A questionnaire on dolls

A selection of dolls collected by Northcote Thomas in Agbede, present-day Edo State, Nigeria, in 1909. (Museum of Archaeology and Anthropology, University of Cambridge.)

According to the Encyclopedia of Children and Childhood, dolls are known in all cultures across the world and are one of the oldest and most widespread forms of toys. Given their ubiquity, dolls made the perfect subject for comparative study across different cultural groups. Despite this, anthropological studies of dolls are rare. The colonial anthropologist Northcote Thomas collected many examples of dolls during his 1909-10 anthropological survey of the Edo-speaking people of Nigeria. Thomas’s interest in dolls pre-dated his appointment as Government Anthropologist in West Africa.

In 1906, Thomas published a questionnaire on dolls in the anthropological journal Man. The use of questionnaires distributed to colonial administrators, missionaries and other travellers was a common anthropological practice of the late 19th and early 20th century. At this time, anthropologists relied on material collected by others to inform their research. Prior to his appointment as Government Anthropologist, Thomas had not personally undertaken fieldwork.

Page proofs of Northcote Thomas’s ‘Questionnaire on Dolls’, published in the journal Man in 1906. (Cambridge University Library.) (Click image to enlarge.)

The questionnaire shows that Thomas was interested in what defined a doll as a doll, as distinct from other representations of human figures. ‘A doll’, he writes, ‘is, properly speaking, a child’s plaything … But there are points of contact between them and (a) magical figurines, (b) idols, (c) votive offerings, and (d) costume figures’. It is clear from the questions that, even as ‘a child’s plaything’, dolls have quite remarkable properties. Many of the questions seek to interrogate in what ways dolls may be perceived to be alive, and treated as such. For instance, there are questions about feeding dolls, whether they suffer from illnesses, whether they have feelings and emotions. Do they sleep? Do they die? If so, are burial ceremonies performed?

Although Thomas was particularly interested in the use of dolls among ‘non-European peoples’, many of his queries draw upon an earlier questionnaire formulated by the American psychologist G. Stanley Hall, which was distributed to school children in the USA and Scotland. The findings of this and a subsequent study by A. Caswell Ellis were presented in an article entitled ‘A Study of Dolls’ published in 1896 in The Pedagogical Seminary. This is still regarded as a foundational work in ‘doll studies’. Thomas’s innovation was in extending this area of research into a cross-cultural, ethnographic context.

Unlike Hall and Ellis, however, it seems that Thomas did not complete his study or publish material gathered from the questionnaire. He did, however, present a preliminary paper on the subject of dolls at a meeting of the Royal Anthropological Institute on May 14th, 1907.

Top right: Note recording Northcote Thomas’s lecture on dolls presented to the Royal Anthropological Institute, May 14, 1907. Left: Letter from W. O. Oldman to Thomas following the lecture. Bottom right: Photograph of a Korean straw doll and Asante ‘twin doll’ enclosed with Oldman’s letter. (Cambridge University Library.) (Click image to enlarge.)

A brief write-up in the Proceedings of the Institute notes that the discussants included anthropologists Emil Torday, Thomas E. Smurthwaite and Ernest A. Parkyn. The well-known dealer in ‘ethnographic specimens’, William O. Oldman, was evidently also present. A letter survives in which Oldman compliments Thomas on his ‘exhaustive and instructive lecture’, and draws Thomas’s attention to ‘a type of doll I do not think you mentioned’: straw dolls of Korea. Oldman encloses a photograph of such a straw doll in his collection as well as a ‘twin doll’ from Gold Coast (Ghana). Perhaps Oldman hoped Thomas would be interested in buying them! (Thomas states in the questionnaire that he would be ‘glad to receive specimens, which should be carefully labelled with the name of the tribe, etc.’)

Top: Lantern slides with line drawings of African dolls, probably used to illustrate Northcote Thomas’s lecture at the RAI in 1907 (Cambridge University Library). Bottom: Thomas’s source for several of the line drawings was an illustrated article by Karl Weule entitled ‘Aus dem afrikanischen Kinderleben’, published in 1899 (http://rossarchive.library.yale.edu).

In addition to the questionnaire, Thomas had been conducting library and museum based research on dolls. Notebooks and record cards survive in the Cambridge University Library, which include sketches and notes on different examples in European collections. A number of lantern slides also survive with line drawings of dolls from the African continent. These are probably the very slides used to illustrate Thomas’s talk at the Royal Anthropological Institute in 1907. The original source for many of the line drawings is an article entitled ‘Aus dem afrikanischen Kinderleben’ (‘From the African child’s life’) by Karl Weule, assistant director at the Museum für Völkerkunde zu Leipzig, published in Westermann’s Jahrbuch der Illustrierte Deutschen Monatschefte in 1899.

While Thomas did not publish a substantive article on dolls, he was clearly still interested in the topic at the time of his 1909-10 survey in Southern Nigeria. During this tour he collected approximately 40 dolls, mainly in the northern Edo towns of Uzebba, Otuo, Sabongida, Agbede, Irrua and Fugar. Those collected in Agbede, in particular, share many formal characteristics, and some appear to have been produced by the same maker.

Dolls collected by Northcote Thomas in the northern Edo towns of Uzebba, Otuo, Sabongida, Agbede, Irrua and Fugar in 1909. (Museum of Archaeology and Anthropology, University of Cambridge.) (Click on image to enlarge.)

Thomas also took a number of photographs of children holding dolls. In one instance, a girl appears to be holding one of the dolls collected by Thomas. This is somewhat puzzling since Thomas records the doll in question as being acquired in Fugar, while the photograph was taken in Ikpe, on the outskirts of Auchi, which Thomas visited after Fugar. It is possible that Thomas set up the photograph, getting the girl to pose with a doll he had previously collected. Alternatively, he may have recorded the provenance of the doll incorrectly, acquiring it in Ikpe. This raises the broader question about how Thomas acquired the dolls. Did he obtain them directly from makers? Or was he purchasing them from households? If the latter, did he persuade parents to sell him their child’s doll? It seems especially cruel to think that he may have forced children to part with their beloved toys.

Left: Doll collected by Northcote Thomas in Fugar, present-day Edo State, Nigeria, in 1909 (NWT 2704A; MAA Z 12722A); Right: ‘Child and doll’, photographed by Northcote Thomas or one of his assistants in Ikpe, near Auchi, present-day Edo State, Nigeria (NWT 1122; RAI 400.18184). The girl holds the doll to her breast, perhaps mimicking her mother. The doll appears to be that pictured on the left, which Thomas records as being acquired in Fugar. It is not clear whether the provenance of the doll has been incorrectly recorded or whether Thomas set up the photograph, getting the child to pose with the doll he had previously collected. Note the child’s bead waist band, which a number of the dolls collected are also dressed with.

Despite assembling this remarkable collection of Nigerian dolls, Thomas did not include any discussion of them in his Anthropological Report on the Edo-speaking Peoples of Nigeria. This is not surprising since the reports were primarily intended to provide information of use to colonial administrators, and the study of dolls would have been regarded as a matter of purely academic interest. But neither have we been able to locate any unpublished fieldnotes relating to the dolls. It appears, therefore, that Thomas did not use the opportunity of his fieldwork to gather the kinds of information that he requested in his 1906 questionnaire. As with much of the material assembled during Thomas’s anthropological surveys, we have only fragmentary knowledge.

Left: Detail of beadwork adorning doll collected by Northcote Thomas in Agbede, present-day Edo State, Nigeria, in 1909 (NWT 2302; MAA Z 11738); Right: Young girl holding a similar doll to that pictured left, including bead headdress/hair decoration. Photographed by Northcote Thomas or one of his assistants in Agbede, present-day Edo State, Nigeria, in 1909 (NWT 965; RAI 400.17321).

We can, however, learn much by examining the collections and photographs themselves. The form of many of the dolls is highly abstract – some are barely more than sticks. Others, even though they may not have representations of arms or legs, have facial or body scarification marks similar to those worn by local people. Most striking is the correlation between the body ornamentation of the dolls and children photographed by Thomas, including hair beads, necklaces, waist bands and anklets. Some of the dolls are more representational in style, with arms, legs and more realistically carved facial features.

Detail images of a doll collected by Northcote Thomas in the Esan town of Irrua, present-day Edo State, Nigeria, in 1909. As well as the representations of scarification marks, note the beaded hair decoration, waist band, arm band and anklet. These body adornments can be seen in many photographs of children taken during the anthropological survey. Thomas gives the name ‘omorha’ for the waist band. (NWT 2501; MAA Z 12737)

In most cases Thomas uses the English word ‘doll’ to label these figures. Occasionally a local language word is used. Two of the dolls collected in Fugar are, for example, labelled ‘omo’, which means child in the Edo language. One of the dolls collected in Agbede is labelled ‘utomo’, while another collected in Uzebba is labelled ‘omowowo’ (both of these include the word fragment ‘omo’). One example collected in Irrua is labelled ‘agagaigboie’.

A series of photographs of an adolescent girl named Mogiake posing with a doll taken by Northcote Thomas or one of his assistants in Agbede, present-day Edo State, Nigeria, in 1909. (NWT 950a, 950, 950b; RAI 400.17301, 17300, 19718)

In the absence of more detailed contextual information, it is not always clear what distinguishes the figures Thomas labelled as dolls from other kinds of figures collected by Thomas. Some, particularly more representational and less abstract figures, are visually more of less indistinguishable from those Thomas labels as ‘ele’ or ‘olose’ figurines, or figures associated with shrines. Fascinating though this wonderful assemblage of Nigerian dolls is, we can only regret that Thomas did not also collect the kinds of information he sought to elicit from others in his 1906 ‘Questionnaire on Dolls’. How interesting it would have been to have answers to those questions: Were they fed? Did they suffer from illnesses? Do they die? Are they reincarnated? What names did they carry? Did they feel emotions? Who made them? Do they have magical properties? We shall perhaps never know.


Display of dolls collected by Northcote Thomas included in the [Re:]Entanglements: Colonial Collections in Decolonial Times exhibition at the Museum of Archaeology and Anthropology, University of Cambridge, June 2021-April 2022.

Unspoken stories: Five archival monologues

Unspoken Stories - Five Archival Monologues

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?

Physical type photographs in albums from Northcote Thomas’s anthropological surveys of Igbo-speaking communities in Nigeria. Copies of the albums are held at the University of Cambridge Museum of Archaeology & Anthropology, the UK National Archives and the National Museum, Lagos.

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.

Storyteller Olusola Adebiyi during filming of Unspoken Stories, 2020. Photograph: Paul Basu.

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
Listen to Usifu Jalloh discussing the character of Onyeso in Unspoken Stories.

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.

Chief Onyeso and family, photographed by N. W. Thomas, Agukwu Nri, 1911
‘Chief Onyeso and family’, photographed by N. W. Thomas, Agukwu Nri, 1911. NWT 2236. RAI 400.15837.

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.

Onyeso, Agukwu Nri, photographed by N. W. Thomas was oton and ofo.
N. W. Thomas photographs of Onyeso of Agukwu Nri, pictured with oton, ofo and goat skin bag. NWT 2563 and 2564; RAI 400.15415 and 400.15416.

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.

See also It is I who come, Onyeso!

Monologue 2: Unnamed children

Performed by Nadia Maddy
Listen to Usifu Jalloh discussing the children’s perspective in Unspoken Stories.

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?

‘Boys’, photographed by Northcote Thomas or an assistant at Aja-Eyube, present-day Delta State, Nigeria, in 1909. NWT 1410c; RAI 400.16679.

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.

Children’s game, photographed by Northcote Thomas in Eviakoi, near Benin City, 1909. NWT 1199a; RAI 400.18304.

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
Listen to Usifu Jalloh discussing the character of Yainkain in Unspoken Stories.

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!

Left: Yainkain, photographed by Northcote Thomas in Tormah, Bum Chiefdom, Sierra Leone, 1915. NWT 6191-2; RAI 400.19748. Right: Corresponding entry in photographic register (Royal Anthropological Institute).

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.

Ndoli jowei (dancing sowei) of the Bondo society, photographed by Northcote Thomas in Tormah, Bum chiefdom, Sierra Leone, 1915. NWT 6183-4; RAI 400.38125.

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.)

See also Sierra Leone masquerades.

Monologue 4: Ngene

Performed by Usifu Jalloh
Listen to Usifu Jalloh discussing the character of Ngene in Unspoken Stories.

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.

Walls of the Ngene shrine painted with uli designs, photographed by Northcote Thomas in Nibo, present-day Anambra State, Nigeria, in 1911. NWT 3068; RAI 400.16439.

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.

Inspecting Ngene alusi figure, University of Cambridge Museum of Archaeology & Anthropology
Left: Close-up of the Ngene alusi figure. Note the igbu ichi marks on the forehead. (Photograph: George Agbo.) Right: George Agbo and Paul Basu encountering Ngene for the first time having taken him out of his storage crate at the Museum of Archaeology and Anthropology stores, Cambridge. (Photograph: Katrina Dring.)

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?

Display in the [Re:]Entanglements: Colonial Collections in Decolonial Times exhibition at the Museum of Archaeology and Anthropology, Cambridge, 2021. The display recreates a photograph taken by Northcote Thomas (or one of his assistants) in Awgbu, present-day Anambra State, Nigeria, in which collected objects are lined up and recorded prior to being shipped to Cambridge. (Photograph: Paul Basu.)

See also Collections notes: Ngene alusi figure

Monologue 5: John Osagbo

Performed by Richard Olatunde Baker
Listen to Usifu Jalloh discussing the character of John Osagbo in Unspoken Stories.

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.

Northcote Thomas gives an ident at the start of this phonograph wax cylinder recording, stating: ‘…Song played by my servant, John, February 10th, 1909.’ Recorded in Benin City. (NWT 16; BL C51/2245.)
Physical type portrait of Igbenosa (centre of frame) made by Northcote Thomas in Benin City, Nigeria, in 1909. On left, holding an umbrella, is Thomas’s assistant, whom we believe to be John Osagbo. NWT 198a; RAI 400.18019.

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.

Northcote Thomas’s assistant, whom we believe to be John Osagbo, appears in the periphery of many photographs from Thomas’s 1909-10 tour of Edo-speaking communities. The photographs are re-framed here to place John more centrally. Left, photographed in Utekon (NWT 427; RAI 400.15581) ; right, photographed in Agbede (NWT 959; RAI 400.17317).

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.

Letter from Northcote Thomas to Alexander Fiddian of the Colonial Office dated 14 May 1910, after Thomas’s return from his first anthropological survey. Thomas writes, ‘I have an assistant – John Osakbo – the most capable boy I ever saw. He can’t read or write. I recommend that he get a retaining fee (£1 per mensem) during my absence on condition that he learns to read and write. He should also go and get training in photography. He is in Benin City and could do all this there.’ (TNA CO 520/100.)

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.

Left: Northcote Thomas, probably photographed by his translator/assistant Corporal Nimahan (RAI: 400.38267); Right: Corporal Nimahan, in the same location, probably photographed by Northcote Thomas (RAI 400.38292).

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.)

‘Group of chiefs at meeting of land dispute and Government Anthropologist’, photographed by one of Northcote Thomas’s assistants in Neni, present-day Anambra State, Nigeria, in 1911. NWT: 2270; RAI 400.15905.

See also Peripheral presences: N. W. Thomas’s field assistants.

Bringing the archive to life through storytelling

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.

Sierra Leonean storyeteller, Usifu Jalloh (www.usifujalloh.com).

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.

The Unspoken Stories video installation at the [Re:]Entanglements: Colonial Collections in Decolonial Times exhibition, Museum of Archaeology and Anthropology, Cambridge, 2021. (Photograph: Paul Basu.)

Spotlight on: Shakalearn Mansaray

Shakalearn Mansaray’s completed wooden panel evoking Thomas’s photographic series of pot-making in Sierra Leone.

As part of the [Re:]Entanglements project we have been using art and creativity as methods of re-engaging with the anthropological archives assembled by Northcote Thomas in West Africa in the early twentieth century. This has involved developing many wonderfully rewarding collaborations with Nigerian and Sierra Leonean artists. Much of the resulting work has been displayed at exhibitions in Benin City, Lagos and Nsukka.

One of the artists we have been working with in Sierra Leone is Sheku Shakalearn Mansaray. Shakalearn grew up in a village in the Eastern Province of Sierra Leone, but came to Freetown in 1990. He comes from a family of artists and developed his skills as a carver partly through an apprenticeship and partly through formal training at Milton Margai College of Education and Technology. He is coordinator of an NGO called Peacelinks, which uses art and performance to promote peacebuilding and social mobilization especially among young people.

[Re:]Entanglements project workshop with Sierra Leonean artists at the Sierra Leone National Museum, Freetown. Shakalearn Mansaray, left, discusses his responses to Northcote Thomas’s anthropological photographs with other participants including (left to right) Morrison Jusu, Julius Parker and Christopher Parkinson.

Shakalearn chose to engage with a series of photographs Northcote Thomas made in 1914 documenting pot-making in the town of Kamalo in present-day Sanda Loko chiefdom in the Northern Province of Sierra Leone. Thomas created a number of these photographic series during his Nigerian and Sierra Leonean tours. Each image in a sequence recorded a different stage in a process: the stages in a manufacturing process, for example, or a ritual. From a sequence of 15 photographs showing stages in the production of earthenware pots in Kamalo, Shakalearn selected eight to reproduce in his carved panel.

During his anthropological survey work in Southern Nigeria and Sierra Leone, Northcote Thomas made several series of photographs documenting production processes, including pot-making. Shakalearn Mansaray’s carved panel was inspired by this series of photographs, taken by Thomas in 1914, showing the pottery production technique in Kamalo, present-day Sanda Loko Chiefdom, Sierra Leone.

Rather than carving on newly cut timber, Shakalearn salvaged planks from an old Creole ‘board house‘ that was being demolished in Freetown. These beautiful wooden houses, built during the 19th century, were once common in Freetown. Unfortunately, many have fallen into disrepair and they have gradually been knocked down to be replaced with modern concrete structures. When Northcote Thomas visited Freetown during his 1914-15 tour of Sierra Leone, these houses would have predominated.

After rescuing the old timbers and cutting them to size, Shakalearn created a composite drawing of the eight different photographs on paper. He then chalked this onto the wooden panel and began to chisel out the work in relief. Normally Shakalearn’s carved works are given a much more fine finish. On this work, however, Shakalearn wanted to retain the aged patina of the salvaged boards. One inspiration was the work of the African-American artist Whitfield Lovell.

Shakalearn Mansaray working on the wooden panel. Left: The wood for the panel was salvaged from one of Freetown’s old ‘board houses’ that was being demolished to make way for a new building. Centre: Drawing out the design for the carving from Northcote Thomas’s photographic series. Right: Chalked design on the panel, starting to carve.
Detail of Shakalearn Mansaray’s carved panel depicting stages in traditional Sierra Leonean pot-making as documented by Northcote Thomas in 1914.
The African-American artist Whitfield Lovell was one source of inspiration for Shakalearn Mansaray’s work on salvaged wooden boards.

Clay pots were an everyday item used for storage and cooking, and were once made throughout Sierra Leone. Today, these sustainably-sourced and locally-manufactured pots have been displaced by imported plastic and metal utensils. There are, however, a few traditional potters still practicing in Sierra Leone. Most notable is the pot-making community at Mabettor near Lunsar in present-day Buya Romende chiefdom in the north of Sierra Leone.

In 2019, as part of our fieldwork for the [Re:]Entanglements project, we spent some time with the potters at Mabettor. We showed the community Northcote Thomas’s photographs of Sierra Leonean potters from 105 years before and left copies with them. A number of the potters, including Marie Sesay, Khadiatu Conteh, Adamsay Conteh, Isatu Koroma and Ya Abie Koroma demonstrated their pot-making techniques, which were exactly the same as those documented by Thomas in Kamalo. These day, however, their wares are mainly sold to visitors from overseas or Freetown who want them to decorate their homes.

Fieldwork with pot-makers in Mabettor, Buya Romende chiefdom, Sierra Leone, 2019. [Re:]Entanglements project research associate, James Vincent, showing community members Thomas’s photographs of pot-making taken 105 years previously. (Photograph: Paul Basu)
Pot-making in Mabettor, Buya Romende chiefdom, Sierra Leone. The same techniques documented by Northcote Thomas in Sierra Leone in 1914 are still used today as demonstrated here by potters Marie Sesay and Khadiatu Conteh. Traditionally-made clay pots have, however, been replaced by imported plasticware throughout Sierra Leone, and the majority of pots made in Mabettor today are purchased by tourists or for decorative purposes. (Photographs: Paul Basu)

We love the way Shakalearn uses traditional carving techniques to inscribe the archival documentation of another traditional craft form into wood salvaged from a building that would have stood at the time of Thomas’s anthropological surveys. Thank you Shakalearn!

A more detailed discussion of Northcote Thomas’s documentation of traditional pot-making and contemporary pot-making in Mabettor will be the subject of a future article.

Mourning Clothes

Nnaemezie Asogwa Mourning Clothes - Textile Design

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’.

