Thanks to digitization of the original wax cylinders by the British Library, these recordings are now accessible once again. As part of the [Re:]Entanglements project, we have been working with communities and local language/dialect speakers to transcribe and translate as many of the recordings as possible. It is not easy work, partly due to changes in the languages over 100 years and partly due to the poor quality of the wax cylinder recordings.
When we are able to obtain a good transcription and translation, the results are often quite startling. They provide remarkable insights into a moment in time: a moment of colonial intrusion, of which the anthropological survey was, of course, a part.
Recording No.465 was made during N. W. Thomas’s 1910-11 tour of what the colonial authorities had designated Awka District, in the Protectorate of Southern Nigeria, corresponding approximately to present-day Anambra State. The recording appears to have been made in the town of Umuchukwu, also known as Ndikelionwu, in 1911. It is a recording of a conversation between two young men, John, described as ‘an Onitsha boy’, and Nwile, ‘a Nibo boy’. Judging from the conversation, it seems that they have both accompanied the anthropologist on his visit to Umuchukwu, although Nwile seems to know the local chief and acts as an intermediary.
We worked with Yvonne Mbanefo and Oba Kosi Nwoba to obtain a transcription and English translation from the Igbo. With the translation in hand, we also discovered that Thomas had actually already published a transcription and translation of the recording in the third part of his Anthropological Report on the Ibo-Speaking Peoples of Nigeria, which is devoted to ‘Proverbs, Narratives, Vocabularies and Grammar’. Usually Thomas noted the record number alongside published transcriptions/translations, but on this occasion he neglected to do so. It was, however, easy to recognize the text once we received the translation. It is interesting to compare the original phonetic rendering and translation with the new one. (We discuss the orthographic conventions that Thomas employed in a previous blog post.)
The transcription and translation provided by Yvonne Mbanefo and Oba Kosi Nwoba:
D’anyị, I noo mma? Ano m nnoo! Kedu ka ịmee? A nọ m nnoo ọfụma I budi onye ebe? Abụ m onye Nibo Oo!
Brother, are you well? I am just there How are you? I am just fine. Where are you from? I am from Nibo Oh!
Mu na gi na aluko olu na ofu ebe. Ọ maka no-ofu. Anyị nwa wee bia n’obodo ndị a. Anyị bialu ụmụchukwu tata.
We work together in the same place It is a good thing We came to this people’s town We came to Umuchukwu today.
Umuchukwu ndị a bụ ndị ebe? Fa bụ ndị ikeri-ọnwụ Ndị Ikeri-ọnwụ? Eh!
This Umuchukwu is in which part? It is in Ikeri-onwu. Ikeri-onwu? Yes!
Kedukwa onye anyị no be ya? Anyi no be Chief a na-akpọ Kanu. O! Ya na ndị be ya niile. Esego nwunye ya na foto? Esego nwunye ya tata Ya na onye du? Ya na nke onye Ọnicha Ezi e? Eh!
Who are we even in his house? We are in Chief Kanu’s house Oh! With his whole family Have they taken photograph of his wife? The wife was photographed today With who? She and the person from Onitsha Truthfully? Yes.
Mụnwa bụ John ka eselu mu na ya na foto tata. Ọ ya ka m fukwalu. Okwu asị! Mba, afulu m ya, hahaha! D’anyị amuna amu n’ofu! I na-asika asi nwoke m. Nwoke m, ọ bụghị asi, afulu m n’anya. Ọ di mma ebe Ị fulu n’anya na okwu adiro ya. Ka anyị norisizia nu. Ma gị gwakwa ndị a na abiama bialu be fa. Nnukwu ife bialu tata.
It is I John, that was photographed with her today. That is what I have seen. It is a lie! No, I saw it, haha! Brother don’t laugh like that You are always lying, my man My man, it is not a lie, I saw it. It is ok since you saw it, there is no disputing it. Let us relax. But tell them that they have a visitor. A big thing came today
Ị gwago fa na ọ bụ ndị-oyibo Agwalu m fa, si fa na ndị-oyibo bịalụ Ka fa kwadobe ndi be fa niile. Abụ m onye Ọnicha Nnọọ! Gị nwa onye Nibo. Unu apụtachago ụla? Ọ dị mma. Nnọọ o! Kedu ka unu melu? Anyị nocha mma mma.
Have you told them it is the white people? I told them that the white people are here, let them prepare their people. I am from Onitsha. Welcome! You, from Nibo. It is well. Welcome! How are you people doing? We are all fine.
Kene ndị a daalụ o! Chief achoo Ị kene gị, gị daalụ o! Si fa na onye-ocha si fa daalu o! Onye-ọcha kenelu gị mma mma o!
