[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 collections and archives assembled by the colonial anthropologist, Northcote Thomas, in Nigeria and Sierra Leone in the early 20th century, and consider their 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 second artist to collaborate with the group is Rosa-Johan Uddoh. Rosa is an interdisciplinary artist inspired by black feminist practice and writing. Using performance, ceramics and sound, she explores a seeming infatuation with places, objects and celebrities in British popular culture, and the effects of these on self-formation. Rosa originally studied architecture at university, and she continues to draw upon this background, rooting stories in specific spaces and materials.
For her project with the Art Assassins, Rosa is working with the group to create a performance piece inspired by the material culture collections made by Thomas, now in the care of the University of Cambridge Museum of Archaeology and Anthropology. Linking back to her own practice, Rosa is challenging the group to consider what these objects can tell us about colonial legacies in contemporary British society. Confronted with the huge number of items within the collection, the Art Assassins and Rosa have chosen to focus on materials Thomas collected from Benin City, in present day Edo State, Nigeria. Benin and Britain both possessed empires – a fact that has provided a starting point for the Art Assassins’ performance.
In her first workshop with the Art Assassins, Rosa asked the group to explore the possible dialogues between the Benin City objects and contemporary British culture. Presenting the group with a stack of free newspapers, Rosa asked the Art Assassins to produce collaborative collages that juxtaposed the objects with images of celebrities, current affairs headlines and advertisements. When sharing back their finished collages, the group discussed whether notions of empire were still prevalent in the UK today and how pop culture can address serious subjects.
In the next workshop the Art Assassins started to plan more specifically which objects they would focus on for their performance. By looking into the biographies of objects in more detail, via the Museum of Archaeology and Anthropology Cambridge’s online catalogue, the group found out about their origins. Rosa then asked the group to ‘cast’ these objects into a TV show format of their choice. By combining the object biographies with a TV show structure the group then formed possible narratives for the performance. These played out the complex relationship between anthropology and its subjects and objects.
In recent workshops the Art Assassins have been working on ideas for the costume in their performance. As research the group have been looking at how archival objects and images have been appropriated in design for activism and protest. The group explored examples such as Black Lives Matter in the USA, Sisters Uncut in the UK and the Artists’ Campaign to Repeal the Eight Amendment in Ireland. These have all used strategies of appropriation, scaling and performance to convey a message.
[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.
[Re:]Entanglements is part of a broader project entitled Museum Affordances, which is exploring what museum collections and archives make possible, or afford, for different stakeholders. As we have retraced the journeys made by the colonial anthropologist Northcote Thomas over 100 years ago in Nigeria and Sierra Leone, equipped with the photographs and sound recordings that he and his local assistants made, it has become apparent that one of the most powerful affordances of these archives is to enable people to reconnect with their ancestors. It has been a privilege for us to witness as community members set eyes upon the faces of their grandparents and great-grandparents, often for the first time.
Another striking affordance is the way these ancestral reconnections also connect extended families in the present. The descendants of those photographed during Thomas’s anthropological surveys now reside in many places throughout the world, forming transnational family networks among the broader diasporas of people with West African heritage. Social media platforms such as Facebook and WhatsApp enable such families to stay in contact, and it is interesting to see how the archive photographs that we bring back to communities in Nigeria and Sierra Leone are recirculated on these platforms, bringing extended families together through an appreciation of their shared past.
In October 2019, we were delighted to receive a message from Dr Obianuju Helen Okoye (née Nnama), a public health physician based in Chicago, Illinois, USA, sending us a photograph she had received from family members in Nibo in Anambra State, Nigeria. Dr Okoye – ‘Uju’ – wrote seeking confirmation: Was this really Chief Nnama, her late great-grandfather? It had been presented as such by a researcher from the [Re:]Entanglements project who had visited Nibo bearing the photographs.
