A Tiv statue, Nigeria. Dark wood, glossy patina; signs of ritual use and age. Tiv sculptures from central Nigeria represent one of the most distinctive woodcarving traditions in the Middle Belt region. Produced largely by Tiv-speaking communities, these works show a wide range of forms and functions, reflecting both spiritual and social dimensions of Tiv life. Although many examples were collected during the early to mid-twentieth century, their stylistic diversity suggests that sculptural practices were never fully centralized but instead varied by lineage, region and individual carver. Tiv sculptors are best known for anthropomorphic wooden figures, often referred to by collectors and scholars as akombo or ihambe figures, though these terms do not refer to a single standardized category. Many sculptures served as focal points in healing and protective rites linked to akombo, a system of forces or powers associated with health, fertility and social well-being. Figures could act as visual anchors for sacrifices and invocations, and their forms tended to emphasize the head as the seat of identity and spiritual potency. Elongated torsos, sharply defined facial planes and simplified limbs appear in many examples, though there are also naturalistic works with rounded volumes and a higher degree of anatomical detail. Tiv carving historically existed in a social environment where artists were not full-time specialists but skilled individuals who produced works as needed for ritual leaders, lineage heads or community associations. This flexible system allowed for innovation, and scholars note a wide spectrum of local styles. Some figures display vigorous surface textures, incised patterns or pigments, while others remain smooth and visually restrained. The absence of a single canonical form reflects the decentralized nature of Tiv political and religious organization. Beyond ritual figures, Tiv artists also created masks, staffs and architectural fittings. Masking traditions, though less documented than those of some neighboring groups, included face masks used in performances associated with social control, initiation or entertainment. Carved posts or house fittings sometimes displayed human heads or abstract motifs, underscoring the integration of sculpture into domestic and communal spaces. Interpretation of Tiv sculpture has been shaped by the limited ethnographic information available at the time of early collections. Much was gathered during periods of colonial expansion, when context was poorly recorded. Recent scholarship stresses the need to situate these works within Tiv cosmology, kinship structures and shifting ritual practices. Oral histories and ongoing field research suggest that sculpture’s roles were dynamic rather than fixed, responding to changing political, medical and spiritual conditions. Although not as widely recognized in the global canon as certain southern Nigerian traditions, Tiv sculpture provides important insight into the cultural complexity of the Middle Belt. Its expressive range and ritual significance make it a valuable area of study for understanding how art mediates relationships between individuals, ancestors and protective forces. References Bohannan, Laura. Akweya and Tiv Ritual Arts. University of London Press. Fardon, Richard. Central Nigerian Ritual and Art Traditions. Smithsonian Institution Press. Fowler, Ian. Power and Ritual in Tiv Communities. Cambridge University Press. Rubin, Arnold. Art and Ritual in African Societies. Museum of Cultural History, UCLA. MAZ08016