Nnaemezie Asogwa Mourning Clothes - Mourning as Remembrance
‘MOURNING AS REMEMBRANCE’. Asogwa puts on the mourning cloth and places himself in the frame. ‘I had to ask myself a lot of questions. It was like blowing on something covered with dust and everything just flies up. The narrative of Ekumeku has accumulated a lot of dust because nobody is talking about it’. Photograph by Nnaemezie Asogwa.

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.

Nnaemezie Asogwa Mourning Clothes - Family Reunion
‘FAMILY REUNION’. ‘I wondered what it would be like if I could freeze that moment in Anioma during the Ekumeku war and walk in there. What kind of conversation could I have with them? Who would I be to them?’ Photomontage including Northcote Thomas photographs by Nnaemezie Asogwa.

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.

‘MOURNING AS REMEMBRANCE’. Presencing the memory of Ekumeku in Britain: landscapes and architectures built on the profits of imperial exploitation. ‘In my place, there is a tradition. If someone is killed, you take the body of the victim to the gates of the perpetrator’s compound’. Photomontages including Northcote Thomas photographs by Nnaemezie Asogwa.

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.

The lack of historical images documenting Ekumeku led to my working with Northcote Thomas’s photographs. I was engaged as a photographer at the opening of the [Re:]Entanglements project exhibition at the National Museum in Lagos in 2019. The exhibition featured Kelani Abass’s artistic engagements with photograph albums from Thomas’s anthropological surveys kept at the museum. This was my first introduction to Thomas’s photographs. Later, when I started work on Mourning Clothes, I contacted the [Re:]Entanglements team and was really excited when they sent me a link to the project Flickr site, where Thomas’s photographs are organised according to location. It was then I discovered that he spent a year working in the Anioma / Western Igbo area and there were hundreds of photographs taken in locations where the Ekumeku struggle took place.

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.

Nnaemezie Asogwa Mourning Clothes - Textile Design
Nnaemezie Asogwa’s textile design for Mourning Clothes, incorporating photographs taken by Northcote Thomas during his anthropological survey of Asaba District in 1912-13.

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.

Nnaemezie Asogwa Mourning Clothes - Erasures and Traces
‘ERASURES AND TRACES’. Palimpsests. ‘This history has been allowed to die. It is not completely dead, but it has been thrown away and trampled upon, discarded. But can you really erase that history? You can try to remove it, but no matter how obscured, you can still find traces of it. It lives in the minds of people who may be far removed from that time or that part of the world.’ Photomontages including Northcote Thomas photographs by Nnaemezie Asogwa.

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.

‘MONUMENT’. ‘We have an obligation to the dead. I didn’t want to end this project without erecting a monument in honour of those who died in the anti-colonial struggle, those who were not mourned and who cannot rest in peace’. Photomontage including Northcote Thomas photographs by Nnaemezie Asogwa.

See an online exhibition of Nnaemezie Asogwa’s Mourning Clothes at https://artspaces.kunstmatrix.com/en/exhibition/1721249/mourning-clothes

Images: Nnaemezie Asogwa
Text: Nnaemezie Asogwa and Paul Basu

A Conversation

The phonograph sound recordings made during Northcote Thomasanthropological surveys in Nigeria and Sierra Leone are like time capsules. Between 1909 and 1915, Thomas and his local assistants made well over 700 recordings of songs, stories and ‘specimens of language‘. Many of these have been unheard for over a century.

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.

Conversation in Igbo between John, from Onitsha, and Nwile, from Nibo, recorded by Northcote Thomas in Umuchukwu in 1911. (NWT 465; BL C51/2723)

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.)

Excerpt of the transcription and translation of John and Nwile’s conversation, publishing in Northcote Thomas’s Anthropological Report on the Ibo-Speaking Peoples of Nigeria, Part III, Proverbs, Narratives, Vocabularies and Grammar. (Click on image to enlarge.)

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 as!
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 dị mma o, Nkata nkata ka ọ bụ.
Ka ọ dị n’ofu.
Nnọọ o!
Ike agwubago m, ka m naa.
Eh?
Eh!
dị mma, kachifo! Ka ọ dbaza!
K’anyị nolikwa, ikekwe anyị ga-afu ọzọ.
Nodu nma o!
Nnọọ o!
Ka ọ diba!
dị mma, 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.)

Chief of Umuchukwu, photographed by Northcote Thomas in 1911. In this and subsequent photographs of the same man, the caption ‘Chief Jacob Mb[onu]’ is crossed out. If not Mbonu, could this be Chief Kanu, who is mentioned in the conversation? (NWT 2507; RAI 400.15387)

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?

The entries in Thomas’s photographic register contain no information about these two photographs taken before and after those of the Chief of Umuchukwu. The unnamed woman in the photograph on the left may be one of the Chief’s wives. Note the mbubu scarification on her chest and stomach (NWT 2508; RAI 400.15388). The men in the photograph on the right are dressed similarly to other assistants and translators that accompanied Thomas on his travels. Might they be John, from Onitsha, and Nwile, from Nibo, whose conversation Thomas recorded in Umuchukwu? (RAI 2506; RAI 400.15386)

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 info@re-entanglements.net.

Traces of conflict in the archive

Men displaying fighting techniques, Awka. Photographed by Northcote Thomas in 1911.
Display of traditional fighting techniques, Awka, 1911. Photograph by Northcote Thomas. NWT 2135; MAA P.30533.

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.

A police officer caught in the background of a panoramic photograph taken during Northcote Thomas's 1910-11 tour of Awka District
A police officer caught in the background of a panoramic photograph made by Northcote Thomas during his 1910-11 tour of Awka District. Detail. MAA P.39412.

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.

Oba Sule Idaiya pointing out the old site of Somorika, Edo State, Nigeria
HRH Oba Sule Iadiye, the Imah of Somorika, pointing out the original hill-top location of Somorika, Edo State, Nigeria. In a strenuous but very rewarding excursion, the Imah himself took us around the various quarters of the old town and we were able to identify many locations photographed by Thomas in 1909. Photograph by Paul Basu.
Chief Amadu Baio Conteh at Old Yagala, Sierra Leone
Section Chief Amadu Baio Conteh standing in the site of his old family home in the hill-top settlement of Old Yagala in Sierra Leone. Thomas visited the site when it was still inhabited in 1914. It was finally abandoned in 1954 and a new town created in a more accessible location at the bottom of the hill. Photograph by Paul Basu.

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.

Defensive structures

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.

Watchtowers, Awka, 1910-11. Photographed by Northcote Thomas.
Defensive watchtowers (uno-aja) photographed by Northcote Thomas in Awka, 1911. Left to right: NWT 1990 (MAA P.30422), NWT 2016 (MAA P.30442), NWT 2057 (MAA P.30480).

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.

Obu and watchtower, Awgbu, Nigeria. Photographed by Northcote Thomas, 1911.
Left: Northcote Thomas’s photograph of the obu and watchtower in Awgbu, 1911 (NWT 2340, RAI 400.15967). Right: drawn reconstruction of the watchtower in Awgbu based on oral history accounts collected by Professor Ibeanu (Ibeanu 1989: 28).

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’.

Left: chief clothed in war dress, Sabongida, 1909; right: Ebisua dance, Fugar, 1909.
Left: Chief in war dress, photographed by Northcote Thomas in Sabongida, 1909 (NWT 883c, MAA P.28902). Right: Ebisua dance, photographed by Northcote Thomas in Fugar, 1909 (NWT 1058a, MAA P.29138).

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.

Warriors parading at a funeral while spectators look on, photographed by Northcote Thomas in Awka, 1911. (NWT 2118, RAI 400.16068.)

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’.

Wax cylinder phonograph recording of ‘Igbo war shouting’. Recorded by Northcote Thomas in Awka on February 2, 1911, perhaps at the same event that he photographed. (NWT 438, BL C51/2681)

Thomas also appears to have arranged for some of the participants in the funeral to pose for him to demonstrate traditional fighting techniques.

Demonstration of fighting techniques, Awka, 1911
Men demonstrating traditional fighting techniques and displaying war dress, photographed by Northcote Thomas in Awka, 1911. (Left: NWT 2132; MAA P.30531; Right: NWT 2127; MAA P.30528.)
Shields collected by Northcote Thomas in Southern Nigeria
Shields collected by Northcote Thomas similar to those in the photographs above. The example on the left was collected in Awgbu, present-day Anambra State, in 1911 (NWT 244, MAA Z 14099), the example on the right was collected in Okpe, present-day Edo State, in 1909 (NWT 1865, MAA Z 13191).

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.

Uno Nko Nko with its large ikolo drum, Nibo
Left: Northcote Thomas’s photograph of the ikoro drum in the obu in Nibo, 1911 (NWT 3089a; RAI 400.16463). This would be sounded to warn the community of attack. Right: the ikoro drum today. (Photograph by George Agbo).

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.

Divided allegiances. Left: Portait of ‘Obuana of Egwoba’, photographed by Northcote Thomas in Amansea in 1911. This was identified as Chief Nwaobuna, who is said to have protected Amansea from the attacks of Okoli Ijoma. (NWT 3452, RAI 400.20006.) Right: Portrait of Nwene of Amansea, 1911. He is said to have sold children into slavery. (NWT 3448, RAI 400.19999.)

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.

Pax Britannica?

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.

Left: Children at Okpekpe, 1910. Note the high defensive walls and the cactus, which was planted in dense clumps around towns in the region as a further deterrent to attack. Photograph by Northcote Thomas (NWT 1582, RAI 400.18518). Right: Godwin Gejele and Abdulnur Anidu translating Northcote Thomas’s sound recordings made in Okpekpe. Photograph by Paul Basu.
Recording made in Okpekpe by Northcote Thomas in 1910, thought to be the speech of a town crier. (NWT 302, BL C51/302.)

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?

Further reading

  • 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.

Sacred stone axes on Benin altars

Detail of ancestral shrine at Chief Ezomo’s palace, Benin City, showing stone axe head. Photographed by Northcote Thomas in 1909. NWT 160, RAI 400.17962.

During his anthropological survey of the Edo-speaking people of Nigeria in 1909-10, Northcote Thomas spent several months working in Benin City itself. His photographs of the City’s prominent chiefs, its architecture, shrines and markets provide an important record of the capital of the Benin Empire just 12 years after its fall at the hands of the British Punitive Expedition. Although accounts of the sacking of Benin City in 1897 suggest that little was left of Benin’s centuries-old civilization, it is clear from Thomas’s photographs that much escaped destruction and not everything was looted.

Ozomo shrine, Benin City, 1909
Ancestral shrine at Chief Ezomo’s palace, Benin City. Photographed by Northcote Thomas in 1909. NWT 160, RAI 400.17962.

Thomas documented a number of Benin shrines in considerable detail. His photographs of the ancestral altar at Chief Ezomo‘s palace, for example, shows many of the classic Benin shrine objects such as rattle staffs (ukhurhẹ), memorial heads (uhunmwun) and altar bells (eroro). Of these ritual objects, Thomas seems to have been particularly intrigued by the presence of polished stone axes or celts in these assemblages.

Polished stone axe, Ozomo shrine, Benin City, 1909
Close up of stone axe head from the ancestral shrine at Chief Ezomo’s palace, Benin City. Photographed by Northcote Thomas in 1909. Note that the axe head has been propped up against Thomas’s pith helmet to take the photograph. NWT 157, RAI 400.17960.

Thomas’s anthropological reports and other publications contain no information about these stone axes. Indeed, it is important to note that the vast majority of Thomas’s fieldwork findings remained unpublished. In a letter written in 1923 to his friend and colleague Bernhard Struck, Curator of the Museum für Völkerkunde in Dresden, he notes that he published only 10 per cent of his material from his Edo tour – that deemed to be of relevance to members of the colonial service. Among the fragments of unpublished fieldnotes and manuscripts that survive, however, there are a few pages in which he discusses the celts.

Northcote Thomas, Edo manuscript, stone celts
Unpublished handwritten manuscript notes on ‘stone implements’ from Northcote Thomas’s 1909-10 Edo tour. The hand-writing on these pages is not Thomas’s – possibly that of an assistant or his wife. University of Cambridge Library.

Thomas writes that ‘Aro [i.e. Chief Ero] told me that they were used with Osun [a deity] or put in the ancestral shrines to represent their fathers, and were also used in foretelling’. They could also be used as objects to swear by or curse: ‘Chief Ine of Edo said that when they have to reprove a wife or child or anyone, they take a stone implement and lick it and curse them. If a man is before them whom they wish to curse, they take a stone and an uxure [ukhurhẹ]. They knock the uxure on the ground, lick the stone and blow the spittle over the man and wish that he may not prosper’.

Northcote Thomas, Edo manuscript, stone celts
Unpublished handwritten manuscript notes on ‘stone implements’ from Northcote Thomas’s 1909-10 Edo tour. The hand-writing on these pages is Thomas’s. University of Cambridge Library.

It was not only in Benin City that Thomas encountered these stone implements. He also records examples in Irrua, Okpe, Otua and other locations in what is today Edo State. At Okpe he was shown a stone called ‘esax evalalox umu‘ [?] that was said to have fallen from the sky. Elsewhere he was told that ‘a stone axe is a “steward” of lightning’, and in Otua he explains that they are placed in the Osun shrine, and if they are given palm oil (as a sacrifice), then lightning will not strike the house.

The association between these axe heads and lightning is widespread, not only throughout West Africa, but also in Europe and elsewhere, where they are regarded as ‘thunderbolts’ or ‘thunderstones‘ – weapons wielded by gods of thunder, hurled to earth, and not of human manufacture. In 1903, Henry Balfour, Curator of the Pitt Rivers Museum in Oxford, had written about such ‘”Thunderbolt” Celts from Benin’ in the anthropological journal Man, which was then edited by Thomas. In a later article in Folklore, in which he surveyed the phenomenon of thunderbolts throughout the world, Balfour also discussed a number of small bronze pendants in the Pitt Rivers Museum collection made in the form of miniature stone axes, which had also been acquired in Benin City

Pitt Rivers Museum, bronze amulet representation of thunder stone
Left: excerpt and figures from Henry Balfour’s article ‘Concerning Thunderbolts’, originally read to the Folklore Society in 1929. Here Balfour describes and illustrates the miniature bronze reproductions of stone axes from Benin in the Pitt Rivers Museum collection. Right: a more recent photograph of one of these bronze pendants (Figure 11 in the 1929 article), PRM 1909.61.1.

In addition to the examples he photographed at Chief Ezomo’s palace, Thomas also photographed an assemblage of stone axes from an ancestral shrine at Chief Ogiame’s palace in Benin City, and another set at a shrine dedicated to the deity Oxwahe at Eviakoi, in the north-west outskirts of Benin City. Thomas also appears to have collected a number of examples, including one evidently dug up during forestry operations, although we have been unable to trace any of them during our research at the University of Cambridge Museum of Archaeology and Anthropology stores.

Stone implements from Ogiame shrine, Benin City,1909
Stone axe heads from an ancestral shrine at Chief Ogiame’s palace, Benin City. Photographed by Northcote Thomas in 1909. Clockwise from top left: NWT 80, RAI 400.17889; NWT 83, RAI 400.17893; NWT 82, RAI 400.17893; NWT 81b, RAI 400.17891.
Face of Ochwaihe, Eviakoi, Benin City, 1909
Oxwahe shrine, Eviakoi, Benin City. Photographed by Northcote Thomas in 1909. In addition to the stone celts placed on the altar, the assemblage in the recess includes lozenge-shaped shaped blocks of kaolin clay/chalk (orhue), also a ritual substance. On the envelope in which the negative was stored, Thomas has written ‘Face of Ochwaihe [Oxwahe]’. NWT 1206. RAI 400.18311.
Stone implements from Ochwaihe, Benin City,1909
Stone axe heads/implements from the Oxwahe shrine, Eviakoi, Benin City. Photographed by Northcote Thomas in 1909. Clockwise from top left: NWT 1208, RAI 400.18313; NWT 1209, RAI 400.18313; NWT 1210b, RAI 400.18316; NWT 1210, RAI 400.18315.

It was not until Graham Connah‘s Polished Stone Axes in Benin, published in Nigeria in 1964, that a more substantial study of these stones became available. A British archaeologist, Connah had been appointed by the Federal Department of Antiquities to conduct a programme of archaeological excavation in Benin City in 1961. Connah was interested in these prehistoric stone axes since they represented the earliest evidence of ‘human industry’ in the region. During his research, Connah was able to consult authorities such as the well-known historian and curator of the Benin Museum, Chief Jacob Egharevba, as well as the Oba of Benin, Akenzua II, himself.

Connah, Polished Stone Axes in Benin
Front cover and illustration from Graham Connah’s Polished Stone Axes in Benin publication. The photograph (top right) is a detail of a brass altar group thought to depict Oba Ohen at the Agwe festival, holding a stone axe head in his left hand. The line drawing is of an axe head obtained from Chief Osuabor of Benin City. Both were/are in the collection of the National Museum, Benin.

Connah provided a review of the existing, though scant, literature on the celts and drew attention to the depiction of such axes in some of the famous Benin bronze artworks. With Egharevba, he also acquired over 20 examples for the Benin Museum, the close examination of which formed the focus of his publication. It is evident that Connah had no knowledge of Northcote Thomas’s unpublished photographs and notes, which would have otherwise made an important contribution to his study.

Connah, Polished Stone Axes in Benin
Plate 5 from Graham Connah’s Polished Stone Axes in Benin. ‘Group of polished stone axes etc. on Oba Akenzua II’s shrine to Eweka II. (Note matchbox positioned for scale.)

In the present context, perhaps the most interesting section of Connah’s publication is that on ‘Bini beliefs about stone axes’. Connah notes that the Bini call the axes ughavan, a contraction of ughamwan (axe) prefixed to avan (thunder), and meaning ‘thunder-axe’ or ‘thunderbolt’. In the early 1960s they were evidently not uncommonly found on household shrines throughout Benin City, and Connah states that they could be seen on Oba Akenzua II’s shrines to his predecessors, Eweka II, Overamwen and Adolo. In historical bronzes, obas are sometimes depicted holding an ughavan in their left hand. Here, its function is ‘to increase the potency of a cursing or blessing’.

Altar pieces Benin from Plankensteiner, Benin Kings and Rituals
Two 18th-century altar groups depicting obas holding thunder-axes in their left hands. Left: Oba Akenzua I (ascended throne c. 1711-15); right: Oba Ewuakpe (ascended throne c.1685-1700), both in the collection of the Ethnologisches Museum, Berlin. Reproduced from Benin Kings and Rituals exhibition catalogue, ed. Barbara Plankensteiner.

Connah further notes that there was no realisation in Benin that these prehistoric stone tools had a functional origin. ‘To the Bini’, he writes, ‘they are “thunderbolts”, and “thunderbolts” they remain. Any suggestion that they could be stone tools made at a time before the availability of iron in West Africa is met by polite misbelief’. He also doubts that they have been made in more recent centuries for ‘cult purposes’, having recorded stories about how they were found during farming or embedded in trees that have been struck by lightning.

In her recent book, Iyare! Splendor and Tension in Benin’s Palace Theatre, Kathy Curnow provides a succinct summary of these fascinating objects:

Prehistoric stone axe heads antedate metal tools. Easily damaged, they were tossed away and replaced, and readily turn up today when land is farmed. In Benin, as in many other parts of the world, they are not always recognized as man-made objects. Instead, they are considered thunderstones (ughavan), the product of lightning strikes. The Edo believe Ogiuwu, the god of death, hurls them to the ground as manifestations of his power and anger. The Oba likewise has the right to kill, and gripped thunderstones or celts to magnify his curses. Still kept on altars, they call the ancestors into service as witnesses and supporters.

References

  • Balfour, H. 1903. ‘”Thunderbolt” Celts from Benin’, Man, vol.3, pp.182-3.
  • Balfour, H. 1929. ‘Concerning Thunderbolts’, Folklore, vol.40, pp.37-49, 168-173.
  • Connah, G. 1964. Polished Stone Axes in Benin. Nigerian National Press.
  • Curnow, K. 2016. Iyare! Splendor and Tension in Benin’s Palace Theatre. University of Pennsylvania Museum of Archaeology and Anthropology.
  • Plankensteiner, B. (ed.) 2007. Benin Kings and Rituals: Court Arts from Nigeria. Snoeck Publishers, Ghent.

All Northcote Thomas photographs reproduced here have been scanned from the glass plate negatives in the collection of the Royal Anthropological Institute, and are reproduced courtesy of the Institute.

Listening to images, troubling the archive

Art Assassins, South London Gallery, Government Anthropologist
Photograph of Northcote Thomas and assistants at a meeting of chiefs in Neni to discuss a land dispute, 1911. Annotated by one of the Art Assassins as part of Emmanuelle Andrews’ free-writing workshop at the South London Gallery.

[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.

Northcote Thomas photograph, Oshodi's brothers, Benin City, 1909
The ‘anthropological gaze’ returned. Photograph of ‘Oshodi’s brothers’, Benin City, taken by Northcote Thomas, 1909. NWT 310. RAI 400.15461.

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.

