming a part of and continuing that rich tradition, with fifteen short stories about the Igbo people, Igboland, Igbo culture, Igbo religion, Igbo philosophy, and Igbo cosmology.

• Language: English
• Publisher: Vincent Prince
• Release date: Feb 20, 2023
• ISBN: 9798215476932

Vincent Prince

Born in New York City on the year of 1999, Vincent Prince had a passion for writing that he never let go of. From writing notes for stories for running around the block dreaming up new worlds, Prince's knack for creative storytelling grew each and every second. As he builds up his tapestry of literature, he hopes to inspire others to write their own novels, and enrich the greater culture of the world with our awesome imaginations.

Book preview

INTRODUCTION

Traditional Igbo religion and mythology – and indeed Igbo culture as a whole, with its many intricate facets – are all fascinating subjects to consider, yet they generally seem to be overlooked in the West African cultural studies in favor of studying the cultures and mythologies of the Yoruba, the Voodoo of the Dahomey-Fon, and even the rituals of the ancient Akans. In fact, Igbo culture itself seemed to be declining, with Igbo language increasingly becoming unused in Nigeria as a whole.

This is very tragic in my opinion, especially given that the Igbos themselves play no small part in this decline of the Igbo language – and therefore culture – having increasingly forgone their own language in favor of primarily speaking English, or some mixed Igbo-English creole, with many Igbos learning Yoruba, Hausa, Efik, Esan, and even some European languages, yet being unable to speak their own native language in their own homes, all too often even disregarding it entirely because they see English as more prestigious, as the two studies linked below might show:

https://www.ajol.info/index.php/ijdmr/article/view/91306

https://eujournal.org/index.php/esj/article/download/13317/13455

Of course, it is not wrong to learn a different language, especially for the purposes of business, finance, and trade, but when it comes directly at the expense of one's native language, it is a sign of deep intellectual, spiritual, and cultural decay, even rot, within one's society. For Igbos to retain their beautiful culture, it is necessary for them to retain their own indigenous language. It doesn't matter under what form it is preserved, it doesn't even really matter if it is standardized anew or massively reformed, but as long as the Igbo language is sustained and maintained, Igbos will either become or remain united, strong, and prosperous.

Indeed, in many areas, the study of Ọ̀dị̀nàlà/Ọdịnanị (pre-colonial Igbo religion and mythology; dialectical variants of the term Odinani include Omenala, Omenana, Odinana, Ọmenani, Ọdịlalị, and Ọdịlala) seems to be regressing instead of even just stagnating, let alone evolving and progressing. Complex Igbo cultural concepts are superficially explained with glib glosses, while basic Igbo cultural concepts, such as chi, are barely even given a rudimentary analysis beyond the most superficial definitions.

Thankfully, due to a series of cultural and socio-political factors – not the least of them being the reactions to the Northern Nigerian suppressions of the Southeast politically, while Nigeria itself falls further and further into the abyss as a failing state – Igbo language and culture seems to be undergoing a resurgence. Thanks to the talents and hard work of many Igbo cultural scholars both in Nigeria and in the diaspora abroad, Igbo culture is on the upswing again. We may even be on the cusp of an Igbo renaissance, that catapults the Igbo into world prominence culturally, financially, intellectually, spiritually, possibly even politically.

Or maybe the Igbos will keep their resurgence to themselves and their immediate neighbors; the Igbos have historically been ones of secretive rites and not overtly extending their influence abroad. They are like the Jews in that sense, and several others.

Either way, I hope to play at least a small part in aiding this resurgence, or otherwise rectifying the problems caused by overlooking Igbo culture. Even though I can only speak English myself, I have taken a great interest in the Igbo language, and have extensively studied Igbo culture, especially religious culture. And one thing that's central to the Igbo is the tradition of folktales, whether they are told merely to entertain, to act as parables, or even to subtly (or unsubtly) promote a particular socio-political grievance.

As for why I'm creating new stories for the Igbo? It's because I believe that folklore, like many other things in life, should be a living tradition, one that evolves with the culture it's contained in. And make no mistake: despite everything, Igbo culture is still evolving, for better or for worse.

