The Crater Books

The literature on Yoruba sculpture and sculpture-related problems is extensive, but as yet there is no publication which describes the true range and depth of the art. This bibliography, therefore, is designed not as an exhaustive survey but as an aid to further research. The list has two sections: the first contains sources on the Yoruba, the second, general handbooks and exhibition catalogues. Asterisks in the index mark those works which provide the most detailed, careful, or latest studies of a given subject. Certain kinds of research concern the relationship between Yoruba sculpture and the arts of Nok, Ancient Ife, "Great Benin", Esie, and the traditional sculpture of contemporaneous neighboring peoples. In the interest of brevity however, most references on these other styles have not been included. Much unpublished data has also been excluded; for this kind of material the student is referredto the archives of the Western Region Secretariat (ibadan, Nigeria), the archives in the Nigerian Museum (Lagos), and the IRAN archive (Porto Novo, Dahomey). In addition to commonly known types of wood sculpture — figures, masks, headdresses, staffs, house posts, and doors — Yoruba artists created works in wrought iron, brass, pottery, ivory, beads, leather, and stone. Most of these objects served various cults, each of which has its own repertory of songs, dances, and symbols. The richness and complexity of this sculpture is a function of many interrelated factors: over five million people divided into ethnic sub-groups unified by language; an old and unusual tradition of urbanism; an extensive pantheon of spirits (brisa), at least twelve of which call for sculptural forms recognized across Yoruba land; an elaborate cosmology; a complex social and political organization; a frequent interaction of sculpture, music, and dance; and a well-developed sense of artistic quality. Only recently, however, have scholars begun to communicate the originality of Yoruba artistic thought and the complexity of iconography, and to classify sculpture into styles and schools. Primitive Art Bibliographies The Library The Museum of Primitive Art 15 West 54 Street New York 19, New York NO. Ill 1964 BIBLIOGRAPHY OF YORUBA SCULPTURE by HERBERT M. COLE and ROBERT FARRIS THOMPSON

Leopards of the Magical Dawn: Science and the Cosmological Foundations of Igbo Culture Igbo traditional life is ritual-centric, quite simply, for Igbo culture is primarily and largely a mystical culture, propelled by a deeply primal awareness of the spirituality of life. Igbo culture gravitates towards an ordered universe of interconnection of  life. Hence, if ritual is the language of the spirit, the language which speaks to the interconnected whole of life, it is only surmisable that, a culture in continuous adherence to its own rituals is a culture in unbroken communication with its own spirit. Written by Nze Chukwukadibia E. Nwafor

A collection of legends and folklore of the Yoruba tribe in the south west of Nigeria. Written by M.I. Ogumefu and published in 1929 by the Sheldon Press, London. Suitable for children and adults.

The Real History of Ijebu Igbo attempts to trace the origins of Ijebu Igbo which is in Ogun state, Nigeria. It  is written by Hon Osifeso Olukorede ,Chairman CAC Ijebu North, Ogun state, Nigeria. Source: Internet Archives - Free Public Domain Format,Conversion and Book cover: Crater Library & Publisher