Mbari Art:The Decline and Loss of Nigerian Cultural Heritage
- 22 hours ago
- 9 min read
by Grace Amadi
Mbari art consists of unique and colorful works of art that once defined and dominated the culture of Ndigbo, one of the major ethnic groups in Nigeria. The Ndigbo are located along the Niger River in the Southern region of the country. Specifically, Mbari art is associated with the Owerri subgroup of Igbos, found primarily in present-day Imo and Rivers states.
Mbari artworks are created by a community to commemorate an important event or honor an important personality. “Mbari” itself is a building that houses the art, while the decorations within and around constitute the art—hence the name Mbari art. It functioned like a registry where the people recorded things they found remarkable, noteworthy, or unusual to them. Such a thing could be a human being, an animal, a tree or even a spirit.
Mbari also served as a sacred place that reflected the Igbo worldview, in both physical and spiritual forms. It was communal in nature and used to appease the numerous gods and goddesses worshipped by Ndigbo when it was deemed necessary. As such, Mbari art stands as a testament of the sophistication of Igbo civilization. However, since the colonial era, the fortunes of this truly great and important art has been facing serious challenges and is now at risk of extinction. This article explores Mbari art and discusses why and how it was made, its significance and challenges.
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The Religious belief systems in Mbari Art
Mbari art stands as a powerful testament to the sophistication and depth of Igbo civilization. Its significance can be understood from several perspectives:
To begin, Mbari presents the Igbo as a deeply religious people. The Igbo worship a pantheon of gods and goddesses, coupled with honoring their ancestors. This spiritual worldview is reflected even in personal names such as Chukwuemeka (God has done Great Things), Uchechukwu (God’s Will), Chukwuka (God is the Greatest), and Chukwuebuka (God is Mighty), all of which express devotion to God.
Mbari itself is fundamentally a propitiatory project, dedicated to appeasing a particular deity. In a predominantly agrarian society—where yam is regarded as the king of crops—misfortunes, especially those related to weather and harvest, were often attributed to spiritual causes. As a result, religious considerations played a central role in determining when an Mbari was constructed, where it was located, and the message it conveyed to the community.
In addition, Mbari portrays the Igbo as a people who value unity, cooperation, and equality. Foundational principles such as Igwebuike and Umunnawuike (both terms roughly translate to “unity is strength”), as well as Ohacracy (a form of participatory democracy), underpin Igbo social organization.
Factors that call for Making Mbari Art
The construction of Mbari is not an everyday occurrence . It is typically precipitated by events considered serious by the community and its leadership. Some of these factors include:
1. Prolonged Drought
The people of Owerri inhabit the rainforest region, where rainfall is generally abundant throughout the year, with the rainy season lasting from April to October. The absence of rainfall for two or three consecutive months is considered highly unusual. Such a situation is interpreted by the community as an ominous sign; often believed to mean one of the deities has been offended. In response, the community would take the initiative to erect an Mbari as a form of appeasement or restoration of balance.
2. Prolonged Famine
A long period of famine can also prompt the need to build an Mbari. In Igboland , farming activities usually start in March, with planting having been completed by the end of April. A period of scarcity typically follows until July when crops are due for harvest. This period is referred to as “unwu”, which means “(famine)”, and is anticipated by the community who make provisions for it. If this scarcity extends to August—or even worse September—it can constitute a cause for concern. By that point, the situation is no longer perceived as normal but as a sign of spiritual imbalance. Addressing it involves identifying the offended deity and determining the appropriate form of appeasement. In many cases, the construction of an Mbari serves both as a response to the crisis and a lasting reminder of the famine.
3. Untimely Death
Untimely death was an issue of serious concern to the people of Igboland. It typically refers to the death of adults in their prime, between twenty and sixty years. This particular age span (between 20 and 60) is associated with the individual’s maximum ability to engage in a wide range of activities including procreation and land cultivation among others. Such deaths often occurred through accidents, including falls from oil palm or raffia palm trees, or accidental shootings during hunting expeditions. However, the concept extended beyond human life. For the Ndigbo, the death of a pregnant she-goat, for instance, was also considered an abnormal occurrence.These incidents were interpreted as signs that a deity had been offended and required appeasement, often through the construction of an Mbari.
