Views on the Origins, Structure and Hierarchy of Some Niger Delta ...

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54 Fig. 5. The Ekeri shrine at Abavo Photograph by Akpasubi Useful 2007 Fig. 6. Onoku assemblage from Owah-Abbi at Obiaruku Photograph by Esimike Uche 2006 ESE ODOKUMA
VIEWS ON THE ORIGINS, STRUCTURE AND HIERARCHY of Ozanogogo and Abavo where contact is limited to the lower limb region. These works are highly semi-naturalistic. Besides their naturalism, is the use of stripes of red cloth as well as white and black colours which have symbolic and spiritual significance in the Niger Delta. Chalk is also placed below the foot of all the six figures as a sign of obeisance and peace or purity. Still, in the western Igbo axis, mud sculptures are evident in Umuaja Ukwuani area (Fig. 7). Interpretation Iconography These figures are connected to the deity of the source of the River Ethiope. Four statues representing this cult are displayed. The main figure is wrapped with white cloth wearing feathers which are tied together with a red cloth. All these figures are painted white as they house the powerful spirits of the water. These works tend to be more stylized than naturalistic. Amongst the Urhobo as well as Isoko ethnic groups of the Niger Delta, mud sculpture shrines are also common. This assemblage in Figure 8 is a representation of Onoku and his attendants from Agbarha-otor. This tableau is made up of about seven figures. All seven figures are painted white, while the female statues are clothed with red robes and appear brown in colour. The male figures are seen with white robes. They all seem to be in a sitting position except the figure on the left end of the picture. The main figure though stylized, wears a hat as well as a pair of eye glasses. There are beads around it’s neck. Wearing red and white robes, a mirror is placed in between it’s legs. At the feet are two smaller figurines. Flanking Onoku on it’s right and left are two female statues which may represent it’s wives. Plates, cups, maracases, and buckets are placed by the figures which may be used to appease the deity. A few stylized mud sculptures still exist in Isoko land. It appears from recent investigation that most of the mud sculpture traditions which used to adorn the shrines in Isoko land in the 70s have become extinct as a result of Christianity. Perhaps, if not for the efforts of Philip Peek, must of Isoko cultures may not have been documented. In 2007, at Uzere, mud figures representing “Orere” and “Osako”, were photographed. Osako was shown seated with arms on its legs. The head is inclined to an angle. Orere on the other hand, referred to as a powerful giant is more abstracted than the stylized form of Osako. The Ijo of Delta and Bayelsa states also produce mud sculptures. Although naturalistic types exist, more of their works seem to be Fig. 7. Mud sculpture from Umuaja associated with the cult of Onoku in Ukwuani area Eihnographic team report 2004. 55
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Views on the Origins, Structure and Hierarchy of Some Niger Delta ...

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