History Origin Culture and Traditions of Uli Town in Anambra state

 
Uli is a historically significant town located at the southeasternmost edge of the Ihiala local government area in Anambra state, Nigeria. Its closest neighboring towns include Amaofuo, Ihiala, Amorka, Ubulu, Ozara, Egbuoma, and Ohakpu. Uli stretches westward to the point where the Atamiri and Enyinja rivers converge, a region belonging to Amorka, and continues across Usham Lake down to the lower Niger area.

Uli Design:
Uli (also called Uri) refers to the curvilinear traditional patterns created by the Igbo people of southeastern Nigeria. These designs are generally abstract, composed of linear and geometric shapes, although some elements may be representational. Traditionally, they are either painted onto the body or applied as murals on the sides of buildings. These designs tend to be asymmetrical and are often created spontaneously. Uli is typically not considered sacred, except in the case of images painted on shrine walls or created for specific community rituals. Rather than having symbolic meanings, Uli designs aim to produce a visual effect and serve as a form of decoration for the body or buildings.

The creation of Uli designs is primarily carried out by women, who use dark dyes to decorate others for various community events, such as weddings, title-taking ceremonies, and funerals, as well as for everyday purposes. These designs typically last around eight days, and Igbo women also create Uli murals on the walls of houses using four basic colors: black, white, yellow, and red. These murals are temporary, often fading with the rainy season.

The practice of drawing Uli was once widespread throughout Igboland, although it began to decline by the 1970s and is now maintained by only a few contemporary artists. Nonetheless, Uli continues to be practiced by some Nigerian artists, and several have begun transferring traditional designs onto canvas. Additionally, modern artists, like those in the Nsukka group, have embraced Uli motifs and incorporated them into different media, blending them with other Nigerian and European styles.

Origin:
The name "Uli" is derived from various plants used to produce the dye for the designs, such as Uli Ede eji, Uli Nkilisi, Uli Abuba, Uli Nkpo, and Uli Aru nmadu. Local folklore suggests that Uli was a gift from Ala, the goddess of the earth, who blessed women with the ability to create art. The practice is said to represent expressions of nature, with patterns resembling animal markings, such as leopard spots and python scales, as well as abstract forms like the female body or intricate knots. Although the precise historical origins of Uli are unclear, Uli designs have been found on Igbo-Ukwu bronzes, indicating the art form's use since the 9th century.

Characteristics:
Uli designs are known for their flowing curves interspersed with angled lines and abstract motifs. Whether applied to the body or painted on walls, these designs are temporary; on the body, they last for about a week, and on walls, they tend to wash away during the rainy season. In the Igbo language, the act of creating Uli is referred to as "writing" (ide uli) or "drawing" (ise uli), rather than painting. Murals may last longer but are typically replaced after some time to allow for spiritual renewal. Uli designs are spontaneous and focus more on the visual impact than conveying a deeper meaning or message. Although these designs are often associated with rituals or shrines, they are not considered sacred.

The characteristics of Uli designs vary depending on whether they are applied to the body or a wall. Body art is often fully abstract and intended to complement certain parts of the body, such as the legs or neck. In contrast, Uli murals on walls (uli aja) are more likely to include depictions of human and animal forms. Stippled white dots (ntupo) are frequently used to separate different sections of the wall or designs.

Uli artists aim to create contrasts and maintain clarity of lines while balancing the distribution of forms within the space. Different regions of Southern Nigeria have developed distinct styles. For instance, Nri-Alwka's designs often feature slender tapering lines with minimal use of motifs, while Arochukwu's designs are denser and heavily motif-driven. Individual Uli artists have recognizable styles, and in communal works, the relative rank and talent of artists are acknowledged.

Motifs:
A key aspect of Uli art is the use of recurring abstract motifs, which are adapted across various pieces. These motifs are named after natural elements, the method of execution, or the shape they represent. For example, the isnwaogi motif is named after a three-lobed nut, and the aswolago motif is inspired by the snake. While these motifs may originate in specific villages, they often spread through marriage or migration. Unlike the Nsibidi system of symbols, which was developed by male secret societies, Uli motifs are not intended to be symbolic but are simply named for their visual resemblance to natural or abstract forms.

Methods:
Body Art:
Uli body art is often commissioned by a patron who may request specific designs or leave it to the artist's discretion. Before applying the design, the skin is shaved to ensure smoothness. A paste made from camwood bark is used to prepare the skin, while berries from Uli plants are harvested and processed into a yellowish dye. This dye is applied using various tools, such as a blunt knife or wooden slivers, and oxidizes to stain the skin indigo, a color that lasts for about eight days. Afterward, the skin is rubbed with oil to create a sheen.

Murals:
Uli murals are painted on buildings using pigments derived from natural sources, such as clay (white), tree bark (yellow), camwood (reddish-brown), and charcoal (black). A more permanent blue pigment, introduced by the British, has also been used. The surface of the wall is first prepared by applying a mud slip and then burnishing it. Afterward, the pigments are mixed with water and applied using hands, twigs, or other tools. Murals are often a group effort by women, with the most experienced artist designing the layout.


Usage in Igbo Culture:
Body Art:
Uli designs are worn for both formal and casual occasions. Women wear Uli for various events, including market visits, marriage, childbirth, funerals, and title-taking ceremonies. Dance groups also wear distinctive Uli patterns to represent their village when performing in other areas. Men, too, wear Uli for formal events, including title-taking, and wrestlers often wear it for competitions.

Murals:
Uli murals are painted on both public shrines and domestic buildings. Shrines typically feature abstract designs in muted colors, while domestic murals mark significant life events or wealth. These murals are often a collaborative effort by the women of a household, with more human and animal forms than those found in shrine designs.

Decline and Modern Reincorporation: Following the arrival of Christian missionaries, Uli experienced a decline, as it became associated with traditional religious practices that conflicted with Christianity. Missionaries discouraged women from practicing Uli, though some continued to use it in other media, such as embroidery. Uli designs were also replicated by Western observers on paper or canvas, though the artists were not credited. Modernization further diminished the practice, as cement began to replace traditional building materials.

However, in the 1970s, Nigerian artists began incorporating Uli designs into contemporary art. Uche Okeke, a member of the Zaria Art Society, adapted Uli to create a "new visual language," separate from Western art forms. This led to the Uli Revivalist Movement, which sought to preserve and promote Uli aesthetics. Despite criticisms for appropriating a traditionally female art form, modern female artists, such as Chinwe Uwatse, have also incorporated Uli into their work.

In 1991, Doris Weller and Meki Nwezi founded the Ama Dialog, a collective aimed at bridging modern and traditional art forms. This initiative led to the formation of the Upa Women Artists Collective, which trained traditional Uli artists to adapt their designs for canvas using acrylic binders, allowing them to sell their works both within Nigeria and internationally.