The histories of anthropology, photography and colonialism are entangled. Of the various genres of anthropological photography, the ‘physical type’ portrait epitomises the colonial anthropological gaze most fully.
In the late 19th and early 20th centuries, the discipline of anthropology embraced not only the study of human social and cultural practices, but also the anatomical and physiological dimensions of human beings as a species – a field known as physical anthropology.
Anthropologists were interested in recording the physical characteristics of different population groups. As set out in Notes and Queries on Anthropology, the indispensable guide to anthropological fieldwork of the era, this included everything from documenting the colour of skin, eyes and hair to describing the shape of the face, nose and lips, as well as making anthropometric measurements of the body.
Through this documentation of human anatomy, anthropologists sought to identify the physical characteristics of what they perceived to be distinct racial and tribal ‘types’. Population groups were compared and categorised according to these typologies, much as natural scientists classified animal and plant species according to taxonomic conventions. Correlations were made between perceived biological differences and the distinct cultural and linguistic differences between groups, and these were placed in evolutionary schemata from the most ‘primitive’ to the most ‘civilised’.
All this would, of course, be thoroughly criticised by later generations of anthropologists, but it is important to acknowledge that, at the time, these quasi-scientific anthropological practices informed and legitimized ideologies of white supremacy that underpinned European colonial expansion and exploitation.
Since the 1860s, it had been recognised that photography could be an effective tool for anthropologists to document human physical characteristics and differences. By 1909, when Northcote Thomas set off on his first tour as Government Anthropologist in Southern Nigeria, the taking of anthropometric and physical type photographs had become standard practice in much anthropological fieldwork.
In 1896, for example, Maurice Vidal Portman had argued in the Journal of the Anthropological Institute that in ‘Properly taken photographs … will be found the most satisfactory answers to most of the questions in Notes and Queries on Anthropology’. This included the photographic documentation of social and cultural practices (ethnography), but also the physical characteristics of people. Explicitly referencing the anatomical sections in Notes and Queries, Portman noted that these could be recorded by taking ‘large photographs of the face, in full face and profile’.
Portman, a naval officer and colonial administrator, had collaborated with C. H. Read at the British Museum to produce a series of photographic albums documenting the inhabitants of the Andaman Islands in the Indian Ocean. These included examples of physical type and anthropometric photographs. A. C. Haddon described the method for making the latter in his entry on Photography in Notes and Queries as follows:
When the whole nude figure is photographed, front, side, and back views should be taken; the heels should be close together, and the arms hanging straight down the side of the body; it is best to photograph a metric scale in the same plane as the body of the subject. It is desirable to have a soft, fine-grained, neutral tinted screen to be used as a background.
Northcote Thomas would have been familiar with Haddon’s guidelines in Notes and Queries as well as Portman’s article and Andamanese photographs. It is likely that he emulated Portman’s examples in his own photographic practice.
Thomas and his assistants made over 7,500 photographs during his anthropological survey work in Nigeria and Sierra Leone. Approximately half of those made in his three Nigerian tours were mounted in official photograph albums, copies of which were distributed to the Colonial Office in London, the Colonial Secretariat in Lagos and the Horniman Museum in South London (the latter intended for scholarly use). In these albums, the photographs were organised according to different categories. A statistical analysis of the 3040 photographs in the albums shows that nearly half were physical types (these were further subdivided into type photographs of men, women and children).
Thomas did collect anthropometric data during his 1909-10 survey of Edo-speaking communities in Nigeria, but he abandoned this practice in subsequent tours. In that first survey he also made a few full-length anthropometric photographs – of four individuals in total, evidently all taken in a single session – in which the subject was made to stand naked alongside a measuring scale as per the guidance in Notes and Queries.
While a small number of physical type photographs were published in the official reports of Thomas’s 1910-11 and 1912-13 surveys of Igbo-speaking communities, and in his report of the 1914-15 Sierra Leone survey, no photographs were published in his Anthropological Report on the Edo-speaking Peoples of Nigeria(1910). Thomas did, however, provide detailed instructions for the taking of physical type photographs in an appendix of the Edo report. In addition to ‘physical types proper’, Thomas recommended taking portraits of family groups, and photographing subjects in more ‘characteristic poses’ (as opposed to the unnatural formalism of the full face and profile shots).
That Thomas should include such guidance, which was largely intended for colonial administrators, is somewhat puzzling since he provides only a very brief description of physical anthropology in the main text of the report, failing to explain why it should be of significance to colonial governance. Indeed, in the limited discussion he does provide, it is hard to arrive at any other conclusion than that, from a practical point of view, the considerable effort required in taking such photographs was quite pointless.
Certainly, the colonial authorities, both in West Africa and in London, had little interest in the physical type photographs, or, for that matter, in the anthropometric data that Thomas was at pains to collect during his first tour. This material was regarded as being of ‘a more purely scientific character’ and it was agreed that Thomas could pursue such work only insofar as it did not ‘encroach materially on the more “practical” side of the enquiry’ – the ‘examination of native law and custom’ being the work for which he was ‘primarily engaged’.
The disconnect between the scientific inquiries of physical anthropology and the supposed practical value of ethnography (what became known as social anthropology) is evident in the incredulity with which a request from Thomas, in July 1910, to supply the Natural History Museum with 20 ‘enlarged photographs, representative of the racial types of the Central Province [of Southern Nigeria]’ was met by the Colonial Office. As the senior Colonial Office clerk with whom Thomas had closest contact remarked in an internal minute: ‘I cannot imagine what a natural history collection wants to do with ethnographical pictures’. That the physical type photographs were mistaken for ‘ethnographical’ ones by the Colonial Office suggests that there was little understanding of these photographs or the purpose they were intended to serve. Indeed, in a letter to W. P. Pycraft, Head of the Anthropology Sub-Department at the Natural History Museum in 1920, Thomas admits that, with regard to physical types, ‘no one cares much for them’.
Given that Thomas was himself much more interested in ethnological and linguistic matters, and seemingly had little to say about physical anthropology, it is curious that he expended so much energy making physical type photographs. One can only speculate that his motivation lay in the sense that this was an essential dimension in the performance of anthropology and that adherence to the methodological orthodoxies of Notes and Queries was a signal of his professionalism.
Of the many hundreds taken, only 30 physical type portraits were actually published in Thomas’s Igbo and Sierra Leone reports. These were accompanied by captions identifying the subjects only by place or ‘tribe’. Here we see further evidence of how people were stripped of their names and individuality and reduced in these ‘scientific’ reports to anonymous representatives of particular ‘types’. We should note, however, that Thomas was in fact careful to record the names of many of those he photographed in his photographic register books. We know, for example, that ‘Man of Awka’ (Igbo report, Part I, Plate IIa) is a blacksmith named Muobuo, aged about 40 years, ‘Woman of Nibo’ (Igbo report, Part I, Plate IIIa) is Ozidi, while ‘Limba girl’ (Sierra Leone report, Part I, Plate XVII) is Kaiyais, photographed in Kabala, and ‘Susu boy’ (Sierra Leone report, Part I, Plate VIII) is young Momo Samura, photographed in Somaia.
If anthropological photography afforded the dehumanization of individuals, reducing people to ‘specimens’ to be collected and ordered by type, the archive now affords the possibility of reuniting the subjects of these portraits with their names, which, in some small way, rehumanizes them and returns to them their individuality. Since we also been able to identify where each photograph was taken, it has been possible to bring the photographs back to Nigeria and Sierra Leone and present these portraits to the descendants of those photographed. In these contexts, rather than toxic traces of a colonial anthropological project, these photographs are treasured by family members as precious portraits of ancestors.
Furthermore, contrasting with the small selection of physical type photographs that were published in Thomas’s reports, in which subjects appear lifeless and inexpressive, in the many hundreds of unpublished prints and negatives we find a great diversity of expression. The informality of many of the unpublished physical types, in which subjects may also be found smiling and even giggling, though failing in the performance of ‘science’, affords a glimpse into the human interaction between subject and photographer-anthropologist that was, after all, at the heart of these fieldwork encounters. We have explored some of the complexity surrounding these photographs, and the multiple ways in which we can ‘read’ them, in the film Faces|Voices.
Onto these fragments, Onuzulike scores the lines of igbu ichi. These scarification marks can be seen on the faces of many Igbo men photographed by Government Anthropologist Northcote Thomas during his 1910-11 survey in what is today Anambra State, Nigeria. A sign of nobility, it is said that no one bearing the marks could be enslaved.
Onuzulike contrasts the ‘lyrical lines’ of igbu ichi with the lacerated clay body fragments he makes. Like shards of broken pots, they speak of a continuing history of damage: ‘When I began to make the fragments’, he explains, ‘I began to think of Africa as a fragmented people, right from when the continent was cut up at the Berlin Conference of 1884-5′. In the following statement, Onuzulike discusses his work for the [Re:]Entanglements project.
Of mutilated, fragmented bodies and scarified faces
by Ozioma Onuzulike
Much of my work is political. I often rely on the conceptual qualities and metaphorical attributes of my medium, which is primarily clay, as well as my work processes, including acts of crushing, pounding, cutting, wedging, slamming, pinching, kneading, scorching and firing, to address socio-political and economic issues germane to my immediate environment. I am often inspired by the social histories of the African continent and how such histories impact on the current realities around me, especially in the context of the human condition in my home country, Nigeria, in which I live and work.
