ABSTRACT
Based on the analysis of this research work, the researcher concludes as follows; Arts and crafts have a significant impact on the development of tourism industry in Igboland. Effective usage of arts and crafts enhances tourists attraction since the beauty of tourism is arts and crafts. Arts and Crafts facilitate revenue generation.1 Some art works are exported by the tourism industry. Arts and Crafts promotes our cultural heritage through historical art works that has been documented. Adequate encouragement of the Nigerians arts and crafts sector helps to improve their performance. Artists and artisans need to recognize their limitations on account of realities and constraints. They should cope with them, they should keep working hard towards their development because it is not only achievable it is the better choice open to all artists and artisans.2
This study investigated the origin and history of blacksmithing in Awka. Based on the result of this study, the researcher concludes that blacksmithing began in Awka through a migrant from Enugu who visited the area. The researcher also concludes that at the moment, there is a significant reduction in the activities of blacksmithing in Awka as those who are still plying the trade are not enthusiastic about it. Also, at the moment, blacksmith in Awka are feeling abandoned by the government and elders in their communities as well as the society generally.3 This thinking is already influencing their relationship with the larger society as they now insist on being paid before granting any interview. This study also concludes that Awka iron works have aesthetic qualities. The basic contribution of this study is that it has provided evidence for understanding the origin of blacksmithing in Awka, which has different accounts, some of which are not based on empirical evidence.4 Also, this study has provided empirical evidence for understanding the current state of blacksmithing in Awka as well as its future. This understanding is very essential because it has provided a guide on specific areas of interventions in improving the fortune of blacksmithing in Awka.5
The Igbo, like other African people produce a wide variety of art including traditional figures, masks, artifacts and textiles, works in metals such as bronze, etc. Evidences of this dates back to early 9th century with the bronze artifacts found at Igbo Ukwu. Of particular interest among the retinue of Igbo arts and symbols is the Ofo. The ofo in Igbo traditional societies did not only occupy a fundamental place in the religio-political life of the people, it was a very strong cosmic force in the sense that it represents the unseen ancestors of the Igbo society.6 Also, in many ramifications, the Ofo is one of the central or unifying concepts of traditional Igbo thought, especially that aspect concerning the Igbo conception of truth and dispensing of justice. It is central because it is universal to the Igbo-speaking peoples as a symbol of truth, justice, authority and retribution.7 It depicts the complete trust and confidence of the entire family, group or town placed at the disposal of an individual referred to as Aka Ji ofo (The hand holding the Ofo). He is usually a respected man who enjoys a commanding influence. The person who carries the Ofo, holds not just a social responsibility but a sacred one with many precepts to observe. This work has thus studied the different dimensions of the Ofo in Igbo ontology, and has identified its role in peace-building. The Ofo, as a symbol of truth, justice, authority and retribution, occupies a central place in the building of peace in the Igbo traditional communities. It is presented in this piece for the possibility of adaptation for the contemporary Igbo society.8
It has been established in this study that National Iwa ji festival exhibition in Igbo-Ukwu was inaugurated to promote tourism. The exhibition attracts tourists to the host community, engages them and makes their visit worthwhile.9 Aside from tourism development, the National Iwa ji exhibition serves as a source of income generation for the artists, community and National Gallery of Art Igbo-Ukwu. It provides a platform for exchange of ideas among artists, staff of National Gallery of Art Igbo-Ukwu and tourists as well as a forum for art and cultural education. From the art works exhibited, the level of creativity of the artists in the southeast region can be determined. The exhibition also fosters the preservation of Igbo culture and identity and sensitizes individuals on critical issues in the society.10 However, to further enhance the tourism potential of the National Iwa ji festival exhibition, there is need for proper sensitization of the people on the relevance of art and exhibitions to improve participation. It is equally important for the staff of National Gallery of Art Igbo-Ukwu to create wider publicity of these art exhibitions to increase wider participation of artists within and outside the state. This can be achieved through the use of digital technologies which involves creating website for wider publicity and to facilitate effective interaction with artists, intending tourists and the whole world.11
