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coexistence and sustainable development. The study recommends 
the relevance and use of drama in projecting, promoting, 
preserving and protecting cultural values, dynamics, and 
spirituality.
Keywords:Igbo drama, Folkism, Cultural Dynamics, 
Spirituality, IgboWorldview.

Introduction
 In recent years, cultural concerns such as intolerance and 
superiority seem to raise various issues globally. These issues are 
inextricably linked to religious fanaticism, extremism, and 
bigotry, all of which are fueled by ignorance, cultural superiority, 
colonization, post-colonial ideals, dogmatism,indifference, and 
cultural terrorism. Some playwrights and scholars have begun 
writing plays, books, and journal articles, focusing on the Igbo 
culture's essence, significance, roles, and misinterpretation. John 
Anenechukwu Umeh's seminal book After God is the Dibia, 
Esiaba Irobi's play The Colour of Rusting Gold, and Uche 
Nwaozuzu's Ajari Nwanyi, amongst others, are examples of the 
preceding. The Igbo people's existence is guided by principles, 
beliefs, conventions, values, and other aspects known as culture. 
In view of this, Edward Taylor, cited by Logan Peter, notes that 
“culture is that complex whole which includes knowledge, belief, 
art, morals, law, custom and any other capabilities and habits 
acquired by man as a member of society” (np).

 This work evaluatesintersections of Igbo cultural 
dynamics and spirituality in Odunke Artists' Ojadili. Cultural 
dynamics refer to the different trends and patterns unique to a 
culture. In another sense, it refers to the numerous parts of a 
culture changing because of social circumstances. However, 
spirituality is not a unique trait of one religion or the other; it is a 
feature that unites the world's various religious traditions. The 
concept of spirituality has evolved and extended over time. 

Intersections of Cultural Dynamics and Igbo Spirituality In 
Ọdụnke Artists'Ojaadịlị

1 2 
Ikechukwu Erojikwe, Ph.D, Ndubuisi Nnanna, Ph.D

3 4Obiorah Ekwueme, Ph.D, Richard Umezinwa
5 6

Cindy Anene Ezeugwu,  Ph.D, Ifunanya Chiwetalu
7Uche-Chinemere Nwaozuzu, Ph.D

Department of Theatre and Film Studies, University of 
Nigeria, Nsukka. Nigeria.

Corresponding Author: Obiorah Ekwueme,Ph.D

Abstract	 	
In recent times, Igbo culture has evolved in dynamics and 
spirituality. These evolutions are borne out of intersections of 
cultural practices and ordinances peculiar to Igbo cosmology and 
worldview. Some of these are revealed in their mode of worship, 
marriage rites, title-taking, and literary traditions. Scholars like 
Chinua Achebe, Esiaba Irobi, Emeka Nwabueze, and Tess 
Onwueme have been able to establish and promote some of these 
cultural thoughts through their creative works. Studies carried out 
in thepast queried cultural traditions and values of the Igbo 
worldview differently but have not sufficiently attempted a critical 
examination of the cultural dynamics and spirituality that 
stimulate the intersections of the Igbo worldview. This study, 
therefore, interrogated evolutions of the Igbo worldview with 
specific objectives to critically examine the cultural dynamics and 
spirituality that highlight these cultural intersections. This study 
will adopt a qualitative research design using historical tools to 
broaden our comprehension of the research area. Odunke Artists' 
Ojadili is purposely selected for the study, and Sam Ukala's 
Folkism will provide the theoretical framework for the 
interrogation and comprehension of this study. The findings of this 
study significantly place Igbo dramatic literature as a fulcrum of 
critical discourse in Igbo cultural studies. This will push a 
conscious movement towards tolerance and understanding of 
individual cultures and traditions and will help promote peaceful 

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1 2 3 4Ikechukwu Erojikwe, Ph.D, Ndubuisi Nnanna, Ph.D Tony-Ugbejie Obiorah Ekwueme, Ph.D,  Richard Umezinwa : 
5 6 7Cindy Anene Ezeugwu,  Ph.D, Ifunanya Chiwetalu  Uche-Chinemere  Nwaozuzu, Ph.D:Intersections of Cultural 

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remember, making it one of the world's oldest religions. Catherine 
Acholunu in They Lived Before Adam(2009) and John Anene 
Umeh in The March to Igbo Civilization (2017)collectively argue 
that the existence of Igbos and their civilisation dates to the 
beginning of time. While Acholonu argues from the perspective of 
the Biblical Adam, Umeh who believesthat Igbo people are 
“ndembu, nah ndeegede, (the first and the second people on earth) 
Onu Afa (primordial and esoteric language the dibia), (Umeh, 
2017). Umeh's argument has also been linked to Lejja (a 
community in Nsukka town, in Enugu state), the oldest known 
iron smelting site in the world(Okafor, 2004).