Of course, no man is an island, and no culture is either. Even before colonial times, the Igbos have taken in influences from all their neighbors, from the Yoruba people of the Oyo Kingdom, to the Edo people of the Benin Kingdom, to the Ekoi from which they acquired the beautiful Nsibidi runic script from, to even the Portuguese who sailed to Igbo lands to buy slaves from them. Thus, these stories will incorporate those influences as well, as well as influences from more modern and/or mystical/esoteric interpretations of Odinala/Odinani, and even some slight influence from otherwise fringe claims about how the Igbo people, language, and culture originated and developed, and/or what they influenced – these typically involving the ancient Hebrews and/or Egyptians, but others also including the Sumerian, Sanskritic Hindu, and even Ogham-Irish cultures. Odinani is a complex, multi-faceted religion, and while the broad strokes of it remain essentially the same across all areas, interpretations of its finer details can differ significantly among Igbo tribes, subgroups, villages, states, cities, and even individuals, thus generating conflicting reports on the specific elements of Igbo religion.

Indeed, given the Igbo's generally republican city-state style of political system, characterized by the existence of a very large number autonomous communities, it is not surprising that there is a greater amount of heterogeneity in belief among the Igbo religious system than in those of more centralized cultural realms of pre-colonial Africa.

Whether you're Igbo or not Igbo, I thank you for checking out this book, and I hope you have a nice time reading it.

Note: Igbo is a tonal language, even though Igbo itself is usually written without tones in print (causing some ambiguities in language), and some Igbo words themselves might not have tones. If a specific Igbo term or proper name is introduced, I will first write it tonally or with the proper diacritics if possible and/or necessary, then write it without tones or diacritics thereafter.

I implore anyone who speaks both Igbo and English to translate this book to Igbo as well as they can.

TABLE OF CONTENTS

Note: this table of contents applies to this book as it was originally written in its native word document format. If this is fitted to any other format, these page numbers may not apply. The Introduction and the informational sections before the folktales themselves won't get page numbers since they're literally among the first few pages of

Introduction: Page 1

Table of Contents: Page 3

The Main Cast of Divinities (starting with Chukwu and his Aspects and Avatars): Page 3

The Arusi: Page 4

The Water Divinities: Page 10

The Minor Divinities: Page 12

The Cosmic Miscellany: Page 13

STORY #1 (Between the Tortoise and the Ram): Page 15

STORY #2 (Creation and Destruction [and Recreation Too]): Page 17

STORY #3 (The Most High Sun King): Page 19

STORY #4 (The Wild Desert Tribes): Page 24

STORY #5 (A Court Case with Judge Ogwugwu): Page 27

STORY #6 (The Mbari Master, the Sorcerer, and the Living Clay Men): Page 29

STORY #7 (The Devil Mask): Page 31

STORY #8 (The Divine Twins, Sons of the Earth): Page 36

STORY #9 (Ekwensu Takes A Wife For Himself): Page 51

STORY #10 (The Beasts From The Sea and the Earth): Page 63

STORY #11 (The Darkness of the Leopard Men): Page 65

STORY #12 (The Rod of Death): Page 70

STORY #13 (The Igbo Slave In The New World): Page 73

STORY #14 (The White Man From The Sea): Page 89

STORY #15 (The Trek Down Spirit's Lane): Page 94

A Note on Igbo Twin Taboos: Page 118

A Different Perspective on the Kingdom of Nri and Other Topics: Page 119

Informational Sites and General Citations: Page 120

General Igbo Culture and History: Page 121

Igbo Religion and Philosophy: Page 124

Fringe, Conspiracy Theorist, and Non-Mainstream Claims about the Igbos: Page 135

THE MAIN CAST OF DIVINITIES AND COSMOLOGICAL/CULTURAL DETAILS

Note that what is listed for these characters aren't the totality of their beings, but rather mere general guidelines for what they are and how they operate. One can reasonably expect them to be increasingly fleshed out further as the stories progress.

The main characters of these new folktales are as follows:

CHUKWU AND HIS ASPECTS AND AVATARS:

Chúkwú (from Chi Ukwu – The Great Chi, dialectical variations include Chuku – Chi Uku): the supreme deity and universal lord of all creation, the essential and fundamental source of all being, the indescribable absolute, etc.

Nne Chukwu (Mother Chukwu or Matron Chukwu; also known as Komosu): the supreme deity in his aspect of the mother of all existence, embodied in such forms as...existence itself, as well as the Earth and similar entities; the Divine Feminine, basically.