Greet this people! Chief, he wants to greet you, greetings to you! Tell them that the white person greets them. The white person greets you well.
Si fa n’anyi bialu k’anyi fu fa anya o! Anyi bịalụ nkata bunu K’anyi wee nolisia o! K’anyi nọlisịa olịlị k’anyị naa o! Hahahaha! Ọmelụ agaa du? Mma mma ka ọ dị. Ọ dịmma o, Nkata nkata ka ọ bụ. Ka ọ dị n’ofu. Nnọọ o! Ike agwubago m, ka m naa. Eh? Eh! Ọ dịmma, kachifo! Ka ọ dịbazịa! K’anyị nolikwa, ikekwe anyị ga-afu ọzọ. Nodu nma o! Nnọọ o! Ka ọ diba! Ọ dịmma, na-eme ofuma.
Tell them we came to see them. We came to have a chat in your house. Let us stay well! When we are done enjoying our visit, let us go! Haha! How are things? Everything is fine. It is well, they are all conversations. Let it be like that. Welcome! I am getting tired, let me go. Ok? Ok. It is well, goodnight, later! Let’s be seeing, we will probably see again. Stay well! Later! It is well, be good.
The conversation would, of course, have been staged for the phonograph recorder, perhaps to document the differences in Onitsha and Nibo dialects. But, while the primary purpose of the recording was linguistic, through their exchange, John and Nwile also tell us a great deal about the broader encounter between the anthropologist, the Umuchukwu elite and their own joking relationship. The latter is most evident when listening to the men laughing together.
From this audio recording, we can build up a picture of the visit of the oyibo – the whiteman – to Chief Kanu’s compound in Umuchukwu. This entails multiple linguistic mediations between N. W. Thomas and John, John and Nwile, and Nwile and Chief Kanu. We gain insight into the formal greetings exchanged and the communication that the anthropologist has come to see the chief and to talk. We learn that the chief’s wife has been photographed that day, apparently alongside John himself! (The word ‘foto‘ has clearly entered the Igbo vocabulary by this time.)
Unfortunately, the annotations accompanying the photographs that Thomas made in Umuchukwu are vague and confusing, with crossings out and omissions. The ‘Chief of Umuchukwu’ is, however, identified (though the name ‘Chief Jacob Mbonu’ is crossed out) – is this Chief Kanu? The next photograph in the sequence is of a woman with mbubu scarification marks running down her chest and stomach. Is this one of chief’s wives? (There is no sign of John besides her!) And then there is another photograph of two men dressed in European clothing. They are dressed in a similar manner to Thomas’ assistants and translators elsewhere. Might they just be John and Nwile?
Northcote Thomas’s phonograph recordings constitute an important and untapped historical resource. While they were recorded largely for linguistic research purposes, today they provide a unique opportunity for us to hear the voices of those normally assumed to be silenced in the colonial archive. The Indian postcolonial studies scholar Gayatri Chakravorty Spivak famously asked ‘Can the Subaltern Speak?’ – listening carefully to the colonial anthropologists’ wax cylinder recordings we are in no doubt that they can indeed, and that their voices provide a crucial counter-narrative to dominant historical accounts.
Thank you to Yvonne Mbanefo, Oba Kosi Nwoba and the British Library. If you are an Igbo speaker, do please let us know if you spot any errors in the transcription or translation of the conversation between John and Nwile, or have any alternative interpretations! Please leave a comment here or email us at firstname.lastname@example.org.
[Re:]Entanglements project conservator, Carmen Vida, provides insights into some of the conservation techniques used to clean and consolidate a remarkable Igbo maiden spirit mask collected by Northcote Thomas in 1911, and how close examination can tell us more about the mask’s biography both before and after it entered the museum.
The maiden spirit (agbogho mmuo) is one of the most celebrated Igbo masquerade types. Although danced by men, the masquerades – manifestations of ancestral spirits – represent ideals of youthful femininity. The carved, wooden masks typically have fine facial features, with thin, straight noses, small mouths and light complexions, often decorated with uli designs or tattoos. They often have elaborate hair-styles, adorned with crests, coiled plaits and combs. They wear tight-fitting, vibrantly coloured and patterned appliqué costumes, which again evoke uli and other body painting designs. They dance mainly for entertainment, including at the annual Ude Agbogho or ‘Fame of the Maidens’ festival. Thomas collected two examples of the masks in Agukwu-Nri.