 Most depictions of Igbo indigenous culture are 
misinterpretations of Igbo religion and spirituality, leading to a 
wrong perception of Igbo traditional religion and spirituality, as 
well as cultural terrorism and other parts of intangible cultural 
legacy among the Igbos. This is exacerbated by ongoing attacks by 
Western religions such as Christianity on Igbo cultural norms, 
artefacts, tangible and intangible cultural heritage, sacred objects, 
cultural relics such as Ikolo Uga, totems such as Eke Idemili, and 
other sacred objects.  Unfortunately, many Nigerian video films 
about Igbo culture degrade and demonise Igbo cultural values, 
which appears to have an underlying interest in Christian 
evangelism and the utter annihilation of some aspects of Igbo 
culture. This has become the norm, calling into question the 
concept of a national film philosophy that should conserve the 
indigenous traditions of Nigeria's various ethnic groups. 
Ikechukwu Erojikwe, Ndubuisi Nnanna and Jude Aguzie further 
acknowledge that “Culture is the entire dynamic and complex way 
of life of a people that provides the framework for articulating and 
comprehending the structures, while agency constitutes the 
capacity of community members to make informed choices about 
issues that concerns them” (83). Thus, the existence of culture 
within a specific locale is dependent on the inhabitants of that very 
space, and this space is referred to as community. Within this 
community are people who have set out to establish certain norms, 

Because of this ambiguity, multiple views can be found alongside 
one another, ranging from traditional spirituality to modern 
spirituality to subjective spirituality. Igbo spirituality 
encapsulated in culture finds literary meaning in Sam Ukala's 
folkism, which he described as “the tendency to base literary plays 
in the history, culture and concerns of the folk (people in general) 
and to compose and perform them by African conventions for 
composing and performing the folktale” (49).Uche Nwaozuzu, in 
discussing folkism, states that:

Folkism is the manner and method of creating and 
performing traditional folk orature that derives its roots 
from the culture and more of the people for which it is 
meant and gives content. It is an artistic philosophy and 
way of doing art that appropriates the ideals of myth, 
commensality, instruction and aesthetics to orchestrate 
a synthesis of traditional performance theory, form and 
practice. Some of its quintessential elements include 
but are not limited to the artistic vision, belief, artefacts, 
songs, masking, music and mime of the folk (23). 

The concept of myth is rightly not far from folkism. Both share the 
same features in that they deal with culture and have some aspects 
of mystical creatures or rather try to induce understanding beyond 
the surface of Earth and other supernatural entities in existence.

Cultural Concerns on Igbo Culture	
 Africa is embellished with different religious systems, but 
despite this plurality, they share similar characteristics and 
philosophies that bind them all. African religion generally is the 
belief in supernatural beings or powers. These powers are different 
individuals depending on their beliefs. Due to cultural clashes, 
colonisation, ignorance, and self-interest, Igbo cultural values 
seem to be debased, attacked, and, in some climes, annihilated. 
The lack of understanding of this basic knowledge drives this 
study to argue that the Igbo Traditional Religion (ITR), despite 
attacks, and malign has existed for as long as anybody can 

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 4, No. 1, 2024

1 2 3 4Ikechukwu Erojikwe, Ph.D, Ndubuisi Nnanna, Ph.D Tony-Ugbejie Obiorah Ekwueme, Ph.D,  Richard Umezinwa : 
5 6 7Cindy Anene Ezeugwu,  Ph.D, Ifunanya Chiwetalu  Uche-Chinemere  Nwaozuzu, Ph.D:Intersections of Cultural 

Dynamics and Igbo Spirituality In Ọdụnke Artists'Ojaadịlị

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belief in a supreme being,God (Chukwu), lesser deities and 
ancestors, and the afterlife. 

 The Igbos believe firmly in Chukwu's omnipotence. 
Francis Arinze, in Sacrifice in Igbo Tradition Religion, 
acknowledges that “Chukwu” has three chief names: Chukwu 
(Chi-ukwu, the great spirit), Chineke (the spirit that creates), and 
“Osebuluwa (the great one who upholds the world) (4). However, 
these names play a vital role in Igbo society; for instance, the 
existence of man and his purpose of living is being guarded by one 
supernatural being known as God, hence, Osebuluwa. He is the 
creator of everything on earth, hence (Chineke). At the same time, 
the world is divided into the Human and Spirit world. Also, the 
Igbos believe that every man has a personal God or guardian spirit 
known as (Chi). This spirit also follows the person into the world 
of the spirits when they die. Chineke or Chukwu assigned these 
spirits to every person.  Umeh gives a deeper explanation of the 
Igbo belief in Chi when he acknowledges that:

In effect, every person's spirit ends at their chi, a part of 
Chi-Ukwu (Chukwu), the Great Universal Spirit/God. 
According to Igbo theology and practice, which are part 
and parcel of Chukwu, the myriad existences up and 
down the universe, living and inanimate, spirit, non-
spirit, or a blend thereof, are based on Chi. To put it 
another way, this Chi is housed within otu/ofu, which is 
Chukwu, the great universal and all-encompassing Chi 
(26).

 Igbo people believe they can speak with their ancestors 
who live in the spirit world through divination (Afa).  However, 
Igbo people also have ancestral shrines, through which they try to 
keep in touch with their ancestors by providing for them through 
libations and offering (itunkwu and Itu Oji/ nri) and votive 
offering through a Dibia. Dibia in the Igbo language comprises 
two words: Di and Abia. Di means husband, head, or master, but in 
this context, it plays the role of a master. Abia means knowledge 

beliefs, and systems of operation that will guide man's existence 
within this space.

