Department of Linguistics, African and Asian Studies

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100 years of Literary Enterprise in Indigenous Nigerian Languages: Trends, Challenges and Prospects
(Journal of the School of Languages, Adeyemi College of Education, Ondo, Ondo, 2015-06-14) Ikwubuzo, I.
Early this year, Nigeria celebrated her first centenary of nationhood. It afforded her an opportunity to appraise the level of development she has, over these years of nation building, attained in various spheres politics, economy, technology, education, health, national integration, capacity building, among others. Her strength, weaknesses, successes, failures, various setbacks and challenges, all have been x-rayed by various analysts. It is also worthwhile to extend such appraisal to the developmental strides Nigeria has made through, and in the area of literature in her indigenous languages. This paper, therefore, attempts to survey, with particular reference to Igbo literature, the development of literature indigenous Nigerian languages, its emergence, some of the past and present challenges encountered in its studies, the progress made, its utilitarian value, and prospects for further growth. It concludes that in spite of the challenges literature in Nigerian Languages has witnessed, and is still witnessing, in the course of its development, the trends, as exemplified by the situations in Igbo and Yoruba literature in this paper, reveal a significant steady growth and potentials to advance further if the right attitude is shown, such as automatic employment for graduates of Nigerian languages, increase in admission quota for Nigerian languages in our tertiary institutions, among others.
Open Access
Classical Influences on Igbo Literatures: The Example of Ogbalu Dimpka Taa Aku Onyekaonwu Nwata Rie Awo
(Ihafa: A Journal of African Studies. A Journal of the Department of Linguistics, African and Asian Studies, 1998-02-01) Ikwubuzo, I.
Some writers of modern literature have shown in their works a considerable level of influence of classical literatures on them. Some factors responsible for this are the late emergence of written Igbo literature. There were no written works on Igbo poetry and drama until early 1970s, after the Nigerian civil war. It is unimaginable therefore that what were available in the school curricula for the teachers and students to fall back on were only classical literary works.
Open Access
A Classificatory Model for Igbo Myths
(Ihafa: A Journal of African Studies. A Journal of the Department of Linguistics, African and Asian Studies, 1999-02-02) Ikwubuzo, I.
Scholars have noted that oral literature is part of folklore. With particular reference to Igbo, they identified ten distinct components of folklore, seven of which have been grouped by other western authors in depicting what constitutes as Igbo Oral Literature. They are seen as Drama, Myth, Poetry, Legend, Folktale, Anecdote, Proverb, Praise names, Riddles and Tongue twisters. These components embrace the three major genres into which oral Igbo literature is classified, namely oral poetry, folktales and traditional drama. To allow for a comprehensive view of Igbo myths, we shall attempt here, a classification that will cover a variety of subjects of myths.
Open Access
Creative Inputs of Deity Myth by Two Igbo Playwrights
(International Journal of Multicultural Education, 2007-01-06) Ikwubuzo, I.
Myth, as we know, is part of the people's folklore. Basically, myth exists in oral form and has a feature of communal ownership. Apart from its oral existence, creative writers can utilize myth for different artistic purposes. A people's culture colors and shapes the people's literary creation. And so, in different cultures, writers do draw upon traditional materials such as proverbs, myths, etc, to embellish their contemporary works of literature. Nnolim(1987) observes that the myth of ogbanje has become an in convertible strain in the works of Achebe, Soyinka and Clark (Emenyonu 1987). Ola Rotimi's The Gods Are Not To Blame (1971) and Onyekaonwu's Igbo play, Nwata Rie Awo (1980), are both adaptations of the play, Oedipus Rex which itself is an adaptation of the greek myth of Oedipus by Sophocles, a Greek playwright. In Homeric poems, myths are prominent. Other examples of oral artists and writers who draw upon their societal background myths abound. The Igbo literary artists also draw from their cultural background . They can do that for a number of reasons one of which is to reinforce the existence of that body of culture and by so doing ensure the continuity of people's lore. As observed in African literature of English expression. writers of Igbo literature can allude to their societal myth or make it the main thrust of their literary works as in Maduekwe's novel, Dinta (1975). Akoma's poem, " Ogbanje" (Ekechukwu ed. 1975) and chukuezi's poem ingredient.