In this guest blog, Uju tells the story of this ‘reunion of sorts’. Part family memoir, part eulogy for an illustrious ancestor, part local history, it is a rich and personal reflection on the contemporary value of these colonial-era archives.
The visitor from the University of Nigeria, Nsukka came unannounced, bearing precious gifts. ‘My name is Dr George Agbo’, he said in Igbo as he explained the purpose of his visit to the assembled group of Nibo indigenes. As he set up copies of Northcote Thomas’s 100-year-old photographs in an impromptu display, many of those gathered were somewhat bewildered. The exhibition of these portraits of strange-yet-familiar faces can best be described as a homecoming – an unexpected reunion of sorts, an intimate opportunity to embrace a past that was lost…
Staring at my phone in disbelief, I carefully examined the image that had pinged into our Nnama family WhatsApp group, which has over 50 members dispersed across West Africa, the UK and USA. My cousin, Chief Edozie Nnama (Ozo Odenigbo), had just shared a black and white photograph of a chiefly-looking man stating that it was our famous great grandfather. For the next two days there was confusion as we tried to make sense of what seemed to be an interesting rumour. How could we be sure? My cousin in the UK, Mrs Uzoamaka Nwamarah (nee Nnama), went off searching, and found the contact information for the [Re:]Entanglements project. So, to the source we went for confirmation, and I sent an email enquiry to Paul Basu, the leader of the project.
Fingers shaking, I took a screenshot of my email correspondence with Paul Basu, forwarding it to the family WhatsApp group. A mere ‘copy and paste’ seemed inadequate for news of such magnitude. For all of our Nnama family members – all who knew Nnama in the same manner that I did, as a revered name – it was the unearthing of a priceless family heirloom, made possible through the archival excavations undertaken by the [Re:]Entanglements project.
Nibo, my great-grandfather’s lands
Dusty red sand. Lush green tropical terrain. A bumpy ascent along untarred roads above the Obibia river. The joyous chants of children playing in the water below. My father’s loud voice bellowing, ‘These are my grandfather’s lands! These are all Nnama’s lands!’ These images remain ingrained in my mind. As a child I knew their significance. This was the land of my ancestors. It was my land. This place, Nibo, was home.
Nested in Igboland, on the banks of the Obibia river in Anambra State, Nigeria, Nibo lies close to its populous neighbour, Awka, with whom it shares a long history and close cultural ties. As children raised in various locations in West Africa and the United States, my father – Prof Samuel Kingsley Ifeanyi Nnama (Ozo Oyibo, Ozo Akaligwe, Ikenga Nibo-Traditional Prime Minister of Nibo, and the second in Nibo’s hierarchy at the time of his passing in 2016), who spent his childhood in Nibo and initially migrated to the United States in 1975 – made it a point to ensure that my siblings and I fully understood the legacy with which we had been entrusted. This was made especially tangible each Christmas during our childhood and teen years, when we would make an annual pilgrimage to our Nigerian hometown, Nibo.
Hearing the pride in my dad’s voice as he attempted to connect us, his children, with our mysterious and powerful ancestor – his grandfather, who he never actually knew in person – left a desire for a deeper understanding. Who exactly was this Nnama? How did he acquire his fame? What did he look like?
Since we had no photographs to look at, we created our own images in our minds. As I matured on another continent, thousands of miles from Nibo, my curiosity grew even stronger.
There he sits, with identifying facial marks and the nza over his shoulder. The scarification marks are called ichi – they signified royalty and status. The nza is a horsetail switch, which in those days formed part of the regalia of leadership. It is even used today by the current ruler of Nibo. His neatly-cut beard amazed me – what instrument, I wondered, did they use to maintain such neatness?
The photograph had a profound effect on me. I realized that while my dad has passed on his love for history and family to me, this image validated my connections. Nnama was more than a figure in a folktale – he was real! And the tears started flowing.
