As part of our exploration of the contemporary value of the colonial-era collections and archives assembled by the Government Anthropologist, Northcote Thomas, in Southern Nigeria and Sierra Leone between 1909 and 1915, we are working with various young artists in the areas in which Thomas worked. To facilitate this, we have held a series of workshops in the Department of Fine and Applied Arts at the University of Nigeria, Nsukka, at Nosona Studios in Benin City, and at the Sierra Leone National Museum in Freetown. We have also been developing collaborations with more established artists, for instance with Kelani Abass, Mike Omoighe and Ndidi Dike in Nigeria, and with Charlie Haffner in Sierra Leone.
At the workshops we have been introducing artists to the Northcote Thomas archives and collections, and discussing the context of the colonial anthropological surveys through which they were assembled. We have then looked at other examples of how contemporary artists have engaged with the colonial archive in their work – often as a way of interrogating or critiquing colonialism and its legacies. Participants then discuss their initial ideas for how they might respond specifically to the Northcote Thomas collections through their art practice. After the initial workshops we have held follow-up sessions and been in close contact with the artists as they have developed their initial ideas and begun producing their works. We report here on just a few of these works-in-progress.
Contemporary artworks resulting from these collaborations will be exhibited at a series of exhibitions over the coming months and years. The first will open at Nosona Studios, Benin City, in July 2019, to coincide with a meeting of the Benin Dialogue Group (a forum to discuss the future of antiquities looted from Benin during the 1897 Punitive Expedition). Then exhibitions will be taking place at the National Museum, Lagos and Sierra Leone National Museum in October 2019, followed by an exhibition at the University of Nigeria, Nsukka. A selection of the works will then be redisplayed in the large [Re:]Entanglements exhibition that will be taking place at the Brunei Gallery in London between October and December 2020.
Further updates and individual profiles of the artists and their works will be posted to the blog in due course.
As part of the Museum Affordances / [Re:]Entanglements project we shall be creating an exhibition. Initially, this will be installed, from October to December 2020, at the Brunei Gallery at SOAS University of London, close to the British Museum. It will then transfer to the University of Cambridge Museum of Archaeology and Anthropology in 2021. We hope to bring together some of Northcote Thomas’s original collections, photographs and sound recordings alongside artworks and research material that we have assembled throughout the project. The exhibition is not, however, intended to be merely a display of ‘research findings’ – it is intended to be a continuation of the research itself. This builds on some of our own and others’ work on the exhibition as a kind of ‘laboratory’ or experimental space. We hope the exhibition will provide an inspiring and provocative forum in which visitors with different perspectives can come together to discuss and debate some of the issues that the project seeks to address.
As part of the [Re:]Entanglements exhibition, we are collaborating with the multimedia creative studio The Light Surgeons to make a video installation we are conceptualizing under the title ‘Faces/Voices’. We recently filmed some initial interviews to begin the process of developing this installation. During the four anthropological surveys N. W. Thomas undertook in West Africa between 1909 and 1915, he made thousands of photographs. About half of these were so-called ‘physical type’ portraits – typically taking a full-face and profile portrait photograph of each of his sitters. Such photographs have been much discussed and heavily criticized in academic and postcolonial literature. We are interested, however, in how different people ‘read’ these photographs in different ways. Do they epitomize the ‘anthropological gaze’, turning people into objects to be collected, collated and compared? Can we somehow discern in people’s expressions their inner experience of colonialism? Or do they reveal an intimacy between the anthropologist and the communities that he was working with that points beyond the colonial critique?
By juxtaposing Thomas’s historical photographic portraits with the faces and voices of project participants and members of the public, we hope to explore the diversity of responses to these images, allowing the different perspectives to co-exist alongside each other.
Thomas’s photographic portraits are mute. The people he photographed lack ‘voice’ (although we are also experimenting with reuniting Thomas’s historical photographs with his sound recordings – perhaps giving back voice to these images). In the pilot video shoot, we began experimenting with how the photographs enable people today who have often very different connections with the areas in which Thomas worked to voice their own positions and responses to the anthropological archive.
We’ll be doing more filming in due course. Let us know if you would like to participate!