Published online by Cambridge University Press: 23 May 2014
The purpose of this investigation is to examine the problem of diffusion of Ikenga art form in geographically contiguous cultures. Although the concept of diffusion of cultural traits among contiguous cultures is well established among certain kinds of anthropologists, fresh theories of interpretation may be observed. First, I will try to develop the framework which would help to identify the strategic factors in the process of diffusion and facilitate the ordering of what is currently known about them. Second, since the establishment of a framework seldom includes anything but a model, Igbo Ikenga is focused upon to illustrate how deduction from art may lead to new factual conclusions.
Current anthropological concern about the diffusion of elements of culture in the Niger/Benue basin has attracted attention to the Ikenga art form because of the apparent widespread occurrence of the Ikenga cults among the Igbo, Benin, and Igala. Jeffreys (1954 pp. 25-40) traces the origin of the word “Ikenga,” and thus its cult, to the Kengawa (Hausa) people of Sokoto Province. Later, William Fagg (1960, “The Ibo Tribes”) explains the “universal cults of Ikenga” partly in terms of adaptability among contiguous ethnic groups, particularly as certain Igbo culture traits show similarity to those of their neighbours at the periphery. More recently, this notion of an “intra-diffusion” has been extended by Bradbury. Comparing diffusion processes between the Igbo and Benin Ikenga cults, Bradbury (1961, p. 138) attributes a greater possibility to one single Ikenga cult which later separated into the Igbo and Benin and mutually coexisted.