My late father was a keen family historian. This was a passion which he passed on to me at an early age. Back in 2007, we together created Wikipedia pages for Nibo and Chief Nnama to document their histories. Nibo is made up of four villages: Ezeawulu, Umuanum, Ifite and Ezeoye. Nnama Orjiakor was born sometime in the late 1860s/early 1870s into the royal family of Umuanum village. In the late 19th century there was a dispute between the ruling lineages of Umuanum and Ezeawulu, each claiming the throne. After decades of conflict (ogu uno), Umuanum prevailed and Nnama was confirmed as the Ezeike (king). To secure the peace, the opposing factions were united in the marriage of Nnama’s son – my grandfather – Orji Nnama and Mgbafor, the daughter of Ezekwe, the warrior leader of Ezeawulu village.
Ezeike Nnama Orjiakor was an astute strategist and formed an alliance with the powerful Aro warlord Okoli Ijoma of Ndikelionwu. Nnama arranged for his younger sister to marry Okoli’s second son Nwene Ijomah. In pre-colonial days, Nnama served as Okoli Ijomah’s deputy in the ‘Omenuko’ court, which presided over much of present-day Anambra State. This alliance offered Nibo great protection and safety during turbulent times.
With the coming of the British, however, Nnama recognized the futility of resisting the colonialist’s military might and the Nibo war council agreed to surrender. This marked the end of Nnama’s alliance with Okoli, who vowed that he would not be ruled by any other king and waged a military campaign against the British, suffering great losses and eventually putting an end to his own life rather than succumbing to the enemy. Meanwhile, Nnama was appointed as a Warrant Chief by the British in 1896 and continued to serve as Nibo’s traditional ruler until his death in 1945.
Northcote did not only photograph Chief Nnama when he visited Nibo in 1911. Inquiring further from Paul Basu, I was directed to a Flickr album containing almost 300 photographs he had made of people and places from my hometown. I was amazed to see my people in their natural habitat, often with remarkably intricate hairstyles that would be envied even today. As I looked through the photographs, I tried to connect the dots.
The photograph of Nnama begins the sequence of images that Northcote took in Nibo. The anthropologist would, of course, have gone to the king first. After taking Nnama’s picture, I reasoned that Nnama would then have arranged for Northcote to photograph other members of the ruling family. Prof Basu then sent me copies of Northcote’s photographic registers, allowing us to put names to the faces. Although the Igbo names were often incorrectly transcribed, I was hopeful that some of them might correspond with those recorded in our extended family (umunna) tree compiled by my late father.
In the photo register, after ‘Chief Nnama’ was ‘Oniyi’, who I couldn’t identify. But next was ‘Eke’. This was Nnama’s brother, whose descendants we all know. Then there was ‘Aduko’, which sounded so familiar. Could it be? Was it her? I wondered. Yes, this was surely Nwonye Oduko, my grandfather’s older sister, and Nnama’s first child.
Unfortunately, Aduko’s photograph is spoilt by a double-exposure. But, nevertheless, there she stands: Nnama’s ‘Ada’, his first child and daughter. Tall and seemingly full of pride, with scarification marks around her breast signifying her status as a daughter of the king. My dad had told me about his aunt Oduko, and the image made me smile.
‘Nwoze’, ‘Ekewuna’, ‘Ekwnire’, ‘Nweze’, ‘Ebede’, ‘Nwogu’, ‘Nwankwo’… these names I did not recognize, even taking into consideration Northcote’s errors of transcription. But then came ‘Nwanna’. Looking at the family tree, I saw there was indeed a Nwanna under the Ogbuefi branch of the family. I looked up the corresponding photograph and was stunned to discover that this Nwanna bore a striking resemblance to my dad’s older cousin, Chief Lawrence Ogbuefi, as well as his siblings, children and grandchildren. Other family members made the same observation.
