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The study explores the nexus between Ibu-Ubu boyhood initiation and the conservation of cultural heritage in Afikpo, Southeast Nigeria. The study is motivated by the rarity of such cultural conservation through initiation rites in an age of Christian-inspired culture terrorism against Igbo traditional religion, arts and relics.

The study adopted cultural anthropological research method. The boyhood initiation rite was studied through participant observation of the initiation between September and November 2017. As a cultural anthropological study, oral evidence was derived from the men who had undergone the rite. Through the oral evidence, interpretations were given to the material culture, monuments and heritage that have been conserved through Ibu-Ubu initiation rite.

The study discovered that amid the deluge of Christian-motivated culture terrorism and erosion of Igbo cultural arts, relics and heritage, the people of Afikpo have preserved most of their tangible and intangible heritage through the Ibu-Ubu boyhood initiation rites.

This study will assist in the reinvigoration of campaigns on environmental and heritage conservation in Igboland. It is sufficient to posit that Igboland is ridden with myriads of environmental and cultural terrorism, perpetrated by some Christian fanatics. The study reveals the relevance of the boyhood initiation rites in ensuring the preservation and conservation of Igbo cultural heritage in a century marked with fanatical Christian evangelism, culture-terrorism and destruction of both tangible and intangible heritages, which the Christians have labelled evil, barbaric and fetish.

This paper aims to explore how Indonesian males who are entrepreneurs in make-up artists navigate their businesses in a society that relies on hegemonic masculinity. This goal is reached by concentrating on male make-up artist entrepreneurs in five Indonesian provinces and investigating how they actively rewrite their gender and inherent vocations by societal norms.

This paper adopts a qualitative phenomenological approach with methods. In-depth interviews and observations were conducted with 28 informants in five provinces of Indonesia.

These findings show that, aside from self-concept, family support is the most crucial determining factor that pushes men make-up artists to become businesses in the face of so many rejections. Persistence in battling for their fate is also critical in efforts to erase themselves, who are constantly subjected to hegemonic masculinity. Aside from that, it appears that the government's role in attempts to promote gender equality in all fields of business in Indonesia remains limited.

This paper contributes to the gender and entrepreneurship literature by providing a broader exploration of male entrepreneurs working in the field of female make-up artists in a society that still adheres to hegemonic masculinity.