Hand-strung from kola wood, brass, and cowrie. Each pod-bead is hand-shaped — worn by women returning home after long journeys, a reminder that the ancestors travel with us.
Each Alkebulan piece is documented with its maker, its origin, and the practice that produced it. Acquiring this work supports Amara directly and contributes a portion to the preservation of igbo uli & ceremonial carving.
Story, meaning, and making — the way a museum would tell it.
Carved over six weeks in Nsukka, this piece was begun on the morning of the new moon — a date kept by Igbo carvers for work that crosses thresholds. The wood was felled from a tree that had stood for nearly a century, and was blessed by an elder before the first cut.
The geometric crown holds the four directions; the inlaid bronze tears mark grief turned to wisdom. To place this work at a threshold is to ask the ancestors to bless those who pass — a gesture of welcome and of memory, carried in every household that has kept this tradition alive.
Hand-carved with adze and chisel, the surface was burnished with palm oil and finished with a slow smoke-curing that draws the grain to the surface. The bronze inlay was poured by lost-wax casting in a workshop the artist's family has kept for four generations.
Amara learned the sacred Uli symbols from her grandmother at the age of seven. Her work bridges ancestral memory and contemporary form, each piece carved with prayers and stories her lineage has carried for over four hundred years.
"An object of true presence. The carving holds a quiet authority — it now stands at the entrance of our home, and visitors stop without being told to."
"I grew up seeing pieces like this in my grandmother's house. Holding one made by a hand from home is a different kind of belonging."
"The detail in the bronze inlay is extraordinary. Shipping took longer than expected, but the wait was worth it."