In haste, I forwarded the image and a summary of my findings to Chief Lawrence’s daughter via WhatsApp. It was a remarkable discovery. For the Ogbuefi family members, looking at the photograph of Nwanna was akin to gazing in a mirror. For my Uncle Lawrence, aged 87 years old, this was a priceless heirloom. Nwanna was his father. He died when Uncle Lawrence was still young and my uncle had never before seen a photograph of him. After over 80 years, this image was a kind of resurrection that had him shedding tears of joy.
Uncle Lawrence wrote to me:
I salute the doggedness of the British anthropologist, Northcote Thomas, who visited my town Nibo in 1911 and took photographs of my people, including my dad – Nwanna Ogbuefi. I also salute the Royal Anthropological Institute and University of Cambridge for preserving those photographs for us. Those of us who were too young, even at our father’s death, to have any mental picture or reminiscences of what he looked like now have the opportunity of seeing what our dad looked like and appreciate the resemblances.
Northcote Thomas made trips to our land and made recordings that now establish a link with our fore-parents. Thomas may be long gone, but his work lives on to unite peoples of lost identities and educate and inform our children of the kinds of lives their great grandparents lived.
Travelling in time
To see Northcote’s photographs of Nibo carries us back to the Nibo of my grandfather’s childhood. To hear voices, recorded on Northcote’s phonograph, chanting songs in a pure Nibo dialect, stirs up a deep nostalgic feeling. As my cousin, Chief Nnamdi Nnama (Ozo Owelle) put it: It is an uncommon feeling, like one has travelled back in time to truly discover who you really are. Looking at the pictures said so much to me, and also left so much unanswered.
While much has changed in Nibo since Northcote’s visit, there are still traces of that time. Although faded over time, still standing is our famous uno nko nko – built over the site where our founding ancestor, Anum Ogoli, who established our village Umuanum was laid to rest. Inside can still be found the huge ikolo drum, which was also photographed by Northcote in 1911. The sound of this great drum could be heard at a great distance and the ikolo was used to communicate with the villagers.
The large tree that Northcote photographed, was still to be seen in my youth, when we took the short cut along the dusty path back to our house. And the obu, or court house, that Nnama’s father – Chief Orjiakor Eleh – built around 1856 remains an important landmark. (Nnama was buried just behind it.) Long gone, however, were the richly decorated walls that once enclosed the Ngene shrine.
My dad always told me that when the British came to Nibo, they came with a gun in one hand and a Bible in the other. Chief’s Nnama’s son, my grandfather, Orji Nnama, chose the Bible. He converted to Christianity, taking on the Christian name Joshua, and eventually became a missionary. This must have dismayed his father, since Nnama was not only the king, he was also keeper of the local gods, the chief priest of the Ngene shrine (Ngene Ukwu Afa), the biggest shrine in Nibo.
Even though Chief Nnama was a traditionalist he was also pragmatic. When his missionary son, now known to everyone as Rev Joshua, approached his father for land to build what would become St Matthew’s Anglican Church, Nnama rose to the task by offering his prized land at the very centre of the town – the Eke market square. A remarkable edifice that still stands today.
Rev Joshua also later built his own personal church on Nnama family land, All Saints Anglican Church. When the church needed to expand, the Nnama family donated the land on which the Ngene shrine once stood, and which had long-since become overgrown with bushes, to be the site of the new All Saints Anglican Church. In the passage of over a hundred years since Northcote photographed it, different religious institutions, the old exchanged for new, and yet the site is still sacred.
Since that fateful day when his face appeared on my phone, I often think about Ezeike Nnama. What would he think about his many descendants scattered around the world? What would he think of his town of Nibo today, with a new church prevailing where his traditional shrine once stood? I wish I could tell him that, though his descendants now serve a Christian God, we all stand tall with great pride in our rich legacy, because we know from whom we came.