Key aspects of Africa’s history that have influenced the thoughts surrounding my recent work are the obnoxious trade in African men and women of productive age as slaves; colonialism; and the after effects of these encounters. While millions of young African men and women were in the past forcefully taken away to work in the plantations, factories and homes of their Euro-American masters, today circumstances at home force them to legally and illegally migrate to work in Europe and America. The African continent has become a hostile environment in which to thrive, a vast land exploited and impoverished by imperial powers and their African collaborators. The search for ‘greener pastures’ has led many African immigrants to their death, especially in the Sahara desert and the Mediterranean Sea, turning these zones into burial grounds for Africa’s youth.
In my previous work for the Seed Yams of Our Land exhibition held at the Centre for Contemporary Art, Lagos in 2018, I sought to reference the young people of Africa as the continent’s yam seedlings. The yam is a sacred and prestigious crop in Igboland – my place of origin and nurture. In the past, the yam crop was the main socio-economic stay for men and their families. The yam seedlings, therefore, were held sacrosanct as the future hope of every family for economic and socio-political sustenance. When planted in a harsh, barren or impoverished environment, the yams become stunted, ravaged, devastated or totally destroyed. When they lie individually, I see in the form of the yam tubers what look like motionless human bodies encased in body bags. When sorted and tied together, like in a typical African yam barn, they remind me not only of how African slaves were in the past crammed into slave ships like mere commodities, but also how they are today tightly packed in trucks and boats, hazarding the desert and the sea, driven by the hope of going to ‘grow’ better in a more conducive environment. Many have been lost, or broken, in transit.
The fate of many illegal African immigrants across the Sahara and Mediterranean inspired me to make a series of human fragments – human remains – heaped together as in preparation for a mass burial or displayed individually as if archaeological specimens turned into museum spectacles. The fragmented bodies remind me of a shattered earthen pot that cannot be successfully melded to its original form without showing evidence of its encounter with the agents or agencies of disintegration. In a similar way, colonialism shattered Africa and its peoples in ways that make it impossible for them to be the same again.
In the work I produced for the [Re:]Entanglements project, I added scarified human heads in terracotta to the earlier body of work made of fragments of human body parts. The series represents the culmination of my studio engagement with the earthen pots, decorated with the incision technique into what looks like ichi scarification marks, collected from Igbo areas of Nigeria by Northcote Thomas in the early 1900s. Many of these pots shattered or disintegrated while in transit to their new home in Europe. And they can never be the same again, never recover their original integrity, even if glued together.
Like incised earthenware pots passed through fire, a scarified human face takes on a new and irreversible identity after the healing process. Similar to the Umudioka people who cut the ichi marks, using my fabricated studio tools, I slowly but deftly cut through the defenceless flesh of the African faces modelled in clay, transforming them into faces with new forms and identities. The wounds have healed, after passing through the ordeal of my kiln fire, but the scars remain indelible. This studio process is only a performative gesture mirroring the permanent transformations of Africa and African affairs by the colonial and neo-colonial encounter.
Between 1909 and 1915, during four ethnographic surveys in West Africa, the colonial anthropologist N. W. Thomas and his assistants made over 7,500 photographs. Approximately half of these were so-called ‘physical type’ portraits: head and shoulder shots intended to document the physiological characteristics of different ethno-linguistic groups. Thomas also made hundreds of sound recordings of songs, stories, ‘linguistic specimens’ and conversations.
To date, from this mass of archival photographs and sound recordings, we have only been able to identify one recording of a first person narrative by an individual who Thomas also photographed. This is a speech given by Onyeso, the son of Eze Nri Ènweleána, the spiritual head of the Igbo Nri Kingdom in the second half of the 19th century. In fact, only the published transcript of Onyeso’s speech survives. Onyeso’s speech provides a remarkable insight into the experience of colonialism from the perspective of the displaced ritual and political elite. In elliptical terms, Onyeso refers to the havoc wreaked by colonial intrusion into the Igbo cosmological order of things: Oge ụwa Gọọmentị bịara , anyị wee lee, obodo mebie, he says (‘When the Government came, we looked, and the town was spoiled’).
What, we wondered, if Thomas had recorded the first person narratives of the hundreds of other individuals that were photographed? What other perspectives on colonialism would they have voiced? What stories would they have told of themselves and their experiences? What might they have said about their encounter with the colonial anthropologist, his camera and his phonograph recorder?
The Haitian historian Michel-Rolph Trouillot has written about silences in the archive and in the production of histories. Certain voices – usually the voices of the powerful – are privileged in the historical record, while others are excluded (even if they are visually present, as in Thomas’s ‘voiceless’ physical type photographs). It comes as no surprise that the account of West African societies produced during Thomas’s anthropological tours privileges the authorial voice of Thomas himself. This makes the inclusion in his published report of Onyeso’s speech, with its anti-colonial sentiment, all the more interesting, complicating the assumption that Thomas merely represented a narrow colonialist viewpoint.
Drawing on decolonial thought regarding presencing silenced voices in the colonial archive, and ideas of ‘speculative history’, we worked with the Sierra Leonean storyteller Usifu Jalloh and other storytellers with Sierra Leonean or Nigerian heritage to imagine the stories other individuals photographed by Thomas might have voiced had they been recorded. Five short monologues were developed collaboratively with the storytellers based on archival research but also by ‘listening’ to the photographs of the individuals, as proposed by Tina Campt in her book Listening to Images.
We collaborated with multimedia artist Chris Thomas Allen of The Light Surgeons, to create a video installation of the monologues for the [Re:]Entanglements exhibition. The monologues were filmed in portrait aspect ratio to reflect the framing of the physical type portraits. Between each of the storytellers’ performances, we intercut and morphed between more of the archival photographs to communicate a sense that these were just five from among many hundreds of untold stories, and that each person photographed had their own story to tell. The films’ soundscapes are drawn from the wax cylinder recordings made during the anthropological surveys.
The monologues are, of course, works of imagination. They are also recorded in the English language, whereas Thomas’s interlocutors would have spoken in various dialects of Igbo, Edo and other West African languages. We hope, however, to voice another kind of truth in these characters’ words. As Usifu Jalloh notes: ‘as a storyteller, I live in a world of magic; and in a world of magic, everything is possible!’
Below, you will find videos of the five short monologues, followed by comments by Usifu Jalloh on each of the characters, and discussion of the archival sources that informed our scripts. The article concludes with Usifu Jalloh’s more general comments on bringing the archive to life through storytelling.
Monologue 1: Onyeso
Performed by Olusola Adebiyi
Although the text of Onyeso’s speech was published in Thomas’s Anthropological Report on the Ibo-speaking Peoples of Nigeria in 1913, we wanted to include this as one of the monologues for a number of reasons. As mentioned previously, Onyeso’s is the only first person narrative actually given by an individual who Thomas also photographed and named. Since the original recording has not survived, we wanted to re-enact the speech and bring Onyeso’s words to life.
Onyeso’s father was one of the most powerful people in the Igbo world: a ‘spiritual potentate’ of the Igbo people. When a person assumes the role of Eze Nri, he dies as a mortal human and is reborn as a deity-king. In doing so, he becomes subject to many ritual prohibitions. Traditionally, the Eze Nri cannot leave the town of Nri, and should not be seen by ordinary people. An Eze Nri does not die, but ‘goes travelling’ for a number of years before a new Eze Nri is appointed through the agency of the spirits/gods. In the interregnum between Ènweleána’s reign and that of Obalike, the Eze Nri when Northcote Thomas visited the town, Onyeso acted as Regent. He remained a powerful and influential man at the time of Thomas’s surveys in 1910-11. He had many wives and children.
There are at least two photographs of Onyeso in the archive. One of these shows Onyeso surrounded by his children (no fewer than 26 of them!). He wears a highly decorated gown and a European hat with the eagle feathers of his chiefly office tucked into its band. A horsetail flywhisk is laid across his shoulder – another symbol of his titled status. In his right hand, he holds a cloth, the significance of which is not clear. On his forehead we can discern ichi scarification marks.
In a second photograph, Onyeso is seated alone on a folding deckchair (perhaps Thomas’s). His right eyelid is marked with nzu, sacred chalk. Around his ankles are akarị; anklets which again show that Onyeso has attained the ozo title. Arranged before Onyeso, besides his goat-skin bag, are two ritually significant objects: his oton and ofo.
In his speech, Onyeso states that he received ichi marks as a baby before he cut his first teeth. He explains that the son of an Eze Nri cuts his teeth by the time he is fourteen weeks old, and that it is necessary for the child to be given the ichi marks before this. Had his teeth come through before he received the marks, this would be considered an abomination according to traditional Igbo cosmology and the child would, in Onyeso’s words, be ‘thrown away’.
Onyeso goes on to talk about the role of the Eze Nri’s sons in maintaining social order. He reminds his audience that it is they who are ‘the wearers of the leopard skins’; they who have the authority to settle disputes, not the colonial government. He speaks of the traditional Nri hegemony that has been usurped by the British. This is not just a matter of political authority, but Nri’s role in maintaining the cosmological order. Through Nri control of ritual power, the land is ‘made good’. It is this order that has broken down through the coming of ‘the Government’. There is a suggestion that the Igbo people have willingly accepted colonial authority, perhaps as a way of freeing themselves from Nri’s power over them.
Onyeso stands for the traditional patriarchal and ritual order, which has been shattered by the coming of the Europeans. He speaks defiantly of this into the phonograph recorder of the colonial anthropologist.