Open Access
Destiny of Freewill as the Architect of Human Fate: Perception in the Odunke Artists Ojaadili
(Network 2000: In the Spirit of the Harlem Renaissance, 2008-10-19) Ikwubuzo, I.
In "The Carrier Ritual as Medium of Vision in Nigerian Drama: The Examples of Soyinka Osofisan" Chris Egharevba rightly observes that early pre-occupation of writers like Chinua Achebe. John Pepper Clark. and Wole Soyinka consists of a reworking of societal myths as a means of portraying a moral value needed by the society. Similarly, Igbo writers represent Igbo myths in their works of art. The myth of destiny, for instance , is reflected in Igbo poetry, novels, and drama. This paper focuses on the representation of the myth of destiny in the Igbo play ojadilli by the Odunke Artists. In this play, although destiny can be seen as an ineluctable phenomenon or power that controls events, an individual can exercise freewill and be the architect of her/his fate. In Igbo traditional cosmology, the concepts of Chi (personal creative principle) and akaaraka. Chi is believed to be a spark of the Supreme Being (Chi Ukwu) which he imprinted on the individual at creation. This is why it is believed that humans share in the divine nature of God through possession of Chi essence.
Open Access
Divergent Views on the Concept of Myth
(Ihafa: A Journal of African Studies. A Journal of the Department of Linguistics, African and Asian Studies, 2001-02-02) Ikwubuzo, I.
In the various attempts to conceptualize what myth really is, opinions are varied as to the truth or falsity of myth. Views on both the true and untrue nature of myth are prominent in most discussion of myth. It has also been expressed that myth is neither true nor false. This is largely so because there are more than one method of mythological interpretations. In this paper, we shall briefly highlight some of these views and their exponents.
Open Access
The Diversity of Igbo Myth of Origin: A Brief Survey
(Journal of Igbo Studies, 2006-07-03) Ikwubuzo, I.
papers attached
Open Access
Ethic Integration and Social Harmony In Nigeria: The Igbo Literary Artist as a Nationalist
(The Humanistic Management of Pluralism: A Formula For Development in Nigeria. A Publication of the Faculty of Arts, University of Lagos., 2001-04-11) Ikwubuzo, I.
Any keen observer of the unfolding social, economic and political realities in Nigeria in recent times would concur that the increasing clamor for ethnic self-determination and its attendant pluralism of militia groups pose a great challenge to the stability of Nigeria as apolitical entity . One would further agree that it is a development that portends fear about the collective security of the nation. The problem of ethnicity is generated by cultural pluralism (okita, 1997). We have different cultures in Nigeria; members of the same culture tend to identify more with one another than with members of other cultures One dangerous effect of the growing ethnic consciousness in Nigeria is that it enkindles ethnic disharmony which could in turn engender ethnic disintegration.
Open Access
Fostering National unity using parallel motifs in Nigerian mythology
(Publisher of An Agenda for a New Nigeria: The Imperative of Transformation, 2006-08-15) Ikwubuzo, I.
This paper intends to explore how the parallels in Nigerian Myths, with particular reference to the Igbo and Yoruba myths, may be exploited to emphasize the all-important issue of Nigeria's unity. it is hoped that if conscious effort is made to create awareness about the similarity of the Nigerian peoples' folklore, it may, perhaps, serve as a strong unifying factor. It may strengthen inter-ethnic relationships and reduce the incidence of discrimination, intolerance, antagonism and clashes among different ethnic groups in Nigeria. So, one measure that is being advocated for the promotion of socio cultural tolerance among various ethnic groups is taking recourse to the peoples' folklore. There are Igbo and Yoruba myths where similar themes or motifs are discernible. For our illustration, we shall look at their creation, hero and earth deity myths. There is recurrence of similar themes, images or motifs in myths across cultures. Such themes or images in myths across cultures are called universal symbols or 'archetypes' because they have common meaning or elicit comparable psychological responses and render similar cultural functions (Guerin, et al 1979); Hardin,1989). in this paper, therefore, creation, the hero and the earth deity are understood to be archetypes as they have common meanings in both the Igbo and Yoruba cultures. This is therefore a study in myth criticism.