Ancestral reconnections foretold
Reflecting on the significance of these ancestral reconnections, I want to leave the last words to my cousin, Chief Chibueze Nnama (Ozo Orjiakor VI, Ozo Nnama V), the current Nnama clan family head, who eloquently states:
I was elated, excited, amazed and joyous when we were informed of the interviews, records and pictures of our great-grandfather Chief Nnama Orjiakor (also known as Ozo Orjiakor II, Ozo Nnama I, Ofulozo, Alukachaa ekwe). This was awesome because in line with the cultural oral tradition of our forefathers: we, my brothers and sisters, children of Chief Godwin Chukwuedozie Davidson Nnama (Ofulozo), the first son of Rev Joshua Orjiakor Nnama (Ogbuaku), as teenagers and undergraduates, would sit down with our grandfather at the Obu Nnama Orjiakor while he relayed our entire family history, culture, taboos, African tradition religion, the coming of the white man and conquering of the Igbo tribes of the Lower Niger, slave trade, notable judgements as Warrant Chief, words of wisdom of his father, Chief Nnama Orjiakor and grandfather, Chief Orjiakor Eleh, the Warrior King. We were repeatedly told that our great-grandfather, Chief Nnama Orjiakor, was interviewed and the records were stored in the archives somewhere in Britain.
As the family historian and cultural custodian, it is awesome and uplifting that the truth of the records, culture and heritage of our great-grandfather, Chief Nnama Orjiakor, as foretold and repeatedly emphasised by our grandfather, Rev Joshua Orjiakor Nnama Ogbuaku, has come to light in our lifetime.
Thank you very much, Uju, for sharing your family’s remarkable story with us!
[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 in May 2020, which they will curate themselves.
The first artist to collaborate with the group is Onyeka Igwe. Onyeka is a filmmaker, programmer and researcher. She is widely known for her video work which uses dance, voice, archive and text to expose hidden narratives. Her work explores the physical body and geographical place as sites of cultural and political meaning. Onyeka won the 2019 Berwick New Cinema Competition for her film the names have changed, including my own and truths have been altered. The film explores three interconnected narratives – a story of the artist’s grandfather, one of ‘the land’, and another detailing an encounter with Nigeria.
For her project with the Art Assassins, Onyeka has been exploring the sound recordings made during Northcote Thomas’ anthropological surveys in Nigeria and Sierra Leone. The work is ongoing, so here we report on our activities so far and our plans for developing this strand of the project over the coming months.
to the archive
At an initial workshop with Onyeka, the Art Assassins explored the [Re:]Entanglements SoundCloud site, at which the complete set of Northcote Thomas’ digitised sound recordings have been made available. They spent time listening to a selection of the recordings on high quality speakers in the South London Gallery’s Clore Studio. Participants were struck by the texture of the phonograph recordings and how the crackles and pops created their own rhythms. This led into a discussion about how the recordings were made and Onyeka explained more about the wax cylinder recording process employed by Thomas. To give a more contemporary context, Onyeka set up a vinyl record player so the group could get hands on with the analogue sound equipment and learn how sounds can be manipulated.
The group visited British Library Sound Archive in Kings Cross to find out more about its huge collection of historical ethnographic and ethnomusicological wax cylinder recordings. The British library holds over 700 discrete recordings made by Thomas between 1909 and 1915. It was also responsible for producing the digitised versions of the recordings that the Art Assassins were able to access online. Dr Janet Topp Fargion, Lead Curator of World and Traditional Music, hosted the visit. After travelling down several floors deep into the basement of the British Library the Art Assassins were amazing to find themselves face-to-face with shelves of Thomas’ original wax cylinders. They were then introduced to the team responsible for digitising the wax cylinders and witnessed a live demonstration of the process.