Methodology
 This study was concerned with the qualitative design 
aspect of research because it is a fact-interrogation study. The 
study broadens and/or deepens our understanding of the Igbo 
culture and Igbo cultural practices in our postcolonial social 
world. The research was concerned with developing explanation 
to the social phenomenon understudy. This discourse entails the 
investigation of documented sources such as books, journals, 
reports, archival material as well as oral sources were adopted as a 
discursive methodology of the study.

 This paper joins the growing awareness of the need to 
protect and preserve Igbo culture from extinction. However, the 
chances of this happening are slim, given the media's constant 
attacks and the government isseeming complacent and complicit 
attitude in siding with Christianity and Islam against indigenous 
peoples and their spiritual and religious practices. Significantly, 
this study examines the Igbo cultural dynamics in the selected 
Nigerian play, and it may serve to validate and possibly open 
discussions that will motivate tolerance of religious tensions and 
crises, as well as stimulate multi- and intercultural discussions to 
increase objective scholarly and unbiased responses, particularly 
about the Igbo people with emphasis on culture and spirituality.

Cultural Icons and Spiritual Imperatives in Igbo Cosmology
 In Igbo cosmology, different cultural and religious 
movements cannot be isolated from daily life. For instance, the 
kolanut (Oji) is used for various purposes, including prayer, 
divination, greeting visitors, invocations, blessings or cursers, 
marriage rites or dissolution of marriage, title taking, and other 
religious and socio-cultural activities. The Igbo people believe in 
dualism, firmlyrooted in Igbo culture, as seen by the actions 
listed.Essentially, the Igbo approach to spirituality is built on the 

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 4, No. 1, 2024

1 2 3 4Ikechukwu Erojikwe, Ph.D, Ndubuisi Nnanna, Ph.D Tony-Ugbejie Obiorah Ekwueme, Ph.D,  Richard Umezinwa : 
5 6 7Cindy Anene Ezeugwu,  Ph.D, Ifunanya Chiwetalu  Uche-Chinemere  Nwaozuzu, Ph.D:Intersections of Cultural 

Dynamics and Igbo Spirituality In Ọdụnke Artists'Ojaadịlị

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reigns supreme, operating at times independently but 
most of the time through the agency of created 
spiritual beings (deities, spirit forces, ancestors, and 
other disembodied spirits like Akalogeli, Ogbunuke, 
Ogbanje, etc.). On the physical plane, man becomes 
the centre, the bridge between the spiritual and 
physical spheres. Equipping himself with all sorts of 
ritualised gadgets, he strives to maintain a lively 
relationship with the spiritual beings through 
sacrifices, prayers, libations, ritual gestures and spells 
(18-19).

 Ekwunife affirms here that man's existence is governed by 
his life cycle. This cycle represents the various stages of life that 
man must pass through to fulfil what he is destined to do in life. 
Sabine Jell-Bashlen acknowledges this belief in his work, where 
he states that:

the significant stages of life are birth, naming 
(coinciding with entry into human society and 
childhood), puberty and initiation (associated with the 
metaphorical death of the child and the birth of the 
adult), adulthood (associated with marriage, 
parenthood, title taking and going to war if needed, 
old age ( associated with acquisition of wisdom, more 
advanced title taking, dignity, and priesthood), loss of 
spouse and death (associated with funeral rites), and 
eventually reincarnation (32-33). 

	 Consequently, man moves in a circular shape, as Jell-
Bashlen observes. In the same way, a circle does not have an 
ending, so does the soul of man; it lives forever, either in the spirit 
of the world or comes back through another being or offspring 
(reincarnation). Undoubtedly, every symbol in Igbo cosmology is 
representational and of vital importance in everyday life. 
Christian Nwaru endorses the above statement in his article, 
where he states that, “...Symbols in any culture are effective means 

and wisdom. So, while the Igbos call Chukwu (God) Abia Ama, 
the knowledge and the wisdom that reveals himself, Dibia is the 
adept or master of knowledge and wisdom (Umeh, 1997). The 
powerful stance of the Dibia as regards his relationship with 
Chukwu (Almighty God), ancestors, and the people is captured in 
the words of Onwuejeogwu, as cited by Felix Ufedo-Egwuda 
when he enunciates that “the traditional doctor called dibia-afa 
can be manipulating the afa controlled by agwu, interprets the 
nature and character of these relationships.

Undoubtedly, all these scholars have the same view about 
the Igbo people's origin and belief system, and their ideas work in 
tandem with each other. Conversely,Ossie Enekwe is not an 
exception among these scholars who have emphasized the 
connection between the Igbos, their beliefs and their relationship 
with supernatural beings. He posits that:

There are two broad categories of supernatural forces. 
The first comprises the sky deities headed by 
Chukwu,which are omnipotent, omnipresent, and 
omniscient. The second category is made up of the 
earth Goddess and other spirits. Chukwu is not directly 
involved in the affairs of the Igbo, but the less powerful 
earth goddess, Okike, “governs thought and action in 
more perceptible ways.” Next to the earth goddess are 
the ancestors who “wield tremendous powers of 
blessing and curse over their relatives living on “earth” 
(46).