Chínékè (from chí nà ékè, meaning Chi That Creates, and, on a more deeper level, Cause and Effect, or essence and energy/function/creation/manifestation): the supreme deity in his aspect as the creator god of the universe, particularly transmogrifying abstract cause (chi) into reified effect (eke). This also makes Chineke the supreme lawgiver of the universe, creator of laws governing both the visible and invisible. Chineke is also known as Chiokike, from Chi Okike, meaning Chi of Creation; also known as Chukwu Okike – Chi Ukwu Okike, meaning Great Chi of Creation.

Olisabuluwa (Holder of the World; variants include Osebuluwa – tide which carries the universe): the supreme deity in his aspect of the universal spirit binding all of creation together; basically the Igbo version of Nana Buluku.

Chukwu Abiama: the supreme deity in his aspect of being the patron god of the Aro people (the spears, a subgroup of the Igbo people), the Aro Confederacy, and Arochukwu (the Spear of God), working in the world through the oracle Ibini Ukpabi. This aspect of Chukwu is sometimes mocked as a stupid and ogreish death deity in certain myths and folk tales due to the Aro people's extensive presence in the trans-Atlantic slave trade.

Chi: a person's soul and guardian spirit, appointed to them before and at the time of their birth. It is also the personification of that individual's fate, the portion of Chukwu within every sapient being, and has an intrinsic connection to the light of the sun. Often associated with such concepts as life force (ike ndụ) and vital energy.

Eri: in some traditions, a heavenly being sent down by Chukwu himself. In others, a migrant from somewhere to the north or east or northeast of Igboland. Either way, he is considered to be the progenitor of the Umu-Eri and Umu-Nri-Igbo ancient Nigerian city-states, and ultimate ancestor of the so-called Kingdom of Nri and its Nri-Igbo.

Chukwu, of course, has many, many more names and titles and aspects, such as Obasi (Obi Arusi), Ebili Ukpabi (Ebili nu Ukpabi), Chukwu Okike Abiama (Chukwu the Creator who shines onto Creation), Jehova Chineke (the Lord God of Igbo Christianity, especially when syncretized with native Igbo rites); these are just the ones that are the most notable for the purposes of telling a story.

THE ARUSI:

The Árúsí (dialectical variants include Álúsí, Arunsi, Arushi, and Anusi; also known as the Ágbàrà or Agbala in some southern Igbo dialects): the gods and deities, divine spirits created by the linkage between man and Chukwu to serve creation and the people, and for the people and creation to serve them. The Igbos worshiped an entire host of these gods and deities, and they even created new ones for special events and happenings such as wars and diplomatic meetings. The Arusi are generally benevolent, but most (if not all) have the ability to be malevolent if they perceive themselves to be offended, causing harm to those that offend them.

Relationships between the Arusi often reflect the makeup of Igbo cosmology, with all its dualities (male and female, heaven and earth, order and chaos, cause and effect, etc), quaternities, symmetries, and the like. Note that the responsibilities, functions, sometimes even identities of the Arusi do tend to overlap and interpenetrate each other as well, as the Arusi are incredibly complex creatures in themselves, and there is significant syncretism between Igbo communities in addition to that. As a side note, some of these new folktales might show sides of the Igbo deities not listed here, or take influences from other cultures in depicting them.

The primary pair is the one between the Heavens and the Earth, a reflection of the relationship between Chukwu and Nne Chukwu, and indeed their manifestations in the earthly realm. All other Igbo deities are generated from their commingling, save a select few, and even human life was created by them in some traditions:

Ígwé (Igbo for sky, heaven, and the heavens; regional variants include Igwekala/Igwekaala/ Eluigwekala, meaning the sky is higher/bigger than land or the heaven above the sky is higher/bigger than land): Sky Father. Manifestation of Chukwu. Personification of the skies and the heavens above the skies. The source of tradition and moral law, and the principal creator, generator, and formulator of Igbo customs (Ọmenala). Also associated with rulership as well, especially given that Igwe and Igwekaala are titles of monarchy in the Nnewi Kingdom.

Àlà (Igbo for land, earth, and ground; dialectical variants include Ani, Ànà, Ale, and Ali; regional variants include Ájá-ànà): Earth Mother. Manifestation of Nne Chukwu. Personification of the earth and the ground and the fertility of the soil that produces edible crops. The main arbiter and custodian of tradition and moral law, enforcing moral order within human society, and the principal legal sanctioning authority of Igbo customs. Involved in all manner of human affairs, including and especially festivals and offerings. Represents fertility and all things that generate life, and is the fountain of creativity in the world. Her responsibilities also include water, stone, vegetation, color (àgwà), beauty (mmá; connected to goodness in Igbo society), and uniqueness (ájà). Ala's connection to Igbo society is indicated by the very term Odinani, which is derived from O di n’Ani, which literally means it is anchored on Ani [the Earth Deity]. A fitting name for the indivisible cultural-religious-philosophical complex that was inseparable from Igbo society writ large.

