The Artist Archiving Igbo Life and Spirituality through Indigenous Aesthetics

How Chiagoziem Nneamaka Orji is making Igbo culture and spirituality more accessible through digital art.

Within the ethnic bazar that is Nigeria, it is not uncommon to see indigenous people amplifying the legacies and truths of their tribal roots. Even beyond the borders of Nigeria, the Igbo people are renowned for their entrepreneurial spirit, independent disposition, and adventurous history. But what about our arts? The gradual extinction of Igbo material culture such as masquerades, masks, native outfits, symbolisms, and folk music, can be redeemed through indigenous aesthetics rooted in various artist expressions.  

I found a cause for this essay thinking about comedian, BrainJotter’s viral dance stunt with the legendary Mike Ejeagha’s ‘Ka Esi Le Onye Isi Oche’, and how it put the 1983 classic hit on the world map. Following the massive success of the viral song, the comedian visited Ejeagha’s home in Enugu to pay tribute. The legend was moved to tears at the renewed fame that the skit brought his way. There are similar motivations for writing about Chiagoziem Orji, a young woman who seeks to preserve the often neglected Omenala ndi Igbo (Igbo cultures and practices) through art. Months ago, on an ordinary day of casual scrolling through X, I discovered Orji; but her art bore praiseworthy distinctions to that of young Nigerian digital artists fairly popular on the app such as Anthony Azekwoh, Renike Olusanya, and Sanjo Lawal.  

Orji’s work felt like a scolding, reminding me that I am Igbo; her website, a lecture on Igbo material culture. Her work with black-and-white patterns, digital art, and acrylic painting holds an attentiveness to the life our ancestors once had, while also stirring a covetous embrace toward their core values and philosophies. While still thinking about a way to spread the good news about her work, I sent her a message on X. She heartily agreed to a virtual interview...