 Enekwe in this context observes that besides the existence 
of Chukwu and Chi in the Igbo cosmology, there are other spiritual 
beings assigned to man by God (Chukwu) to oversee man's 
activities on earth. Anthony Ekwunife, in the same vein, avers 
that:

In the spiritual sphere, different categories of spiritual 
beings exercise roles assigned to them by the creator 
in cooperation with each other. The creator, however, 

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 4, No. 1, 2024

1 2 3 4Ikechukwu Erojikwe, Ph.D, Ndubuisi Nnanna, Ph.D Tony-Ugbejie Obiorah Ekwueme, Ph.D,  Richard Umezinwa : 
5 6 7Cindy Anene Ezeugwu,  Ph.D, Ifunanya Chiwetalu  Uche-Chinemere  Nwaozuzu, Ph.D:Intersections of Cultural 

Dynamics and Igbo Spirituality In Ọdụnke Artists'Ojaadịlị

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Christianity, civilization, and other social patterns in order to 
denigrate the Igbo way of life and spiritual worth as exemplified in 
Ọdụnke Artists' Ọjaadịlị.

Data Presentation 
Synopsis of Ọjaadịlị
 Ọjaadịlị is an Igbo play about Ojadili, a young man full of 
strength, fierce, relentless, and fearless. One can rightly argue that 
he is a descendant of the gods. Ọjaadịlị has fought so many battles 
and conquered them all. With the help of his flutist Ụdụmeje he 
conquered Otiaba who has never lost in any battle. In the bid to 
bring back Otiaba to life, Ụdụmeje goes into the forest with 
Ajiọbu, but they are attacked by a band of chimpanzees (ozo), and 
Ụdụmeje loses his life, too. Without the support of the villagers, 
Ogwumagana his guardian spirit who becomes his flutist after the 
demise of Ụdụmeje, Ọjaadịlị journeys into the land of the animals, 
kills the leader of the chimpanzee and comes back victorious. 
Ọjaadịlị is honoured with a chieftaincy title, but he rejects it, 
saying that it is only when he goes into the land of spirit, fights, and 
comes victorious that he will accept the title. Even though the 
community did not give him their blessings, Ọjaadịlị still journeys 
into the land of the spirit. As an Igbo idiom goes, 'A man does not 
fight with his Chi (personal spirit), but pride will not let him 
acknowledge this famous axiom.

Belief System and Predestination in Ọjaadịlị
The study has already discussed the concept of Igbo 

cosmology, which involves the cultural dynamics and spirituality 
inherent in it. The close affinity of the Igbo with their ancestors 
cannot be taken for granted. These ancestors serve as mediators, 
protectors, and advisers to them. Eugene Atansi, in an interview, 
reveals that:

Before anyone starts a journey, he must summon his 
ancestors' spirits with kola nut (ọji) for guidance and 
protection. Because these ancestors are spirits and see 
beyond the physical, they tend to clear the path for their 

of communication, without words Igbo, like other cultures, 
hassymbolsthatare generallyknownandothersthat  are 
esoteric...”(21). Furthermore, Nwaru classified these symbols and 
their significance. Each of them is an embodiment of strength and 
meaning beyond human comprehension.

  The actions of the alusi (deity) are directed by its chief 
priest (9).” It is safe to say that the dibia is, therefore, the link 
between the deities, Chukwu, and the mortals; he intercedes for the 
mortals because he is the eyes of the deities. The Dibia's role 
transcends one holistic concept as portrayed by native doctors or 
herbalists; he is entirely beyond that because the person that 
carries this gift cannot be boxed; in furtherance to this, there is 
Dibia afa, (diviner) Dibia mgbologwu na nkpa akwukwo 
(herbalist), Dibia Oha-Mmiri (rain Maker), Dibia Ojena-Mmuo 
(time traveller, teleportation and others). Despite this rich cultural 
heritage of the Igbo, which spirituality is part of, it is said that 
some age-long and recent societal trends such as civilisation, 
Christianity, Islam, and so many other factors create negative 
notions and patterns to demean the Igbo way of life and spiritual 
value which the insight developed Ọdụnke Artists' Ojaadịlị 
counters and provides needed perspectives and realities.

The interconnections between Igbo culture's physical and 
metaphysical conceptions, such as the world of spirit, humans, 
and animals, will be examined. The play demonstrates how drama 
may alter people's perceptions, misinterpretations, and 
generalizations of Igbo culture, provide accurate reflections, and 
function as a cultural defender and custodian to a large extent. This 
research will examine these conceptions within the ambit of 
Ojaadịlị to see how they may function as cultural preservers and 
guardians.The study also aims to shed more light on the beauty, 
dynamics, and significance of Igbo culture and history and the 
understanding of her spiritual value in the context of Igbo 
cosmology and belief systems. This is to discourage the negative 
beliefs that have been modelled by the society because of 

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 4, No. 1, 2024

1 2 3 4Ikechukwu Erojikwe, Ph.D, Ndubuisi Nnanna, Ph.D Tony-Ugbejie Obiorah Ekwueme, Ph.D,  Richard Umezinwa : 
5 6 7Cindy Anene Ezeugwu,  Ph.D, Ifunanya Chiwetalu  Uche-Chinemere  Nwaozuzu, Ph.D:Intersections of Cultural 

Dynamics and Igbo Spirituality In Ọdụnke Artists'Ojaadịlị

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live away from mortal men. He can only be reached through a 
medium. Before Ọjaadịlị goes to fight in the land of the animals, 
the Dibia first got the consent of the gods before Ọjaadịlị took any 
action.  