Open Access
Hero Motif in Achara's Novels: Ala Bingo & Elelia Na Ihe O Mere
(Castalia: Ibadan Journal of Multicultural/ Multidisciplinary Studies, 2000-09-04) Ikwubuzo, I.
The hero is a universal archetype of deliverance that lives in the collective unconscious of mankind. The concept of the hero is universal because it is found in all the traditions of the world. In the hero myths across cultures, we have personages who possess superhuman capabilities- primordial people or great men who transformed human conditions. Through their actions or deaths, these heroes liberate their people from oppressions or problems and challenges that threaten their existence. The problem may be famine, diseases, war, extermination, severe defeat in ravaging war, captivity or incessant raid on the people.
Open Access
Igbo Oral Literature and the Youths Today: What Literary Legacy for prosperity?
(Udezuluigbo: A Festchrift in Honour of Sam Uzochukwu, 2008-07-04) Ikwubuzo, I.
Paper attached
Open Access
Igbo Riddles and the Education of the Igbo Child
(African Journal of Curriculum and Instruction, Department of Curriculum Studies, University of Lagos, 2002-06-01) Ikwubuzo, I.
It is believed that apart from formal education, there are various inform always through which one could be educated. The concept of education itself entails more than the deliberate processes of school and college training. It includes among others, the indirect effect produced on character and on human faculties. The Igbo riddles (Agwugwa or Gwamgwamgwam) constituted one of the informal ways of educating the Igbo child in traditional Igbo society before the advent of formal education in Nigeria.This paper examines the role Igbo riddles could play in educating the Igbo child. The insight to be gained from the paper is that even in the era of informal education, Igbo riddles, because of their rich content, complement formal education; they have the capacity to imbue the child with such knowledge that cannot be acquired through formal education.
Open Access
The Image of the Igbo Gods in Chukwuezi’s Akwu Fechaa and Akwa Nwa
(A Publication of the Department of Linguistics and Communication Studies, Unviersity of Port Harcourt, Nigeria, 2005-08-18) Ikwubuzo, I.
Chukwuezi’s creative writings in Igbo, particularly his plays are committed to reflecting the Igbo traditional way of life. In his depiction of the Igbo world, he sometimes portrays the conflict between Igbo culture and western tradition. And he uses his literary works to express his strong belief in his conservation of Igbo cultural values. Thematically, Chukwuezi has, among others, found in Igbo traditional religion source material for his creative works. Two of his plays, Aku Fechaa ( 1979a) and Akwa Nwa (1979b) for instance, are based on Igbo traditional religions belief, and the recurrent element in the two literary works is the myth of invincibility and irresistible power of the Igbo deities.
Open Access
The Kinship System
(Nigerian Heritage: The Igbo Culture, 2007-02-07) Ikwubuzo, I.
In this paper, we shall first make a brief exposition of the two key concepts in the title, namely, the Igbo and kinship, and secondly, examine the nature of kinship relations that exist in Igbo society
Open Access
The Myth of a Black God In Chukuezi's Poetry
(Literature, Language and National Consciousness: A Festchrift in Honour of Theo Vincent, 2006-05-04) Ikwubuzo, I.