Making an audio archive
Back at the South London Gallery, Onyeka and the Art Assassins started to plan how they might create their own archive of sounds reflecting their own lives. Relating back to the Thomas’s work, Onyeka asked the group to consider the categories he had used in his anthropological reports. Would these same categories work for understanding young people living in London today? The group debated this and offered up other categories to guide their sound recording process.
group are continuing to build up their own archive of sound recordings ranging
from everyday sounds and actions to capturing their own and their families’ accents
and phrases. They will also be conducting oral histories with people living the
UK with a connection to Nigeria and Sierra Leone which will become part of
their larger archive.
preparation for the exhibition in at South London Gallery in May, the group
will be working with Onyeka to explore how this developing sound archive can
take shape as an artwork. Some of the early ideas are to draw on the
technologies and techniques of sound systems and other urban music cultures,
using sampling and remixing to produce new arrangements of sound.
Autograph started in Brixton in the 1980s as the Association of Black Photographers. They are now based in a fantastic gallery and archive space in Shoreditch. Autograph’s mission is to enable to public to explore issues around identity, representation and social justice through work produced by artists who use photography and film. It has a remarkable photographic collection dating from the 1860s to the present day.
One of the big questions
that inevitably surfaces whilst working with anthropological archives is the issue
of representation. Since their first encounter with the Northcote Thomas archive,
the Art Assassins have been debating this issue and thinking about how it informs
their response to the materials. This has led them to devise a manifesto to
problems we encounter via the archive should be reflected in our work
will document our understanding of the archive as it changes over time
consider our individual relationship to the archive given our different
will avoid replicating the problematic methodologies associated with the
will question what the value of the archive is for young people today
To explore this further the group have participated in two workshops with Ali Eisa, Public Programme Manager at Autograph, which looked at how people and communities are represented in contemporary photographic archives. We asked Art Assassin, Jordan Minga, and Ali Eisa to talk a bit more about what we got up to in the workshops.
Can you give some background to Autograph as an organisation and the archive that it has collected?
Ali: Autograph shares the work of artists who use photography and film to highlight issues of identity, representation, human rights and social justice. Since its foundation in 1988, Autograph has collected photographic material, which reflects our mission: to use photography to explore questions of cultural identity, race, representation, human rights and social justice. The Archive constitutes Autograph’s permanent collection of photography, and covers key periods in the formation of culturally diverse communities in Britain, including the post-war Windrush generation and Victorian era. It contains photographic works made by renowned fine artists, social documentary and high street studio photographers, plus personal family albums and vernacular imagery.
What did you do with Ali in the first session at Autograph?
Jordan: The first thing we did at Autograph was explore the current exhibition of work by the British-Liberian artist Lina Iris Viktor. After that we had the pleasure of getting to look at three portfolios of photographs in the Autograph collection. We discussed the compositions and the intentions of the photographers.
What was the intention of introducing the Art Assassins to the different collections that Autograph has collected in its own archive?
Ali: The intention was to introduce the Art
Assassins to a contemporary photographic archive that can give them a critical
perspective on issues of representation, race, identity, human rights. This was
seen as important in the project because the young people are responding to a
colonial era archive, which from a contemporary perspective is highly
problematic in its representation of the black subject. So, we were interested
in generating a critical conversation with the young people around issues of
representation, history, memory and identity with the intention of developing
how they look at the colonial archive, and what kinds of questions they might
ask of it.
At the first session you said that you’d never really looked into the lives of young black people in London in the past. What did you find interesting about seeing those photographs?
Jordan: I have always had an interest in the history of the area I live in. We looked at a series of works entitled Lovers’ Rock by John Goto. It was interesting to learn that the subjects of the photographs were young people from a Youth Centre in South London. It helped me discover the fashion of young people around my age in that time period. I can now imagine myself in the 1970s!
In the second workshop the Art Assassins made collages that combined the imagery from the Autograph archives and the Northcote Thomas archive. How did the collage exercise try and address the difficulties of representation in the images?