As well as adult men and women, Thomas photographed many children during his surveys. We wondered how they might have experienced the anthropologist’s visit to their town or village. What did they make of this strange white man, who spoke with a funny voice in a mysterious language through intermediaries. What did they make of all the boxes and crates that his carriers and assistants brought with them: a box with a glass eye on legs that he crouched behind (the camera), another box with a wide mouth, into which people were asked to speak (the phonograph). What rumours might have passed between the children about these things? The white man was capturing people’s faces, capturing their voices. What was he doing with them? Where was he taking them?
In the photographs, some children seem to avert their eyes from the camera’s lens; others gaze open-eyed, partly in curiosity, partly in fear; some hide behind their older siblings. Had they been told by their parents to do as the white man instructed? Would they be punished if they did not comply?
Unlike the other four monologues, we imagined this as a story as a conversation between different children as they exchanged views about what they had seen and heard. We used names recorded by Thomas or his assistants during the 1909-10 Edo tour. The children relate the views of adults they have overheard: that the white man is a trickster, like Egui the tortoise in traditional Edo stories. They also relate how their elders have outwitted the oyibo: how one man gave misinformation about his name, how the blacksmith over-charged the white man for tools he had been asked to make for his collection.
We also did not want to over-state the impact of the colonial anthropologist’s visit in the communities he worked. His presence would have been fleeting, and no doubt the children had other chores to perform or games to play. His visit may have soon been forgotten.
Monologue 3: Yainkain
Performed by Anni Domingo
Men’s voices and perspectives dominate in the colonial ethnographic archive. We wanted to challenge the white, male gaze of the anthropologist with a strong female response. One of the most powerful photographic portraits in the archive is that of Yainkain. Described in Thomas’s photo register (in the handwriting of one of Thomas’s assistants) as ‘Head wife of Chief Sehi Bureh of Tormah’, Yainkain gazes defiantly to camera. Chief Sehi Bureh was not, of course, defined by his wife in Thomas’s notes, and, when we ‘listen to’ this image, we are certain that Yainkain was in no way defined by her husband, even if he was the paramount chief!
Yainkain’s hairstyle is similar to that reproduced on the carved heads of the female masquerade, the ndoli jowei or ‘dancing sowei’. The masquerade of the female Bondo society is one of the few female masquerades in Africa that is actually danced by women (others represent female spirits, but are danced by men). The ndoli jowei represents ideals of feminine beauty – the smooth, polished black surface signifies health and beauty. Yainkain personifies the Bondo spirit, while the Bondo spirit is a symbol of female qualities and power.
The Bondo society is an important female counterpart to the male Poro society, and keeps male power in check. Thomas writes quite a lot about the Poro society in his Anthropological Report on Sierra Leone, but he barely mentions the Bondo society. Indeed, he would have struggled to get information from the women. Perhaps Yainkain and other members of the Bondo sisterhood were proud of the fact that, while the men gave away their secrets, the women kept their knowledge to themselves. (Thomas attempted to get initiated into the Poro society, but was stopped due to the interference of the colonial authorities.)
Ngene is a shrine figure, a representation or manifestation of the Igbo alusi (deity or spirit) Ngene. One would communicate with Ngene through a priest of the shrine or dibia (diviner/doctor). Sacrifices must be made. One must greet Ngene first with an offering of kola nut and alcoholic spirits. Ngene is regarded as a good spirit, but he can cause trouble if upset – for instance by building or trespassing on his land without gaining his permission. The Ngene shrine would be within a large enclosure, surrounded by mud walls decorated with uli murals. Ngene himself is painted in white and yellow ochre; he wears the ichi marks on his forehead.
Ngene tells the story of sacred gods turned into secular objects in the ethnographic museum. He represents many of the things collected by Northcote Thomas, and others like him, from Africa and now incarcerated in museums. Instead of a revered and powerful god, he is treated as a thing – a piece of shaped and painted wood that comes to stand for the ‘primitive religion’ of the local people, or a specimen of African art.
Ngene was acquired by Thomas in Awgbu, present-day Anambra State, Nigeria. A label was strung around his neck, carrying the obscure description ‘Ngene. Alusi. To keep alive’. The number ‘378’ was scribbled on the back of his leg. He was crated up with other artefacts, carried over land to the port, shipped as a piece of cargo on the Elder Dempster line to Liverpool, transported by railway to Cambridge and carted into the museum store room.
For over a century Ngene has lain in a coffin-like crate, rarely seeing the light of day. A ‘dead’ museum object. The paradox is that his incarceration has ensured the physical survival of his carved representation – had he been placed in a shrine in Awgbu, the insects would have eaten him and the weather rotted him. Perhaps he would have been burned like so many of his spirit family by iconoclastic converts to Christianity.
As part of the [Re:]Entanglements project, we have set Ngene free (for the time being at least). Removed from his crate, he stands upright and is placed on a strange new shrine – a plinth in the museum gallery. What is he now? Part of the ethnographic archive? An African art object? Or, indeed, is he a god once again? The star of the show? A deity to dance before?
John Osagbo was employed by Northcote Thomas on his first anthropological survey, which focused on Edo-speaking areas of Nigeria (present-day Edo and Delta States). John accompanied Thomas on his travels. Thomas sometimes refers to him as his ‘boy’, his ‘servant’ or his ‘assistant’. He can occasionally be seen at the edge of the frame in Thomas’s photographs, holding an umbrella to shade the sitters, holding a number board, or supporting the photographic backdrop. Thomas also recorded John playing a flute.
Although John was not Thomas’s official translator, the anthropologist probably relied on him for informal translations and help understanding what was going on. In return Thomas probably taught John how to use a camera and operate the phonograph sound recorder.
We don’t know how John came to work with Northcote Thomas, but it must have been a remarkable experience. He would have travelled extensively throughout the Edo-speaking territories of Southern Nigeria as part of Thomas’s retinue. As Thomas’s ‘boy’ or ‘servant’, he was probably intimately familiar with Thomas’s personal habits and quirks. The photographs show that he dressed in European clothes, though went barefoot. We might imagine him being plucked out of his ordinary life in Benin City and finding himself part of the world of the colonialists.
At the end of the 1909-10 survey, Thomas sent a letter to Alexander Fiddian at the Colonial Office in London expressing his appreciation of John – Thomas describes him as ‘the most capable boy I ever saw’ – and asking that he be paid a retainer of £1 a month, on condition that he learns to read and write. He also suggests that he receive training in photography, which, he notes, can be done in Benin City. His address in Benin City is given as care of Mr J. C. Mbanugo at the Government Telegraph Office in Benin City.
We do not know if Thomas’s requests were acted upon. There is no mention of John in Thomas’s subsequent tours in Igbo-speaking areas of Nigeria. We don’t know what happened to him. Did he learn to read and write? Did he receive formal training in photography? Perhaps he became a photographer, or went on to work for the colonial administration? Or were Thomas’s promises empty ones? Did he return to obscurity, forever recalling his year as the anthropologist’s assistant? We might imagine him as an elderly man, in the 1970s, telling stories about his youthful escapades with Mr Northcote – maybe his grandchildren’s eyes rolled at hearing the stories told again and again!
John was, of course, just one of many assistants that accompanied Northcote Thomas on his travels in Nigeria and Sierra Leone. John represents all those who straddled, perhaps uneasily, the worlds of the British colonialists and the indigenous populations. They were rarely the main subject of Thomas’s photographs, but they appear occasionally in the periphery. There is an interesting pair of photographs, one presumably taken by Thomas of a uniformed man, wearing the stripes of a corporal. We believe this is Corporal Nimahan, a corporal in the Police Force and one of Thomas’s main interpreters in 1909-10. Nimahan and John Osagbo would have travelled together, and we imagine the older man cautioning John not to allow himself to be enthralled by the world of the colonialists (reminding him he is merely a ‘servant’ after all). The other photograph, taken in exactly the same location, beside the same bush, is of Thomas himself, most likely taken by Nimahan.
Interpreters and assistants can be seen in other photographs made during the anthropological surveys, including in a photograph – again presumably taken by one of Thomas’s assistants – of a meeting of chiefs to discuss a land dispute in Neni, present-day Anambra State, in 1911. John tells the story of these people ambiguously caught between worlds. They are part of the African world that Thomas was researching, but also caught up – at least for a while – in the world of the researcher and the colonialists. Dressed like the white anthropologist, jotting down notes, operating the camera and the phonograph, how were they perceived by the local people? We can read much into the interchange of gazes in the photograph taken in Neni. This being ‘between worlds’ has become an increasingly familiar experience. Many of the descendants of those photographed may have migrated to or been born in Europe or North America, and speak English as a first language, yet still retaining a profound connection to Africa. (See, for example, Obianuju Helen Okoye’s article on Ancestral Reconnections.)
Unspoken Stories was a collaboration between the [Re:]Entanglements project and the storytellers who gave voice to these five characters from the archive. They were led by the Sierra Leonean storyteller, Usifu Jalloh, also known as The Cowfoot Prince. Jalloh was born in Kamakwie in the north of Sierra Leone, attended St Edwards Secondary School in Freetown, and began his professional storytelling career as a member of the famous Tabule Theatre group. In the remainder of this article, he discusses how West African storytelling traditions can bring the anthropological archives of Northcote Thomas to life.