Anaelechi Chukuezi is one writer who, in spite of his primary professional engagement as a medical doctor, has shown a tremendous interest in the growth and survival of Igbo literature. He is a playwright and poet who has, through a number of his literary works, portrayed the value, meaningfulness and purpose of Igbo culture. In two of his plays, he gives prominence to Igbo deities, demonstrating their potency through their awe-inspiring and destructive acts. The plays are a dramatization of the Igboman’s belief in invisible powers that control or challenge human actions. '
Open Access
Myths as a genre of Igbo Oral Literature
(Igede Igbo. Journal of Igbo Studies, 2000-06-19) Ikwubuzo, I.
Oral literature is one area that has for many years captured the interest of' scholars and students, especially within the African continent. Akporobaro (200 1 : 36) offers six variant definitions of' oral literature. One of them which appeals more to us is adopted here as an operative definition. It states that oral literature is the imaginative compositions distinguished by their beauty of forms of expressions and local ideas developed over the years by a people and handed down one generation an another by words of mouth. Oral literature exists in various forms one of which is myth (see Dundes 1965, 1967: Lusweti, 1984: Chukwuma 1986, 1994:Ikwubuzo 1998; Akporobaro 2001). The New Webster's Dictionary of the English Language (1997) defines myth as an old traditional story or legend especially concerning fabulous or supernatural beings, giving expression to the early beliefs, aspirations and perceptions of a people and often serving to explain natural phenomenon or origins of a people, etc… Akporobaro(2001: 230)Whose own idea of mythdoes not differ from the above definition writes as follows highlighting a few but different focuses of myths: Myths usually originates in ancient, oral tradition. Some explain origins, natural phenomena and death; others describes nature and function of divinities; while still others provide models of virtuous behavior by relating the adventures of heroes or the misfortune of arrogant humans. He also points out that myths often include elements or legend. Earlier, Chukwuma (1994 : 31) has noted that myth is the category of tales that deals with origins and extraordinary phenomena. Citing that such things as “rivers, big and outside human control, unusual natural phenomena as groves and huge trees are aptly accommodated in a mythicschema.” Until recently, little attention was given to the study of Igbo Myth. While some Igbo literary scholars merely identified myth as a genre of Igbo oral literature (Ezikeojiaku, 1985; Chukwuma 1986; Nwadike 1992, etc), others went a little further than mere identification of where to classify it to include some analyses of few samples of myth from the field of (Nwaozuzu1980: Opkewho 1983; Chukwuma, 1987, 1 994). This state of affairs in the study Igbo Myth prompted the remark by Ikwubuzo (1998:533) that "unlike folktale…which has for many years now been taught as a full-fledged course, the study of Igbo Myth has not been given enough attention." In most cases some teachers of Igbo oral literature mention myth in passing without giving it any in-depth exposition. For instance, none of the studies that identified myth as a genre of oral literature considered how myth possesses the qualities of oral literature in order to give an insight into its nature. I have elsewhere proposed a classifications framework for Igbo myth. And since a number of previous studies have already identified myth as one of the major oral literary forms, it is neither the intention of this paper to recapitulate the issue of the classification of oral literature nor to go into the contention of Finnegan's ( 1970) claim that myth does not seem to be "a characteristic African at all" for this claim has long been invalidated by research findings (Goody, 1972; Beier, 1980; Chukwuma, 1994; Ikwubuzo, 1 998; Akporobaro, 2001, etc). This paper rather aims at considering how myth shares the features with which oral literature is associated and identified. The subject will be discussed with reference to Igbo myth.
Open Access
National Development: Igbo Literature as instrument of mobilisation and orientation
(Journal of Nigerian Languages and Culture (JONLAC), 2002-06-03) Ikwubuzo, I.