SLG Art Assassins, Emmanuelle Andrew's screening of Faces|Voices film
The Art Assassins viewing Faces|Voices, directed by Paul Basu and Chris Allen, during Emmanuelle Andrews’s first workshop at the South London Gallery.

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.

Tina M Campt, Listening to Images book
Tina M. Campt’s inspirational book, Listening to Images (Duke University Press, 2017).

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.

Art Assassins, South London Gallery, Free-writing exercise
Free-writing workshop with the Art Assassins, South London Gallery.
Art Assassins, South London Gallery, Free-writing with Northcote Thomas archive
Examples of the Art Assassins’ free-writing engagements with Northcote Thomas’s photographic archive. Click on the thumbnails below to enlarge.
The Art Assassins are making a film about their explorations of the Northcote Thomas archive. At each of their meetings, they take it in turn to make video diaries recording their experiences. Here Fatima reflects on the free-writing exercise.

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.

SLG Art Assassins, Emmanuelle Andrew's presentation Uncovering Northcote Thomas
Complicating our understanding of the Government Anthropologist. Emmanuelle Andrews making a presentation about Northcote Thomas to the Art Assassins at the South London Gallery.

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.

SLG Art Assassins, notes
Notes from the session with Emmanuelle Andrews made by the Art Assassins.

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.

Art Assassins, Ivo and Nathan, reflect on how their understanding of the colonial archive and how it can be decolonized have changed through the workshops.

Ancestral Reconnections

Display of Northcote Thomas photographs in Nibo
Archival returns: Chief Edozie Nnama (Ozo Odenigbo) points at his great-grandfather, Ezeike Nnama, at an informal exhibition of Northcote Thomas’s photographs of Nibo, October 2019. Photograph: George Agbo.

[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.


George Agbo discussing Northcote Thomas's photographs of Nibo
[Re:]Entanglements project researcher, George Agbo, discussing Northcote Thomas’s photographs in Nibo. Photograph: Glory Chika-Kanu.

Homecoming

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.

Dr Obianuju Helen Okoye, Nnama and email correspondence
Left: Dr Obianuju Helen Okoye looking at the photograph of Chief Nnama on WhatsApp; right: the confirmatory email, also distributed via WhatsApp to the extended Nnama family.

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.

Ezeike Nnama

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.

Northcote Thomas's photograph of Chief Nnama
Chief Nnama of Nibo, photographed by Northcote Thomas in 1911. NWT 3006a & 3007; RAI 400.16496 & 400.16436. Courtesy of the Royal Anthropological Institute.

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.

Nnama’s people

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.

[Re:]Entanglements project Flickr site
Screenshot of a page from the Nibo album at the [Re:]Entanglements project Flickr site.

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.

Northcote Thomas's photographs of Eke, Aduko and Nwanna
Left to right: ‘Eke’ (NWT 3010; RAI 400.16505); ‘Aduko’ (NWT 3012; RAI 400.16502); ‘Nwanna’ (NWT 3028a; RAI 400.16394). Courtesy of the Royal Anthropological Institute.

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.

Chief Lawrence Ogbuefi and Nwanna
Locally-made photomontage of 87-year-old Chief Lawrence Ogbuefi alongside Northcote Thomas’s photograph of his father, Nwanna.

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.

Uno Nko Nko with its large ikolo drum, Nibo
Left: Northcote Thomas’s photograph of uno nko nko, with its giant ikolo drum, built over the resting place of Umuanum’s founding ancestor, Anum Ogoli (NWT 3089a; RAI 400.16463. Courtesy of the Royal Anthropological Institute. Right: uno nko nko and the ikolo drum today. Photograph: George Agbo.
Obu Orjiakor, Nibo
Obu Orjiakor, the court house built by Chief Nnama’s father, Chief Orjiakor Eleh, in c.1856 and used by both Chief Orjiakor Eleh and his son Chief Nnama. Chief Nnama’s grave is just behind the obu. Photograph: George Agbo.

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.

Ngene shrine wall, Nibo, photographed by Northcote Thomas
One of several photographs taken by Northcote Thomas of the beautifully decorated walls of the major Ngene shrine in Nibo in 1911. NWT 3064; MAA P.31307. Courtesy of the University of Cambridge Museum of Archaeology and Anthropology.

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.

All Saints Anglican Church, Nibo
All Saints Anglican Church, Nibo. The original smaller church was built by Rev Joshua Orjiakor Nnama, Chief Nnama’s son. The larger church in the photograph was built by the community on on the site of the Ngene shrine, the land was donated by the Nnama family.

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!

Art Assassins at Autograph

Art Assassins at Autograph, collage
Collage produced by members of the Art Assassins at a workshop at Autograph, combining images from the N. W. Thomas archives with Autograph collections.

This is the latest is a series of blogs reporting on our collaboration with the Art Assassins, the youth forum of the South London Gallery. The programme includes a number of workshops run by project partners, each focusing on a different aspect of the N. W. Thomas archives. UCL’s Museum Conservation programme will be helping the Art Assassins work with artefacts; the Igbo Studies Initiative will help unlock the sound recordings; and Autograph will help the participants think about photography and representation.

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.

Members of the Art Assassins at a workshop at Autograph led by Ali Eisa, Public Programme Manager.

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 guide them:

  • The problems we encounter via the archive should be reflected in our work
  • We will document our understanding of the archive as it changes over time
  • We will consider our individual relationship to the archive given our different backgrounds
  • We will avoid replicating the problematic methodologies associated with the archive
  • We 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. 

Art Assassins at Autograph, working with the archives
Members of the Art Assassins explore the Autograph collections.

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.

Art Assassins at Autograph, collage
Art Assassins at Autograph, collage
Collages produced by members of the Art Assassins at a workshop at Autograph, combining images from the N. W. Thomas archives with Autograph collections.

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.

Art Assassins at Autograph, reflecting on the collages
Discussing the Art Assassins’ collages at the Autograph workshop.

Find out more

You can read more about the Art Assassins’ project on the South London Gallery website or follow them on Instagram @slg_artassassins.

Join the Art Assassins

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 artassassins@southlondongallery.org

Fieldnotes: Chief Suri Kandeh’s kingbatankeh

PC Kandeh Sori Kankanday III of Samaya pictured with his illustrious ancestor Chief Suri Kandeh
Paramount Chief Kandeh Sori Kakanday III of Samaya, pictured with Northcote Thomas’s photograph of his ancestor Chief Alimami Suri Kandeh. Both wear the kingbatankeh as part of the regalia of office. Photograph by Paul Basu.

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.

It is equally remarkable when working with the artefact collections assembled by Thomas to identify objects that Thomas photographed in the field, and know these are the very same objects – they provide such a tangible link with the past.

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.

Chief Suri Kandeh wearing medal, photographed by Northcote Thomas
Left: Chief Alimami Suri Kandeh and elders (NWT 5189; MAA P.32937); Right: detail of Chief Alimami Suri Kandeh (NWT 5195; MAA P.32946). Photographed by Northcote Thomas in Samaya, 1914. Note the kingbatankeh, with its suspension mount.

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.

Kingbatankeh medal of PC Kandeh Sorrie Kankanday III, Samaya, Sierra Leone
The kingbatankeh worn by Chief Alimami Suri Kandeh when photographed by Northcote Thomas in 1914. Note the suspension mount. Photograph by Paul Basu.

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’.

Information Regarding Protectorate Chiefs, Sierra Leone National Archives
Alimami Suri – ‘the best chief in the District’. Excerpt from ‘Information Regarding Protectorate Chiefs, 1912’, report held by the Sierra Leone National Archives.

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.

Kingbatankeh medal of PC Kandeh Sorrie Kankanday III, Samaya, Sierra Leone
The second, earlier kingbatankeh in Samaya, with the head of George III. Photograph by Paul Basu.

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.

Old photograph of PC Samura Bangura, paramount chief of Sanda Loko chiefdom
Photograph of Paramount Chief Samura Bangura of Sanda Loko chiefdom, who reigned between 1942 and 1972, wearing the kingdollar, with the bust of George III. Courtesy of 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’.

North American Indian Chiefs wearing British medals
Before being introduced in West Africa, the practice of gifting medals to native chiefs was employed in Britain’s North American colonies. Chiefs fighting alongside the British in the War of 1812 were awarded the same medal as that shown above with the head of George III and dated 1814. Left: Tecumseh (1768-1813), a Native American Shawnee chief who formed an alliance with the British during the War of 1812, painted version of a pencil sketch by Pierre Le Dru c.1808. Right: Shon-ka-ki-he-ga, Horse Chief, Grand Pawnees Head Chief, painted by George Catlin, 1832.

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.

1853 issue pewter medal in Sierra Leone National Museum collection
Pewter version of the 1814 issue medal introduced in Sierra Leone in 1853. An 1882 memorandum records that chiefs stopped wearing them because of being mocked by traders. This rare example is in the collection of the Sierra Leone National Museum. Photograph by Paul Basu.

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.

It is I who come, Onyeso …

Onyeso, Agukwu Nri, photographed by N. W. Thomas was oton and ofo.
N. W. Thomas photographs of Onyeso of Agukwu Nri, pictured with oton, ofo and goat skin bag. NWT 2563 and 2564; RAI 400.15415 and 400.15416.

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.

Chief Onyeso and family, photographed by N. W. Thomas, Agukwu Nri, 1911
‘Chief Onyeso and family’, photographed by N. W. Thomas, Agukwu Nri, 1911. NWT 2236. RAI 400.15837.

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’.

Pages from N. W. Thomas, Anthropological Report on the Ibo-speaking Peoples of Nigeria, Part III: Proverbs, Narratives, Vocabularies and Grammar, pp.92-3 featuring transcription of speech by Onyeso.
Re-recording of Onyeso’s speech translated into standard Central Igbo by Yvonne Mbanefo and read by Oba Kosi Nwoba.

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.

Prince Ikenna Onyesoh, Agukwu Nri, looking at N. W. Thomas's photograph of his great-grandfather.
Prince Ikenna Onyesoh, the current Regent of Nri, looking at Northcote Thomas’s photographs of his great-grandfather, Onyeso, Agukwu Nri, 2018. Photograph by Paul Basu.

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.

Omu and the red cap controversy in Okpanam

Northcote Thomas photograph of Omu, Okpanam, 1912
The Omu of Okpanam, photographed by Northcote Thomas in September 1912. NWT 4107 and 4108 (MAA P.32118 and P.32119)

Over the last ten months, as part of our fieldwork for the [Re:]Entanglements project, we have been conducting research with 17 communities in present-day Anambra and Delta states in Nigeria. We have been revisiting locations that formed part of Northcote Thomas’s itineraries during his 1910-11 and 1912-13 anthropological surveys of Igbo-speaking peoples, equipped with copies of Thomas’s photographs, phonograph recordings and images of artefact collections.

During our conversations and interviews with community members, and through setting up informal ‘pop-up’ exhibitions in these locations, Thomas’s photographs have elicited a wide spectrum of reactions, ranging from rejection and indifference to excitement, emotional connection, inquisitiveness, contestation and much more. In particular, we have been struck by how local people use their mobile phones to re-photograph the prints of Thomas’s photographs that we bring with us when visiting a community and how quickly these new digital copies circulate on WhatsApp, Facebook and other social media to extended family and community networks internationally.

Sometimes a single photograph can provoke especially strong responses, often because it touches on a ‘raw nerve’ or intervenes in contemporary issues, reminding us how history matters in the present. Thomas’s photograph no.4108 is one such case.

NWT 4108. Northcote Thomas’s photograph of the Omu of Okpanam, 1912. Scanned from glass plate negative. (RAI 400.38268)

Photograph no.4108 is a portrait of a woman with white marks around her eyes and on her forehead created with nzu (kaolin chalk). Around her neck she wears an assortment of necklaces made from various beads and shells. On her head is a cap that has a band with a series of small triangular blades and feathers sticking out of it. According to the brief note in Thomas’s photo register, the subject of the photograph is the ‘Omu’ of Okpanam, in present-day Delta State, Nigeria.

Excerpt from Northcote Thomas Igbo Report on Omu
Excerpt from Northcote Thomas’s Anthropological Report on Ibo-speaking Peoples of Nigeria, Part IV, Law and Custom of the Ibo of the Asaba District, S. Nigeria, p.189.

In volume four of his Anthropological Report on Ibo-speaking Peoples of Nigeria, Thomas gives some explanation of the role of the Omu in various communities in Anioma – the territory of the Igbo-speaking population West of the Niger River, which was the focus of Thomas’s 1912-13 tour. According to Report, Omu is the ‘market queen’, who presides over the market and serves the shrine in it. She enforces order, collects dues and controls the prices of goods for sale. In some places, Thomas records that the market cannot begin until the Omu arrives, and that she may fine the women of her town for non-attendance and forbid them to go to more distant markets instead of attending that in their own town. At Okpanam, Thomas tells us that the Omu sent her stool to the market as a sign for it to begin.

Northcote Thomas made around 30 photographs in Okpanam, many recording the title-taking ceremony of Obi Mgbeze that was happening when he visited in September 1912. However, during our fieldwork in Okpanam, it was the photograph of the Omu that consistently attracted most attention and elicited the most comment.

Photo elicitation in Okpanam
Photo elicitation fieldwork in Okpanam. Left: great grandchildren of Obi Mgbeze re-photographing Thomas’s photographs of their great-grandfather’s Obi title-taking ceremony; middle: the present-day Omu of Okpanam, HRM Obi Martha Dunkwu, examining Northcote Thomas’s Anthropological Report and photographs; right: community members discussing Thomas controversial 1912 photograph of the Omu of Okpanam during the 2019 Iwaji (New Yam Festival). Photographs by George Agbo.

As Thomas’ photograph of the Omu was viewed and re-photographed, the recurring comment it produced was: Okwa ha si na Omu adi ekpu okpu ododo? (‘Why do people argue that the Omu does not wear a red cap?’) The comment indexes an ongoing contestation about the right to wear the red cap in the community.

Red cap worn by the Omu of Okpanam
The okpu ododo or red cap of the present-day Omu of Okpanam. Photograph by George Agbo.

During colonial times in Igbo-speaking areas of Nigeria, the red cap became part of the regalia of office for senior title holders, including the so-called ‘Red Cap Chiefs’ or warrant chiefs. More recently, concern has been expressed that this symbol of authority is being worn by those who have no right to wear it.

Premium Times Red Cap article
Article from the Premium Times discussing the appropriation of the red cap by those who are not entitled to wear it.

In Okpanam the issue of the okpu ododo or red cap has become entangled in local political disputes. Traditionally, Okpanam’s community was headed by the Diokpa-Isi, the eldest man in the community. As the administrative demands on the Diokpa-Isi grew, and considering his old age, members of Okpanam community at home and in the diaspora agreed to institute the new post of Ugoani. The process, which began in 2004 and was approved by Delta State government in 2009, was followed by the election of Dr Michael Mbanefo Ogbolu as Ugoani in May 2010. Following the performance of the associated rite in 2011, he was given staff of office by the government. The Ugoani was intended to act as the representative of the Diokpa-Isi and Izu Ani (General Assembly), but remain answerable to them. Over the past few years, however the Ugoani and his council have assumed greater power, such that the Ugoani has come to be recognized as the modern political head of Okpanam by the State, while the Diokpa-Isi, Izu Ani, Obi titled men and Omu have become regarded as ‘traditional’ roles. This has led to tensions and the red cap has become a symbol of the squabble.

Nigerian Voice red cap article
Article from The Nigerian Voice reporting on the Ugoani and Ugoani-in-Council position on the Omu’s entitlement to wear the red cap.

Against the custom of the community, which stipulates that only Obi title holders and the Omu (whose status is equivalent to that of an Obi) are eligible to wear the red cap, the Ugoani and his cabinet members began to incorporate the red cap into their regalia, even though they do not hold the Obi title. The Obis then sued the Ugoani and his council, demanding that they stop wearing the red cap. As the contestations escalated, both sides issued statements and counter-statements in the Nigerian press and in various online forums. Responses of the Ugoani and Ugoani-in-Council were reported in The Nigerian Voice, for example, stating that the Omu is only a chief (albeit a ‘respected and revered one’), not of equivalent status as an Obi, and is therefore not entitled to wear the red cap either.

These statements were refuted strongly by Obi title holders in Okpanam, who drew attention to the ancient institution of the Omu compared to the recent establishment of the Ugoani role. In a lengthy post to the Anioma Trust Facebook page, Obi Nwaokobia was reported as stating that the ‘Ugoani has no authority to make a statement on Omu Okpanam’. Obi Nwaokobia further explained that ‘the institution of Omu has existed [since] the founding of Okpanam’ and that she is ‘the Traditional Mother of the community and she enjoys all the rights and privileges of a Royal Mother’. When an Omu dies, like Obis, she is buried in a sitting position, and in Okpanam, the Omu is more than a chief but in the same rank as Obis.

When we came to Okpanam, we were not aware of the contestation around the Omu’s status or her right to wear the red cap. When we learnt of the controversy, however, it was not surprising to find that the Thomas’s photograph of the Omu in 1912 elicited such a powerful response. Although the photographs are monochrome, the style of the hat with its band and feathers is clear. Here was irrefutable evidence that the Omu traditionally wore the red cap.

Agala Emma Facebook post, Omu of Okpanam 1912 and 2019
Images uploaded to the Okpanam Indigene Facebook page juxtaposing Northcote Thomas’s photograph of the Omu of Okpanam, taking in 1912, and a portrait photograph of the present-day Omu, HRM Obi Martha Dunkwu. The post has elicited much comment.

For many, the ‘red cap controversy’ has been settled by an archival image. Photographs of Thomas’s photograph soon began circulating on social media after our visit, bringing it to the attention of the international Anioma community. At the ‘Okpanam Indigene’ Facebook page, for example, Emma Agala juxtaposed Thomas’s 1912 photograph with that of the current Omu, HRM Obi Martha Dunkwu, and included a long extract from Thomas’s Anthropological Report on the role of the Omu. The extensive research of the [Re:]Entanglements project itself was cited as confirming its authenticity. Among the 59 comments to the post, Martha Dunkwu herself remarks: ‘You are right. The red cap is there, the feather, the beads, the Akwa Ocha. Did you notice that the Aziza [that] the male Obis use is on her red cap? It’s wonderful that the British in 1912 recorded Omu-ship in Okpanam’.

No doubt the debates will continue in Okpanam, but the incident demonstrates how the ethnographic archive may intervene in contemporary events in ways that we have not anticipated. Our fieldwork following Northcote Thomas’s itineraries in West Africa can present many challenges, but the story of Omu and her red cap reminds us of the importance of bringing back this archive to the communities whose histories it documents.

Colonial Indexicality

Kelani Abass, Stamping History series, National Museum, Lagos
Four of Kelani Abass’s ‘stamping history’ works, which form part of his Colonial Indexicality series, for the [Re:]Entanglements exhibition at the National Museum, Lagos.

On 21 September 2019, the [Re:]Entanglements: Contemporary Art & Colonial Archives exhibition opened at the National Museum, Lagos. The opening event was attended by an estimated 300 people, including many from Nigeria’s vibrant arts scene. Following on from our successful exhibition in Benin City, this collaboration between the [Re:]Entanglements project, the National Museum, and the Lagos-based artist Kelani Abass continues our exploration of artistic engagements with the archival traces of Northcote Thomas’s anthropological surveys.

Scenes from opening of [Re:]Entanglements exhibition, National Museum, Lagos
Scenes from the [Re:]Entanglements exhibition opening, National Museum, Lagos, 21 September 2019. Photographs by Paul Basu and Nnaemezie Asogwa.

Unlike the Benin exhibition, this initiative focused specifically on the photograph albums from Thomas’s three Nigerian surveys, which we have discovered in the National Museum library and archive collections. Indeed, these albums, dating from 1909 to 1913, appear to be the only substantial archival traces of Thomas’s anthropological surveys to have survived in Nigeria. The initiative is also different insofar as it features the work of a single artist rather than a collective.

Pages from one of the photograph albums from Northcote Thomas’s 1909-10 survey of Edo-speaking peoples. Note the index panel at the bottom right of each page. National Museum, Lagos.

Over the course of a year, Kelani Abass has produced two series of works for the exhibition under the common title of Colonial Indexicality. These both employ techniques developed in earlier works by Abass, including his Calendar and Stamping History series, first exhibited at exhibitions at the Centre for Contemporary Art, Lagos in 2013 and 2016 respectively. In both of these series, Abass explored a more personal history through sifting through the archives of his parents’ printing business in Abeokuta, incorporating both the technologies of hand-operated letter-press printing and the accumulated materials – photographs, leaflets, design motifs – deposited at the press by customers. The Colonial Indexicality series produced for the [Re:]Entanglements exhibition connects this family history with a broader cultural history as refracted through Northcote Thomas’s colonial anthropological lens.

Indexicality in its most literal sense. Northcote Thomas took over 8,000 photographs during his four anthropological surveys. Each was individually numbered and entered in a pre-numbered photograph register book. We know that negative No.649 is of a boy named Ike, and that this was one of 122 photographs Thomas made in Okpe.