As a professional storyteller, I have learnt that stories are the palm oil with which wisdom is swallowed. The work that Northcote Thomas did in many ways reflects the traditions of oral storytelling. Most African kingdoms and communities have designated families entrusted with and dedicated to learning, archiving and telling the stories of the past. These people are called Djali among the Malinke people of West Africa.
Through the voices of these highly respected people we are able to access the lives of ancestors past. Their stories are sometimes yardsticks embedded with moral and ethical codes that guide the smooth running of the community.
Storytelling is used effectively today to connect the younger generation to their ancestral identity. One way this is done is by understanding names given to certain children or objects. Names are used in storytelling to maintain genetic continuity. My name is Jalloh. It identifies me to be a Fulla and that I am from a merchant clan. The same is true for names belonging to blacksmiths, hunters and farmers. This is one important aspect of information for a storyteller in order to influence and maintain traditions of old.
Through the names recorded by Northcote Thomas we are transported back to the narratives of families a hundred years ago and more. We have been able to reawaken the lives of ancestors into a contemporary paradigm through the objects, sounds, photographs and names provided. Much like the ancient Djali did and still do.
To bring these characters to life we had to search within our own cultural experiences. Each chosen character resonated deeply within all the tellers for this project. All the storytellers had to draw from their practical experiences to give the narratives of these characters a real time relevance.
For example, I related to Ngene as I am also a part of the rites of passage fraternity in my community. We have the Matoma masquerade, which is revered and serves as a protector for the farms. There is Bondo, which Yainkain must have been part of during her rites of passage from girl to womanhood. My grandmother was the one who initiated many girls. I grew up with many aunties like Yainkain, beating drums and singing all night during initiation ceremonies.
In addition to this is the dual Afro-colonial narrative, which John embodies. I went to a school with a strict European paradigm, and we were all taught in a manner that encouraged us to leave behind our identity as native Africans to embrace the new ‘civilised’ Western ways. We wore suits and ties to school, and learnt and spoke English, French and Latin with pride – usually in spite of our native tongue. We saw John as a young man in this dual thought process, which many young Africans still experience today.
The curiosity of children is as present today as it was back a hundred years ago. I can still remember the fascination of standing in front of a camera for a photoshoot with my family. It was usually a special event where we will dress up with our Sunday best, as we called it. We would wait with excitement for a few days for the photos to be printed and then show off to all friends and relatives who visited our home.
The fascination of seeing a white person is still yet another attraction. Rumours and hearsays of the whiteman coming to catch the evil spirit, Kassila, at the river were rife because white people seemed not to be afraid of swimming far into the river where the evil Kassila resides. These were useful reflections while the storytellers were developing the story for the children. There was also ample information given in the records of Northcote Thomas that formed a springboard for us to leap from.
Inspired by Northcote Thomas’s archival images, the Nigerian photographer Nnaemezie Asogwa has created a powerful photo series entitled Mourning Clothes that commemorates the anti-colonial Ekumeku movement. Ekumeku was an underground resistance movement, which sought to thwart British incursions into Anioma (Western Igboland) between 1883 and 1914. As documented by the historian Don Ohadike in his book The Ekumeku Movement, there was a succession of waves of Ekumeku activity over this thirty-year period. Ekumeku operated covertly, employing local knowledge of the forest environment to launch ambushes on its targets. Colonial forces retaliated disproportionately, destroying towns and communities thought to be associated with the movement.
Anioma was the focus of Northcote Thomas’s third anthropological survey, which took place between July 1912 and August 1913. Thomas’s itinerary included many towns in the Asaba hinterland that directly experienced the impact of the Ekumeku Movement, including Ogwashi-Ukwu, Onicha-Olona, Ubulu-Ukwu, Ukwunzu, Igbuzo, Idumuje-Ugboko, Ezi and Issele-Azagba. Despite the recentness of these events – Ogwashi-Ukwu, for instance, was the main locus of hostilities in the 1909-10 wave of Ekumeku – there is seemingly little overt trace of conflict in Thomas’s photographs. Indeed, one of the reasons why Asogwa thought it important to work on Ekumeku was the apparent absence of a visual record of the war, as well as its absence from national narratives and educational curricula in Nigeria today.
In this article, Nnaemezie Asogwa tells us more about the ideas behind the project, his use of Northcote Thomas’s photographs, and his reflections on the memory of colonial violence that continues to ‘live under the skin’.
Among the violences of colonialism was the destruction of traditional ways of transmitting knowledge of the past. In my recent practice as a photographer, I have been interested in exploring how the photographic image can open up other ways of thinking about the past. My work seeks to draw attention to what has been forgotten, what is being systematically erased, and what needs to be remembered.
The Ekumeku war was an anti-colonial struggle that took place in South-eastern Nigeria, where I come from. Yet Ekumeku was never mentioned during my formal education in Nigeria. It is absent in our school history books and our cultural institutions. In my research on the conflict so far, I have been unable to find any photographs documenting it.
Mourning Clothes calls to mind not only those unnumbered and unnamed people who were killed while resisting the colonial invasion of their land, but also the loss of the memory of that war. When someone dies in my community, the family goes to the market and buys cloth – it might be plain white, or a printed Ankara cloth; wealthy families might even have a cloth designed for them. This is often distributed to members of the family, who will wear mourning garments made from the cloth for an agreed period, usually a year. The wearing of the clothes binds the bereaved together with each other, with the memory of their shared loss, and with the family home, no matter how far away that may be.
My idea, then, was to design a mourning cloth that would carry the memory of the Ekumeku war, and to photograph people wearing the cloth in different locations over a year. I developed the project while studying for an MA in Photography in the UK and I wanted to presence this forgotten war in the English landscape. There is another tradition in Igboland: if someone is killed, the body of the victim will be taken to the gates of the compound of the person who has perpetrated the crime. Through photography, I wanted to lay the body of this memory – the memory of Ekumeku – here in Britain, at the gates of those responsible for the colonisation of Nigeria.
My original plan met with some challenges. Firstly, my intention had been to incorporate archive photographs documenting the Ekumeku conflict in the design of the cloth. As already mentioned, my search for such photographs drew a blank. Secondly, my work on the project in 2020 coincided with the spread of the Covid-19 pandemic and the consequent lockdown, which made it difficult for me to access certain technical facilities and also to work with models in different locations. While these circumstances imposed restrictions, I believe they also provided opportunities.
I wondered how it was possible for a colonial anthropologist to roam around taking photographs in an area that had witnessed such strong anti-colonial resistance. It caused me to reflect upon the politics of dominance that came with colonialism. Although the photographs did not show the Ekumeku war explicitly, I believe there is an indexical relationship between them and the conflict. Ekumeku was organised in secret, and I have no doubt that some of those photographed were involved; others would certainly have lost family members to the struggle. Like the Ekumeku movement itself, the conflict, though not visible on the surface, is there in the ‘underneath’ of Thomas’s photographs. This added further poignancy to the images, and these became the photographs that I incorporated into the textile design for Mourning Clothes.
Due to the pandemic restrictions I was unable to print the cloth with Thomas’s photographs, so I had to improvise with another fabric. I see Mourning Clothes as a work-in-progress. I still intend to have the mourning cloth design printed and to make more photographs, building on the initial series. Another consequence of the pandemic restrictions was my inability to work with the range of models and locations that I had initially planned. Instead, I explored photomontage techniques to a greater degree. Here I was particularly inspired by the work of the Congolese artist Sammy Baloji.
In Mourning Clothes I have tried to create a monument to those who were killed in the anti-colonial struggle. Many would have died without receiving proper rites. In my community, if someone dies without a befitting funeral, they cannot rest in peace. In Igbo, they are known as ozu akwagihi akwa (a corpse whose funeral rites have not been completed). Their souls wander restlessly, haunting unoccupied places, trees, hilltops and other places. There is no limit to how far they can travel in time and space.
Memories of Ekumeku are like ozu akwagihi akwa. Even if they are not recognised as such, their trace lives on in unexpected places: in stories, in dispositions, in the minds of people far removed from the landscapes where the events happened. Repressed memories manifest in unpredictable ways. One might wonder, for example, whether some of the anger we saw in the recent Black Lives Matter riots, in the response to the killing of George Floyd, was not in some way a resurfacing of the memory of the violence that was used to suppress Ekumeku and other similar anti-colonial movements? These things are not entirely erased, but continue to live under the skin until they are divined in some sense.
Images: Nnaemezie Asogwa Text: Nnaemezie Asogwa and Paul Basu
Thanks to digitization of the original wax cylinders by the British Library, these recordings are now accessible once again. As part of the [Re:]Entanglements project, we have been working with communities and local language/dialect speakers to transcribe and translate as many of the recordings as possible. It is not easy work, partly due to changes in the languages over 100 years and partly due to the poor quality of the wax cylinder recordings.
When we are able to obtain a good transcription and translation, the results are often quite startling. They provide remarkable insights into a moment in time: a moment of colonial intrusion, of which the anthropological survey was, of course, a part.
Recording No.465 was made during N. W. Thomas’s 1910-11 tour of what the colonial authorities had designated Awka District, in the Protectorate of Southern Nigeria, corresponding approximately to present-day Anambra State. The recording appears to have been made in the town of Umuchukwu, also known as Ndikelionwu, in 1911. It is a recording of a conversation between two young men, John, described as ‘an Onitsha boy’, and Nwile, ‘a Nibo boy’. Judging from the conversation, it seems that they have both accompanied the anthropologist on his visit to Umuchukwu, although Nwile seems to know the local chief and acts as an intermediary.