Ali: The collage exercise was really great
because you are forced in the making of the work to put different images into
conversation. It also allows you to layer images on top of one another, to give
them new ways of relating and new contexts to look at them. It was an activity
that allowed the young people to tell their own story about these images and
how they think we might start to view them. What was really interesting was how
easy it was to start mistaking the Northcote Thomas images from the Autograph
ones, once they had been creatively collaged. It showed how important a
creative response is to telling new stories and thinking forward in the
project, how this group of young people can rethink and reframe the Thomas
archive to say something about our contemporary world.
Jordan, how did the collage exercise change the way you thought about the photos from the different archives?
Jordan: The collaging exercise showed me a lot about he the contrast between the contents of the archives. Through college, I got to play with the images. Changing the symbolism of the photography was fun as we gave them new meanings.
One of our objectives in the [Re:]Entanglements project is to reach out to a wide range of communities to explore the different values, meanings and possibilities they perceive in the archival traces of Northcote Thomas’s anthropological surveys. This includes people living in the towns and villages in which Thomas worked in Nigeria and Sierra Leone over a century ago, but also artists, activists, academics and others who identify with the groups Thomas studied in one way or another – regardless of where they live now.
We have recently begun a new collaboration funded by the UK’s National Lottery Heritage Fund with the Art Assassins – a youth forum based at the South London Gallery in Peckham. Peckham is a wonderfully diverse area of London, where there is a large British-Nigerian and Sierra Leonean community. The South London Gallery – or SLG, as it is now known – is a vibrant cultural hub. Its young people’s programme, which includes the Art Assassins and REcreative, who we shall also be working with, is especially inspiring.
This is the first of a regular series of blogs that members and coordinators of the Art Assassins will post as the project develops. The project will culminate in an exhibition based on their engagement with the Northcote Thomas archives and collections that the Art Assassins will curate in the SLG’s new Fire Station annexe in May 2020. Over to the Art Assassins…
My name is Tommie Introna, and I have been working with the Art Assassins over the last two-and-a-half years. The Art Assassins is an ever-evolving group for young people aged between 14 and 20 years old that formed ten years ago at SLG. They work collaboratively with each other and with established artists and experts to create platforms that represent themselves and their ideas.
Over the coming months, we will be working with SOAS, UCL’s Museum Conservation programme, the Igbo Studies Initiative, Autograph ABP, two ‘researchers-in-residence’, Emmanuelle Andrews and Emma Dabiri, and artists including Onyeka Igwe and Rosa-Johan Uddoh to examine the archives and collections associated with Northcote Thomas’s anthropological surveys in Nigeria and Sierra Leone. The project will enable young people in South London to get an insight into the professional world of archives and museums as they engage with the photographs, sound recordings, artefacts, botanical specimens and texts relating to Thomas’s surverys. We will be visiting the institutions that care for them today, and explore other related collections, gaining insights into conservation practice, collections based research and curatorship.
Working with these anthropological
archives and collections from the early twentieth century will provide an
opportunity to explore colonial history in Britain and West Africa. This is an
area that is neglected in the school curriculum, but central to the experiences
of many communities living in South London today. We will be working with
researchers and artists to explore how history can inform our understanding of
our everyday lives and our collective futures.
The project has only recently begun, but already we have been very busy. We have been introduced to the field of ethnography and the history of ethnographic collecting during a visit to the Horniman Museum’s recently refurbished World Gallery. We have got to handle some of the artefacts collected by Thomas during his surveys and learnt about the process of museum conservation in a visit to the Conservation Labs at UCL’s Institute of Archaeology. We have had an initial meeting with Onyeka Igwe, the first of the artists with whom we will be working. And we have had several sessions now in which we have begun to discuss our initial ideas and plans for the project.
We are really excited about the project and can’t wait to see what develops through the collaboration. We’ll be posting regular updates to the [Re:]Entanglements blog and you will also be able to follow our progress through Instagram.
The Art Assassins welcomes new members. If you are aged 14-20 and able to meet regularly at our base in Peckham, South London, please join us! Drop us an email at email@example.com
Tommie Introna, Young People’s Programme Coordinator, South London Gallery.