As Ala is the ground itself, taboos and crimes (such as murder, suicide, theft, and incest) are considered ńsọ́ Àlà – desecration of Ala. Ala, being the womb of all earthly life, is also sympathetic to the pregnant, which is why she also prohibits the killing and eating of pregnant animals; if a slaughtered animal is found to be pregnant, sacrifices are made to Ala, and the fetus is buried. People who commit suicides, or otherwise suffer a bad death in Igbo society (such as being the target of divine retribution or breaking a taboo), they are not buried in the earth, but cast aside, their bodies discarded in the forest, so as to not further pollute the earth and offend Ala. Their ability to become ancestors is also nullified, and they go straight to the underworld upon death.

In some places within Igboland, the royal python (éké) is considered a sacred and tame agent of Ala, and its presence in the home is considered a harbinger of good fortune. The python is referred to as nne (mother) in areas where the python is revealed, as a symbol of female beauty and gentleness. In those places, the killing of pythons is expressly forbidden, and sanctions are taken against the killer, including forcing them to fund expensive, human-sized burials for the slain pythons.

Before planting and harvest, the Igbos usually held days of ritual ceremonies, either to appease Ala so that she will facilitate the growth of healthy crops, or to thank her for making possible the abundant harvest soon to begin. In a year of drought or other agricultural misfortunes, the people undertake ritual processes meant to examine how they may have angered Ala, and caused her to withhold her blessings. After they look for wrongdoing on the part of humans, they seek scientific explanations for crop failures. When religious and natural explanations conflict, mythical narratives are used to overcome contradictions.

The rest of the Arusi include:

Amadioha (from ámádí + ọ̀hà – free will of the people in Igbo; dialectical variants include Amadiora; regional variants include Kamalu/Nkamalu, Kamanu, and Kalu Akanu among the Aro and Cross River Igbos; and Ofufe and Omadi in other parts of Igboland): god of order and justice, speaking through thunder, striking with lightning. Wields a golden ofo and silver ogu, displaying his authority as King of Heaven (Eze Igwe) and ruler of the Arusi. The golden ofo (a staff 7 feet long) is for generating thunder and lightning by casting thunderstones down to earth, while the silver ogu (a shorter stick tied with bronze-colored palm leaves that's only 1 foot long) represents peace and innocence – which is only natural for Amadioha, as he is also the god of love, peace, unity, and righteousness, embodying the collective will of the people. He is also a god of carvers, leadership (including things like the heads of households), and (just/nobly fought) war, and a personal tutelary spirit for all men, particularly enterprising men, as he brings wealth to them. He was also an oracular deity in villages such as Ozuzu, where he is called Kamalu Ozuzu. Oaths are often sworn to him, which can carry deadly penalties when broken. In some traditions, Amadioha was even the creator of mankind through striking down a silk cotton tree, which split open to reveal a man and a woman. His color is red, and his symbol is a white ram. Often equated with Igwe (especially among the Isuama Igbos and northwestern Igboland), and associated with Anyanwu, and can be seen as Igwe's fierce, ferocious, or wrathful aspect.

When someone is judged guilty by Amadioha, they are either killed by lightning (which leaves a black mark on their forehead, and sometimes erases their genitals as well), or attacked by swarms of bees. The property of the victim is usually then take by the priests of Amadioha, with the body left unburied and the victim unmourned – you don't mourn those righteously punished by the gods.

Despite both Igwe and Amadioha being sky gods, neither were appealed to for rain. That was the full-time job of the rain-makers, Igbo tribesmen who were thought to be able to call and dismiss rain.

Amadioha also happens to own a golden gun, with which he shoots bullets made of thunderbolts. He can also mold the gun into any shape he wants. It's why he's called Ogba Egbe Eluigwe – The Gunner of Heaven (or Gunner of the Sky).