We worked with Yvonne Mbanefo and Oba Kosi Nwoba to obtain a transcription and English translation from the Igbo. With the translation in hand, we also discovered that Thomas had actually already published a transcription and translation of the recording in the third part of his Anthropological Report on the Ibo-Speaking Peoples of Nigeria, which is devoted to ‘Proverbs, Narratives, Vocabularies and Grammar’. Usually Thomas noted the record number alongside published transcriptions/translations, but on this occasion he neglected to do so. It was, however, easy to recognize the text once we received the translation. It is interesting to compare the original phonetic rendering and translation with the new one. (We discuss the orthographic conventions that Thomas employed in a previous blog post.)
The transcription and translation provided by Yvonne Mbanefo and Oba Kosi Nwoba:
D’anyị, I noo mma? Ano m nnoo! Kedu ka ịmee? A nọ m nnoo ọfụma I budi onye ebe? Abụ m onye Nibo Oo!
Brother, are you well? I am just there How are you? I am just fine. Where are you from? I am from Nibo Oh!
Mu na gi na aluko olu na ofu ebe. Ọ maka no-ofu. Anyị nwa wee bia n’obodo ndị a. Anyị bialu ụmụchukwu tata.
We work together in the same place It is a good thing We came to this people’s town We came to Umuchukwu today.
Umuchukwu ndị a bụ ndị ebe? Fa bụ ndị ikeri-ọnwụ Ndị Ikeri-ọnwụ? Eh!
This Umuchukwu is in which part? It is in Ikeri-onwu. Ikeri-onwu? Yes!
Kedukwa onye anyị no be ya? Anyi no be Chief a na-akpọ Kanu. O! Ya na ndị be ya niile. Esego nwunye ya na foto? Esego nwunye ya tata Ya na onye du? Ya na nke onye Ọnicha Ezi e? Eh!
Who are we even in his house? We are in Chief Kanu’s house Oh! With his whole family Have they taken photograph of his wife? The wife was photographed today With who? She and the person from Onitsha Truthfully? Yes.
Mụnwa bụ John ka eselu mu na ya na foto tata. Ọ ya ka m fukwalu. Okwu asị! Mba, afulu m ya, hahaha! D’anyị amuna amu n’ofu! I na-asika asi nwoke m. Nwoke m, ọ bụghị asi, afulu m n’anya. Ọ di mma ebe Ị fulu n’anya na okwu adiro ya. Ka anyị norisizia nu. Ma gị gwakwa ndị a na abiama bialu be fa. Nnukwu ife bialu tata.
It is I John, that was photographed with her today. That is what I have seen. It is a lie! No, I saw it, haha! Brother don’t laugh like that You are always lying, my man My man, it is not a lie, I saw it. It is ok since you saw it, there is no disputing it. Let us relax. But tell them that they have a visitor. A big thing came today
Ị gwago fa na ọ bụ ndị-oyibo Agwalu m fa, si fa na ndị-oyibo bịalụ Ka fa kwadobe ndi be fa niile. Abụ m onye Ọnicha Nnọọ! Gị nwa onye Nibo. Unu apụtachago ụla? Ọ dị mma. Nnọọ o! Kedu ka unu melu? Anyị nocha mma mma.
Have you told them it is the white people? I told them that the white people are here, let them prepare their people. I am from Onitsha. Welcome! You, from Nibo. It is well. Welcome! How are you people doing? We are all fine.
Kene ndị a daalụ o! Chief achoo Ị kene gị, gị daalụ o! Si fa na onye-ocha si fa daalu o! Onye-ọcha kenelu gị mma mma o!
Greet this people! Chief, he wants to greet you, greetings to you! Tell them that the white person greets them. The white person greets you well.
Si fa n’anyi bialu k’anyi fu fa anya o! Anyi bịalụ nkata bunu K’anyi wee nolisia o! K’anyi nọlisịa olịlị k’anyị naa o! Hahahaha! Ọmelụ agaa du? Mma mma ka ọ dị. Ọ dịmma o, Nkata nkata ka ọ bụ. Ka ọ dị n’ofu. Nnọọ o! Ike agwubago m, ka m naa. Eh? Eh! Ọ dịmma, kachifo! Ka ọ dịbazịa! K’anyị nolikwa, ikekwe anyị ga-afu ọzọ. Nodu nma o! Nnọọ o! Ka ọ diba! Ọ dịmma, na-eme ofuma.
Tell them we came to see them. We came to have a chat in your house. Let us stay well! When we are done enjoying our visit, let us go! Haha! How are things? Everything is fine. It is well, they are all conversations. Let it be like that. Welcome! I am getting tired, let me go. Ok? Ok. It is well, goodnight, later! Let’s be seeing, we will probably see again. Stay well! Later! It is well, be good.
The conversation would, of course, have been staged for the phonograph recorder, perhaps to document the differences in Onitsha and Nibo dialects. But, while the primary purpose of the recording was linguistic, through their exchange, John and Nwile also tell us a great deal about the broader encounter between the anthropologist, the Umuchukwu elite and their own joking relationship. The latter is most evident when listening to the men laughing together.
From this audio recording, we can build up a picture of the visit of the oyibo – the whiteman – to Chief Kanu’s compound in Umuchukwu. This entails multiple linguistic mediations between N. W. Thomas and John, John and Nwile, and Nwile and Chief Kanu. We gain insight into the formal greetings exchanged and the communication that the anthropologist has come to see the chief and to talk. We learn that the chief’s wife has been photographed that day, apparently alongside John himself! (The word ‘foto‘ has clearly entered the Igbo vocabulary by this time.)
Unfortunately, the annotations accompanying the photographs that Thomas made in Umuchukwu are vague and confusing, with crossings out and omissions. The ‘Chief of Umuchukwu’ is, however, identified (though the name ‘Chief Jacob Mbonu’ is crossed out) – is this Chief Kanu? The next photograph in the sequence is of a woman with mbubu scarification marks running down her chest and stomach. Is this one of chief’s wives? (There is no sign of John besides her!) And then there is another photograph of two men dressed in European clothing. They are dressed in a similar manner to Thomas’ assistants and translators elsewhere. Might they just be John and Nwile?
Northcote Thomas’s phonograph recordings constitute an important and untapped historical resource. While they were recorded largely for linguistic research purposes, today they provide a unique opportunity for us to hear the voices of those normally assumed to be silenced in the colonial archive. The Indian postcolonial studies scholar Gayatri Chakravorty Spivak famously asked ‘Can the Subaltern Speak?’ – listening carefully to the colonial anthropologists’ wax cylinder recordings we are in no doubt that they can indeed, and that their voices provide a crucial counter-narrative to dominant historical accounts.
Thank you to Yvonne Mbanefo, Oba Kosi Nwoba and the British Library. If you are an Igbo speaker, do please let us know if you spot any errors in the transcription or translation of the conversation between John and Nwile, or have any alternative interpretations! Please leave a comment here or email us at [email protected].
Working through the photographs, sound recordings, artefact collections and written accounts that constitute the archive of Northcote Thomas’s anthropological surveys in West Africa, the turbulence of the times in which these materials were assembled is not immediately apparent. Of course, it can be argued that the archive as whole is a trace of colonial violence. As the historian Nicholas Dirks reminds us, colonial conquest was the result not only of military force but was made possible and sustained through ‘cultural technologies of rule’. Regardless of whether they actually achieved their governmental objectives, Thomas’s surveys were certainly intended to contribute to the consolidation of British ‘indirect rule’ in what were then the Protectorates of Southern Nigeria and Sierra Leone.
It is perhaps indicative of the thoroughness with which local resistance to colonialization had been quashed that Thomas was able to travel around so freely over the six years of his surveys between 1909 and 1915. Thomas worked in the towns of Somorika, in 1909, and Agulu, in 1911, both a mere five years after they had been ‘pacified’ through British military operations; he travelled extensively in areas of Asaba District that, until two years previously, were centres of anti-colonial resistance in the Ekumeku wars; his research in Sierra Leone took place in locations that had seen violent conflict in the Hut Tax War of 1898; and he spent months working in Benin City, just 12 years after the infamous Punitive Expedition of 1897. Thomas did not, of course, travel alone – his entourage would have included porters and assistants, and we know from correspondence that, at least some of the time, he was accompanied by a member of the police force. There is just one photograph, from Thomas’s 1910-11 tour, in which a uniformed police officer can be seen – we don’t know whether he was ordinarily stationed at the location, or accompanied Thomas there.
The years prior to the formal British colonisation of Nigeria and Sierra Leone were also turbulent. Conflict was ever present; often driven by competition for land, resources (including slaves) and control of trade routes. Much of this conflict was directly or indirectly connected to the Transatlantic trade in enslaved people and other commodities, but also resulted from antics of expansionist states in the interior (the incursions of Samori Toure’s Wassoulou Empire into northern Sierra Leone, for example, or Nupe raids into the north of present-day Edo State in Nigeria). Traces of these conflicts – sometimes mislabelled as ‘inter-tribal wars’ by the colonists – are more evident in the materials Thomas assembled during the anthropological surveys.
Fortified hilltop towns
The longue durée of conflict in pre-colonial Southern Nigeria and Sierra Leone is evident in the very location of many of the communities that Thomas visited. Town sites were often selected so as to make use of the natural features of the environment so that the community could be more easily defended against attack. This is most obvious in settlements in upland areas, for example those located in what were known at time of Thomas’s surveys as the Kukuruku Hills in the north of present-day Edo State, Nigeria, or in Koinadugu in north-eastern Sierra Leone. Many of the towns that Thomas visited and photographed in these areas occupied fortified hill-top locations. As a result of the ‘imposed peace’ that accompanied British colonisation, these settlements were subsequently abandoned and the towns moved to more accessible locations.
