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 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 Much unpublished data has also been excluded; for this kind of material the student is referredto the archives of the Western Region Secretariat (ibadan, Nigeria), the archives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.

The author and researcher, Ositadinma Amakeze, explores the symbolic significance of Nzu (Calabash chalk;white chalk)in Igbo culture.

Images and references included.

Economics is full of surprises. Its foundations might at first glance seem counterintuitive, but they have proved themselves true, again and again in practice. People in countries where citizens and their governments understand economics have higher standards of living and more personal liberty than do people who have the misfortune to live in countries where these principles are ignored or misunderstood.

Dr. George Ayittey understands these principles, and Applied Economics for Africa shows exactly how ignoring them has contributed to the struggles Africa faces today. This book demonstrates that the key to Africa’s development lies in building upon “its own indigenous heritage of participatory democracy based upon consensus (under the chiefs), free village markets, and free enterprise.”

This is a compilation of 1,000 proverbs in Igbo language, each followed by a usable English translation. The author, Onyekachi H. Ibekwe  made this compilation after much personal reflection on the remote origins and existential imports of the proverbial mode of communication. Proverbs remain vital and peculiar elements of Igbo traditional religion, daily discourse and contemporary worldview.

Made available on the digital platform, it is the author’s  hope that this compilation will serve as a portable, easily navigable reference for anybody that has an interest in the subject matter.

Author: Onyekachi H.Ibekwe;

Published: 2017-11-08;

ISBN: 9781386499817.