Ekwensu: god of disorder and chaos, trickery, and injustice, Ekwensu represents the force of change, and is the father of all magics. An identical twin brother to Amadioha, he is also a god of war, especially the violent and atrocious parts of it, and delights in inciting people to commit violent and abominable acts even in peacetime. When he is at war, he tends to be playful and laughs a lot. He is fond of breaking rules, boasting, and playing tricks on both humans and gods. Due to his nature as a trickster, he is also a god of merchants and traders, as they would often invoke his craftiness and cunning in matters of trade, bargaining, and negotiation to ensure that they got the best deal. He wields his own ofo, this one as black as a new moon's midnight, and able to expand and retract to any size on Ekwensu's whim. He uses this black ofo to cause misfortune, madness, bloodlust, even instant death at times. His symbol is the tortoise, and he's the ruler of the underworld (Ímé Àlà – the earth's bosom; a realm made of deep dark seawater – ohimiri, representing the chaos of the void that predated creation; the earth's bosom has an opening or mouth as its highest point – the Ónụ́ Àlà.), wicked spirits, and the chaotic forces of nature. Sometimes, when Ekwensu is really angry, he can summon oku mmuo (spiritual fire), which is also the name of the lowest region of the underworld, where the worst of men and spirits go. Ekwensu also has a thing for palm wine, and is considered the ward of all those foreign to Igboland. He can also be said to be the testing force of Chukwu.

Ekwensu also happens to own a magical gun, colored black instead of gold, which instead of thunder bullets, shoots bolts of black death that instantly kill a man if they are so much as grazed by it.

Ikenga (a name meaning place of strength or strength of movement): horned god of strength, power, time, success, and achievement. Indeed, Ikenga is the very personification of human endeavor, achievement, success, and victory, and there are innumerable smaller aspects and images of him strewn all across Igboland. In his aspect of the god of time, Ikenga is also the god of beginnings, possessing two faces, with one face looking back at the old year while another face looks forward at the new year. All men technically have their own personal Ikenga, comprising of their chi, their ndichie (the collective whole of all their ancestors), their aka Ikenga (right hand), and their ike (power); this Ikenga can be spiritually activated through prayer and sacrifice. Ikenga is favorable to warriors, wrestlers, hunters, traders, farmers, blacksmiths, and the generally industrious.

Anyanwu (contraction from ányá ánwụ́, meaning eye of light or eye of the sun; dialectical variants include Anyanu): god of the sun, light, natural life, and fire; one alternatively conceived of as either male or female, showing they he/she has both sexual aspects in their essence. Represents insight, foresight, clear vision, and spiritual enlightenment.

Ọ́nwạ́: god of the moon, and of the months and moon-related cycles, and of the monthly festivals and what they represent. Like Anyanwu, Onwa is alternatively conceived of as either male or female, showing they he/she has both sexual aspects in their essence. Onwa is also a god of secrets, particularly cosmic and mystical secrets. When female, he's often called Ọma, meaning beautiful in Igbo, representing his association with beauty and purity.

Agbala (dialectical variants include Ágbàrà): goddess of prophecy, clairvoyance, messaging, uche/abia (divine wisdom), and a favored daughter of Ala. The name is also given in regards to her priestess-oracles, who are considered to embody her physically (as the Oracle of the Hills and the Caves and Oracle of Oka/Akwa), and are regarded as prophets of the Igbos, particularly those of the Akwa area. In addition to leading the community’s ritual sacrifices to Ala, these priestess-oracles are in charge of executing punishments against individuals who commit acts the community considers immoral (such as murder, witchcraft, and perjury). These and similar crimes are believed to be transgressions against the Earth Mother. Agbala often conflated with the Agbara as a group (the collective of all Arusi), making her also the embodiment of the collective divine force from which all arusi emerge from, the analogue to the Christian Holy Spirit in Igbo cosmology. Agbala is also sometimes known as a deity of coercion, a term for the energy or spiritual force of an element of nature, a generic term for an unnamed and undomesticated spiritual force, and is sometimes even considered an opposing force to Chukwu. Arusi can get complicated like that.

Ogbúnàbàlị̀ (name means [he] kills at night): god of death, destruction, and decay, and eternal companion of Ekwensu. True to his name, Ogbunabali usually takes life at night, usually criminals or those who have committed unspeakable taboos. But in times of war, you can be sure to expect Ogbunabali hovering around. It is rumored among the other gods that Ogbunabali is actually Ekwensu's son, though with whom or what, they don't know, and Ekwensu is not particularly inclined to clarify the matter one way or the other. Ogbunabali