When we have brought Thomas’s photographs back to places such as Somorika, Okpe, Otuo and Afokpella in north Edo, or Yagala in Sierra Leone, community members are usually very interested to see what their old hilltop towns looked like when they were inhabited. In some cases, such as Yagala, the old towns were not abandoned until the 1950s and elderly members of the community have childhood memories of the places. Most community members, however, have known the old sites only in their abandoned state and through the many stories that are told about them. Many such stories relate to the heroism of warriors or the ingenuity of the community in repelling attack. The Imah of Somorika, HRH Oba Sule Iadiye, for example, regaled us with stories of the British attack on Somorika in 1904, which, while ending in defeat, is regarded as a moral victory.
In Yagala we were told the story of the famous warrior Suluku, from Bumban, who came with a war party, threatening attack. As they climbed one of the roads to the hilltop town, they came upon an old woman knitting. Suluku informed the woman that they had come to collect payment from Yagala. She gave him her knitting and said ‘Here it is, take it’. Suluku continued on his way to the town. Afterwards, he left by another route only to find the same old woman by the side of the road. He asked how she came to be there before them. ‘This is my place’, she answered, ‘I am not an invader like you’. Suluku thought that she had special powers and asked her for help. She agreed to help, but only in return for gifts. Suluku agreed, and said he would send his brother, Pompoli, from Bumban, with the gifts. Pompoli duly returned bearing the gifts and the old woman gave Suluku some of her magical powers. Incidentally, while Suluku died in 1906, Thomas photographed Pompoli when he visited Bumban in 1914.
In the lower lying, forested areas of Awka District, which was the focus of Thomas’s 1910-11 tour, Thomas took several photographs of fortified watchtowers. They are known in Igbo as Uno-aja. None of Thomas’s fieldnotes survive from this tour and he did not publish anything about these structures, so we don’t know if he collected any information about them. Oral traditions about the towers survive, however.
These towers were typically two or three storeys high and were accessed through a small doorway on an upper floor, reached by a ladder. They served as both a look-out tower and a refuge, particularly for women and children, when a settlement was under attack. Some were rectangular in plan, such as those in the photographs above, others circular, as in the example at Awgbu (see below).
Professor Anselem Ibeanu, currently head of the Department of Archaeology at University of Nigeria, Nsukka, did some research on these watchtowers in the 1980s. While the majority had long-since collapsed or been pulled down to make way for new buildings, he managed to locate a small number that had survived, even though in ruinous condition. One of these was called Okpala Obinagu in Awgbu, supposedly named after the founder of the community who erected it. The tower can be seen in the background of one of Thomas’s photographs of the obu (meeting house), probably of Chief Nwankwo of Awgbu, who Thomas also photographed.
Professor Ibeanu was able to speak to the elderly great-grandson of the builder of the tower, and was able to draw a reconstruction of what it had once looked like based on the oral accounts. This matches Thomas’s photograph with surprising accuracy, particularly its construction from concentric mud courses, each of which was allowed to partially dry before the next course was added, and the small apertures for windows. Interestingly, in Thomas’s photo register, he captions the tower a ‘storehouse’, suggesting that it was repurposed once the threat of attack subsided.
Re-enactments of warfare
Thomas seems to have struggled to obtain information about the conduct of war – perhaps his informants didn’t want to give away military secrets to the colonialists! He did, however, photograph men in ‘war dress’ and witnessed demonstrations of ‘mock battles’.
There is a wonderful photograph taken in Sabongida in 1909 of a ‘chief’ (unfortunately Thomas doesn’t name him) posing with a magnificent dane gun and wearing war dress. The chief’s gown is covered in amulets, and the protection it offered was more magical than physical. Later the same year Thomas witnessed the annual Ebisua dance at Fugar. Community members in Fugar readily identified the photographs of this event when we visited. Ebisua is a war dance performed annually by the Uruamhinokhua age grade in honour of the war god Ituke. The men clothe themselves in their war dress for the dance, and, brandishing their weapons, reenact their valiant acts of the preceding year. It is an opportunity for the fighting men to show off their strength and military prowess. We were told that, in times of war, men would display the severed heads of enemies they had killed.
Thomas photographed another interesting event in Awka in 1911. According to the sparse notes accompanying the photographs, they were taken at a funeral of a man killed in war. (We do not know if this was a re-enactment staged for Thomas, or an actual funeral.) Before an assembled crowd, a group of warriors parade in their war dress, carrying swords and shields. In some of the photographs they appear to be staging a mock fight (see the photograph at the top of this article). Probably during this same event, Thomas made a wax cylinder phonograph recording of ‘Igbo war shouting’.
Thomas also appears to have arranged for some of the participants in the funeral to pose for him to demonstrate traditional fighting techniques.
Memories of Okoli Ijoma
Not all traces of conflict are so legible in the archive; some traces only reveal themselves in the unexpected comments of community members in response to particular images. This was especially apparent in our fieldwork in the area around Awka, in present-day Anambra State, Nigeria. In virtually every town in which we conducted fieldwork, the archive photographs provoked stories of wars with the notorious Okoli Ijoma (‘Okoro Ijomah’ in the Aro dialect). Indeed, it was often because of the threat of attack from Okoli Ijoma and his mercenaries that towns formed alliances with the British, which resulted in a more insidious form of colonisation.
Okoli Ijoma was a powerful warlord from Umuchukwu in Ndikelionwu, a few miles to the south-east of Awka. Ndikelionwu had been founded in the eighteenth century as part of the expanding Aro empire. The Aro, with their homeland at Arochukwu in present-day Abia State, had established a major slave trading confederacy with a powerful military base, often supported by mercenaries. They settled throughout Igboland, forming alliances with some communities, while preying upon others. They are credited with introducing firearms into the region.
Conflict with Okoli Ijoma’s forces would have still been fresh in the memory of communities around Awka at the time of Thomas’s anthropological surveys, and the photographs he took of both people and places still bring to mind that dangerous time – even after 110 years. In Nibo, for example, we were told how the great ikolo drum would be sounded as an alarm of impending attack. It was a signal for the women and children to disperse to refuges, and for the men to gather in preparation for the fight. To save Nibo from further attack, Ezeike Nnama Orjiakor of Nibo formed an alliance with Okoli Ijoma, arranging for his younger sister to marry Okoli’s son, Nwene Ijomah. Nnama became a deputy in Okoli Ijoma’s court, but, later, as the threat of reprisals from the British mounted, he switched allegiance, while Okoli Ijoma fought on.
In other towns, allegiances were similarly divided. In Amansea, for example, community members were able to identify a photograph of Chief Nwaobuana, a well-respected leader who later became a Warrant Chief. He is credited with curbing the excesses of Okoli Ijoma and defending the town from attack. Another man, Nwene, was also identified, however. Nwene was the ‘black sheep’ of the community, and was known to take stubborn children from their parents and sell them to the Aro traders. The era of Aro slave trading was brought to an end with the British attack on Arochukwu in 1901. Okoli Ijoma died in 1906.
Read more about Okoli Ijoma and the ‘Ada wars’ at the Ukpuru blog, which is also illustrated with photographs from the Northcote Thomas archives.
The coming of the British must have been met with ambivalence. On the one hand, alliance with the Europeans offered protection from local aggressors. On the other hand, of course, this led to the imposition of British colonial rule and the transformation of culture and society. Thomas’s anthropological surveys were carried out during this transformative moment, when new freedoms of the ‘British Peace’ could be appreciated, while the loss of self-determination under colonial rule was perhaps not yet fully apparent.
Some of the stories recorded by Thomas speak powerfully of this time of change and are therefore important historical sources. When local community members in Okpekpe, in the north of present-day Edo State, helped us translate recordings Thomas made there in 1910, it was interesting to listen to their interpretations. One recording compared past and present, celebrating the fact that children could now wander about freely and the town was now safe. We were told this related to the British defeat of the Nupe in 1897, who had, it was explained, on the one hand, brought Islam to Okpekpe, and, on the other hand, captured its people and sold them into slavery.
Godwin Gejele, from Okpekpe, provided the following translation of the recording from the Ibie language:
Eyia bhe amho We’re coming today
Imiegba ana mhia je, ukha la mhi ayo tse we namhe I’m going to Imiegba. If you get over there, extend my greetings
Ukha lamhi Imiakebu tsa Adogah na mhe tse we khu namhe, vhe wegbe omo mose ali omo kposo When you get to Imiakebu extend my greetings to Adogah. I really appreciate him. I pray that God will bless their male and female children
Eye bi na agbo nele ali ona uhiena ono gwuo so mhi ne. Omo ovhe lasa ne na now li vho, ogbo kho oshie yele asha kha sha In the olden days or in the present, which one is the better to live in? We can see in the old days, a child is not allowed to go out anywhere. Now one can go everywhere. Everywhere is safe.
Oso mhi ni bo, omue mhe gbe We’re grateful to the white man who had come to teach and taught us many things
When we discussed this recording, elders explained that the speech was delivered in the style of a town crier. This raises the question of whose message the speaker was communicating. Does the speech convey a genuine sense of gratitude to the ‘white man’ for removing the threat of Nupe slave raids, or is this propaganda dispatched from the new invaders?
