The Igbo Tribe

The Igbos are profoundly religious and worship many Gods 
The ancient Igbo religion and traditions that they follow is known as Odinani
They believe that there are three levels of divine beings: the highest level is the supreme god Chukwu who the Igbo believed all things came from him and that he controlled earth, heaven, and the rest of the spirit world. Underneath Chukwu are lesser gods, called Umuagbara, and under these are the Ndi Ichie, who are the spirits of dead people.
The Igbos also believe in reincarnation and saw death as a transient phase between life and the spirit world. They throught that when someone dies, he or she starts a new life in the spirit world. After a time in the spirit world, a dead person would be reborn as a new person and the cycle would continue on.
Women
Women in Igbo society are sadly oppressed group with no power and had no respect outside of their roles as a mother and/or a wife.

-Marriage is not only a matter of the man and the woman alone; it includes the close kin of both.
-It is negotiated between the families of the man and the woman.
-Marriage also enables 
women to belong to many societies such as women cultural dancing group.
-It is also allowed in Igbo tribe for a man to marry more than one woman.

This is an Igbo compound. There is a lot of open spaces to hold gatherings, dances, and such
(From Umuatugbona which is part of the Okunano or Awkwunano community in what is now Enugu State).
Marriage
The Igbo tribe is located in Southern Nigeria.
-Masking is one of the most common art in Igbo culture.
-It is linked strongly with the Igbo traditional music.
-Masks can be made out of wood or fabric, along with materials such as vegetation and wood.
-Masks has a variety of uses but it is mainly used for social satires, religious rituals, secret society ceremony and public festivals. 

Art
The Igbo society was a society that put a lot of emphasis on gender roles, and the importance of masculinity and violence, and lots of the time resulted in the abuse of the females. 
The gender role of men: they had multiple wives and children, they controlled everything, worked fields(Yams-a sign of wealth and was considered to be a "mans" crop), played sports, farmed, fought in wars, chopped wood, and were seen as aggresive which was displayed when they beat their wives and children.
The gender role of women: household chores(i.e cooking and cleaning), were skilled in handicrafts and trade producing children, planting melons and beans,and were generally considered as passive and were expected to always respect their husbands.
Engaged Igbo girls with recently designed ḿbúbú ‘scarification’. G. T. Basden, turn of the 20th century.
Engaged [Northern] Igbo women in “Gala” dress. Photo by G. T. Basden, turn of the 20th century.
Three Igbo women and details of their attire including nja anklets and odu ivory bangles, akwa ocha (‘white fabric’) cloth, and a plaid-like cloth known today as George made primarily in the Igbo speaking town of Akwete. Photo taken by missionary G. T. Basden in the early 20th century in an Igbo speaking area now known as Anambra State, Nigeria. The three women were likely engaged [and well off].
-The Igbo tribe believes that their ancestors protects them and are also responsible for the rain, harvest, health and children.
-They believe that variety spirits whose good, depends on how they treat them.
Beliefs
The udu, which is essentially designed from a clay jug.
The Igbo people have a musical style in which they incorporate various percussion instruments.
"Abo gomwo (young girls)", Northcote Thomas, photo 1880—1910, northern Igbo-speaking area. [Agbogho Mmụọ; maiden spirit mask].
An ekwe, which is formed from a hollowed log.
The ogene, a hand bell designed from forged iron.
-Colonial rule drastically transformed the Igbo society.
-The arrival of British in the 1870's, along with the increased encounter between Igbo and other Nigeria caused to the decreased of Igbo ethnic identity.
-They embraced Christianity and Western education.
-Under the British colonial rule, the diversity within Nigeria's major ethnic groups slowly deteriorates.
Dancing
I[g]bo Dance by Northcote Thomas, photo 1880—1910. Igbo-speaking area.
PREPARING “IDE” FOR MAKING STRING (OBULUKU)
Northcote Thomas, Early 20th century.

The opi is a wind instrument similar to the flute.
Ichi marks on an Igbo person in the late 19th/early 20th century. Ichi is a scarification that was practised by the Nri-Igbo Ozo-Nze parliament. The skin was incised in order to resemble sun rays on the persons face since the sun was a major deity among the Nri-Igbo.
(Photo taken by Northcote Thomas)
The Igbo language is derived from a group of languages commonly found in West Africa; the Kwa languages 
It is based a lot on pitch, vocal inflections, and context when defining the meaning of a word and a single word can have numerous meanings depending on all these factors.
Idioms and proverbs play an important role in the Ibo language, and whoever does not use them in speech is considered a novice at speaking the language.
Language
Igbo dance. Northcote Thomas, early 20th century.
Bibliography
Others:
Igbo string/game. This variant was noted as “Nwerswelie ora odo”. Northcote Thomas, picture 1880—1910. Nri region, Igbo-speaking area.
A group of Igbo men playing in a band. They are playing the igba (membrane drums) which are carved from wood and covered with animal skin).
G. I. Jones, 1930s.

Six women from Opobo [Igbo/Ijo/Obolo; present day coastal Rivers State, Nigeria]. Unknown photographer. 1882.
An Igbo masquerade mimicking a European man, taken by G. I. Jones, 1930s.
Wall painting in Okwu village [near present day Umuahia, Abia State, Nigeria], painted by an Anang artist in the style of Ngwomo ghost houses. The wall painting depicts a figure (policeman?) perched on a ladder with his hand and leg raised. He is dressed in European style clothing which consits of whtie trousers, shirt and a hat.
G.I. Jones, 1930s.

Picture of seated mud sculptures inside an Mbari house depicting two European men and a European woman between them. William Buller Fagg, 1946, Ebele Umu Ubube.
Onye ọcha: white dude. Parody of white anthropologist, with pith hat, and recording materials.