OMEIRE:	 Ọjaadilichere ka ị nụrụiheEbunuỤkpabịkwuru! 
(29).

OMEIRE:  	 Ojaadili, wait and hear what the Creator said (29).
However, Albert Ogoko implies that:

… God is the first and final cause of all things. By a 
casual necessity, all things determinately follow and 
are ordained. Freedom is complying with this 
determinism. Whatever was, is and will be is already 
ordered to be so. Whatever we are, we can attain or 
achieve, and we must derive from God. We are efficient 
causal agents with distinctive destiny parcels (17).

In Ọjaadịlị, the playwrights presented the personal god (Chi) as a 
small spirit creature which she called Mmụọ isiatọ (a spirit with 
three heads). 
	

 Thus, Ogoko further asserts, "Ife sina Chi, meaning that light, 
knowledge, wisdom, reality, or insight comes from God who has 
dubbed all things with his divine touch” (23). Furthermore, there 
is the dual existence of things on earth as nothing. Nothing can 
ever stand alone. There is a common saying in Igbo language that 
Ihe kwụrụ, ihe akwụdobeya (anything that stands must have a 
partner standing next to it). Odunke Artists presented this belief to 
his readers when Ọjaadịlị goes into the land of the animals and 
confronts Ozọ. 

ỌZỌ:	Ị b ọ n a ị b ọ k w ụ ,  ị b ọ n a ị b ọ k w ụ .  N k e  a , 
kedunwannegi?Ọ bụgini ka m na-ahụ?Ọ 
bụzịkwaụwa Chukwu kere di ihe a?ihenilen'ịbọ. 
N w o k e  n a n w a n y i ,  n ' ị b ọ n ' ị b ọ . 
Okeosisinanwunyeya, n'ịbọ n' ịbọ. Anya naabọ, 
nantinaabọ, n'ịbọn'ịbọ. Ugwu nandịda, n'ịbọn'ịbọ. 
Ihe di mma, naihe di njọ… (40).

successors. Kolanut, as a symbol of prayer in Igbo 
land, plays diverse roles. However, it seems that most 
Igbos are no longer in sync with methods of prayer and 
other uses of Igboland due to demonisation, 
obliteration and annihilation, but this will form the 
topic of another research.  

 In an interview, May-Blossom Brown submits that “the 
importance of having a mutual relationship with your ancestors is 
enormous. If any man decides to embark on a journey without 
summoning the spirits of his ancestors, then that journey is a failed 
one (np). Ọjaadịlị was able to make this belief visible to everyone 
when, before he journeys into the land of the animals to fight with 
Ọzọ (chimpanzee), he first prayed to the spirits of his ancestors to 
guide his path, which at the end he returns victorious;

ỌJAADỊLỊ:	 Ikenga m, taaọjị, Ezenwanekwu, taaọji. 
Okeke nna m 	 ochietaaọji (tụsaọjin'ala) Mgbe m na-
akwadoije ala 	anụmanụ, ndịmmadusinamụagaghialọta. 
Gi bụIkenga	 m wee duru m jee M lọtan'udo. Ugbu a, 
akwadoola m ijeala mmụọ aga m ejen'udo, lọtan'udo (51).

Translation
ỌJAADỊLỊ:	 My Ikenga, eat kola. Ezenwanekwu, eat 

kola. Okeke, my mother's forebears, eat 
kola (throws kolanuts to the ground). 
When I was preparing to go to the land of 
animals, people said I would not return. 
You, my Ikenga, led me home in peace. 
Now, I am prepared to go to the spirit 
world. You will lead me to go in peace and 
return in peace (51).

 Furthermore, the Dibia also acts as a mediator between the 
spirits and the living. He gathers the people's requests, 
communicates with God (Chukwu) and Unseen forces (Ndi ana 
ada afu anya) and then gives the people a response. He is a 
messenger of the gods, as it is the culture of the supreme God to 

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 4, No. 1, 2024

1 2 3 4Ikechukwu Erojikwe, Ph.D, Ndubuisi Nnanna, Ph.D Tony-Ugbejie Obiorah Ekwueme, Ph.D,  Richard Umezinwa : 
5 6 7Cindy Anene Ezeugwu,  Ph.D, Ifunanya Chiwetalu  Uche-Chinemere  Nwaozuzu, Ph.D:Intersections of Cultural 

Dynamics and Igbo Spirituality In Ọdụnke Artists'Ojaadịlị

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is captured in the lines below;
ỌJAADỊLỊ:	 Họyi! họyị! họyị! Agadinwanyịanaghịaka 

nkan'egwu ọ maara agba. Ikenga m! 
ikenga m! Họyị! họyị! họyị! (Ụdụmeje, 
wetekwompiọzọ.  kụrụekwempuna-
achụsọỌjaadịlị)

ỤDỤMEJE:	 (ntakwunye) Akịrịka, Ọsọgaan'ụlọ m 
n'imeakpanwaehi	 	 	 	 	 k o 
n'obimwetara m ọja m…(12).	

