Igbo culture (Igbo: Ọmenala ndị Igbo) are the customs, practices and traditions of the Igbo people of southeastern Nigeria. It comprises archaic practices as well as new concepts added into the Igbo culture either by cultural evolution or by outside influence. These customs and traditions include the Igbo people's visual art, music and dance forms, as well as their attire, cuisine and language dialects. Because of their various subgroups, the variety of their culture is heightened further.
Another popular musical form among Igbo people is highlife, which is a fusion of jazz and traditional music and widely popular in West Africa. The modern Igbo highlife is seen in the works of Prince Nico Mbarga Dr Sir Warrior, Oliver De Coque, Bright Chimezie, and Chief Osita Osadebe, who are some of the greatest Igbo highlife musicians of the twentieth century. There are also other notable Igbo highlife artists, like the Mike Ejeagha, Paulson Kalu, Ali Chukwuma, Ozoemena Nwa Nsugbe.
Igbo Art is known for various types of masquerade, masks and outfits symbolizing people, animals or abstract conceptions. Igbo art is also known for its bronze castings found in the town of Igbo Ukwu from the 9th century. Igbo art is any body of visual art originating from the people of the Igbo. Igbo culture is a visual art and culture
Helmet-mask; 20th centry; Indianapolis Museum of Art (USA)
While today many Igbo people are Christian, the traditional ancient Igbo religion is known as Odinani. In the Igbo mythology, which is part of their ancient religion, the supreme God is called Chukwu ("great spirit"); Chukwu created the world and everything in it and is associated with all things on Earth. To the ancient Igbo, the Cosmo is divided into four complex parts:
Alusi, also known as Arusi or Arushi, are minor deities that are worshiped and served in Igbo mythology. There are a list of many different Alusi and each has its own purpose. When there is no longer need for the deity it is discarded.
Traditionally the attire of the Igbo generally consisted of little clothing as the purpose of clothing then was to conceal private parts, although elders were fully clothed. Children were usually nude from birth till their adolescence (the time when they were considered to have something to hide) but sometimes ornaments such as beads were worn around the waist for medical reasons. Uli body art was also used to decorate both men and women in the form of lines forming patterns and shapes on the body.
Women carried their babies on their backs with a strip of clothing binding the two with a knot at her chest. This baby carrying technique was and still is practiced by many people groups across Africa, including the Igbo. This method has been modernized in the form of the child carrier. In most cases Igbo women did not cover their chest areas. Maidens usually wore a short wrapper with beads around their waist with other ornaments such as necklaces and beads. Both men and women wore wrappers.
Men would wear loin cloths that wrapped around their waist and between their legs to be fastened at their back, the type of clothing appropriate for the intense heat as well as jobs such as farming. Men could also tie a wrapper over their loin cloth.
Modern Igbo traditional attire is generally made up, for men, of the Isiagu top which resembles the African Dashiki. Isiagu (or Ishi agu) is usually patterned with lions heads embroidered over the clothing, It can also be plain, (usually black). It is worn with trousers and can be worn with either a traditional title holders hat (a fez named okpu agu or agwu), or with the traditional Igbo stripped men's hat (which resembles the Bobble hat). For women, an embodied puffed sleeve blouse (influenced by European attire) along with two wrappers (usually modern Hollandis material) and a head scarf are worn.
Highly accomplished men and women are admitted into orders for people of title such as Ndi Ozo or Ndi Nze. These people receive insignia to show their stature. Membership is highly exclusive, and to qualify an individual need to be highly regarded and well-spoken of in the community.
The Igbo have a unique form of apprenticeship in which either a male family member or a community member will spend time (usually in their teens to their adulthood) with another family, when they work for them. After the time spent with the family, the head of the host household, who is usually the older man who brought the apprentice into his household, will establish (Igbo: idu) the apprentice by either setting up a business for him or giving money or tools by which to make a living.
This practice was exploited by Europeans, who used this practice as a way of trading in enslaved people. Olaudah Equiano, although stolen from his home, was an Igbo person who was forced into service to an African family. He said that he felt part of the family, unlike later, when he was shipped to North America and enslaved in the Thirteen Colonies.
The Igbo apprenticeship system is called Imu Ahia or Igba Boy in igbo land which became more prominent in among the Igbos After the Nigerian civil war. In a quest to survive the £20 policy which was proposed by Obafemi Awolowo that only £20 be given to every Biafran citizen to survive on regardless of what they had in the bank before the war and the rest of the money were held by the Nigerian government.
Petty trade was one of the only ways to build back destroyed communities as well as Farming, but then, farming required time that was not readily available at that moment.
Basically, most people went into trading.
This Imu-Ahia/Igba Boy model was simple, it works in such a way that business owners would take in younger boys which can be relative, sibling or non-relative from same region, house them and have them work as apprentices in business while learning how it works and the secrets of the business. After the allotted time for the training was reached, 5–8 years’ time, a little graduation ceremony would be held for the Nwa Boy (the person that learnt the trade). He would also be paid a lump sum for their services over the years, and the money will be used to start a business for the Nwa Boy.
Osu are a group of people whose ancestors were dedicated to serving in shrines and temples for the deities of the Igbo, and therefore were deemed property of the gods. Relationships and sometimes interactions with Osu were (and to this day, still are) in many cases, forbidden. To this day being called an Osu remains a stigma that prevents people's progress and lifestyles. 
In the traditional Igbo calendar, a week (Igbo: Izu) has 4 days (Igbo: Ubochi) (Eke, Orie, Afọ, Nkwọ), seven weeks make one month (Igbo: Ọnwa), a month has 28 days and there are 13 months in a year. In the last month, an extra day is added. The names of the days have their roots in the mythology of the Kingdom of Nri. It was believed that Eri, the sky-born founder of the Nri kingdom, had gone on a journey to discover the mystery of time. On his journey he had saluted and counted the four days by the names of the spirits that governed them, and so the names of the spirits (eke, orie, afọ and Nkwo) became the days of the week.
An example of a month: Ọnwa Mbụ
Newborn babies were sometimes named after the day of the week when born. This is no longer the fashion. Names such as Mgbeke (maiden [born] on the day of Eke), Mgborie (maiden [born] on the Orie day) are commonly seen among the Igbo people. For males, Mgbe is replaced by Nwa or "Okoro" (Igbo: Child [of]). Examples of this are Solomon Okoronkwo and Nwankwo Kanu, two popular footballers.
There are two basic types of masquerades, visible and invisible. The visible masquerades are meant for the public. They often are more entertaining. Masks used offer a visual appeal for their shapes and forms. In these visible masquerades, performances of harassment, music, dance, and parodies are acted out (Oyeneke 25).
The invisible masquerades take place at night. Sound is the main tool for them. The masquerader uses his voice to scream so it may be heard throughout the village. The masks used are usually fierce looking and their interpretation is only fully understood by the society’s members. These invisible masquerades call upon a silent village to strike fear in the hearts of those not initiated into their society.
Kola nut (Igbo: Ọjị) occupies a unique position in the cultural life of Igbo people. Ọjị is the first thing served to any visitor in an Igbo home. Ọjị is served before an important function begins, be it marriage ceremony, settlement of family disputes or entering into any type of agreement. Ọjị is traditionally broken into pieces by hand, and if the Kola nut breaks into 3 pieces a special celebration is arranged.
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Photograph of dancer wearing anklets - Thomas Whitridge Northcote (pre 1913)
Photograph of female sitting wearing anklets - Thomas Whitridge Northcote (pre 1913)