Igbo women are said to make some of Nigeria's finest traditional pottery. However, to date, there have been almost no studies published about local Igbo pottery traditions. One exception was K. C. Murray's 1972 published findings on pottery making in the Ohuhu-Ngwa area in Umuahia, now in Imo State. The findings were based on research he conducted in the 1930's. Other studies include student theses from the University of Nigeria, Nsukka. These studies were based on each student's individual field work to gather information from their home areas. Archaeological excavations have extended our knowledge about the Igbo culture region, through findings, including pottery remains, not only from Igbo-Ukwu, but in other places like Afikpo in Imo State.

Not only was an examination and synthesis of this material made, but Igbo pottery collections in England and Nigeria were examined, identified and information was added to the existing body of data. In addition, field work was carried out in localities identified as major and minor traditional pottery producing centers.

Results indicate that pottery making has been in existence in the Igbo culture region since before 2000 B.C. The earliest evidence to date comes from Afikpo. Sherds and vessels excavated there resemble pottery still being produced in the area today. Some of the findings were compared to those found at Igbo-Ukwu and also Isiagu, another major traditional pottery producing center not far from Afikpo.

The pottery remains at Igbo-Ukwu resemble pottery still produced in the area today as well as surface finds. One major source for the Igbo-Ukwu pottery may have been Inyi, today in Anambra State. Inyi is still a major pottery producing center, well-known for its highly decorative, ornamental bowls. It has been suggested that the area stretching from Inyi to Afikpo may have been the source for pots at Igbo-Ukwu.

While travelers and ethnographers have all decried the decline in traditional pottery making, there is evidence that a two-tiered industry exists. Traditional potters have responded to recent trends by producing newer forms such as "tea pots," casserole dishes, flower vases, etc. They also continue to make more traditional water and cooking vessels. Competition from modern urban ceramic factories has had an impact, but such influence has been uneven. Such factories cater to an urban, educated elite while rural areas continue to produce traditional wares for a local clientele. Both sectors exist side by side.