4. Pestilences
Outbreaks of diseases such as smallpox, elephantiasis, tuberculosis, and influenza were viewed as both unusual and alarming. These afflictions affected not only humans but also domestic animals. Such pestilences were believed to be manifestations of divine displeasure—sent by gods or goddesses who demanded reverence. In response, the community would often construct an Mbari dedicated to the offended deity as a means of restoring harmony.
5. Poor Harvest
Poor harvests also served as a trigger for the construction of Mbari. This situation arose when farmers experienced disappointing yields despite carrying out all necessary agricultural and ritual practices.Unlike famine caused by insufficient rainfall, this type of poor yield occurred even when environmental conditions appeared favorable. It was likewise interpreted as a sign of spiritual imbalance. In such cases, the community would seek to identify the deity in need of appeasement and erect an Mbari in their honor.
To figure out which deity was offended, the chief priests and elders gather for a meeting. A representative is then permitted to travel to meet the oracle, which is usually far from the town and the journey can take up to two or three days. The chief priest then returns with the message about which deity was offended. Preparations on how to build an Mbari for the offended deity then begin.
Many factors were sufficient to raise concern within the community and prompt the decision to construct an Mbari. However, the process of creating Mbari was far from simple; it followed a well-defined and elaborate procedure.
The Procedure for creating Mbari art
When any of the aforementioned predicaments were observed, a collective response was set in motion to produce an Mbari. The Mbari and its accompanying art were the community’s collective response to ward off calamity and restore spiritual balance. Several key stages of the process included meetings of the village chiefs and priests, who then determined the community representatives and builders of the art.
First, a meeting of the village council, comprising elders and all able-bodied men in the community, was immediately convened.The chief priest was then sent to consult the nearest oracle for guidance. The oracle revealed several factors including offended deity, the nature of the offence, and the appropriate form of propitiation required to restore harmony.Since Mbari was both a temple and a sacred artistic project, its construction was regarded as a serious religious obligation. The village council reconvened for the selection of builders, a process overseen by the chief priest. This selection also extended to the families of the builders. Each selected family was required to provide a young boy or girl—traditionally a virgin—who would take part in the construction. This group, known as “Ndimgbe” (the holy ones), bore the spiritual responsibility for the entire community. Selection was considered both an honor and a burden, and it could not be declined.
The Mbari was typically constructed near the shrine of the deity it was meant to honor. The chosen site was marked off with tender palm fronds, symbolizing its sacred status.
Master builders, who possessed both technical skill and spiritual knowledge, led the process alongside the Ndimgbe. Once work began, strict rules governed life within the enclosure. Participants were not allowed to leave until completion of the project and sexual relations were strictly forbidden as pregnancy was viewed as a grave taboo.
Any breach of these rules carried serious consequences, such as the ostracism of pregnant participants. Death within the camp was regarded as a bad omen, often resulting in burial in the evil forest, a spiritually polluted wasteland where people who committed taboo were abandoned.
The entire community contributed food and resources to sustain the Ndimgbe throughout their stay. Life in the camp demanded discipline, restraint, and adherence to tradition. A successful and honorable participation enhanced the reputation of a family, while any misconduct could bring about lasting shame. As a result, families carefully prepared and advised their chosen members before they entered the camp.
Creating Mbari art: Meaning and Culture
The creation of Mbari was a collective endeavor. Every required material was contributed by members of the community, regardless of social or economic status. No individual could claim sole ownership of an Mbari project. The welfare of those secluded within the enclosure was a shared responsibility, extending beyond their immediate families to the entire community. They were supported through prayers, provisions, and moral encouragement.
The completion of an Mbari was marked by a public unveiling, celebrated with a lavish ceremony. This event symbolized not only artistic achievement but also the successful fulfillment of the community’s spiritual obligation to the deity.
Furthermore, the Mbari house embodies the Igbo concept of the life cycle. Time was a cornerstone to the Igbo system of values. There was a time for everything, starting from birth until an individual’s death. Life is seen as a continuous cycle: birth, growth, decline, and eventually death. This philosophy extends beyond human life to all things in existence.