ỌJAADỊLỊ:	 Ikenga m, gibụike m, gibụogu m. Lee aka             
nri m naa m  aka (51).

Translation
ỌJAADỊLỊ: Họyi! họyị.họyị. An old woman does not get 

old regarding a dance step she knows very 
well. My Ikenga! My Ikenga! Họyi! 
họyị.họyị. (Ụdụmeje took a horn, followed 
Ojaadili, play his gong).

UDUMEJE: (In whispers) Akirika, run to my house, 
inside the cow skin bag at the obi, get 
myflute…(12).

Communalism and Retribution in Ọjaadịlị
	 In the Igbo cosmology, there is a certain belief in oneness 
and communal living. Whatever concerns an individual also 
concerns the rest of the community. The title holders are the 
highest authority and the community's decision-makers.  

ỌHA NA EZE:  Ka anyị je weteegbenamma, ka 
anyịnaụmụanụ mara ndi ga-apụrụibe 
ha n'obodo Ụmụngodo

ỌKAGBUE:	Cherenu o! Onye kwadosịa ka m sikwuo, 
yapụtanambaraezibe a.Ọkọnti,gwaagbata 
o b i  g ị b ụ Ọ j a a d ị l ị n a a c h ọ r ọ  m 
mmadunilen'ebe ka anyịkpaaaro ka a ga-

Translation
CHIMPANZEE: They all stand in pairs. This one, where 

is your brother? What am I seeing? Is this still the 
world created by the Almighty? Everything is in 
pairs: man and woman, a pair; the giant tree and its 
female, a pair; two eyes and two ears, a pair; the hill 
and the valley, a pair; goodand bad things… (40).

 As previously stated, in Igbo cosmology, there is a 
common belief that everything in existence has a pair. The earth 
and its components are dual; nothing exists or stands alone. As 
Earth is to Heaven, so is Man to Woman. The concept of dualism 
permeates Igbo cultural thought and consciousness, stating that if 
a thing exists alone, there is an aberration. Dualism creates 
balance; the playwrights consciously push and acknowledge this 
thought through the chimpanzee. It may sound strange to find a 
speaking chimpanzee, but the play is fully anchored in the concept 
of folkism, and folktales stem from this and acknowledge that 
man, spirits and animals once coexisted. While the spirit world is 
challenging to access, the animal kingdom is not.

Mystical and Symbolic Icons in Ọjaadịlị
Symbolic icons are essential in any society; the Igbo 

community is no exception. Symbols are bound in the human 
world; thus, they are a common phenomenon in human existence, 
and their potency and sacrosanct nature are brought alive through 
various meanings and interpretations. Arinze, however, is of the 
view that Ikenga is “the personification of a man's strength of arm 
which has everything to do with his good future… Ikenga is 
personal to a man, and its symbol is split at the person's funeral” 
(16). 

Furthermore, Ikenga symbolises strength and serves as a 
protection tool for the owner. Thus, in Ọjaadịlị, it is evident that 
the Ikenga played a significant role in Ọjaadịlị's life as he always 
makes sure he appeases it before embarking on any journey. This 

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 4, No. 1, 2024

1 2 3 4Ikechukwu Erojikwe, Ph.D, Ndubuisi Nnanna, Ph.D Tony-Ugbejie Obiorah Ekwueme, Ph.D,  Richard Umezinwa : 
5 6 7Cindy Anene Ezeugwu,  Ph.D, Ifunanya Chiwetalu  Uche-Chinemere  Nwaozuzu, Ph.D:Intersections of Cultural 

Dynamics and Igbo Spirituality In Ọdụnke Artists'Ojaadịlị

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Ọjaadịlị ga-agabazu mgba tupu ọ zawa 
ọkamgba. Ebe ọ fọrọbụ ala mmụọ

	 	 NDỊ MMADỤ: Gbụpụasọ!	
ỌJAADỊLỊ: Ọ bụmụbụỌjaadịlịkwurunke a unu mara 

ugounu	 	
ga-etunye m, Dewenụya. Mgbe m si ala mmụọ lọta			

unu ejiriya bịa zute m.

OMEIRE:	      Onye na-ekwu?

ỌJAADỊLỊ:    Mụ bụ Ọjaadịlị na-ekwu

OMEIRE:	      Anya Ọ dịkwagi mma?

ỌJAADỊLỊ:  Ala mmụọ…Ọjaadịlị jekọmgba n'ala 
mmụọ. (48-49).

Translation

ỌJAADỊLỊ: 	 I t  i s  r ema in ing  one  p l ace . 
Everything worth doing is worth doing 
well. He who wants to take a title should 
go through the entire process and take a 
full title. That means that Ọjaadịlị will 
complete all the wrestling there is so he 
can be called the great wrestler. The next 
task is to wrestle in the spirit world.

PEOPLE:  May the gods forbid!

OJAADILI:  I, Ojaadili, said this: that title you want to 
confer on me, keep it; when I come back 
from the land of spirits, use it to welcome 
me.

esijeeọgụ otu onye. Gịnwa otuedo, ị na-
apụtakpọọOmeire.Sịyanaezechọrọyaugbu 
a ugbu a. Onye ọbụlajeekwadoo, bịaọsọ 
(26).