The pervasiveness of numbering systems and indexes are, of course, characteristics of all archives, and the archives of Thomas’s anthropological tours are no exception. Thomas numbered each of his photographic negatives, for example, and he made notes about each negative in a series of pre-numbered photographic register books. Most literally, the negative number acts as an index in relation to corresponding prints, but also indexes other information, for instance, the identity of the person photographed, where the photograph was taken, and places the particular photograph in relation to a sequence. We know, for example, that Thomas’s negative number 649 is of a boy named Ike, and is one of a series of 122 photographs that Thomas made in Okpe in present-day Edo North in 1909. There is a further note in the corresponding photographic register – ‘meas.’ – short-hand for ‘measurement’, recording that Thomas also recorded Ike’s anthropometric measurements, indexing how this young man entered other forms of colonial scientific calculation.

It is no surprise, then, that the theme of numbers and numbering emerges prominently in Abass’s artistic responses to the albums in the National Museum. Indeed, each work in the Colonial Indexicality series bears a simple number as its title – the number of the particular photograph the work itself indexes.

[Re:]Entanglements exhibition view, National Museum, Lagos
Installation view. Room 1 of the [Re:]Entanglements: Contemporary Art & Colonial Archives exhibition, National Museum, Lagos. Note the juxtaposition of Thomas’s original photograph albums, the large-scale digital prints and Kelani Abass’s paintings. Photograph by Paul Basu.

The principle of indexicality is also evident in the very grammar of the exhibition. In the first room of the exhibition, we brought three elements into relation: examples of the original photograph albums from Thomas’s 1909-10 Edo tour; enlarged digital prints of a selection of pages from these albums; and a series of 12 mixed media paintings by Abass that respond to the particular qualities of these albums.

Kelani Abass, Colonial Indexicality series, National Museum, Lagos
A page from Northcote Thomas’s 1909-10 Edo album alongside one of Kelani Abass’s Colonial Indexicality paintings (No.256). The index panel on the album page provides the inspiration for Abass’s background, while Thomas’s neg.256 (top left) is the source for the foreground figures.

The pages of the Edo albums are arranged in a uniform manner, with five photographs in a grid with a paper index panel cut to the same size as the prints and pasted in the grid. For each of the 55×68 cm paintings, created in acrylic and oil on canvas, mounted onto board, Abass reproduces these index panels as his backgrounds. He captures the ‘texture’ of the yellowed parchment-like paper panels, complete with Thomas’s handwriting and various other ticks, annotations and crossings-out that have been added in different coloured inks. He then selects one of the photographs from the same album page, which he paints in tones which evoke the photographic originals. The number of the photograph is used as a title for the work, which is also inset into the painting either using letterpress types or components of a numbering machine.

Kelani Abass, Colonial Indexicality series, National Museum, Lagos
Six of Kelani Abass’s Colonial Indexicality portraits, clockwise from top left, No.130, No.237A, No.239, No.248, No.245 and No.243. Acrylic, oil on canvas mounted on board with either letterpress type or numbering machine inserts.

In the second room of the exhibition, the juxtaposition of original archives, digital prints and Abass’s contemporary artworks continues. Additional themes of disintegration and dissolution are invoked here, pointing to the fragility of the archive and the impermanence of memory. In one 105×127 cm digital print of an album page from Thomas’s 1912-13 tour of Igbo-speaking peoples, for example, the faces in Thomas’s physical type photographs have faded to little more than ghostly impressions. Indeed, one objective of the exhibition was to draw attention to the urgent need for better storage and conservation of the National Museum’s important archival collections.

[Re:]Entanglements exhibition view, National Museum, Lagos
Installation view. Room 2 of the exhibition. Enlarged, ghost-like images from the Northcote Thomas albums are juxtaposed with addition examples of the historical albums themselves and with the second part of Kelani Abass’s Colonial Indexicality series. This room also featured enlarged digital prints of some of Thomas’s remarkable panoramic photoagraphs. Photograph by Paul Basu.
Broken pages from one of the albums from Northcote Thomas’s 1910-11 tour of Igbo-speaking peoples. Some of the albums in the National Museum are in extremely poor condition and in urgent need of conservation.

Abass refers to the second series of works in Colonial Indexicality as a continuation of a ‘performative oeuvre’ that ‘calls attention to the interplay of manual and mechanical processes involved in the production of printed works, photographs and drawings’. This work comprises of five interlinked 126×90 cm ‘drawings’ of Northcote Thomas photographs, which have been laboriously made using a hand numbering machine.

Kelani Abass’s hand numbering machines. He used such stamping machines as a child in his parents’ printing company, now he uses them as a medium for his performative art practice.

The use of the numbering machine as a medium again relates to Abass’s family history and childhood memories. After a day at school, Abass and his siblings would help out in their parents’ print shop, using these automatic numberers to stamp sequences of numbers in newly printed invoice books and other stationery. In relation to the [Re:]Entanglements project, Abass was struck by the sequential printed numbers evident in the stationery used by Northcote Thomas. Indeed, to create these ‘stamping history’ drawings he used stamping machines with a similar font style to the numbers used in Thomas’s photographic registers.

Kelani Abass, Stamping History series, National Museum, Lagos
Juxtaposing Northcote Thomas’s photograph no.1639 (top left) with Kelani Abass’s Colonial Indexicality No.1639 (top right). Below are details of the work, showing how the image is made up of multiple stamped numbers.

The numbers that Abass stamps in these works are not arbitrary either. They index both the specific photographs from the Thomas archives that Abass reproduces, but also act as a form of accountancy, allowing Abass to quantify his artistic labour and reflecting the labour entailed in producing the anthropological archive in the first place. Thus, Abass’s first impression in this work was the number 1155, corresponding with Thomas’s negative number 1155. After each impression, the number on the stamping machine increases by a digit to 1156, then 1157 and so on. At the end of the process of creating these five works, the final number stamped was 85,867. Thus Abass is able to quantify the work as representing 84,710 acts of stamping – this Abass conceptualises as a process of ‘stamping history’, and of ‘making or marking time’.

The grid-like layout of these five ‘drawings’ echoes the layout of the photographs in Thomas’s albums, but also speaks to the fragmentary nature of the archive – an assemblage of parts that must be assembled together in order to make sense. The actual archive is rarely so complete, and the bigger picture is often based on as much conjecture as it is evidence.

Northcote Thomas Igbo Report Part 1, Plate XIV, halftone printing
Left: Plate XIV from Northcote Thomas’s Anthropological Report on the Ibo-speaking Peoples of Nigeria, Part 1. Right: Enlarged detail of the same photograph showing the halftone printing technique.

It is, of course, only when one stands back from Abass’s large-scale stamped drawings that the picture, quoted from Thomas’s archive, becomes clear. Up close, one sees a mess of over-lapping stamped numbers. Seen from a distance, however, the individual numbers from which the pictures are made disappear and the eye perceives the pattern. It is the same principle as halftone printing – the technique used to print Thomas’s photographic plates in his published reports (a set of which also resides in the National Museum library). Indeed, the same principle applies to Thomas’s original photographic negatives and our digital scans of them today, in which the coating of granular light-sensitive crystals is translated, imperfectly, into pixels. Switching to a metaphorical register, Abass’s work reminds us that what we perceive in the colonial archive depends on where we stand, as well as how close we look.

Video documentation of the [Re:]Entanglements: Contemporary Art & Colonial Archives exhibition, National Museum, Lagos.

[Re:]Entanglements: Contemporary Art & Colonial Archives is open at the National Museum, Lagos until 27 October 2019. Do go along if you can and let us know what you think!

Nigerian String Games

Northcote Thomas photograph album showing string games, Nigeria
A page from one of the albums from N. W. Thomas’s second and third tours showing some of Thomas’s photographs of string figures and their names. (UK National Archives)

In the late nineteenth century and early twentieth century, anthropologists were fascinated by the seeming ubiquity of the popular pastime of ‘string games‘ – the making of ‘string figures’ or ‘cat’s cradles’. As the pioneering British anthropologist, Alfred Cort Haddon wrote in 1906,

In Ethnology, nothing is too insignificant to receive attention … To the casual observer few amusements offer, at first sight, a less promising field for research than does the simple cat’s-cradle of our childhood; and, indeed, it is only when the comparative method is applied to it that we begin to discover that it, too, has a place in the culture history of man.

Haddon encountered the game during his 1888 visit to the islands of the Torres Straits (the channel between northern Australia and New Guinea). He observed that the Torres Strait string figures were much more elaborate than those he recalled from his childhood in England. He also noted that they were more often made by a single ‘player’, rather than two – and by no means was the game restricted to children. He collected examples of completed figures, which he subsequently donated to the British Museum.

String figure mounted on board collected by A. C. Haddon in the Western Torres Strait islands in 1888, representing the crayfish (kaiar). Donated to the British Museum in 1889. (British Museum Oc,89+.207)

Haddon continued to document string games when he returned to the Torres Straits in 1898 as leader of the Cambridge Anthropological Expedition. With W. H. R. Rivers, he formalised a ‘method for recording string figures’ and published this in the anthropological journal Man in 1902. Rivers and Haddon stressed the need to document the various stages of making each figure, rather than merely photographing, drawing or even collecting the finished figures. They proposed a nomenclature for describing the various steps and actions involved in making string figures, and this has been adopted by many subsequent researchers.

Pages from Caroline Furness Jayne’s 1906 book, String Figures: A Study of Cat’s-Cradle in Many Lands, showing the method for recording string games. Haddon wrote an ‘ethnological introduction’ to the volume.

During his 1910-11 anthropological survey in Southern Nigeria, which focused on the Igbo-speaking people of what was then Awka District (more or less present-day Anambra State), Northcote Thomas took two series of photographs of string games. He recorded ten string figures in Aguwku Nri and three in Ebenebe. These are among the earliest photographs of African string figures. Thomas did not write about string games in his reports or other publications, and no field-notes survive from this tour, so we do not know if he documented the games according to Rivers and Haddon’s methodology, or whether he simply took photographs of the finished figures.

Philip Noble, who co-founded the International String Figure Association in 1978, has made a study of Thomas’s photographs of Nigerian string figures. In an article ‘Some Nigerian String Figures’ published in the Bulletin of the International String Figure Association in 2013, Noble reconstructs the methods by which the figures were made. The article is republished, with kind permission of Philip Noble and the Bulletin’s editor, at the end of this blog. Philip Noble has also very kindly created a series of short videos for [Re:]Entanglements in which he demonstrates how each of the figures was made.

Thomas recorded the Igbo name for each of the figures. These would have been recorded in the local Igbo dialects, and Thomas’s phonetic spelling of Igbo words is idiosyncratic. In the following sections, we include Thomas’s English translation of the names, his rendering of the Igbo names, and also a translation of the names from English into standard Central Igbo, courtesy of Yvonne Mbanefo. Northcote Thomas records the Igbo word for string games generically as akpukbaỌkpụkpa simply means ‘to make or create something by hand’. Igbo-speaking friends and correspondents have told us of other words for string games: Ikpo ubo (‘to play strings’), Gadas, Atụmankasa. Some of these may refer to particular figures rather than the game more generically. As always, we welcome any feedback on these string games and their names – please leave a comment.

1. Trap to catch thief

N. W. Thomas: Eta nanwani ori; Central Igbo: Ọnya onye ori

Northcote Thomas photograph, String Game, NWT 2836
‘Trap to catch thief’ string figure, photographed by Northcote Thomas in Agukwu Nri, Southern Nigeria, 1911. (NWT 2836; RAI 400.16249)

Philip Noble notes: This is figure is known throughout West Africa, and often has the same name. In most locations a second player inserts a hand or finger into the lower trapezoid. When the first player releases his thumb loops and extends the figure, the second player is caught in a noose.

2. Basket spirits use to carry person

N. W. Thomas: Okba mwo ji ebu mwadu; Central Igbo: Nkata mmụọ ji ebu mmadụ

Northcote Thomas photograph, String Game, NWT 2836a
‘Basket spirits use to carry person’ string figure, photographed by Northcote Thomas in Agukwu Nri, Southern Nigeria, 1911. (NWT 2836; RAI 400.16250)

Philip Noble notes: This figure is also known in Congo, Sudan and Equatorial Guinea. In Nigeria the design represents a palanquin (sedan chair) for transporting a chief. In its most primitive form a palanquin consists of a basket suspended between two parallel poles. The inclusion of the word ‘spirits’ in the title may refer to an ancient custom, recorded by P. A. Talbot, in which a large palanquin borne on the shoulders of six men, was used to transport a ‘spirit’ during a funeral ceremony.

3. Big piece of yam

N. W. Thomas: Ibeji okotoko; Central Igbo: Nnukwu ibe ji

Northcote Thomas photograph, String Game, NWT 2838a
‘Big piece of yam’ string figure, photographed by Northcote Thomas in Agukwu Nri, Southern Nigeria, 1911. (NWT 2838a; RAI 400.16252)

Philip Noble notes: Identical or closely related figures are known throughout Africa. Nigerian yams belong to the genus Dioscorea. Prior to cooking, yams are peeled and cut into cubes, which are represented by diamonds in the corresponding string figure.

(See video below.)

4. Child of monkey eats and tears its tail

N. W. Thomas: Nwenwelie ora odo; Central Igbo: Nwa enwe rie ọ dọkaa ọdụ

Northcote Thomas photograph, String Game, NWT 2838
‘Child of monkey eats and tears its tail’ string figure, photographed by Northcote Thomas in Agukwu Nri, Southern Nigeria, 1911. (NWT 2838; RAI 400.16251)

Philip Noble notes: The construction is similar to a figure called ‘A Pair of Scissors’, published by Kathleen Haddon and Hilda Treleaven in The Nigerian Field in 1936, and another called ‘Aeroplane’ recorded by George Cansdale in Ghana.

5. Corpse and cloth

N. W. Thomas: Ozu nakwa; Central Igbo: Ozu na akwa

Northcote Thomas photograph, String Game, NWT 2840
‘Corpse and cloth’ string figure, photographed by Northcote Thomas in Agukwu Nri, Southern Nigeria, 1911. (NWT 2840; RAI 400.16253)

6. Big belly of old woman

N. W. Thomas: Okulu agadin waiyi; Central Igbo: Nnukwu afọ agadi nwaanyị

Northcote Thomas photograph, String Game, NWT 2840a
‘Big belly of old woman’ string figure, photographed by Northcote Thomas in Agukwu Nri, Southern Nigeria, 1911. (NWT 2840a; RAI 400.16254)

Philip Noble notes: This figure is identical to No. 19 in George Cansdale’s collection, ‘Ghana String Figures’, published in The Nigerian Field in 1993, which has the name ‘When this animal went to fetch water, the sun came down’. In the Nigerian counterpart the loose hanging loop represents the sagging belly of an old woman.

7. Bull with long horn

N. W. Thomas: Okefi mpi agi liga; Central Igbo: Okeehi ogologo mpi

Northcote Thomas photograph, String Game, NWT 2842a
‘Bull with long horn’ string figure, photographed by Northcote Thomas in Agukwu Nri, Southern Nigeria, 1911. (NWT 2842a; RAI 400.16256)

Philip Noble notes: The design represents a bull’s triangular face and his two horns. This figure is the same as one called ‘Bat’ published by Kathleen Haddon and Hilda Treleaven in The Nigerian Field in 1936. It was also recorded by the geologist, John Parkinson, in Yoruba-speaking areas of Southern Nigeria and published in 1906, also named ‘a bat’.

Excerpt from John Parkinson’s article, ‘Yoruba String Figures’, published in the Journal of the Anthropological Institute in 1906, with figure of the ‘bat’ string figure.

8. Net for load

N. W. Thomas: Ozo anele; Central Igbo: Ubu ibu

Northcote Thomas photograph, String Game, NWT 2842
‘Net for load’ string figure, photographed by Northcote Thomas in Agukwu Nri, Southern Nigeria, 1911. (NWT 2842; RAI 400.16255)

Philip Noble notes: This figure is widely distributed in Africa, where it often represents a ‘net’. It is the same as one called ‘A Bridge’ published by Kathleen Haddon and Hilda Treleaven in The Nigerian Field in 1936.

9. Mask for ‘juju’

N. W. Thomas: Oga; Central Igbo: Ihu mmanwụ ọgwụ

Northcote Thomas photograph, String Game, NWT 2844a
‘Mask for “Juju”‘ string figure, photographed by Northcote Thomas in Agukwu Nri, Southern Nigeria, 1911. (NWT 2844a; RAI 400.16258)

Philip Noble notes: The figure is widely distributed in Africa. It is the same as that published by John Parkinson in 1906 under the name ‘Moving Figure’.

10. Fowl’s anus

N. W. Thomas: Ubwadiye; Central Igbo: Ike ọkụkọ

Northcote Thomas photograph, String Game, NWT 2844
‘Fowl’s anus’ string figure, photographed by Northcote Thomas in Agukwu Nri, Southern Nigeria, 1911. (NWT 2844; RAI 400.16257)

11. Rope on back

N. W. Thomas: Bokulei; Central Igbo: Ụdọ n’azụ

Northcote Thomas photograph, String Game, NWT 2846
‘Rope on back’ string figure, photographed by Northcote Thomas in Agukwu Nri, Southern Nigeria, 1911. (NWT 2846; RAI 400.16259)

Philip Noble notes: The central string represents a rope, presumably on the back of a person who is face down. The figure is identical to that published by Kathleen Haddon and Hilda Treleaven in The Nigerian Field in 1936 under the name ‘Dead Man Lying on a Bed’.

12. Trap

N. W. Thomas: Ibudu; Central Igbo: Ọnya

Northcote Thomas photograph, String Game, NWT 3499
‘Trap’ string figure, photographed by Northcote Thomas in Ebenebe, Southern Nigeria, 1911. (NWT 3499; RAI 400.20057)

Philip Noble notes: This figure is the same as ‘Bongo Skin’ and ‘Buffalo Skin (Pegged Out)’ respectively published by George Cansdale in 1993 and C. L. T. Griffith in 1925, both recorded in Ghana/Gold Coast.

It would be interesting to find out if such string games are still played in Agukwu Nri and Ebenebe, and, if so, whether these figures and names are still known. We will try to investigate this in our fieldwork.

Written instructions for recreating each of the string figures photographed by Thomas can be found in Philip Noble’s full article ‘Some Nigerian String Figures’, which can be downloaded from the link below. (Please note that there are some discrepancies between the names of string figures used in this blog and those in Philip Noble’s article. I have used the captions of the photographs in Thomas’s albums as the most reliable guide, but, since some of the photographs share the same negative number, it is possible that Thomas got these muddled up himself!) Many thanks to Philip Noble and Mark Sherman for permission to draw upon and republish Philip’s article, to Philip for producing the excellent demonstration videos, and to Yvonne Mbanefo, Emeka Maduewesi and Ayodeji Ayimoro for their help with Igbo names for string games.

Kelani Abass [Re:]Entanglements exhibition

Kelani Abass [Re:]Entanglements Contemporary Art & Colonial Archives Exhibition, National Museum Lagos

We are delighted to announce the next [Re:]Entanglements project exhibition, which will be taking place at the National Museum, Lagos, between 21 September and 27 October 2019.

The exhibition is the outcome of a collaboration between the [Re:]Entanglements project, the Lagos-based artist Kelani Abass, and the National Museum, Lagos. The exhibition features a series of new contemporary artworks by Kelani Abass, which respond to archival holdings in the National Museum of Northcote Thomas photograph albums. This will be the first exhibition at the National Museum that focuses on the Museum’s archival collections, and that brings together contemporary art and colonial archives.

The photograph albums were originally deposited at the Colonial Secretariat in Lagos at the time of Northcote Thomas’s anthropological surveys. They are the only substantial part of the Thomas collections that remains in Nigeria. At the beginning of the [Re:]Entanglements project, we believed these to be duplicates of photograph albums that are held in the UK’s National Archives (originally kept in the Colonial Office Library in London) and at the University of Cambridge Museum of Archaeology and Anthropology. When we tracked the albums down, however, we discovered that the albums from Thomas’s 1909-10 tour in Edo-speaking areas of Nigeria were actually very different from the albums in the UK, not least in the layout of the photographs on the pages and inclusion of additional descriptions on each page.

A page from one of the albums from Northcote Thomas’s 1909-10 anthropological survey of Edo-speaking peoples of Southern Nigeria in the archival collections of the National Museum, Lagos, Nigeria.

The exhibition will include displays of the original albums, and juxtaposes Kelani Abass’s new works, produced on various media, with large scale digital prints of pages from the albums. Abass has created two series of works for the exhibition under the title Colonial Indexicality. First, is a series of 12 works produced using acrylic, oil on canvas and letterpress type, which explores the archival textures of the albums from Thomas’s Edo tour. The paintings reproduce the yellowed paper panels on the album pages, including texts in various coloured inks and pencils, some in Thomas’s own hand. On each canvas Abass has painted one of the photographs from the corresponding album page, capturing the aging of the photographic images in the subtle tones of his paint. Inset in each panel, letterpress type blocks with the corresponding number of the photographic image is set.

Three of Kelani Abass’s works in his Colonial Indexicality series, which will feature in the [Re:]Entanglements: Contemporary Art & Colonial Archives exhibition.