To sensitize the people to the desirable political climate needed by our nascent democracy to survive, a mass mobilization and orientation of the Nigerian populace is essential. Successive governments have at different times initiated and embarked on mobilization campaigns using different instruments. Literature, because of its power to impact on the life of the people in society can also be a mobilizing instrument. The present government has recently launched a campaign on National Rebirth and established National Orientation Agency, all with the aim of mobilizing Nigerians to be better citizens. But its role, especially literature in Nigerian Languages, in the mobilization campaigns of the government has been overlooked and neglected over the years. This paper submits that Igbo literature can be an effective instrument of mobilization and orientation towards the achievement of national development. The paper is in three parts. The first is the introduction that states in brief the focus of the paper. The second part highlights the Nigeria situation, itsproblems and efforts being made to find solutions, while the third part discusses the relevance of theliterary artist's work to his society, and goes on to examine the content of a poem in Igbo language and how it can be instrumental inmobilizing people.
Open Access
A Peep into New Publications and Reading Culture in Igbo language of Nigeria
(Indigenous Language Media in Africa, Center for Black and African Arts and Civilization, 2006-05-05) Ikwubuzo, I.
The use of Igbo language as a communicative instrument is as old as the Igbo race. Apart from its oral use, efforts were made to reduce Igbo language to writing in order to widen the scope of its use. The sim of this chapter is to appraise the use of the language, in its written form, as a communicative tool, especially in the hand of media practitioners. The chapter begins by casting a quick glance at who the Igbo, the natives speakers of the language, are, their origin and where they live. It proceeds to look at the language and all the pioneering efforts to reduce it to writing. These efforts are traced from the primordial graphic sign writing, Nsibidi, invented by the Igbo, which was mainly used by the initiatives of traditional cults, to the collection of some Igbo wordlists by the early missionaries who used the materials as a tool of instruction in the formal education of Igbo language are other effort made to put the language into some effective use, including the attempts to publish full-fledged newspapers in Igbo language.
Open Access
Revisiting the Question of Tragic Protagonist in Onyekaonwu's Plays
(The Eagle of Igbo Literature: A Feschrift in Honour of Prof. G.O Onyekaonwu, 2014-07-03) Ikwubuzo, I.
Tragedy as a dramatic form has been popular from the classical period especially with the prominence Aristotle gave it in his theory or concept of the tragic hero in Poetics which scholars, over the years, have used as paradigm in their analysis of the tragic hero. It has, however, been observed that the innovativeness of playwrights in the subsequent two thousand years and more has led to the development of many and new artistically effective types of serious tragedies - types that Aristotle had no way of foreseeing(Abrams, 1999: 322).There is, therefore, the feeling that efforts to extend Aristotle's analysis to apply to these later tragic forms could blur his critical categories, and obscure the essential differences that exist in diverse plays that are equally dramatically effective. Onyekaonwu's four tragic plays were all published in the 1980s, over three millennia after Aristotle, making them to be identified with the later tragic forms Igbo scholars like Uzochukwu (1988) and Eze (1990) who analyzed the tragic Protagonists in Onyekagnwu’s plays, using the Aristotelian canon, have shown how the characters either deviate or conform to the norm enunciated by Aristotle. While Uzochukwu’s analysis that focuses only on Nwata Rie Awo concludes that the death of it dramatic evokes only one of the two types of emotion identified by Aristotle - fear, Eze who carries out a more in-depth study of all Onyekaonwu's tragic plays not only agrees with Uzochukwu but also reveals how the death of other tragic characters in the playwright’s other works evokes in the audience either one or the two types of emotion Aristotle discusses. This paper is of the view that the status of the tragic hero in Onyekaonwu's plays has not been adequately delineated by these scholars. The paper, therefore, revisits the conclusions of the previous studies on characterization in Onyekaonwu’s four tragic plays.
Open Access
Three Decades of Written Igbo Poetry: An Appraisal of its Growth
(Journal of Igbo Studies, The Official Publication of the Igbo Studies Association (ISA), 2007-02-02) Ikwubuzo, I.
Igbo studies have been going on in the areas of Igbo language, literature, culture, history, religion, philosophy, medicine and such topical issue as gender, among others; and scholars engaged in Igbo studies from the various perspectives have made relevant contribution to the general development and preservation of Igbo studies, especially in the last century. Our focus is however on Igbo literature

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