Ritual Art Works of Africa as Defense Mechanism Against Enslavement
Conference: The 23rd Annual International Conference of the Igbo Studies Association (ISA) (2026)
Presenter(s): Baldwin Chika Anyasodo
Tags: Conference 2026
Abstract
This is a study on the historical background of African arts, done to find the facts about the socio-cultural relevance of the various art forms. The study is concentrated within the Igbo geo-cultural area of the West African sub-region. The study investigated the content of the art-firms as well as their efficacy in the religious/ritual performances within the same society. The investigation covered the pre-colonial up to the Trans-Atlantic slave trade period. It looked at the circumstances in which the claims of efficacy of the Africa art forms in fighting back and resisting the slave trade in the Igbo areas. Generally, it identified some prominent ritual art works of Africa such as “Senufo” (fire-spitter of Northern Ivory Coast) ‘Amadioha (god of thunder in Igbo the areas) “Masks and Masquerades” (available in all states in West coast of Africa) “Ikengas” (Igbo area) The aesthetically finished ‘Talisman’, “Amulets” “Bone-Beads,” Headgears to mention just a few. The study found out that these art forms served the people effectively because they were related to their belief system. Therefore, they built up confidence and with faith they achieved the successes which they credited to the artworks. However, it becomes obvious that there is need to preserve some of these cultural art forms since they have historical relevance to the people. This study, however, did not find any accurate empirical means to measure the efficacy of the art works scientifically. Through the slave movement these artworks got into the western world. They were cherished and prized highly. So, some slave traders changed to artwork dealers. This reduced the number of human trafficking because it involved less risks.
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