Translation
COMMUNITY: Let us go and bring guns and knives; let 

us see humans and animals who will 
vacate Umungodo for the other.

ỌKAGBUE: Wait! My instruction is that once anyone is 
ready, let him come to this community 
ground. Ọkọnti, tell your neighbour Ọjaadili 
that everybody is wanted here so we can 
deliberate on how to embark on this fight. 
You, Otuedo, while coming, tell Omeire that 
the king wants him now. Everyone, go and 
get ready and come back fast (26).

 The king's cabinet agrees to go into the land of the animal 
together with the rest of the community and the ruthless animal 
that has been tormenting their community.

Furthermore, there is a common adage in the Igbo cosmology 
“Ọnwụ ga-egbu nwankita anaghị ekwe ya anụ isi nsi” it simply 
means, the death that will kill the dog does not allow it perceive the 
smell of faeces. Relating this to Ọjaadịlị's life, despite all the 
warnings given to him by the elders in the community, he went 
ahead with his plans by journeying into the land of the spirits to 
defeat them and come back victorious. Ọjaadịlị can be classified as 
an anti-conventional man. He has his approach and ideology 
towards life; whatever he sets his mind to is what he does. He also 
does not tolerate anybody's interference.

ỌJAADỊLỊ: O fọlaotu ebe, a nyụchaa nsị, ọ 
tụpịaghịọnụ ọ bụrụ	 otoro. Onye chọrọ 
ichiọzọ ga-echizu echizu. Yabụ	 n a 

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 4, No. 1, 2024

1 2 3 4Ikechukwu Erojikwe, Ph.D, Ndubuisi Nnanna, Ph.D Tony-Ugbejie Obiorah Ekwueme, Ph.D,  Richard Umezinwa : 
5 6 7Cindy Anene Ezeugwu,  Ph.D, Ifunanya Chiwetalu  Uche-Chinemere  Nwaozuzu, Ph.D:Intersections of Cultural 

Dynamics and Igbo Spirituality In Ọdụnke Artists'Ojaadịlị

151 152



war to the land of spirits? Go for this is your last 
journey. I say to you, go and meet your doom.

OJAADILI: Words of a man in a drunken state for 
saying this is my last journey. Was he there 
when the creator created Ojaadili? As he sees 
the spirits, can he see the creator too? (50-51).

I m a g e r y,  S y m b o l i s m  a n d  I c o n i c  M y s t i c i s m  i n 
Characterization of Ọjaadịlị
OGWUMAGANA (Chameleon) 
As the name implies, Ogwumagana, the chameleon, is known for 
its ability to adapt to its environment. This conforms to Ojaadili's 
intentions rather than creating them. At the beginning of the play, 
Ogwumagana came as a messenger sent by God to check if what 
God created was good enough. In subsequent scenes he was able 
to change form and become Ojaadili's flutist after the demise of 
Udumeje. This is a point in which the playwrights try to establish 
that in Igbo cosmology, there is a belief in shape-shifting, where 
any creature can take any form to achieve whatever it wants. 

Atansi also reveals that, in Ogbunike, Oyi Local 
Government Area of Anambra State, Nigeria, shapeshifting (ihi 
ehihi or Ihi Agu) was in existence, and it was a cult; before an 
individual will begin to change, he must be initiated, given a small 
pot of fire that will be kept in the forest. Once he wants to change 
the form, he goes into the forest where the pot is kept and says 
some incantations. This act is not something an individual will 
carry out with evil intentions. However, it is usually carried out 
during periods of war or whenever there is danger in the 
community. Misusing the mystical powers to harm others is why 
the Dibia in charge of the cult covered the pot of fire so that no one 
can shape-shift. Raymond Arazu, a traditional healer and Catholic 
Priest, notes that:

The Phenomenon is called Ihi Ehihi in Igbo tongue. The 
man with the magical faculty sleeps in his bed. At the 

OMEIRE: Who is talking?

OJAADILI: It is me Ojaadili talking!

OMEIRE: Are you in your right senses?

OJAADILI: The land of the spirits…Ojaadili is going    
there to wrestle (48-49).

However, Ọjaadịlị's downfall is caused by hubris. His tragic flaw 
as a hero leads him on a journey of no return. Being a man who is 
full of himself and anti-conventional, he wants to do things his 
way without consulting or seeking the advice of the elders or 
listening to the mouthpiece of the gods (Dibia).

OMEIRE: Ọjaadịlị,  jewe ala mmụọna Chi 
giegbụọgitaa. 	O r i j u r u a f ọ ,  c h e  C h i  y a ọ g ụ ! 
Nwaetoghịetowara	 ọgọdọikuku fee, o tie, okokookoo! 
J e w e ,  n a  m b e re d e n a - a n y ị k w a n ụ  d i k e .  O n y e 
g w a r a g i n a n a n ị  o t u  o n y e n a - e j e ọ g ụ n a  b e 
ndịmmụọ.Jewenaijesigo

ỌJAADỊLỊ:	 Okwu mmanya! Ọ na-asi  m 
n a m ụ e j e s i g o .  M g b e C h u k w u					
Ụkpab ịkere  Ọjaad ị l ị  Omei reọnọya?  
KaOmeirena-ahu ndi mmụọ, Ọ na-ahụ 
Chukwu Ụkpabi? (50-51).