A second series of works forms a large-scale intersecting collage reproducing five of Thomas’s photographs. Remarkably, these are ‘painted’ using a hand automatic number stamping machine. Like dots in halftone photographic printing, from a distance the photographic image can be seen, but as one approaches, the integrity of the image breaks down to its component ‘dots’, which in this case are each unique numbers. This speaks powerfully to seemingly obsessive use of numbers used by Thomas to index not only the photographs he made during his anthropological surveys, but also his sound recordings, artefact collections, botanical specimens and indeed every page of fieldnotes. This gives rise to the title of Abass’s work for the project, Colonial Indexicality.

Details of one of Kelani Abass’s ‘stamping history’ works for the Colonial Indexicality series. Large scale reproductions of photographs from Northcote Thomas’s albums are created using a handheld numbering stamp (see close up on the right).

The ‘dissolution’ of the photographic archive so powerfully evoked in Abass’s works, is reflected too in the large scale digital prints of Thomas’s original albums. As such the exhibition is also a reflection on the precarious state of the archive itself – especially in West African institutions. The condition of the albums is extremely poor as a result of the environmental conditions in which they have been stored and pest damage. They, along with many other collections in West African museums and archives, are in urgent need of conservation care if they are to survive. This can be seen, for example, in the way in which the photographs in some of the albums have faded – in some cases, they have become almost invisible. As well as drawing attention to the precarity of the archive, this speaks eloquently to fading of memory – something that we have been very aware of during fieldwork in Nigeria and Sierra Leone.

Fading photographs, fading memories. A page from one of the albums from Northcote Thomas’s 1912-13 anthropological survey of Igbo-speaking peoples of Southern Nigeria in the archival collections of the National Museum, Lagos, Nigeria.

It has been especially rewarding working with Abass on this collaboration, since the themes of the [Re:]Entanglements project link closely with themes that he has been exploring in other work over a number of years (see, for instance, this interview with Kelani Abass). We were introduced to the work Abass produced for his solo exhibitions If I Could Save Time and Àsìkò: Evoking Personal Narratives and Collective History at the Centre for Contemporary Art (CCA), Lagos, and we are especially grateful to Iheanyi Onwuegbucha, curator at CCA, for working with us on the curation of the exhibition at the National Museum. We are also very grateful to Mrs Omotayo Adeboye, Curator of the National Museum, and Mr Taye Pedro, Librarian and Archivist at the National Museum, for providing access to the collections and hosting the exhibition. Without their support the exhibition would not be possible.

[Re:]Entanglements: Contemporary Art & Colonial Archives is on at the National Museum, Onikan, Lagos between 21 September and 27 October 2019. See our next blog about the exhibition, including video documentation of its installation and opening event.

110 years of photographing N. W. Thomas collections

Five photographs, spanning a century, of the same agbazi mask collected by Northcote Thomas in Fugar, North Edo in 1909 (NWT (1) 2654; MAA Z 12287 A).

As part of the [Re:]Entanglements project we have sought to document the material culture collections assembled by Northcote Thomas during his anthropological surveys in Nigeria and Sierra Leone as thoroughly as possible. An important aspect of this has been to photograph the collections at the University of Cambridge Museum of Archaeology and Anthropology stores, and then to use the photographs during our fieldwork activities in which we have been revisiting the communities from which they were originally sourced.

Left: George Agbo, postdoctoral researcher on the [Re:]Entanglements project, photographing Isi abogefi mask collected by Northcote Thomas in Agukwu in 1911 (NWT (2) 390, MAA Z 13689); right: community members in Nise, Anambra State, Nigeria, discussing photographs of objects collected by Thomas in the town during fieldwork (photograph by George Agbo).

As we have been pursuing this research, we have encountered various other photographs of the Northcote Thomas collections. Indeed, we have discovered that some objects in the collections have been photographed many times since they were collected – starting in 1909 with Northcote Thomas’s own field photographs. In this article, we bring some of these photographs together as a kind of visual history of the photographic documentation of the collections.

The relationship between photography, ethnographic objects and ethnographic display has been the subject of much academic discussion. The manner in which objects have been photographed has shaped how such objects have been perceived, often within a strong Western modernist aesthetic, constituting them as ‘art objects’. Walker Evans‘ photographic documentation of African masks and sculptures displayed at the ‘African Negro Art‘ exhibition at the Museum of Modern Art, New York in 1935 is a famous case and has been the subject of an exhibition and catalogue in its own right – Perfect Documents. As well as lighting and framing, a key part of this aesthetic is the separation of an object from its context, accentuating the object’s formal qualities, while disembedding it from the cultural context that often gives an object its original meaning and significance. This practice was evident in Northcote Thomas’s own use of a blank photographic background sheet, and it is there, too, in our own photographic documentation of the objects. It has been difficult to escape these dominant photographic tropes, although we have also tried to experiment with other approaches in our creative collaborations with local artists.

[Re:]Entanglements team members, Katrina Dring and Paul Basu, setting up the photographic background paper at the University of Cambridge Museum of Archaeology and Anthropology stores. (Photograph by George Agbo.)

Northcote Thomas, 1909-15

Northcote Thomas made extensive use of photography during his anthropological surveys as we have discussed in many other project blog posts. While much of his photographic documentation was focused on people and their cultural practices, he also devoted considerable energy to photographing local material culture, including everyday utensils, tools and technologies, as well as ‘decorative art’ and objects associated with ceremonies, rituals and ‘secret societies’. Much of this material culture was photographed in situ in its cultural as well as physical context. Very occasionally it appears that Thomas acquired objects that he had first photographed in their original context, such as this ikenga-like figure that Thomas collected in Fugar in the north of present-day Edo State, Nigeria.

Ikenga-like figure identified by Northcote Thomas as Akosi, collected in Fugar, Northern Edo, 1909. (Photograph by N. W. Thomas, NWT 1095, MAA P.29204; Object NWT (1) 2659, MAA Z 12293.)

In addition to photographing objects in situ, Thomas also photographed objects isolated from their cultural context. This is evident, for example, in these photographs of masks collected by Thomas during his first and second tours respectively. Thomas photographed many masquerade performances, showing how masks were just a part of a much more elaborate performative display that included full costumes, music, dance, other ceremonial objects and audience interaction. On occasion, he was able to collect entire masquerade costumes, but, as with other collectors, he also collected head pieces alone. While we do not know the circumstances in which he collected these for sure, we do know that at least some of the objects he collected were specially commissioned from artists – this may have been the case with these masks from Fugar and Agukwu. Note the physical arrangement of the masks from Fugar on the left, and the use of backdrop and a book as an improvised mount in the photograph on the right.

Left: Twin masks described by Thomas as Ibonodike, collected in Fugar, present-day Edo State, in 1909. (Photograph by N. W. Thomas, NWT 1088, RAI 400.17528; Objects NWT (1) 2602a & 2602b, MAA Z 12252 A & Z 12252 B.) Right: Mask described by Thomas as Isi abogefi collected in Agukwu, present-day Anambra State, in 1911. (Photograph by N. W. Thomas, NWT 2934b, MAA N.78430; Object NWT (2) 390, MAA Z 13689.)

During Thomas’s second tour, which focused on the Igbo-speaking peoples of what was then Awka District (present-day Anambra State, Nigeria), Thomas started lining up the objects he had collected to photograph them prior to having them shipped to the University of Cambridge Museum of Archaeology and Anthropology (then known as the Museum of Archaeology and Ethnology). This example shows a series of items with Thomas’s original object numbers (352 to 372), collected in Awgbu and Enugu Ukwu. One can get a good sense of Thomas’s photographic backcloth here, supported on bamboo canes, which were in turn supported by two assistants, whose hands can be seen on either side! These photographs have been extremely useful in identifying Thomas’s collections in the Museum’s stores today, since many objects have since become separated from their labels. We have not, however, been able to locate all these objects.

Array of objects collected by Thomas in 1911 in Awgbu and Enugu Ukwu, present-day Anambra State, Nigeria. (Photograph by N. W. Thomas, NMT 2934, MAA N.78429.)

Arts of West Africa, 1935

To date, the earliest photographs we have discovered of Thomas collections after they had entered the Museum of Archaeology and Ethnology in Cambridge were published in 1935, 20 years after Thomas returned from his final tour. These are two photographs of the same Aule mask collected by Thomas in Agenebode, North Edo, in 1909. They were published in a book entitled Arts of West Africa, which was commissioned by the UK’s Colonial Office following the recommendation of its Advisory Committee on Education in the Colonies. In the acknowledgements it is stated that the book’s plates were produced by the ‘expert photographers’ of the Empire Marketing Board, under the supervision of John Grierson, pioneer of the British Documentary Film Movement. It is also noted that ‘the British Museum afforded special facilities for the photography of [the] objects’, including those lent by other museums. It is likely, therefore, that the Aule mask was sent to the British Museum to be photographed.

Plates XX and XXI in Arts of West Africa (1935). Aule mask collected by N. W. Thomas in Agenebode in 1909 (NWT (1) 2722, MAA Z 11910).

It is interesting that the editors of the book considered it worthwhile to illustrate the mask with two different views (it is the only example in the book). In the description of the mask in the text, reference is made to photographs taken by Thomas of Igbo hair designs similar to those carved on the mask published in Peoples of All Nations in c.1920. The photographs show how lighting and camera angle can be used to dramatize the appearance of the mask.

British Museum, dates unknown

We have recently chanced upon a series of photographs of Northcote Thomas collections in the British Museum. Only one of these had a catalogue note mentioning the name of Thomas, but we were able to identify others and the British Museum catalogue will be updated accordingly. It is not clear whether the photographs were all taken at the same time, or if they were photographed at the British Museum or supplied to the Museum by Cambridge. Nor do we have any information about the year in which they were taken. It is possible that they were also photographed for the Arts of West Africa book, but not included – we don’t know.

Below we provide three examples, juxtaposed with our own photographs of the same objects. These highlight another value of historical photographs of objects, insofar as we are able to compare them with the objects as we encounter them today. The first photograph is of the same Aule mask collected by Thomas in Agenebode and published in Arts of West Africa. As can be seen in the recent photograph on the right, the mask has been fitted onto a wooden display mount. These mounts are also evident in some of the Len Morley photographs taken in the late 1940s. This mount is not present in the British Museum photograph of the same mask on the left, suggesting that the photograph was indeed taken earlier – perhaps in the 1930s.

Aule mask collected by N. W. Thomas in Agenebode in 1909 (NWT (1) 2722, MAA Z 11910). Left: photograph in British Museum collection, date unknown (BM Af,B62.18); right: photograph taken by George Agbo for [Re:]Entanglements project, 2019.

Comparing historical and contemporary photographs also allows us to gather information about the changing condition of objects. The foot of this ngene shrine figure from Awgbu, for example, has clearly been damaged since the British Museum photograph on the left was made. Actually, during our collections-based research, we have located the missing part of the foot and this figure will be repaired prior to being displayed at the [Re:]Entanglements project exhibition in London in 2020.

Ngene shrine figure collected by N. W. Thomas in Awgbu in 1911 (NWT (2) 378, MAA Z 14234.1-2). Left: photograph in British Museum collection, date unknown (BM Af,B62.11); right: photograph taken by George Agbo for [Re:]Entanglements project, 2019.

In the example below, we can see that a piece of patterned cloth was originally attached to the mask when it was collected and has subsequently been lost. In fact, on closer inspection, we see that this is the same Obo mask collected in Fugar that Morley photographed (see below). The negative of Morley’s photograph has been printed back to front, such that the large crack that appears on the left side of the helmet can be see on the opposite side. The fact that the mask is attached to a wooden mount in Morley’s photograph of 1949, but is no longer attached to the cloth, also suggests that the British Museum photographs are earlier. Today, both the cloth and the wooden mount are missing.

Obo mask collected by N. W. Thomas in Fugar, 1909 (NWT (1) 2662, MAA Z 12297). Left: photograph in British Museum collection, date unknown (BM Af,B62.16); right: photograph taken by George Agbo for [Re:]Entanglements project, 2019.

Len Morley, 1949-51

In 1947, a faculty photographer was appointed to work in the Anthropology and Archaeology sections of Cambridge University, including at the Museum of Archaeology and Anthropology – his name was Len Morley. He continued working at the Museum until 1974. To date we have been able to identify around 15 objects from the Thomas collections photographed by Morley between 1949 and 1951. The objects are taken against a plain background and include a small scale. Two of the masks in the examples below have been fitted with wooden mounts similar to that discussed above, giving an indication of how they would have been exhibited in the Museum at the time.

Three examples of Len Morley’s mid-20th-century photographic documentation of masks collected by Northcote Thomas in North Edo in 1909-10. From left to right: Ogbodu, collected in Agenebode (NWT (1) 2729, MAA Z 11917.1), Amababa, collected in Irrua (NWT (1) 2566a, MAA Z 12816), Obo, collected in Fugar (NWT (1) 2662, MAA Z 12297).

Some masks are difficult to photograph without expensive purpose-designed mounts due to their shape and weight-distribution. In one remarkable photograph taken by Len Morley, we can see how he addressed this problem by getting an assistant, or perhaps a member of the Museum’s curatorial staff, to wear the mask. The area around the mask has then been painted out on the print making it suitable for publication purposes.

Moji mask, collected by Northcote Thomas in Afikpo, present-day Ebonyi State, Nigeria in 1912-13, photographed by Len Morley in 1951. (NWT (3) 50, MAA Z 13585.)

African art publications, 1960s-80s

A number of objects from the Northcote Thomas collections have featured as plates in more recent popular reference works on African art. In African Sculpture by William Fagg and Margaret Plass, first published in 1964, the authors use explicitly European art historical vocabularies to discuss African objects. At the time the book was published, Fagg was Deputy Keeper of Ethnography at the British Museum. Margaret and Webster Plass were American collectors of African art; Margaret donated their collection to the British Museum after her husband Webster’s death in 1952.

Fagg and Plass use the example of a mask Thomas identifies as agbazi, which was collected in Fugar in 1909 to illustrate what they refer to as an ‘African Gothic’ style (‘the strong tendency towards a ‘Gothic‘ verticality in African woodcarving’, p.101). The mask, which also appears in the photographs at the top of this post, appears to have been photographed lying on the floor of the Museum of Archaeology and Anthropology in Cambridge.

Front cover and p.101 of William Fagg and Margaret Plass, African Sculpture, first published in 1964. The photograph on p.101 is an agbazi mask collected by Thomas in Fugar in 1909 (NWT (1) 2654; MAA Z 12287 A).

Like William Fagg, Frank Willett was a leading Africanist anthropologist and archaeologist. Having spent a number of years working in the antiquities department in Nigeria in the 1950s, at the time he published his classic survey of African art in 1971 he was Professor of African Art and Archaeology at Northwestern University in the USA. African Art has remained in print ever since, and was revised in 2002. Willett used a photograph of a carved wooden figure Thomas collected in Sabongida, in the so-called Ora country, north of Benin City in his introductory chapter, discussing the development of the study of African art.

Willett refers to the ‘cubist qualities’ reflected in the artistic traditions of the Edo-speaking peoples. He also notes how little known these artistic traditions are when compared to the ‘better known art of the Benin court’. Thomas’s label and catalogue entry describe the figure merely as a doll. A piece of string is tied around its neck, attached to which are two cowrie shells.

Front cover and p.31 of the revised edition of Frank Willett, African Art, the original edition of which was first published in 1971. The figure on p.31 is described by Thomas merely as a doll, collected in Sabongida Ora in 1909 (NWT (1) 2164; MAA Z 13449).

A photograph of the Isi abogefi mask collected by Thomas in Agukwu, discussed above, was published by G. I. Jones in his monograph, The Art of Eastern Nigeria, published in 1984. Gwilym Iwan Jones was a colonial administrator in Igbo-speaking Eastern Nigeria between 1926 and 1946. During his time in the Colonial Service he undertook anthropological training at Oxford. In 1946, he left the Colonial Service and became a lecturer in anthropology at the University of Cambridge, specializing in Igbo art. Jones made extensive collections himself, now in the Museum of Archaeology and Anthropology, and he was also an expert photographer – his photographs of Igbo masquerade performances are especially well-known. In the 1930s and 40s, he worked in many of the same areas that Thomas visited during his second and third tours (1910-13), and he makes frequent reference to Thomas’s collections in the book.

Jones uses the mask as a particularly fine example of a ‘maiden spirit’ helmet mask. The marked-up, camera-ready artwork used in the production of Jones’ book can be found in the archives of the Museum of Archaeology and Anthropology, among Jones’ papers.

Isi abogefi mask collected by Northcote Thomas in Agukwu, present-day Anambra State, Nigeria, in 1911 (NWT (2) 390, MAA Z 13689). Left: camera-ready artwork of Figure 46 (MAA archives); right: Figure 46 of G. I. Jones, The Art of Eastern Nigeria.

Jean Borgatti, 1969

In 1969, the art historian Jean Borgatti conducted the first comprehensive research on Northcote Thomas’s collections, focusing on the material he collected in North Edo sixty years previously. This research would form an important part of Borgatti’s MA dissertation, ‘The Northern Edo of Southern Nigeria: An Art Historical Geography of Akoko-Edo, Ivbiosakon, Etsako and Ishan’, submitted to the University of California, Los Angeles in 1971. Her decision to concentrate on this area was a response to William Fagg’s observation that ‘the arts of the Northern Edo and Ishan have remained “a universe … practically unknown to the outside world, but which is extremely rich in new forms”‘ (Borgatti 1971: 2). Building on her MA work, she would go on to conduct PhD research in the same region and, indeed, devote much of her career to studying the arts and masquerade of North Edo (see, for example, her guest blogs for the [Re:]Entanglements project).

Borgatti made extensive use of photography in her research on the Thomas collections at the Cambridge Museum of Archaeology and Anthropology, using formal analysis to categorize the artworks according to a series of ‘style provinces’. She focused especially on carved figures and mask types. As well as presenting the photographs in the appendix of her MA thesis, she used these in her PhD fieldwork, during which she would rephotograph many of the same masquerade types, providing a remarkable analysis of how they have changed and developed over several decades.

Examples of Jean Borgatti’s contact sheets of her photographic documentation of N. W. Thomas’s North Edo collections in 1969.

Roger Blench and Mark Alexander, 1983-90

Prior to the [Re:]Entanglements project, the most sustained attempt to document Northcote Thomas’s collections was carried out by Roger Blench and Mark Alexander in the 1980s. Blench and Alexander were graduate students in the Anthropology Department at Cambridge. Together they set about cataloguing Thomas’s papers, sound recordings, photographs and material culture collections across various institutions. Blench presented an overview of the results of this survey in an article, ‘The Work of N. W. Thomas as Government Anthropologist in Nigeria’, published in The Nigerian Field in 1995. They also published a bibliography of Thomas’s written works, while Alexander used Thomas as one of a number of case studies in his MPhil dissertation, ‘Colonialism and the Political Context of Collection: A Case Study of Nigerian Collections in the Cambridge Museum of Archaeology and Anthropology’, submitted in 1982.

As part of this work, Blench and Alexander created a computerized database of the Thomas collections and photographs in Cambridge, and photographed as many of the objects as they could locate. Blench notes that many seemed to be missing. In the early 1990s, Blench and Alexander pursued other interests and passed on their catalogue and photographs to the Museum of Archaeology and Anthropology. Their photographs are pinned to the reverse of the Thomas object index cards in the Museum’s original card index catalogue system. While we have made many discoveries since, Blench and Alexander’s work with Thomas’s collections may certainly be regarded as laying the foundations of the [Re:]Entanglements project.

Examples of Roger Blench and Mark Alexander’s photographs of Thomas collections pinned to the reverse of MAA index cards. Anticlockwise from top right: guitar (NWT (4) 132, MAA Z 14553), charm (NWT (4) 130, MAA Z 14551) and powder horn (NWT (4) 100, MAA Z 14527), all collected from Yalunka-speaking areas of Sierra Leone (probably Musaia); charm (NWT (4) 74, MAA Z 14502), collected from Sendugu, Sierra Leone.

Ichi scarification and the Nka Dioka Festival, Neni

by George Emeka Agbo, Chijioke Onuora and Paul Basu

Nka Dioka Cultural Festival, Neni, December 2018
People of Umudioka dressed in the specially designed uniform at the Nka Dioka Cultural Festival, Neni, December 2018.

On 31 December 2018, the pavilion of the Umudioka Arts and Cultural Centre in Neni, Anambra State, Nigeria was filled by thousands of people who attended the 40th Nka Dioka Cultural Festival of Umudioka, Neni. Ndi Igwe (community leaders), titled men, and state functionaries graced the occasion. A live orchestra, cultural musical troupes (such as Egedege), and masquerades (agbogho mmonwu, otenkwu, etc.) electrified the arena with their performances. The people of Umudioka filed in in groups according to their age grades, all dressed in the same uniform designed exclusively for the occasion. The main motif repeated on this uniform comprised of a man’s face with ichi marks positioned above the tools used for the scarification, framed with the inscription ‘40th Year Nka Dioka Cultural Festival of Umudioka Community Neni’. The motif is a visual articulation of the event, giving insight into the history and culture of this town in Anambra State.