Mbari art reflects this worldview. Each Mbari house was created for a specific purpose and within a particular historical moment. Its message was relevant only to that instance and did not extend beyond it. For this reason, Mbari houses were neither renovated nor preserved. Instead, they were allowed to run their natural course—gradually decaying and returning to the earth. Upon their ruins, a new Mbari would be constructed, carrying a fresh message for a new era.
This cycle reflects the dynamic and forward-looking nature of the Igbo people. The old gives way to the new, making room for renewal and adaptation. In this sense, Mbari represents a philosophy of progressive change within Igbo society.
Mbari also signifies the Igbo commitment to the use of local resources and indigenous knowledge. All materials used in its construction were sourced from the nearest environmental resources. The walls were made from anthill mud readily available within the community, while decorative elements were similarly derived from local materials. Roofing was done with thatch from raffia palms found along riverbanks.
Labour, too, was largely communal, although skilled artists were sometimes invited from neighboring Igbo communities. This reliance on local resources reflects a broader cultural approach to self-sufficiency, especially in times of crisis. A notable example of this can be seen during the Nigerian Civil War (1967–1970), when Igbo engineers innovatively produced war materials using local resources.
Decline of Mbari Art
The development of Igbo civilization has been significantly shaped by external forces, many of which have contributed to the decline of Mbari art, with one of the most influential being British colonialism. The colonial administration sought to suppress aspects of Igbo culture, believed to meddle with their control over both the people and the land.
Working closely with Christian missionaries, colonial authorities promoted Christianity while discouraging indigenous religious practices. Mbari art, being deeply rooted in traditional worship and dedicated to deities, became a primary target. This combined effort by colonial authorities and missionaries contributed significantly to the decline of Mbari in many parts of Igboland.
In spite of this cultural interventionism, Mbari continued to thrive for some time among the Southern Igbo tribes, particularly in communities such as Owerri, Ihiagwa, Nekede, Obibi Ezena, Ulakwo, Imerienwe, and parts of Ngor Okpala and Ozuzu.
Colonial influence is thought to have gradually altered the economic and social structure of Igbo society. Many people shifted away from agriculture and became employed by the colonial administration, churches, or private enterprises. Urban migration increased as individuals sought new opportunities.
Consequently, traditional measures of wealth—such as yam barns—were replaced by new indicators like formal education and monetary income. The central role of ritual practices in ensuring agricultural success were also diminished. Crops like cassava, which required less ritual attention, began to replace yam as a staple. Thus, as priorities shifted, less attention was given to constructing Mbari as a form of spiritual appeasement.
The Nigerian Civil War (1967–1970) further accelerated the decline of Mbari art. During this period of widespread turmoil, survival became the primary concern, and cultural practices like Mbari construction were largely abandoned. Many existing Mbari houses were destroyed in the course of the war, particularly in the Owerri area, which served as a major center of resistance.
Moreover, many skilled Mbari artists died during this time without passing on their knowledge to younger generations, leading to a significant loss of expertise.
In the post-war period, rapid urban and spatial development dealt a final blow to Mbari art. As communities expanded, Mbari sites were often cleared to make way for modern buildings such as houses, schools, shops, and hotels. Today, many former Mbari locations have disappeared without having been replaced.
Although remnants once existed in places like Ulakwo, Obibi Ezena, Ihiagwa, Nekede, and parts of Ngor Okpala, these have largely vanished over time. What began as a gradual decline has accelerated with modernization. Unless urgent steps are taken, Mbari art risks becoming a relic of the past—remembered only through photographs and verbal historical accounts.
Grace Amadi is a passionate writer who brings the past to life through compelling narratives.
Additional Reading
Agboanike, Kosi. Mbari: Interrogating the Place of Space in African Art. Website. Accessed 5-20-26.
Michael Ego, Bernice. Mbari: Meaning and Significance In Igbo Cosmology. Website. Accessed 5-20-26.
Herbert M. Cole. Mbari: art and life among the Owerri Igbo. Bloomington, Indiana: Indiana University Press, 1982). Reference here.
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