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Existing works on the sources of secessionist agitations in postcolonial Africa tend to be methodologically nationalist but also circumvent the diasporic dimension. Particularly, the resurgent ethnic separatism amongst Igbos in southeastern Nigeria has been predominantly analysed from the theoretical standpoints of relative marginalisation and material deprivation that focus on domestic politics in post-war Nigeria. We broaden this literature by underscoring the diasporic dimension of this secessionist conflict. Drawing on the literature on diaspora nationalism with a focus on the case of the Indigenous People of Biafra (IPOB)—a transnational separatist movement—we reveal evidence showing how the Igbo diaspora instigate and exacerbate separatist tensions in the homeland by reviving collective memories of the macabre Nigeria-Biafra war (1967–1970) and reimagining alternative political futures for ethnic Igbos devoid of the state's grand narratives of nationhood. We contend that the diasporic dimension is profoundly critical to comprehending separatist agitations in southeastern Nigeria with implications for wider postcolonial African contexts. [ABSTRACT FROM AUTHOR]

Purpose: The overall aim of this research is to interpret Ikenga and Ofo creativity as it is revered in Igbo societies. Igbo creativity, especially interpreted through material culture, suffers the threat of extinction resulting from the forces of modernity. Forces of modernisation, which appear in the personae of Christianity, education, urbanisation and industrialisation, denigrated indigenous creativity, brandishing them as devious, fetish and primitive. Ironically, in most cases, the drivers of such narratives keep these "fetish" items in their museums and will give a lot to preserve them. Design/methodology/approach: This study centred mostly on several communities in the Nsukka area of Igboland, Nigeria. It relied on both primary and secondary sources of historical enquiry. This qualitative research discussed the nuances of the subject matter as it relates to Igbo cosmos. These approaches involved visiting the study area and conducting personal interviews. Findings: Archaeologists do often rely on material culture to study, periodise and date past human societies. In this study, it is found that material culture, an expression of indigenous creativity, best interprets how society survived or related with their environment. This paper examined two Igbo sculpted artefacts – Ikenga and Ofo – while unearthing the intricacies in Igbo cosmology as regards creativity, spirituality and society. Originality/value: The shapes, motifs, patterns and designs depict an imaginary history, the intellectualism of the past and even the present. This serves as an objective alternative to the twisted colonial narrative on Igbo material culture and consequently contribute to ongoing efforts to preserve, protect and promote cultural heritage resources in this part of the world. [ABSTRACT FROM AUTHOR]