Nka Dioka Cultural Festival, Neni, December 2018
Textile design for the 40th anniversary Nka Dioka Cultural Festival.

Umudioka communities (in Neni and seven other towns among the Igbo) were historically known as specialist surgeons who carried out ichi and nki facial scarification, mbubu (body marking from neck to belly) and iwa eze (tooth filing). Among the photographs that Northcote Thomas made during his 1910-11 anthropological survey of what was then Awka District (corresponding more or less with present-day Anambra State), there are numerous portraits of people with facial and body scarification. Due to its broad social, political, and economic signification, ichi was the most common of these markings. Ichi specialists from Umudioka were invited to various towns across the region to create the marks on those who wanted them. Their clients were mainly male, although certain women, including priestesses, could also obtain the marks. Thomas wrote about the practice in his Anthropological Report on the Ibo-speaking Peoples of Nigeria.

Northcote Thomas photograph of Iyiazi, ichi marks, Nri, 1911.
Northcote Thomas photographs of a man named Iyiazi with ichi scarification marks, Nri, 1911. (NWT 2629 and 2930; RAI 400.15109 and 400.15110)
Woman with mbubu body marks, photographed by N. W. Thomas in Nri, 1911.
Northcote Thomas photograph of a woman with mbubu body scarification marks, Nri, 1911. (NWT 2430; RAI 400.15311)

In the case of families of high social and economic status,ichi marks could be obtained for their children at a relatively early age. In adulthood one can also do it as an expression of one’s wealth and prestige. The ichi scarification process begins with a journey by the Nwadioka (ichi specialist from Umudioka) to the Nwa Ichi (his client). The Nwadioka is accompanied by Nwa Nso, an assistant who carries the the Nwadioka’s tool bag and prepares the ground (mat and wooden pillow) on which the Nwa Ichi lies for the marking. He is also accompanied by the Nwa Mgbado Ichi, a second assistant who holds down the Nwa Ichi’s legs on the mat while the scarification is taking place. It is, of course, painful to receive ichi marks; so, to assuage the pain during the procedure, the Nwa Ichi’s mother or wife intermittently gives him a piece of fish to eat. Words of encouragement and melodious songs are also used to soothe the pain. At the same time, the lyrics of the songs convey various messages about ichi, the dexterity and experiences of the Nwadioka, and the value of the art. Nwa Nso plays the role of a nurse for fourteen days, cleaning the cuts with warm water and administering herbs that facilitates the healing.

Implements used for making ichi scarification marks, Neni
Implements (mma nka) used for ichi scarification. Clockwise from top left: (1) ichi knife for marking the affluent; (2) ichi kninfe for marking less affluent; (3) knife for isu nki (the short strokes on the temples and bridge of the nose); (4) knife used for itu mbubu (body marks for women).
Northcote Thomas photographs of ichi marks the day after they were cut
Northcote Thomas photographed this man in Achalla the day after he received ichi marks, indicating how painful it must be. It was, however, highly dishonorable to flinch during the operation. (NWT 3742 and 3743; TNA CO 1069/60)

Before the incursion of Christian missionary activity, ichi served as a means of protection for those who had the marks. For instance, they were not prone to abduction for slavery which was rampant at that time. The high value placed on ichi also made it a prerequisite for ozo title taking in most Igbo communities. In fact, ichi is seen as a sign of class stratification, not only by virtue of receiving the marks, but by the Nwa Ichi’s ability to ‘hire’ the costly implements used to make the marks. There are two types of ichi knives which do not necessarily produce different results but the use of one attracts higher payment than the other. Thus, there is an ichi knife for the highly affluent and another for the average class. When the Nwadioka completes the ichi cutting, he remits a certain percentage of his pay to the group of retired Nwadioka called Ndi Isimmanka.

In the mid-twentieth century, the ichi marking tradition was disrupted by the expansion of Christianity, which held that it was a fetishistic practice. Following the consequential decline, and after much controversy, the ichi tradition was, however, reinvented in Neni in 1978. From then on, ichi marks would no longer be received in the actual sense of cutting the skin, rather it became a symbolic practice performed annually at the Nka Dioka Cultural Festival. We witnessed this reinvented tradition being performed at the 40th anniversary of Nka Dioka in Neni on 31 December 2018. Two men received the symbolic marks that day. Then men were carried on the backs of attendants and laid on mats where the ceremony took place. The marking ceremony was accompanied by the traditional ichi songs and the Nwa Ichi were given fish to eat as in the original ceremony. The marking itself, however, did not involve cutting; rather the ichi knife merely traced the patterns on the men’s foreheads, leaving no visible trace.

Nka Dioka Cultural Festival, Neni, December 2018
Scenes from the symbolic ichi marking ceremony at the Nka Dioka Cultural Festival, Neni, December 2018. Left: Nwa Ichi being carried on the back of an attendant; right: the symbolic cutting being performed.

Northcote Thomas was not the only ethnographer to make a study of ichi scarification among the Igbo people. The anthropologically-minded missionary, George Basden, who spent most of his career working in the Awka/Onitsha area from 1900 to 1926, discussed ichi scarification in his 1921 book Among the Ibos of Nigeria. In particular, Basden noted the important role of Umudioka (which he spelled Umu-di-awka) communities in the practice. He observed that the men of Umudioka ‘hold a sort of monopoly of the profession [of ichi cutting], and travel all over the country for the purpose’; further noting that ‘judging by the number of those bearing the ichi marks, it must be a prosperous business’ (1921: 183).

It was, however, a later Government Anthropologist, M. D. W. Jeffreys, who made a more extensive investigation of facial scarification as part of a study of ‘the magico-religious beliefs of the Umundri’. Jeffreys identified two distinct ichi patterns, one associated exclusively with Ndri, another which he termed the ‘Agbaja Pattern’. In his article, ‘The Winged Solar Disk of Ibo Itchi Facial Scarification’, published in 1951, Jeffreys provides a detailed account of ichi from a man named Nwora from Nibo, who was an old man when interviewed in 1930, when he recalled having the ichi operation in his youth. Nwora explained that the Eze Nri had told the Umudioka to cut other towns differently to Nri, and it is forbidden to use the Nri pattern elsewhere.

Figures from M D W Jeffreys article 'The Winged Solar Disk of Ibo Itchi Facial Scarification'
Figures I, II and IV from M. D. W. Jeffreys’ article ‘The Winged Solar Disk of Ibo Itchi Facial Scarification’, published in 1951. Figures I and II show the differences between the Ndri (Nri) and Agbaja ichi patterns. Figure IV shows the Ndri (Nri) pattern as it appears on the face. Compare this with Northcote Thomas’s photograph of Iyiazi taken in Nri in 1911.

Ichi patterns were not only cut into people’s forheads. The same patterns are used to decorate a wide range of objects, including wooden door panels, ancestral figures, stools, masks and pottery used for ritual purposes. Thomas photographed many such objects during his survey work, and we have also come across examples in the artefact collections he made, which are cared for by the University of Cambridge Museum of Archaeology and Anthropology. We will be including a section on ichi in the [Re:]Entanglements exhibition in 2020 when we will display some of these objects alongside contemporary artwork by Chijioke Onuora, who is developing a series of batik paintings drawing on ichi motifs documented in Northcote Thomas’s photographs and collections.

Ichi designs on objects in the Northcote Thomas collections at the Cambridge Museum of Archaeology and Anthropology
Ichi patterns carved into objects in the N. W. Thomas collections at the University of Cambridge Museum of Archaeology and Anthropology. Clockwise from top left: ‘Pot used for giving Ndicie palm wine’ from Nibo (MAA Z 13800); Ngene shrine figure from Nibo (MAA Z 14234); base of wooden ozo title stool from Awgbu (MAA Z 14011).
Uwho, Ancestral shrine figure, Nri, photographed by Northcote Thomas, 1909-10.
Ichi designs on ‘uwho’ shrine figure at Nri, photographed by Northcote Thomas in 1911.

As can be seen in the Nka Dioka Cultural Festival in Neni, ichi is celebrated as an important part of Igbo cultural heritage – especially among Umudioka communities. In this respect it is interesting to note how Chief Odidika Chidolue (also known as Oke Iwe Adimma) is revered by the community as the only surviving man in Neni who has actual ichi marks. As a valued part of Neni’s living heritage, he receives a monthly stipend of 15,000 Naira from the Eyisi Ebuluo Foundation, which supports the preservation of local culture. In the course of our fieldwork we had the privilege of talking with Chief Odidika Chidolue as well as Nze R. O. Udeze (Eyisi Ebulue II) and Fidelis Igwilo, and were fortunate in being able to record some of their traditional ichi songs.

Video documentation of song traditionally sung during ichi marking. Performed by Chief Odidika Chidolue and Fidelis Igwilo, January 2019.
Chief Odidika Chidolue, Nze R. O. Udeze and Chirizu Igwilo, Neni
Many thanks to our friends in Neni: Chief Odidika Chidolue (also known as Oke Iwe Adimma, the only surviving member of the community to have ichi scarification marks), Nze R. O. Udeze (Eyisi Ebulue II) and Fidelis Igwilo.

We look forward to continuing our research in Neni and, through the [Re:]Entanglements project, exploring other opportunities for documenting this fascinating cultural heritage for the benefit of future generations.

References
Basden, G. T. (1921) Among the Ibos of Nigeria. London: Seeley, Service & Co.
Jeffreys, M. D. W. (1951) ‘The Winged Solar Disk or Ibo Itchi Facial Scarification’, Africa 21(2): 93-111.
Thomas, N. W. (1913) Anthropological Report on the Ibo-speaking Peoples of Nigeria, Part I: Law and Custom of the Ibo of the Awka Neighbourhood, S. Nigeria. London: Harrison & Sons.

Faces|Voices – confronting the photographic archive

Looking through the photographic archives of Northcote Thomas’s early twentieth-century anthropological surveys of Nigeria and Sierra Leone, one gazes upon thousands of faces. Faces of men, women and children, many photographed against a canvas backdrop; all of them silent. What were they thinking as they were being photographed by this Government Anthropologist, perhaps with a number card held above their heads? Was the encounter with this pith-helmeted white man, with his entourage of carriers and boxes full of strange equipment, an unpleasant one, or an amusing distraction from everyday chores? What can we see in the faces Thomas photographed? What can we read in their expressions?

In Faces|Voices, a short film we have made as part of the [Re:]Entanglements project, we invited participants to reflect upon some of the faces captured in Thomas’s photographic portraits and to comment more generally on the significance of these archival images. Adding their voices to the mute photographs, we find that the same portrait may invite quite different ‘readings’. Where one may see coercion, another might detect boredom. The crushing experience of colonialism may be found in one subject’s expression; optimism and resilience in another’s. Perhaps most surprising is the sympathetic view – even identification with – the face of the Government Anthropologist himself.

The film complicates any simple reading of the colonial archive. Even ‘physical type’ photographs, intended to identify and classify people into different racial or tribal categories, and which seemingly epitomize the violences of colonial ideologies, become ambiguous on closer inspection.

What do you read in these faces? Please make your voice heard by adding a comment.

Faces|Voices was made in collaboration with The Light Surgeons as a pilot for a video installation for the [Re:]Entanglements exhibition planned for 2020. See also our earlier blog entry about the making of the film. Many thanks to our participants: Ebony Francis, Robert Kelechi Isiodu, Kofi Mawuli Klu, Yvonne Mbanefo and Esther Stanford-Xose.

Faces|Voices was winner of the Best Research Film prize at the 2019 AHRC Research in Film Awards.

AHRC Research in Film Awards 2019

[Re:]Entanglements fieldwork activities

George Agbo (right) conducting an interview with Chiri Izu Igwilo and Odidika Chidolue in Neni
George Agbo (right) interviewing Chiri Izu Igwilo and Odidika Chidolue in Neni, Anambra State, Nigeria. Photograph by Glory Chika-Kanu.

Field research in West Africa is an important part of the [Re:]Entanglements project. This research, which will be one of the main activities of the project’s second year, involves retracing parts of the journeys made by Northcote Thomas during his anthropological surveys in Nigeria and Sierra Leone between 1909 and 1915.

One of the objective of this fieldwork is to reconnect with the communinties that Thomas visited over 100 years ago, and, where possible, to deposit copies of Thomas’s photographs, sound recordings and other archival materials with the descendants of those he documented. The historical archives and collections provide a medium through which to build relationships in the present. As well as ‘repatriating’ the archive, we are learning a great deal more about its content. The photographs, sound recordings and material culture collections are remarkably well contextualised compared with other ethnographic archives, but still there is much we don’t know. The return of the photographs and sound recordings provide occasions for telling the history of the settlement or community, explaining what is going on in a particular scene, or indeed correcting errors in Thomas’s documentation.

Paul Basu conducting fieldwork in Idunmwowina with David Ormoruyi Egonmwan and Ekhaguosa Aisien
Paul Basu (left) conducting fieldwork with elders, including David Ormoruyi Egonmwan and Ekhaguosa Aisien, at Idunmwowina, Benin City, Edo State, Nigeria. Photograph by George Agbo.

In our initial travels with these archives, we have found, of course, that much has changed in the areas in which Thomas worked a century ago. Places that were villages surrounded by forests have become neighbourhoods in conurbations. Thatched, mud-brick houses have been replaced by concrete and glass. Christian churches have often supplanted local shrines and traditional religious practices. And yet the continuities are also striking. Older members of the community still recall the old buildings from their youth; the names of photographed ancestors are known – a family resemblance is detected their descendants’ faces; the sacred grove is still somehow sacred.

Iyowa elders, including Ambassador Etiuosa Ighodaro and Mr James Aigbuza, pictured with their respective forebears Agbuza, Idodaio and Odiaisi
Iyowa elders, including Mr James Aigbuza and Ambassador Etiuosa Ighodaro, pictured with their respective forebears Agbuza (NWT 1250), Idodaio (NWT 1244) and Odiaisi (NWT 1246). Photographs by Paul Basu.

We will post longer accounts of our fieldwork here on the project blog, but please also follow our progress by joining the project Facebook Group, where we post more frequent updates.

Represencing the past

Ghost of the gate that once marked the entrance to Idunmwowina
Ghosts of past landscapes? Idunmwowina on the outskirts of Benin City. While Idunmwowina has changed much in the 110 years since Northcote Thomas visited with his camera, we were able to locate many of the exact locations he photographed. Here, for example, is Thomas’s photograph of the gate that once marked the entrance to the town superimposed on the scene as it appears today. Photographs by N. W. Thomas (NWT 332, RAI 15494) and Paul Basu.

Continuity and change

Nriaka, the town crier of Nri in 1911, photographed by Northcote Thomas, and Edechi Chidokwe, the present-day town crier of Nri.
Agukwu Nri, Anambra State, Nigeria – Then and Now. Much has changed in the 108 years since N. W. Thomas visited Agukwu Nri, but there are many continuities too. Here, for example, is the Nri town crier of 1911, whose name Thomas recorded as Nriaka, and Edechi Chidokwe, who is the Nri town crier today. The wooden gong they carry is called ekwe ogbo in Igbo, and today they are often inscribed with the name of the owner’s age grade. Photographs by N. W. Thomas (NWT 2671, RAI 15167) and Paul Basu.

Eke Market, Agukwu Nri in 1911 and today
Eke Market, Agukwu Nri in 1911 and today. Photographs by N. W. Thomas (NWT 2240, RAI 15841) and Paul Basu.

Hand-colouring Northcote Thomas’s photographs

Chiadikoni Nwaubani colourised versions of Northcote Thomas photographs (NWT 2972 and 2227)
Colourised versions of Northcote Thomas’s original monochrome photographs. Left: Nwamboyi (Nwamgboye) (NWT 2972); Right: Eze Nri Obalike (NWT 2227). Both photographed in Agukwu Nri in 1911. Coloured by Chiadikōbi Nwaubani, 2018.

Although there were many early experiments with colour photography from the 1850s, it was not until the mid-1930s, with the introduction of Kodachrome film, that it became widely used. All of Northcote Thomas’s photographs made during his anthropological surveys of Southern Nigeria and Sierra Leone between 1909 and 1915 were monochrome. Since the beginning of photography, however, various techniques have been used to hand-colour monochrome prints. Hand-colouring photographic prints using a fine brush with different kinds of dyes, watercolours and oils was a highly-skilled task. Demand for hand-coloured photographs reached its peak in the early twentieth century.

To date, we have come across only one historical example of a photograph taken by Thomas that has been hand-coloured. This was published in the serialised pictorial encyclopaedia, Peoples of All Nations, around 1920. In the section entitled ‘British Empire in Africa’ Thomas contributed around 23 photographs, many of which have been touched-up for publication, among these is the colour plate disparagingly entitled ‘Gewgaws of Primitive Society’. The photograph shows two young girls, which Thomas elsewhere describes as ‘onye ebuci’, adorned with bracelets of hippo ivory, anklets and garters of cowries, and necklaces and headdresses of long red beads. In addition to colouring the photograph, a vaguely ‘tropical’ background has been painted in place of Thomas’s calico photographic backdrop.

Comparison of Northcote Thomas's original photograph 4136 and the coloured version published in Peoples of All Nations
Comparison of Northcote Thomas’s original photograph of ‘onye ebuci’ girls (NWT 4135), photographed in Onicha Olona in 1912 and the hand-coloured version published in c.1920 in the popular encyclopaedia, Peoples of All Nations.

Today, with digital tools such as Adobe Photoshop, new possibilities for colourising historical monochrome photographs present themselves, though the process is no less skilled. Artist and Ukpuru blogger, Chiadikōbi Nwaubani has long been interested in historical visual representations of Nigeria and has been digitally colourising some of the Northcote Thomas photographic archive.

Chiadikoni Nwaubani colourised versions of Northcote Thomas photographs (NWT 1853 and 1846a)
Colourised versions of Northcote Thomas’s original monochrome photographs. Left: ‘Nwaeyeye girl’ (NWT 1853); Right: Nwaifu (NWT 1846a). Both photographed in Awka in 1910. Coloured by Chiadikōbi Nwaubani, 2018.

Chiadikōbi explains:

I’ve started colouring some of the photographs from the Northcote collection and I’m focusing mainly on the photos of his tours of the Igbo area. Since the colouring is partly based on guess work, some knowledge about the culture helps in deciding what is coloured what, such as the indigo cloth in the picture of the Eze Nri. Resist-dyed indigo cloth like that is still popularly used and I could notice the depth of the grey and the patterns and guess that it was one of the indigo cloths.

I started colouring some of these pictures a few years ago from digital scans of the printed Anthropological Report volumes. I was looking at other areas of the past, and at the time I used the Northcote Thomas images to practice colouring photos. I think the impact of the original black and white photos was less than these coloured versions because of the quality, but there was another sense of familiarity that was added to the pictures after they were coloured, partly because the age and the surroundings had already made the images quite distant.

One of the reactions to Northcote’s pictures I’ve heard is that ‘they don’t look like Igbo people’ (by some Igbo people referring to the pictures he took of Igbo people), and I think this was partly because of the lack of reference for anything in the pictures that they can relate to today, which may also be related to the ambiguity that black and white gives some objects, in this case cultural ones. The colourisation adds another sense of life to the photos, which also includes the colouring of material culture.

Chiadikoni_Nwaubani_colourised version of Northcote Thomas photograph (NWT 3649a)
Colourised version of Northcote Thomas’s original monochrome photograph. Mooku(?) (NWT 3649a), photographed in Mgbakwu in 1911. Coloured by Chiadikōbi Nwaubani, 2018.

 

Chiadikobi Nwaubani animated gif of photograph by Northcote Thomas (NWT 1853)
Animated image showing stages in colourising Northcote Thomas’s photograph of ‘Nwaeyeye girl’ (NWT 1853) using Photoshop. Note the multiple layers needed to build up the skin tones. Chiadikōbi Nwaubani, 2018.

 

See Chiadikōbi Nwaubani’s [Re:]Entanglements project blog on his ‘Susu Boy’ painting.

Faces/Voices pilot video shoot

Interviewing project participant for Faces/Voices video installation, [Re:]Entanglements project, 2018

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.

Paul Basu and Sharon Macdonald, Exhibition Experiments and The Light Surgeons The Body Adorned exhibition
Left: Exhibition Experiments book edited by Sharon Macdonald and Paul Basu; Right: The Light Surgeons’ video installation at The Body Adorned exhibition, The Horniman Museum, 2012.

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?

Faces/Voices video installation, [Re:]Entanglements project, 2018
In the Faces/Voices installation we experiment with how faces ‘captured’ in Northcote Thomas’s historical photographs enable contemporary participants to voice their thoughts, opinions and responses to the colonial/anthropological archive.
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.

Interviewing project participant for Faces/Voices video installation, [Re:]Entanglements project, 2018
Interviewing a project participant for the Faces/Voices video installation. In the finished work we will juxtapose the faces and voices of our participants with the faces of N. W. Thomas’s research participants from over 100 years ago. (Photograph by George Agbo.)
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!