Cohn, B. S. 1996. Colonialism and its Forms of Knowledge. Princeton University Press. (Foreword by Nicholas Dirks)
Falola, T. 2009. Colonialism and Violence in Nigeria. Indiana University Press.
Ibeanu, A. M. 1989. ‘An Igbo Watch Tower (Uno-aja)’. Nyame Akuma, 31: 28-9.
Ohadike, D. C. 1991. The Ekumeku Movement. Ohio University Press.
[Re:]Entanglements is collaborating with the Art Assassins, the young people’s forum of the South London Gallery in Peckham. As part of the project, the Art Assassins are working with a number of London-based artists and researchers with connections to West Africa. The idea is for each artist or researcher to use their creative practice to help the Art Assassins explore the Northcote Thomas collections and archives, and consider its relevance for young people in South London today. The Art Assassins’ work will culminate in an exhibition at the South London Gallery, which they will curate themselves.
The first researcher-in-residence to collaborate with the group is Emmanuelle Andrews. Emmanuelle is a researcher and social justice advocate, specialising in the human rights of LGBTI+ people across the Commonwealth, where the criminalisation of same-sex intimacy exists predominantly as a result of colonial-era laws. Domestically, Emmanuelle focuses on racial justice and community resilience, researching issues such as the 2011 London Riots and the Notting Hill Carnival as well as exploring solidarity-making across histories of black radical movements, as in her film Coming to Love.
Since October Emmanuelle has been guiding the Art Assassins through provocative encounters with Northcote Thomas’ work and its legacy. Through discussion and creative exercises she has challenged the group to confront the archive as a method for reflecting on their own entanglements with colonialism. In this guest blog post Emmanuelle looks back on her experience working with the Art Assassins.
Confronting the disciplines
In my first encounter with the Art Assassins I began with sharing a personal reflection on a visit to the Royal Anthropological Institute (RAI) with Paul Basu, leader of the [Re:]Entanglements project and Professor of Anthropology at SOAS University of London. Having studied Anthropology and Law for my undergraduate degree, before studying a Masters in Gender, Race, Sexuality and Social Justice, this experience was a (re)visit to my disciplinary ‘home’: Anthropology. What I wanted to encapsulate to the Art Assassins was the feeling of lacking belonging here and the field of Anthropology as one that invites, for a black women like myself, a visceral combustion of self and other, as I reflected on my position as being a recipient of the colonial anthropological gaze, as well as potentially an instigator of it. Sitting in the RAI, I considered the historical reality that I was never meant to be there in this form – valued (at least originally) as the ‘viewed’ and not the ‘viewer.’ I hoped to bring to the forefront for the Art Assassins the fact that any dabbling in Northcote Thomas’ work will always be personal, as our very beings refract through the colonial archive.
During my visit to the RAI, I also looked at the collection of Thomas’ plate glass negatives, and handled some of his photographic registers, in which he categorised and annotated the images. Afterwards, I joined the Art Assassins at the British Library Sound Archive where we explored its collection of Thomas’s and other historical ethnographic and ethnomusicological wax cylinder recordings. You can read more about our visit here.
Listening to images
The visit to RAI and the British Library Sound Archive inspired me to begin my first workshop with the Art Assassins at the intersection of sound and image. I invited the group on a journey through the archive by other means: through a privileging of the senses that confront Western ontology’s desires to judge knowledge through the rationale of scientific certainty.
Watching the beautiful and award-winning film, Faces|Voices, produced as part of the [Re:]Entanglements project, and featuring the film’s participants voicing their responses to Northcote Thomas’ photographic archive, I moved the group to consider whether Thomas’s images were necessarily ‘silent’ in the first place. (In what ways are these images silent? For whom? In what languages?)
Drawing the link between Anthropology’s motivation of filling supposed gaps about distant others and the related violence of Western knowledge-making, I used the film as a starting point to complicate questions of who, in the colonial anthropological project, had voice and who were silenced. I wanted to push the Art Assassins away from a simple reading of Northcote Thomas as the powerful agent of colonialism and his subjects as agentless victims. While we cannot, and should not, ignore the colonial context of Northcote Thomas’s anthropological surveys, it became clear that we can achieve this without reproducing its grammars of violence.
To ground this reading, I introduced the group to Tina M. Campt’s concept of ‘listening to images’, which she describes as both…
a description and a method … [It] opens up the radical interpretive possibilities of images …. To ‘listen to’ rather than simply ‘look at’ images is a conscious decision to challenge the equation of vision with knowledge by engaging photography through a sensory register that is critical to Black Atlantic cultural formations: sound.
Resisting the practice, then, of allowing the eyes to ‘read’ silence in Northcote Thomas’ ‘voiceless’ photographic archive, we instead privileged alternative frequencies by listening closely to the images and expressing our discoveries in a free-writing exercise. Rather than finding misery in the archive, the Art Assassins wrote of joy, talent, romance and longing. It is here that the ‘low hum’of resistance to the colonial project might be found.
Confronting Northcote Thomas
Since the Art Assassins’ experience of Northcote Thomas had hitherto been exclusively through the archives of his anthropological surveys, I felt it was important to separate Thomas, the man, from his professional role as Government Anthropologist. Drawing on Paul Basu’s article ‘N. W. Thomas and Colonial Anthropology in British West Africa’, I attempted to take the Art Assassins on a journey that simultaneously elucidated what anthropological methodology looked like in practice, and lead the Art Assassins to reflect on whether we might potentially decolonize the anthropological tradition through making Northcote Thomas the object of inquiry.
Looking into his controversial legacy as illustrated by the comments made by Thomas’ peers as well as contemporary anthropologists, we considered how we might learn about Thomas and the period he was working in through various lenses, such as medical anthropology, or critical race theory.
Considering tales spread by his dissenters that he was ‘a recognised maniac in many ways’ (what might this tell us about the stigma of mental health in the 19th/20th century?) and the accusation that he brought ‘a certain amount of discredit upon the white man’s prestige’ (how might this complicate our understanding of Northcote Thomas as a puppet of the colonial state?), we were confronted with the possibility that we might in fact sympathise with Thomas, or at least consider him in a new light, particularly given the fact that he was sometimes a nuisance to the colonial project.
I encouraged us all to sit with the discomfort of these findings, whilst at the same time question what was at stake with any attempt to view him as a human being with the flaws and quirks of any other.
The unfolding discussion was rich, with the Art Assassins demonstrating yet again their interest in, and talent for, dealing with theoretically difficult concepts and disciplinary interrogations, such as whether anthropology was really the appropriate discipline to confront some of the challenges we were facing.
We all left the session buzzing with questions. Northcote Thomas had gone to Nigeria and Sierra Leone to find answers and provide solutions, and we realised that in order to ethically embark on this project, we had to part with the ideal of knowledge as a signifier of value. Surprising a lesson it may be, coming from someone who embodies the role of researcher-in-residence, we nonetheless learned that it is our ability to sit with uncomfortable questions that can provide the most intellectual and creative freedom and, hopefully, culminate in a practice that truly is decolonial.
During our fieldwork retracing the journeys made by Northcote Thomas during his anthropological surveys in Southern Nigeria and Sierra Leone, it is a real privilege when we are able to identify the descendants of people that Thomas photographed. Photographs of individuals taken in the context of a colonial project are set free from the archive and become transformed into something magical, able to bring people face-to-face with their ancestors for the first time. People often remark with wonder how, after over a hundred years, through the [Re:]Entanglements project, the photographs have made their way back to the communities where they were taken.
When we visited Samaya, in Tambakha chiefdom, Sierra Leone, the power of photography and material culture to transport us in time and space was brought together. When Northcote Thomas visited Samaya in 1914, he made a number of photographs of Chief Almami Suri Kandeh. Suri Kandeh was a powerful paramount chief, reputed to have had 75 wives! The present paramount chief, Kandeh Sori Kakanday III, is a direct descendant of Suri Kandeh and was overjoyed to see the photograph of his illustrious ancestor.
Thomas photographed Chief Suri Kandeh wearing his regalia of office, including a silver medal known locally as the kingbatankeh – the ‘king’s chain’. We were thrilled to hear that the medal still formed part of the paramount chief’s regalia. The kingbatankeh is not normally seen other than on special occasions, and it is normally only worn by a paramount chief once he has passed through kantha, a period of ritual seclusion, traditionally part of a chief’s coronation in northern Sierra Leone. Due to the exceptional circumstances of our visit, however, a ceremony was performed and we were able to see the kingbatankeh and photograph Kandeh Sori Kakanday III wearing it, even though he had yet to pass through kantha.
Actually, there are two kingbatankeh in Samaya, and this is something of a mystery. Thomas’s photographs of Chief Suri Kandeh show him wearing a medal with a suspension mount by which it is attached to a chain. According to an article in Sierra Leone Studies written by Robert de Zouche Hall, Governor of Sierra Leone between 1952 and 1956, this silver medal had been given to Samaya’s chief by Governor Sir Frederic Cardew in the late 1890s. This was around the time of the anti-colonial Hut Tax War in Northern Sierra Leone, suggesting that Samaya had been loyal to the British during the uprising. The medal, of a type struck in 1883, is still in the possession of the chiefdom, and bears the head of Queen Victoria.