Translation

OMEIRE:      Ọjaadịlị, go to the land of the spirits and 
meet your doom. One that challenges his chi to 
a duel because he has overfed. A child 
undertaking adventures meant for adults will 
be blown away when calamity strikes. 
Eventualities often overshadow heroes. Who 
told you that one man alone can embark on a 

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 4, No. 1, 2024

1 2 3 4Ikechukwu Erojikwe, Ph.D, Ndubuisi Nnanna, Ph.D Tony-Ugbejie Obiorah Ekwueme, Ph.D,  Richard Umezinwa : 
5 6 7Cindy Anene Ezeugwu,  Ph.D, Ifunanya Chiwetalu  Uche-Chinemere  Nwaozuzu, Ph.D:Intersections of Cultural 

Dynamics and Igbo Spirituality In Ọdụnke Artists'Ojaadịlị

153 154



Conclusion 
 These findings reveal thatit is sufficient to say that this 
paper was able to use the mystical and self-awakening journey of 
Ojaadili and his fall from grace to grass as a metaphor to examine 
the Igbo culture of destiny, retributive justice, spirituality, and the 
forte of one's personal god as seen in the journey of Ojaadili. The 
paper also x-rayed the richness of folkism in Ọjaadịlị. Materials 
from the vastness of oral tradition are skillfully produced in the 
play to organize the structure of oral traditional performance, 
which includes music, storytelling, dance, and other visual 
aesthetics.

The study has proved that folkism effectively educates young and 
old people. Due to erroneous perceptions, the study also discussed 
negative trends and beliefs, which society models through some 
modernity to belittle the Igbo way of life and spiritual values in 
contemporary Nigeria.

 There is little doubt that there is a wealth of literary works 
written in several Nigerian languages, and the academics point out 
the challenges of translating them into English for a wider 
audience. As a result, the experts advise that many of these literary 
treasures be made apparent by having them translated into a 
widely accepted language, such as English. By doing so, the 
awareness to defend Igbo cultural dynamics, spirituality, and 
worldview from denigration and malignity will be realized. The 
study also recommends more performances of Igbo plays or 
adaptations into films for a wider audience.

same time, his etheric double (the animated astral body) 
assumes the shape of a leopard (agu) or takes possession 
of an actual leopard or any other beast which goes into 
human habitations to produce the desired effect. There 
are families reputed for such feats (91).

 Arazu's position agrees with the assertion of Atansi but 
further acknowledges the deep-rooted mystical and esoteric 
knowledge found in Igbo society and captured by Odunke Artist in 
Ojadili.
For example, Ogwumagana, a character in the play, can also be 
classified as the people's conscience, who is always there to judge 
or applaud people. He can be observed as the authorial voice in the 
play. He also played a vital role in Ọjaadịlị's life. As man's 
conscience is always there to guide and judge him at any point in 
life, even when every other person or creature has deserted him to 
walk the journey of life alone, Ogwumagana can stay with 
Ọjaadịlị till the very end, when everyone else has left him. He went 
to the extent of bringing Ojaadili back after being defeated by 
Mmuo isi ato (Ọjaadịlị 's Chi). Ogwumagana is anti-
conventional;it takes whichever form it wishes to at any point, yet 
it has a common purpose with the being he guides: to achieve what 
is of great importance to an individual.

Mmụọ Isi Atọ
 He is the smallest of the spirits that Ọjaadịlị battled within 
the land of the spirit but the strongest of them all and a 
representation of Ọjaadịlị's personal God (Chi). However, despite 
all the warnings Ogwumagana gave Ọjaadịlị, he neglected him 
and went ahead to fight Mmụọ isi atọ. Knowing the power he 
possesses and the authority he commands, he is the last person to 
encounter Ọjaadịlị, yet he defeats him without laying a finger on 
him. He can take charge and control forces beyond the physical 
realm and go farther into the spiritual realm.

COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 4, No. 1, 2024

1 2 3 4Ikechukwu Erojikwe, Ph.D, Ndubuisi Nnanna, Ph.D Tony-Ugbejie Obiorah Ekwueme, Ph.D,  Richard Umezinwa : 
5 6 7Cindy Anene Ezeugwu,  Ph.D, Ifunanya Chiwetalu  Uche-Chinemere  Nwaozuzu, Ph.D:Intersections of Cultural 

Dynamics and Igbo Spirituality In Ọdụnke Artists'Ojaadịlị

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COOU JOFOCUS: COOU Journal of Folklore and Cultural Studies, Vol. 4, No. 1, 2024

1 2 3 4Ikechukwu Erojikwe, Ph.D, Ndubuisi Nnanna, Ph.D Tony-Ugbejie Obiorah Ekwueme, Ph.D,  Richard Umezinwa : 
5 6 7Cindy Anene Ezeugwu,  Ph.D, Ifunanya Chiwetalu  Uche-Chinemere  Nwaozuzu, Ph.D:Intersections of Cultural 

Dynamics and Igbo Spirituality In Ọdụnke Artists'Ojaadịlị

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