See the final pilot film at https://re-entanglements.net/faces-voices/

Otuo wrestling festival, July 1909

N. W. Thomas type-written notes describing wrestling festival in Otuo
Excerpt from N. W. Thomas’s typed-up notes describing Otuo’s ‘Ukpesoda’ wrestling festival, 12-13 July 1909.

The first phase of the [Re:]Entanglements project has been focusing on researching the archives and collections assembled during Northcote Thomas’s anthropological surveys in Southern Nigeria and Sierra Leone. After the surveys, the collections were dispersed and they are now scattered across many institutions, including the University of Cambridge Museum of Archaeology and Anthropology, the Royal Anthropological Institute, the British Library Sound Archive, the UK National Archives, and National Museum, Lagos. One of the exciting aspects of this research is to reassemble the disassembled documents, photographs, sound recordings and artefacts relating to a particular event that N. W. Thomas documented.

Here, for example, we bring together photographs, sound recordings and an object that can be associated with an account of a wrestling festival that Thomas attended on 12-13 July 1909 in the North Edo town of Otuo (spelled Otua by Thomas). This written account was found in a bundle of typed up notes from his first tour, perhaps fragments of an early draft of his Anthropological Report on the Edo-speaking Peoples of Nigeria.

At Otua I witnessed a wrestling festival called Ukpesoda, said to have been ordered by Osa.

At 8.30 in the morning the road to the market but not the market itself was swept by boys who had not yet joined otu [an age-set]; then they plucked leaves from any tree on the road & headed by two boys carrying brooms marched through the town & back to the square.

Children sweeping road before wrestling festival, Otuo
Uninitiated children sweeping the road to the market before the start of the festival, Otuo. NWT 817b, RAI 400.17082.

In the afternoon a sacrifice was offered to the ground, euelekpa, by four of the king’s company, while the other chiefs looked on. The main share in the ceremony was borne by Eidevri (A) & Omorigie (B). A said: I salute the whole town; now is the time for our feast; B replied: the whole town thanks you.

A said: The king gets more fufu than others. The king replied: I thank you for seeing that it is all right. The fufu was provided by the king & three chiefs.

Distributing sacrifices at wrestling festival, Otuo
Distributing sacrificed fufu and meat to the king and chiefs on the first day of the festival, Otuo. NWT 816f, RAI 400.17075.

A & B then washed their hands & stood on either side of the stone of sacrifice. B brought water & put the dish on the ground; A washed his hands over the stone; B brought fufu & handed it to A & then put soup & four pieces of meat in the fufu dish. A put it on the ground close to the stone & they repeated this operation four times, once for each set of fufu. Then A & B stood aside, saying: We have finished, come & eat.

Then small boys lined up some ten yards away, rushed in, seized the fufu & took it away from the square to eat.

On their return A & B began to divide the fufu for the different companies. A cut the fufu horizontally, leaving some in the bottom of the calabash for the chief who provided it & putting the other slices on leaves on the ground. Then he took a knife & cut the fufu on the leaf & B gave to each company. The head took it & summoned the others. The people who are not yet in a company also get a portion, which is handed to the firstcomer after the order is given.

The meat was then cut up; the four chiefs got a piece each & A took the remainder home; it was divided on the following day.

The sacrifice over, the women began to dance & sing for joy; two performed to the song of the others; then all raised their hands & shouted.

Otua wrestling festival, women's song.
Women singing on the first day of the festival, Otuo. NWT 816l, RAI 400.17080.

‘Otua women’s song, July 13th 1909’. NWT 169, BL C51/2449.

On the following morning three drummers appeared on the square at 7.30 AM with three kinds of drums called alukpe, ozi & adoka.

Otua wrestling festival, drummers
Drummers playing on the second day of the festival, Otuo. NWT 817a, RAI 400.17081.

Drumming recorded by N. W. Thomas in Otuo, July 1909. NWT 156, BL C51/2268.

As soon as the people collected the wrestling began. Men hopped round the circle as a challenge & the victor hopped around afterwards.

Wrestling festival, Otuo
Wrestling scenes during the second day of the festival, Otuo. NWT 818c2, RAI 400.17084; NWT 818c3, RAI 400.17085; NWT 818c4, RAI 400.17086.

Anyone familiar with Chinua Achebe’s Things Fall Apart will recall the significance of wrestling in southern Nigerian society. We might imagine the scene in Otuo as being not unlike that evoked by Achebe:

The drummers took up their sticks again and the air shivered and grew tense like a tightened bow … The wrestlers were now almost still in each other’s grip. The muscles on their arms and their thighs and on their backs stood out and twitched. It looked like an equal match. The two judges were already moving forward to separate them when Ikezue, now desperate, went down quickly on one knee in an attempt to fling his man backwards over his head. It was a sad miscalculation. Quick as the lightning of Amadiora, Okafo raised his right leg and swung it over his rival’s head. The crowd burst into a thunderous roar. Okafo was swept off his feet by his supporters and carried home shoulder-high. They sang his praise and the young women clapped their hands.

Since the N. W. Thomas collections are in different physical locations, it is only through digital technology that we can bring them together in one space, reuniting sound, image and object. Bringing together these materials seems simple enough, but actually involves painstaking archival and collections-based research. Each institution has accessioned these materials using its own numbering system, and it has been necessary to reunite them using Thomas’s own original numbering systems, relying on the scratched numbers on the edges of photographic negatives, Thomas’s spoken ident at the beginning of sound tracks, and associating Thomas’s collection numbers with his object catalogues. This is further complicated by the fact that there is no straight-forward documentation of Thomas’s itineraries, recording what he did where, and what he collected, photographed and recorded.

Alukpe drum collected by N. W. Thomas in Otuo
‘Alukpe’ drum collected by N. W. Thomas in Otuo in 1909. If this is not the actual drum in the photographs of the wrestling festival, it is very similar. NWT 2048, MAA Z 13384.

Meeting themselves again. An object-oriented perspective?

Mask collected by N. W. Thomas in Agukwu or Nibo in 1910-11. (MAA Z 13689)
Maiden spirit mask, recorded by Northcote Thomas as ‘Isi abogefi’, collected in either Agukwu-Nri or Nibo in present-day Anambra State, Nigeria, in 1910-11. Thomas noted that this spirit (manwu) would dance each dry season at the feast of Anuoye. (MAA Z 13689; Photograph by N. W. Thomas MAA N.78430.)

In an essay, ‘The buzz of displacement’, in the book The Inbetweenness of Things (Bloomsbury, 2017), Sandra Dudley draws upon the concept of an object-oriented ontology and conducts a thought-experiment to imagine how museum objects themselves might experience senses of displacement and liminality. Dudley considers the perspective of a carved wooden bee that once adorned the throne of King Thibaw in the Mandalay Palace in Burma, which has been caught in the liminal space of the Pitt Rivers Museum collection in Oxford since 1889. For the bee, the museum may be regarded as a liminal space where it is isolated from the contexts which originally animated it; the object yearns for reincorporation into that lost social and material world from which it is exiled. On the other hand, however, the museum is a space in which possibilities for incorporation into new social worlds abound as the bee forms relationships with other people and things. Dudley mentions, for example, the intimate relationship formed between the bee and a contemporary wood carver who was inspired by the bee to create a replica.

Ethnographic museum objects may be said to be displaced both spatially and temporally. As we have been rediscovering the collections of artefacts that Northcote Thomas assembled during his anthropological surveys in Nigeria and Sierra Leone, we have also been experiencing this sense of the objects’ dislocation, but also the possibilities for reconnection in the present. The idea of reconnection and re-entanglement with the ethnographic archive is, of course, at the heart of the [Re:]Entanglements project. However, we have been struck especially by the temporal reconnections brought about in our approach to collections-based research in the museum store too – especially through our use of Thomas’s original field photographs.

Pot for Olokun, collected by N. W. Thomas in Benin City, 1909. (MAA Z 12112)
Shrine vessel, recorded by Northcote Thomas simply as ‘Pot for Olokun’, collected in Benin City in 1909. Such ‘akh olukun’ were made by women from river clay, symbolic of the cycle of life and the worlds of earth and water, human spirit. (MAA Z 12112; Photograph by N. W. Thomas MAA P.29327.)

Thomas did not systematically photograph all the objects he collected prior to dispatching them to what was then the University of Cambridge Museum of Archaeology and Ethnology. In fact, only a small percentage of the collection was photographed either in the field or at the Museum at the time. Those photographs of ‘specimens of native manufacture’ that Thomas did take in West Africa are therefore especially valuable, and have been one of the starting points for us as we have been exploring the collections in stores. In most cases, it is only through painstaking archival research and detective work that we have been able to locate these objects today. But how thrilling when one is able to identify such objects and reunite them with their historical photographic portraits!

Object-based research at the Museum of Archaeology and Anthropology, University of Cambridge. Katrina Dring, Collections Assistant, documenting Olukun pot (Z 12112) collected by N. W. Thomas probably in Benin City, 1909.
[Re:]Entanglements team member, Katrina Dring, updating the Museum record of the Olokun shrine vessel, comparing the Northcote Thomas’s field photograph of the pot with the object today. The vessel has evidently been badly damaged at some point in its biography and has been repaired.
From the objects’ point of view, we wonder what the experience of being brought ‘face-to-face’ with themselves in this way must be like? Seeing their younger selves, as it were, from nearly 110 years ago, when they had newly been brought into being through the skills of artists and craftspeople in the areas in which N. W. Thomas was working. The exchange of gazes between historic photograph and object presences other times, places and people, most particularly the very moment in time when, in West Africa, Thomas clicked the shutter on his Videx camera, capturing the reflected light from these objects in the emulsion of his glass plate negatives, which we, in turn, have pored over and digitized, and used in our quest to discover those same objects in the anonymous wooden crates in which they are now housed in Cambridge. The museum affords such possibilities for presencing these temporal and spatial journeys. And this, we hope, will be just the beginning of these journeys and possibilities as we invite others to reconnect with the collections and the histories they are entangled in, both virtually, through the internet, and when we physically travel back to the locations where the objects were made with copies of Thomas’s historical photographs and the photographs we are now taking.

Masks collected by N. W. Thomas in Fugar, North Edo, in 1909. (MAA Z 12252)
Recreating Thomas’s field photograph of two masks, labelled as ‘Ibonodike’ and ‘Wonodike’, collected in Fugar, in present-day Edo State, in 1909. (MAA Z 12252; Photograph by N. W. Thomas RAI 400.17528.) Thomas collected a large number of masks in Fugar; it seems likely that he commissioned a carver to produce various types of mask typical of the area.

Panoramic photography and photographic excess

Northcote Thomas panoramic photograph, Nigeria 1910-13
Panoramic photograph made by N. W. Thomas using the Kodak No.1 Panoram camera, Nigeria, 1910-13. Print from the University of Cambridge Museum of Archaeology & Anthropology, P.39431.

Northcote Thomas used a number of different cameras during his four anthropological surveys in West Africa between 1909 and 1915. During his first tour, in Edo-speaking areas of Nigeria, his equipment list included a Hunter & Sands Tropical camera and a Goerz camera. On his three subsequent tours, in Igbo-speaking areas of Nigeria and in Sierra Leone, however, his photographic kit included three cameras: an Adams Videx camera, a Stereoscopic camera, and a Kodak Panoram camera. The majority of Thomas’s photographs were taken on quarter plate glass negatives on the Videx, but it is clear that Thomas experimented with both stereoscopic photography, also using quarter plates, and panoramic shots using the Kodak Panoram, which used 105 format roll film.

Through the [Re:]Entanglements project, we have been systematically digitising all of N. W. Thomas’s photographic negatives and prints with our partners at the Royal Anthropological Institute and University of Cambridge Museum of Archaeology & Anthropology. Until recently, we believed that only Thomas’s quarter plate glass negatives and corresponding prints had survived. However, we were excited to discover quite a number of his panoramic prints in the collections in the Museum of Archaeology & Anthropology. On a recent research visit to the National Museum in Lagos, Nigeria, we were also delighted to find a number of these panoramic prints mounted in one of the photograph albums produced during Thomas’s surveys.

Northcote Thomas photograph album in National Museum, Lagos collection
Page of panoramic photographs from one of the albums produced during N. W. Thomas’s anthropological surveys in Southern Nigeria. Originally deposited in the Colonial Secretariat in Lagos, the albums are now in the care of the National Museum, Lagos.

The Kodak No.1 Panoram camera, which Thomas used, was manufactured between 1900 and 1926. The camera had a swinging lens, which took 3.5 x 12 inch exposures across a 112 degree arc on 105 film stock. An advertisement of the time asserts that ‘The pictures taken by these instruments have a breadth and beauty not attainable with the ordinary camera. The wide scope of view makes the Panoram excellent for taking landscapes, as it can cover a wide area without the distortion incident to the use of wide angle lenses’. There is an excellent article on the Kodak No.1 Panoram at Mike Eckman Dot Com.

Kodak No.1 Panoram camera
Kodak No.1 Panoram camera. The picture on the right shows a close-up of the Panoram’s ‘swing lens’, which turned 120 degrees when the shutter was released.

The more we explore Northcote Thomas’s fieldwork photography, the more we learn how innovative he was for the time. For example, during his 1910-11 tour in what was then Awka District, he experimented with using two cameras simultaneously to photograph a scene from different angles. This technique would, of course, become an important technique in cinematography. (The earliest known example of a two-camera set up in cinema was the 1911 Russian film Defence of Sevastopol.) In the example here, we can see that Thomas and his assistants simultaneously photographed what is described as the Ogugu ceremony at Agulu, south of Awka, using both the Adams Videx and Kodak Panoram cameras.

Ogugu ceremony, Agulu, Nigeria. Photograph by Northcote Thomas, 1910-11.
Ogugu ceremony, Agulu, Southern Nigeria. Photographed by Northcote Thomas in 1910-11 onto quarter plate glass negative using the Adams Videx camera. Print from the University of Cambridge Museum of Archaeology & Anthropology, P.30566 (NWT 2170).

In the resultant sequences of photographs there is a further intrigue, which speaks of the ‘excess’ of the photographic image, and particularly the peripheral presences that creep into the frame without the photographer’s awareness. Of over 7,000 photographs in the archive, there are perhaps only three or four that intentionally show something of the process of Thomas’s anthropological survey work. It is only through this photographic excess that we catch glimpses of the endeavor.

To date, then, the only photographs we have seen in which we glimpse Northcote Thomas behind the camera are the reverse shots of the Ogugu ceremony at Agulu taken by one of his assistants on the Kodak Panoram. In the background of the panoramic shot we see Thomas stood behind the tripod mopping his brow together with three of his assistants and items of his kit strewn around. A rare insight into the anthropologist-photographer at work.

Ogugu ceremony, Agulu, Nigeria. Northcote Thomas in background behind camera, 1910-11.
Ogugu ceremony, Agulu, Southern Nigeria. ‘Reverse angle’, photographed by one of Thomas’s assistants in 1910-11 using the Kodak Panoram camera. Note Thomas, behind the camera tripod, and assistants caught in the background (see detail). Print from the University of Cambridge Museum of Archaeology & Anthropology, P.39450.

N. W. Thomas – an accidental artist?

N. W. Thomas, Still Life, Shrine of Olukun, Benin City. NWT 144. MAA P.28134.
N. W. Thomas, Shrine of Olukun, Benin City, 1909. NWT 144. MAA P.28134.

Along with the sound archives and collections of artefacts, the photographic legacy of N. W. Thomas’s anthropological surveys in West Africa provide a remarkable record of life in Southern Nigeria and Sierra Leone in the early twentieth century. As part of a ‘scientific’ endeavour, they were intended primarily as a form of ethnographic documentation and also constituted ‘data’ in themselves – particularly with regard to physical type photography. As part of a government-sponsored project, their entanglement in colonial power relations and racial representation/categorisation is unavoidable. This political context must be the primary lens through which we approach these images and practices.

Working through this vast archive of photographs, however, one is also struck occasionally by the aesthetic qualities of the images. This extends to both portraiture – which, in many cases, complicates our reading of these as ‘physical type’ photographs (this will be the subject of a future blog) – and what we might call ‘still life’ photographs. Indeed, as the examples included here show, Thomas’s photographs of material culture or architectural details are sometimes strongly redolent of the early still-life photography of Fox Talbot or Daguerre . This includes photographs of what appear to be ‘found scenes’ as well as compositions in which objects have been arranged purposefully for the camera. (Compare, for example, with Fox Talbot’s ‘The Open Door‘ and Daguerre’s ‘Fossils and Shells‘.)

N. W. Thomas, Still Life, Instruments for marking body and medicines, Benin City. NWT 49. MAA P.28070.
N. W. Thomas, Instruments for marking body and medicines, Benin City, 1909. NWT 49. MAA P.28070.

This reminds us of a dual characteristic of photography that has been present throughout the history of the medium – that photography has been regarded as both a medium for the objective documentation of reality, independent of the photographer’s ‘artistry’, and as a medium of subjective artistic expression akin to painting or drawing. In the context of Thomas’s anthropological survey photography, a further question is raised regarding whether we may appreciate the aesthetic qualities of the photographs, while being mindful (and critical) of the racial/colonial politics in which they are entangled?

N. W. Thomas, Still Life, Shrine, Fugar. NWT 1056. MAA P.29135.
N. W. Thomas, Shrine, Fugar, 1909. NWT 1056. MAA P.29135.

Peripheral presences: N. W. Thomas’s Field Assistants

Assistant with umbrella. Peripheral presences in N. W. Thomas's anthropological photography. NWT 194b, 195a, 196a and 200a.
One of N. W. Thomas’s assistants, probably John Osakbo, as a peripheral presence at the edge of the frame in a series of physical type portraits photographed in Benin City in 1909. NWT 194b, 195a, 196a, 200a.

The image of the anthropologist as a heroic, lone fieldworker, battling through adversity in order to single-handedly document disappearing customs and rituals is a tenacious myth. Some anthropologists intentionally portrayed themselves in such terms. Malinowski‘s 1922 monograph, Argonauts of the Western Pacific, famously begins with the lines: ‘Imagine yourself, suddenly set down surrounded by all your gear, alone on a tropical beach close to a native village, while the launch or dinghy which brought you sails away out of sight’. In fact, we know that anthropological fieldwork is – and always has been – a highly collaborative endeavour. The important role of fieldwork collaborators – including fixers, brokers, assistants, interpreters and other participants – has, however, often gone unacknowledged. A notable exception was Franz Boas, who acknowledged his debt to his Tlingit-speaking assistant, George Hunt, who collected much of the data on which Boas’s publications were based.

N. W. Thomas was undoubtedly an energetic fieldworker, travelling extensively in Southern Nigeria and Sierra Leone in the course of some 55-months of anthropological survey work between 1909 and 1915. While Thomas was the sole author of the various reports and publications that resulted from this research, and is credited with assembling the thousands of photographs and sound recordings, and extensive collections of artefacts, botanical specimens and linguistic materials that are the legacy of these surveys, it is clear that this could not be the work of just one man. But who accompanied Thomas on his travels? How many assistants did he have? What roles did they play? One has to look hard to find a trace of such collaborators in the archives of Thomas’s surveys – but they can occasionally be glimpsed as peripheral presences.

This peripheral presence is most literally manifest when Thomas’s assistants appear at the edge of the photographic frame, holding a number board, supporting the photographic background sheet, or diffusing the sunlight with an umbrella. Many of Thomas’s photographic negatives are loosely framed, allowing peripheral detail to creep into the picture. The intention would have been to crop these images prior to publication, removing the traces of their co-production. As an experiment, such photographs can be differently cropped, placing the peripheral presences in the centre of the frame.

Peripheral presences. Details of N. W. Thomas photographs NWT 427 and 959.
Placing the peripheral presence in the centre of the frame. Again, probably John Osakbo, described by N. W. Thomas as ‘the most capable boy I ever saw’. NWT 427, 959.

Represencing Thomas’s fieldwork collaborators also entails recognising their trace elsewhere in the archive. In negative number NWT 261, a photograph of a group of Hausa musicians and dancers taken in Benin City in 1909, an assistant can be seen on the verandah making notes in what appears to be Thomas’s photographic register. These register books survive in the archives of the Royal Anthropological Institute and, indeed, the handwriting on these pages is not Thomas’s. Has the act of writing this very register entry been captured at the periphery of the frame?

Peripheral presences in N. W. Thomas's anthropological photography. NWT 261.
Left: A group of Hausa musicians and dancers, photographed in Benin City in 1909. Right: Detail showing figure on the verandah at the right edge of the frame, and of the photographic register entry he appears to be writing. NWT 261.

Within the photographic archive of the anthropological surveys, there are just five photographs of N. W. Thomas himself. These were likely taken by Thomas’s field assistants. In one intriguing pair of photographs, taken at the same location, it appears that Thomas and one of his assistants – probably Corporal Nimahan (see below) – have taken it in turns to photograph one another. This raises the question as to how many other photographs in the archive might have been taken by Thomas’s assistants rather than by Thomas himself.

N. W. Thomas (left) and an unnamed field assistant, possibly Corporal Nimahan, 1909.
Left: N. W. Thomas, possibly photographed by Thomas’s interpreter, Corporal Nimahan. Right: Unnamed assistant wearing corporal’s stripes (possibly Corporal Nimahan), probably photographed by N. W. Thomas. RAI 400.38267, 400.38292.