We do not know the exact year that Suri Kandeh was crowned as paramount chief, so it is uncertain whether it was he himself who was awarded the medal by Cardew or his predecessor in office, Kandeh Satanlai. We do know, however, that Chief Suri Kandeh was held in high esteem by the British colonial authorities. In a colonial intelligence report on Sierra Leone’s protectorate chiefs, dating to 1912, it is stated that Alimami Suri ‘rules his country very well, and is highly respected by his subjects. A strict Mohomedan, and a true friend to the Government’.
The second kingbatankeh in Samaya is larger, does not have a suspension mount, bears the head of King George III and is dated 1814. These medals were known to have been distributed to ‘friendly chiefs’ in Sierra Leone in the 1820s and 30s. ‘Friendly chiefs’ were those who were willing to sign treaties and align their interests with the British. Such treaty-making exploited enmities between local polities and was an insidious form of colonial expansion, eventually giving rise to the declaration of Sierra Leone as a British protectorate in 1896. The circumstances and date at which this larger medal came to Samaya are, however, not known to us.
In his 1959 Sierra Leone Studies article, Hall notes that one of the 1814 medals was in the possession of Paramount Chief Bai Samura of Sanda Loko chiefdom. According to Hall’s source (a colonial district officer), the medal was presented to Samura Renjia, a Loko chief based at Kamalo. Northcote Thomas’s tour took him to Kamalo in Sanda Loko after Samaya, and although Thomas made a photograph of the reigning paramount chief – also named Samura – this unfortunately appears to have been lost. When we visited Kamalo, we were, however, shown a photograph of Paramount Chief Samura Bangura, who reigned between 1942 and 1972, by his grandson Simeon F Bangura.
This photograph shows his grandfather wearing what is known in Kamalo as the kingdollar – the medal with George III’s head clearly visible. This was also part of the chiefly regalia. Interestingly, even though the medal is known as the king’s dollar, the story is that it was presented by Queen Victoria. It might be noted that a treaty was signed between Sanda Loko and the British government in 1837, the year that Victoria came to the throne – it was on such occasions that the medals were presented (indeed, they are sometimes called ‘treaty medals’). It is not known what happened to the kingdollar.
These medals have an interesting history. As Hall notes, the 1814 medal was originally struck as a reward to North American Indian Chiefs who had supported Britain during the so-called War of 1812 with the United States of America. Similar medals had been used as ‘tokens of friendship’ since the eighteenth century, often on the signing of treaties – a practice sometimes referred to as ‘peace medal diplomacy’.
The practice of presenting medals to ‘friendly chiefs’ was subsequently introduced in West Africa. Hall discusses the various issues of medals used in Sierra Leone, including the two types we encountered in Samaya. Other types can be found on display at the Sierra Leone National Museum, including a much poorer quality pewter version of the 1814 medal introduced by Governor Arthur Kennedy in 1853. These were evidently of such inferior quality that chiefs were ashamed to wear them.
When Governor Arthur Havelock revived the practice of medal giving in the 1880s (a time of extensive British colonial expansion and treaty-making in Sierra Leone), it was with the new, high quality, solid silver issue bearing the head of Queen Victoria – just like the one that Chief Suri Kandeh wears around his neck in Northcote Thomas’s photographs.
There is a wealth of cultural and historical knowledge locked away in the sound recordings that Northcote Thomas made during his anthropological surveys of Nigeria and Sierra Leone in the early twentieth century. Recorded on wax cylinders using a phonograph and without the benefit of a microphone, these sound archives are, however, some of the most challenging materials to work with. The audio signal is often weak, and the levels of noise very high.
Working with Yvonne Mbanefo of the Igbo Studies Initiative and thanks to a small grant from the British Library, which cares for Thomas’s wax cylinder recordings today, we have begun to transcribe, translate and re-record some of the the audio tracks. We have also been revisiting some of the transcriptions and translations that Thomas published in his Anthropological Reports. The original transcriptions and translations have proven to be invaluable in re-engaging with the recordings, but they can also be quite inaccurate.
During his 1910-11 tour of what was then Awka District (corresponding more or less to present-day Anambra State, Nigeria), Thomas spent a considerable amount of time at Agukwu Nri. Nri was an extremely important town in Igboland, the seat of the ‘highest ritual political title’, the Eze Nri. The reigning Eze Nri at the time of Thomas’s visits was Obalike. During the [Re:]Entanglements project, we have had the privilege of presenting Eze Nri Obalike’s grandson with a hitherto unknown photographic portrait of his grandfather made by Thomas.
Another important figure in Nri at the time of Thomas’s anthropological survey was Chief Onyeso. Onyeso was the son of the previous Eze Nri, Enweleana, and had served as regent during the interregnum between the reigns of Enweleana and Obalike. Whereas the Eze Nri was a spiritual leader, it appears that Onyeso remained a powerful ‘secular’ leader. As well as photographing him and his family, Thomas recorded a speech by Onyeso. In this case, the original recording seems not to have survived, but there is a transcription and translation of the speech in Part III of Thomas’s Anthropological Report on the Ibo-speaking Peoples of Nigeria; a volume devoted to ‘Proverbs, Narratives, Vocabularies and Grammar’.
Below is a rendering of the text of Onyeso’s speech in standard Central Igbo together with a revised English translation, both provided by Yvonne Mbanefo.
Ọkwa mụ na abịa, Onyeso, nwa Ezenri, It is I who come, Onyeso, son of Ezenri Nna m bụ Eze. Egburu m ichi n’epughị eze My Father was the King, I got Ichi marks before I got teeth N’izu iri na anọ, nwa eze na-enwe eze, At fourteen weeks the son of the King has teeth, mana ọ bụrụ na ọ nweghị ichi, But it happened that he didn’t have ichi marks. Eze pụta, ma ichi adịghịị, anaghị ekwe, aga etufu ya. but if the teeth come out without the marks, it is forbidden, they throw him away. Obodo ọbụla mere mkpọtụ. All the towns made noise. Mana nwa eze, gaa n’obodo ahụ, But the son of the king, went to the town. Wee sị, emena ihe ọjọọ, e buna agha , anụna ọgụ and said, ‘Don’t do bad things, don’t start wars, don’t fight’. Ọ ihe a ka nwa Eze na-eme. That is what the son of the King does. Anyị na-eyi akpụkpọ agụ We are the wearers of leopard skins Ife siri ike n’obodo. Things are hard in the town. Anyị bụ ụmụ eze. Anyị ga-eje dozie ya. We are the children of the King. Ọbịa ka Gọọmentị jị bịa kpọlụ ndi Igbo niile. The Government was visiting and took all the Igbo people. Anyị wee sị ndị Igbo niile na ife anyị na-eme, ka ala dịrị anyị mma. We are then saying that all Igbo that what we do, to make the land good. Anyị bụ Nri, Isi ala Igbo niile. We are Nri people, head of the entire Igbo land. Anyị bụ isi ọbọdọ niile, mmadụ niile . We are the head of all the towns, and all the people. Oge ụwa Gọọmentị bịara , anyị wee lee, obodo mebie. When the Government came, we looked, and the town got spoiled.
Onyeso’s speech is remarkable for many reasons. In this text, we can hear the voice of one of Thomas’s prominent interlocutors – a known, named individual, who Thomas also photographed. It is the voice of a confident, defiant member of an aristocracy, highly critical of the British colonial government, which has usurped the authority of traditional rulers, and undermined the status of the royal town of Nri. Onyeso asserts the primacy of the Nri people as the ‘head of the entire Igbo land’, a ritual and political status discussed at length by the Nigerian anthropologist M. Angulu Onwuejeogwu in his book An Igbo Civilization: Nri Kingdom and Hegemony (1981).
Onyeso also provides first hand details about some of rituals around his office and the political functions of the nwa eze, the son of the king. He refers, for example, to the traditional practice of infanticide. A newborn child is not supposed to have teeth, and if it does this was traditionally considered an abomination, resulting in the child being left to die in the forest. Similarly, a baby who cut his upper teeth first was also considered an abomination. Onyeso states that the sons of kings cut their teeth early, but that it is important for them first to have the ichi facial scarification marks made – if they haven’t received the ichi marks, the child, he says, will be thrown away. Onyeso proudly states that he received the ichi marks as a baby before his teeth came through.
Onyeso also explains that the nwa eze acts as a peace-maker, travelling to towns, quelling disturbances and quarrels, advising towns under the Nri hegemony to keep the peace. This was an important role for Onyeso since the Eze Nri himself was traditionally prohibited from travelling outside of Nri after his coronation. As Onwuejeogwu argues, the Eze Nri ‘ruled but was never seen by the people of his hegemony’. The sacred status of the Eze Nri was undermined by the British colonial authorities; part of the destruction of the traditional order to which Onyeso alludes in his speech.
And what of the Government Anthropologist? Thomas’s position seems to have been ambiguous. On the one hand, he was surely associated with the forces of colonialism that were destroying the Nri hegemony. On the other hand, however, he contradicted colonial officials and sent despatches to the Colonial Office arguing that the ritual authority of the Eze Nri should be respected. He also documented the voices and words of people like Onyeso, representing the experiences of colonisation from the perspective of the colonised in his official Reports. One wonders how many people, even to this day, have actually read Onyeso’s speech or recognized how subversive an act it was of Thomas to include such anti-colonial sentiments in publications funded by the colonial government and distributed to colonial administrators.
Many thanks to Yvonne Mbanefo, Oba Kosi Nwoba, Janet Topp Fargion and British Library Sounds for supporting our research on Northcote Thomas’s sound recordings.