There appears to be only one entry in Thomas’s photographic register books in which it is noted that an assistant has taken a photograph. Thus photograph NWT 283 is described as ‘Burial of Legema, 26.3.09’. Evidently a sequence of four photographs was taken under this same number: 3 and 4 ‘by N.W.T.’, 5 and 6 ‘by John’. In fact we know a little more about ‘John’ compared with Thomas’s other assistants. This was evidently John Osakbo of Benin City. In a surviving letter from Thomas to the Colonial Office, sent from London in May 1910 after the completion of his first anthropological tour, Thomas requests that this assistant be paid a ‘retaining fee’ of £1 a month until his return to West Africa. Thomas describes John Osakbo as ‘the most capable boy I ever saw’, but notes that he was illiterate, and that the retaining fee should be paid on condition that he learn to read and write, and that he should also ‘receive training in photography’. It appears that Thomas’s request was granted. Thomas also recorded a phonograph of John Osakbo playing a song on a high-pitched woodwind instrument. Thomas’ voice can be heard at the start of the wax cylinder recording (NWT 16; BL C51/2164), ‘…song played by my servant, John, February 10th, 1909’.

 

It is likely that the number of individuals who accompanied N. W. Thomas on his travels varied from tour to tour. He travelled with camp equipment as well as photographic kit, phonograph and much else and would therefore have needed carriers. He seems to have travelled on foot, on bicycle and by hammock. In a letter to the Royal Botanic Gardens, Kew, written in 1928, recalling the collecting of vernacular names of plant species in Sierra Leone, Thomas mentions that Temne and Mende plant names were obtained from his hammock boys, and that they had been recruited in Freetown. Thomas relied on the assistance of interpreters, not only in his day-to-day interactions with people in the communities he visited, but also in compiling vocabularies and other linguistic data. In the preface to Part II of Anthropological Report on the Edo-speaking Peoples of Nigeria, concerned with linguistics, Thomas provides a list of the interpreters with whom he worked during his first tour and explaining the methodology he employed. Their names are: Erumese (Edo/Benin City), Nimahan (Kukuruku and Ishan), Osidora (Agbede and Kukuruku), Ogbedo (Edo/Benin City), James Smart (Sobo), George, Oganna and Isuma (Kukuruku). Nimahan was a corporal of the Southern Nigeria Police, and appears to have acted as both official interpreter and as representative of colonial authority. In Part III of Anthropological Report on Sierra Leone: Timne Grammar and Stories, Thomas notes that the first twelve stories published in the book ‘were recorded from the mouth of various members of my staff’.

In conclusion, by attending to their peripheral presences in the archive, it is clear that N. W. Thomas was not a lone fieldwork, but was accompanied and assisted in his anthropological survey work by an entourage of collaborators. While further work needs to be done to identify both the names and full range of activities they undertook, it is evident that their roles were fluid (‘hammock boys’, for example, provided ethnographic and linguistic information and did not simply transport the anthropologist on his itinerations). These collaborators were not peripheral to the anthropological project, but were in fact central to the endeavour. Hopefully, through the [Re:]Entanglements project, we will be able to identify more of N. W. Thomas’s Nigerian and Sierra Leonean collaborators, and correct the erroneous impression that Thomas was single-handedly responsible for assembling this remarkable ethnographic archive.

‘Susu Boy’, Guest blog by Chiadikōbi Nwaubani

'Susu Boy' by Chiadikobi Nwaubani, 2018.
‘Susu Boy’ by Chiadikōbi Nwaubani, 2018.

In the first of a series of guest blogs for the [Re:]Entanglements project, the artist and designer Chiadikōbi Nwaubani introduces his discovery of Northcote Thomas’s photographic archive and how this has provided inspiration for his work. Nwaubani was born in London in 1991 to Igbo parents. He returned with them to live in Nigeria between 1994 and 1997, and subsequently travelled back and forth between the UK and Nigeria. Having encountered many historical photographs of Igbo culture online, mainly digitised from old ethnographic accounts such as N. W. Thomas’s Anthropological Reports, he created the Ukpuru blog in 2010, where he reposts them along with associated information.

In this guest blog Chiadikōbi Nwaubani describes how he began experimenting with the archival images and interrogating them through his art practice. ‘Susu Boy’ is Nwaubani’s response to Plate VIII of N. W. Thomas’s Anthropological Report on Sierra Leone, published in 1916. From Thomas’s photographic registers, we know that the subject was in fact Momo Samura. The original photographs, from which the plate was made, were taken in Samaia in the Northern Province of Sierra Leone in May 1914.

I became involved in the [Re:]Entanglements project after sharing some of the designs I made with Northcote Thomas’s published photographs online. My initial involvement with Northcote’s work was through the lens of a descendant of the people he depicted in his photographs. I was interested in the ‘physical type’ portraits he made. Even though I was not familiar with the history of this kind of anthropological photograph, I had some idea about the nature of colonialism, which these photographs seemed to affirm. I started the Ukpuru blog in 2010 in which I post old photographs of the Igbo area that I have found online, particularly from early European ethnographies. My interest in ethnography comes from witnessing masquerades in my ancestral home town in Umuahia. The Ekpo masquerades, as they are known, have an imposing presence. The designs of the masks are highly varied and quite detailed. These figures were some of the earliest images I drew.

Chiadikobi Nwaubani and Ekpo masquerade in Umuahia, Nigeria.
A young Chiadikōbi Nwaubani and Ekpo masquerade in Umuahia, Nigeria.

I took some of Northcote Thomas’s published photographs and manipulated them with gradient colours – colours that were quite sharp, like purple and a kind of neon red. These colours gave a lively theme to the photos, and also a pop art feel. In this way, I feel that the subjects are transported from being a ‘type’ into being a symbol of history – both colonial and indigenous… a kind of vision of the past.

Recoloured archive photographs by Chiadikobi Nwaubani.
A contemporary vision of the past? N. W. Thomas’s anthropological photographs reworked by Chiadikōbi Nwaubani.

More recently I have been making paintings on paper, which bring out stronger themes. My use of black for fleshing out figures, not only draws out the focus on race, but also seems quite similar to Ekpo masks – these represent ghosts and ancestral spirits. The first of this type of painting I made was ‘Susu Boy’. When I first saw the photograph in Thomas’s Anthropological Report, it struck me as a kind of lonely looking study of the young man because of where he was positioned in the book. There is no name in the caption. The only information left for the viewer is the man’s features, particularly ones that are suggested to be racial, and also his skin colour. With so little information, I am led to imagine what might be happening ‘off camera’, in the margins. What happened just before the photo was taken? Or just after? What was the nature of the relationship between the man photographed and the photographer?

Plate VIII from N. W. Thomas's Anthropological Report on Sierra Leone. The caption reads 'Susu Boy'.
The original ‘Susu Boy’ physical type photograph published in N. W. Thomas’s Anthropological Report on Sierra Leone (1916). In fact, we know this is Momo Samura, photographed by Thomas in Samaia in the Northern Province of Sierra Leone in May 1914.

The arm of a white man holds the number board. Although no measure or number board may be found on the published photograph or negative, I wanted to draw attention to the ‘scientific’ presentation of the subject. The numbers, the measure, the presence of the hand with the board – these are used to frame the story and to raise questions pertaining to what was happening around the subject, both literally and figuratively considering the situation that this area of the world was in at the time. Most of this – and his – story will, for the most part, remain unknown. The jumbled numbers and bright colours give a sense of turmoil in the background – even if not literal turmoil, then one coming from the nature of the study of the subject and the way we see these images today in relation to what we know of the past.

Chiadikobi Nwaubani installing 'Susu Boy' as part of the Photographic Affordances exhibition at the Royal Anthropological Institute, London.
Chiadikōbi Nwaubani installing ‘Susu Boy’ as part of the Photographic Affordances exhibition at the Royal Anthropological Institute, London.

Chiadikōbi Nwaubani’s ‘Susu Boy’ is currently on display alongside N. W. Thomas’s photograph of Momo Samura as part of the Photographic Affordances exhibition at the Royal Anthropological Institute.

See an interview with Chiadikōbi Nwaubani at That Igbo Girl blog.

Chief Iyamu and Egedege N’okaro, Benin City

Chief Iyamu, photographed by N. W. Thomas in front of Egedege N'okaro, Benin City in 1909
Chief Iyamu with retainers photographed in front of Egedege N’okaro, Benin City in 1909. Photograph by N. W. Thomas. NWT 1361. RAI 400.16557.

Further to our post on Northcote Thomas, Benin Kingship and the Interregnum, this photograph shows another controversial Benin chief who rose to power during Oba Ovonramwen’s exile. This is Chief Iyamu, a paramount chief appointed by the British colonial administration and given executive powers over a territory to the South East of Benin City at Urhonigbe.

In his history of Benin under British Administration, Philip Igbafe argues that such paramount chiefs ‘were ordinary chiefs and individuals who showed themselves to be useful agents of the British officers and had to be used to rule the extensive Benin Territories’. They were appointed ‘because they were loyal [to the British] and willing to serve, prepared to adapt to new conditions in order to retain influence, and could therefore be relied upon to do the bidding of the administrative officers’.

Chief Iyamu was photographed by N. W. Thomas seated on a white horse, surrounded by his retainers, and wearing a splendid gown. He is pictured in front of an imposing European-style house, known as Egedege N’okaro or ‘first storey building’. It was reputedly the first residential building constructed in Benin City with an upper storey. According to the Edo World website, construction of the house began in 1903-04 under the supervision of O. S. Crewe-Read, an Assistant District Commissioner, who was killed in 1906 at Owa by Ika resistance fighters. Although the circumstances are not clear, the house was given to Chief Iyamu, who completed its construction around 1905-06.

Although Thomas did not record the circumstances in which the photograph was made, one can surmise that Chief Iyamu had a hand in the mise en scène. Resplendent on his white horse, posed in the forecourt of his impressive Benin City residence, here is a carefully composed display of power, prestige and status.

Chief Iyamu, photographed by N. W. Thomas in Benin City in 1909
A portrait of Chief Iyamu, photographed by N. W. Thomas in Benin City in 1909. NWT 1363. RAI 400.16555.

At the same time, Chief Iyamu was a controversial figure. According to Igbafe, Iyamu was among those paramount chiefs who abused the power given them by the colonial administration, and it is likely that he would have been imprisoned for his misdemeanours had the British authorities not deemed it inexpedient to do so for political reasons. Despite the people of Urhonigbe rising up against Iyamu in 1912 and 1914, he was given the title Ine after restoration of the Obaship and crowning of Eweka II in 1914.

Egedege N’okaro is still standing, a well-known landmark on Erie Street in Benin City.

Paul Basu Egedege N'Okaro Benin City 2018
Photograph of Egedege N’Okaro taken in 2018 from approximately the same spot as Northcote Thomas’s photograph from 109 years earlier. Photograph by Paul Basu.

Many thanks to friends at the Nigeria Nostalgia Project for helping to piece together the story of this house.

Northcote Thomas, Benin Kingship and the Interregnum

Chief Obaseki, Benin City, 1909. Photograph by N. W. Thomas (NWT 52; RAI 400.17873)
Chief Obaseki, photographed in Benin City by N. W. Thomas in 1909. Philip Igbafe describes Obaseki as the most prominent Benin chief during the interregnum, and close to the British colonial administration. (NWT 52; RAI 400.17873)

Earlier generations of anthropologists have been criticised for their failure to properly account for the historical contingencies that frame the context of their fieldwork. In their writing they often represented the societies they studied as if they existed outside of time, evoking customs and cultural practices as if they had remained unchanged over the centuries. For anthropologists of Northcote Thomas’s generation, there was a further paradox insofar as they worked within a ‘salvage’ paradigm, documenting and collecting cultures that they believed were on the brink of extinction due to the incursion of European influence. Thomas acknowledged that colonial contact was destructive, but he did not question whether it was also inevitable.

Thomas arrived in Benin City at a time of tumultuous change, just twelve years after the sacking of the city during the Benin Punitive Expedition of 1897, in the aftermath of which Oba Ovonramwen was exiled to Calabar. Benin’s monarchy was eventually restored in 1914, when Ovonramwen’s son, Prince Aiguobasimwin, was installed as Oba Eweka II, but the interregnum between 1897 and 1914 was characterised by fierce political rivalry between different factions. This rivalry was played out in the context of the new political system introduced by the British colonial authorities, which included the appointment of a Native Council and so-called paramount chiefs. While purporting to respect traditional power structures, this system of ‘native administration’ weakened the indigenous system of government, creating new tensions and rivalries.

Chief Ero, Benin City, 1909. Photograph by N. W. Thomas. (NWT 44; RAI 400.17868)
Chief Ero and attendants, photographed by N. W. Thomas in Benin City in 1909. Ero was one of the seven Uzama chiefs. During the interregnum, Ero was a member of Benin’s Native Council. (NWT 44; RAI 400.17868)

This was the fraught political context in which Thomas’s first tour as Government Anthropologist took place. Reading Thomas’s official report of this tour, his Anthropological Report on the Edo-Speaking Peoples of Nigeria, published in 1910, one is struck by the absence of any discussion of political structure. Indeed, given the primacy of sacred kingship in Edo, and the elaborate rituals that surround it, it is remarkable that Thomas should not devote a chapter to the subject in the report. It is important to remember, however, that Thomas’s reports were effectively British government publications, intended primarily for distribution to colonial officers. It is perhaps not surprising that they omitted such a controversial issue as kingship.

Chief Osula, Benin City, 1909. Photograph by N. W. Thomas. (NWT 48; RAI 400.17871)
Chief Osula, photographed by N. W. Thomas in Benin City in 1909. (NWT 48; RAI 400.17871)

In fact, it appears that Thomas intended to write a more detailed account of Edo-speaking communities in Nigeria. An incomplete manuscript survives, which we will be piecing together as part of the [Re:]Entanglements project, that does include a chapter specifically dealing with kingship. This address such matters as the origins of kingship in Benin, the relationship between the Oba and the Uzama chiefs, rituals around succession and so on. The account does not, however, make mention of the destruction of the Oba’s Palace in 1897 or the dethroning of Ovonramwen, who was, after all, still living in exile at the time it was written.

While Thomas was silent on colonial politics and contemporary power struggles among Benin’s elites, he was evidently granted audiences with and photographed many of the key figures involved. These included Chief Obaseki, Chief Ezomo, Chief Ero, Chief Osula and Chief Imaran. Chief Obaseki was close to the British administration and came to dominate the Native Council during the interregnum. He was ambitious and opposed the installation of Aiguobasimwin as Oba in 1914. Chief Ezomo and Chief Ero had been among the seven Uzama chiefs, and had played important roles within the pre-1897 Benin government. During the interregnum, these chiefs were all members of the Native Council. It is possible that Thomas’s are the only photographic representations of these important figures in the history of Benin. If Thomas himself was an unreliable witness to these events, his photographs, at least, constitute a unique historical record.

Further reading:

Igbafe, P. A. 1979. Benin under British Administration: The Impact of Colonial Rule on an African Kingdom, 1897-1938. Longman.

 

Photographic Affordances exhibition

Photographic Affordances exhibition, Royal Anthropological Institute, January 2018.

Marking the launch of the [Re:]Entanglements project, the first of a number of exhibitions related to the project has been installed at the Royal Anthropological Institute in London. The exhibition, entitled ‘Photographic Affordances’, includes a selection of fine digital prints from scans of N. W. Thomas’s original glass plate negatives that are held in the Royal Anthropological Institute’s collections.

Photographs made during Thomas’s four anthropological surveys in West Africa between 1909 and 1915 are dispersed in various institutions, including over 5,000 glass plate negatives held at the Royal Anthropological Institute and several thousand loose prints in the collections of the University of Cambridge Museum of Archaeology and Anthropology. Approximately half the photographs made in Thomas’s three Nigerian tours were compiled in albums. Triplicate sets of these albums were made: one was originally kept in the Colonial Office Library in London, another was sent to the Colonial Secretariat in Lagos, while the third was intended for scholarly reference and originally deposited at the Horniman Museum in London. Today complete sets of the albums can be found in the UK’s National Archives and the University of Cambridge Museum of Archaeology and Anthropology, while, to date, we have located one album at the National Museum in Lagos. Hopefully, in the course of the [Re:]Entanglements project, we will be able to locate the remaining albums in Lagos.

Photographic Affordances exhibition, Royal Anthropological Institute, January 2018.
Selection of N. W. Thomas’s physical type photographs on display at the Photographic Affordances exhibition.

Many of the prints on display at the Royal Anthropological Institute are so-called ‘physical type’ portraits. In the late nineteenth century and early twentieth century anthropological orthodoxy imagined the world’s population to be divided into distinct races and tribes, each with its own language, material culture and cultural traditions. It was also believed that people belonging to these groups were physically different from one another. Anthropologists of the era, including N. W. Thomas, expended a great deal of effort in mapping these different groups and their physical characteristics. One technique for doing this was through making photographic portraits of people – usually full face and profile – which could then be compared. The same techniques were used in the Ethnographic Survey of the British Isles, for example, but this kind of photography is often associated with colonial attitudes, which seemingly reduced people to objects that could be measured, categorized and compared.

N. W. Thomas, Anthropological Report on the Ibo-speaking Peoples of Nigeria, Part IV, PLate 18. Woman of Isele Asaba.
Plate XVII, N. W. Thomas, Anthropological Report on the Ibo-speaking Peoples of Nigeria, Part IV, 1914. Physical type photograph captioned ‘Woman of Islele Asaba’.

When physical type photographs were published in Thomas’s Anthropological Reports, the captions followed this objectifying anthropological practice. Thus, people were reduced to ‘types’ and the photographs were accompanied by labels such as ‘Man of Awka’, ‘Man of Mbwaku’ and ‘Woman of Isele Asaba’. In keeping with the supposedly ‘scientific’ genre of the photographs, the subjects do not smile. They seem to manifest the colonial violence we expect of them. By examining Thomas’s photographic negatives, however, a different impression emerges: Thomas was usually careful to note the names of those he photographed and, among the unpublished outtakes, we find people smiling and even giggling. This challenges our expectations and suggests there was a more personal relationship between the anthropologist and the person being photographed.

N. W. Thomas physical type photographs, comparing negative number RAI 400.38045 and 400.38046.
Scans of N. W. Thomas glate plate negatives, comparing two ‘takes’ of NWT 6105. The sitter’s name is recorded as Laiah. In the blurred ‘outtake’ on the left Laiah appears to be giggling. (RAI 400.38046, RAI 400.38045)

Despite the large number of physical type photographs made by Thomas while he was engaged as Government Anthropologist, the colonial authorities themselves had little interest in them, regarding them as being of ‘purely scientific interest’ and of no value in colonial governance. Thomas himself seems to have pursued this kind of photographic practice more out of a sense that this was what a professional anthropologist was expected to do, rather than a conviction in its scientific import.

The physical type photographs displayed in the Royal Anthropological Institute exhibition raise difficult questions, particularly for an institution founded in the 1870s and also entangled in histories of colonialism and ‘racial science’. Some of the faces smile, but others gaze into Thomas’s camera lens defiantly. They return the colonial anthropologist’s gaze, and now, gazing down from the Institute’s meeting room walls after 100 years hidden away in storage, they confront and unsettle representatives of the discipline today.

Photographic Affordances exhibition, Royal Anthropological Institute, January 2018
Photographic Affordances exhibition, Royal Anthropological Institute.

‘Fire Brigade’, Benin City, January 1909

'Fire brigade', Benin City, January 1909. Photograph by N. W. Thomas.

Photography played an important part of N. W. Thomas’s work as Government Anthropologist in Southern Nigeria and Sierra Leone. During the 55 months between 1909 and 1915 that he spent conducting fieldwork, Thomas took approximately 7,000 photographs on quarter plate glass negatives. Although these photographs were made as part of an anthropological survey, today they form a remarkable historical record of the localities in which he worked.

The first surviving photograph from Thomas’s anthropological surveys, made soon after he arrived in Southern Nigeria in January 1909, shows a chain of three men passing pots of water between them to put out a house fire in Benin City. Thomas captions the photograph ‘fire brigade’ in his photographic register. It is one of a sequence of shots of a house fire and its aftermath.

Thomas individually numbered each of his photographs and subsequently categorized them under geographical and thematic headings, such as Topography, Houses, Daily Life, Decorative Art, Technology, Ceremonies and so forth. He also kept a photographic register, in which he – or an assistant – made a brief note about each photograph as they were taken.

Report of the British Association for the Advancement of Science, 1912, Anthropological Photographs
Excerpt from the Report of the British Association for the Advancement of Science, 1912. This shows a report of the Association’s Committee on Anthropological Photographs, including a catalogue of the photographs from N. W. Thomas’s first tour, classified by location and theme.

Over the course of the [Re:]Entanglements project we will be researching this unique photographic archive alongside Thomas’s sound recordings and artefact collections and will regularly post about our discoveries. Please share these posts and add any comments you may have.