The mask we have been working with is a particularly fine example. It has a yellow and white face with black tattoos or scarification marks over the eyebrows, down the forehead and on either side of the eyes. Great detail has been paid to the carving of the hairstyle and of a tall, elaborate headdress that comprises a crest, four combs extending upwards and two stands surmounted by birds in between. The crest is made up of a large diamond-shaped section that is flanked by two horns that support two curved sections with upturned bells above. The painted decoration on the mask used red, black, yellow and white pigments. At some point, probably in the mid-20th century, the mask has been secured with copper wires onto a wooden mount.
Thomas made a number of photographs of agbogho mmuo dancing at Awka in December 1910 and March 1911, and also photographed the masks he collected in Agukwu-Nri later in 1911. There are no photographs, however, of the masks he collected being performed and we do not know for sure whether they had been used in dances before Thomas acquired them or if he obtained them directly from the artist(s) who made them.
Although Thomas did acquire complete masquerade costumes during his 1909-10 Edo tour, it does not appear that he did so on his 1910-11 Igbo tour. (There is a complete agbogho mmuo costume on display at the Museum of Archaeology & Anthropology, but provenance is unknown.) That there were additional costume elements attached to the mask we are focusing on here is, however, evident from some fibres that remain attached to the rows of holes that run around the edges of the mask, especially in the area of the jaw and chin.
Unusually, Thomas made quite detailed notes about the mask. He records the name of the type of mask as Isi abogefi – Isi meaning ‘head’, while abogefi may be a dialect variation or erroneous rendering of agbogho, meaning ‘girl of marriageable age’. He notes that the carved bird on one side of the head represents a black pigeon (ndò), and that on the other side a parrot. The central crest he records as isi nkpo umu nwayi, a representation of a headdress women wear for dancing. Thomas records the sources of the four pigments: the black (oji) and yellow (èdò) pigments are derived from trees, red (ufie) is from camwood, and white (nzu) from chalk/white clay. He goes on to explain that the mmuo comes out to dance at the feast of Anuoye during the dry season. Anuoye is a goddess of protection in Nri. He writes that the mmuo will only dance for half a day, once a year. He goes on to detail the sacrifices made to her, and how these are later cooked and redistributed by the young men who perform the masquerade.
Conserving Isi abogefi
In preparation for the [Re:]Entanglements exhibition, the mask required conservation because there were issues with its stability and appearance that needed to be addressed. The initial condition assessment of the mask started telling us part of the history of this object. But it was by contrasting the object’s present condition with that recorded in earlier photographs that the tale of the object’s journey could start being pieced together.
Comparison with the earliest photograph, that taken by Thomas himself in 1911, allowed us to establish that the mask had already been repaired before it had been collected (see our earlier blog post about this) and that Thomas seems to have acquired it without the costume element of which we found traces. Put together, these two facts lend more weight to the likelihood that the mask had seen previous use rather than being especially made for Thomas. Indeed, in the 1911 photograph one can also see a coiled raffia bundle, which was probably placed on top of the wearer’s head as a cushionbefore putting the mask on.
A later photograph of the mask taken for the anthropologist G. I. Jones, for his book The Art of Eastern Nigeria, published in 1984, shows the mask free of some of the damage now visible. Specifically, the losses to the lip, and the breaks and subsequent repairs now visible on the jaw and on the four combs are not apparent in the photograph for Jones’ book. This gives us an approximate point in time after which this particular damage and the subsequent repairs must have happened: post 1984.
Repairs are particularly clear on the back of the front left comb and on the front and back right combs too, because the adhesive used has aged and darkened. The nature of the breaks and the similarity in the appearance of the adhesive used in the repairs suggests at least one episode of catastrophic damage – a fall, perhaps? – rather than gradual deterioration. Having worked on this object I have also experiential knowledge of its instability as the top heavy crest makes it prone to tipping forward.
All of the above has consequences for any future conservation of this mask: as the post-1984 repairs are relatively recent and carried out in the context of the museum, it may be acceptable to remove the darkened adhesive and redo the repairs should this become necessary. We would not consider doing this with the more historical repairs, which may instead be conserved themselves as a vital part of the object’s biography. Similarly, being able to date the more recent repairs to after 1984 may help identifying the adhesive used and the best approach to its removal. The option of redoing the recent repairs was not considered at this stage because the information only became clearer as we worked on the mask, but also because at present the repairs, although disfiguring, are stable and removing them now may cause unnecessary damage.
The hands-on conservation of the object started with cleaning. As with other objects collected by Northcote Thomas that we have treated as part of [Re:]Entanglements, there was much surface dirt, with dust and dirt accumulated in the crevices, recesses, and carved details of the mask. Some of this dirt was relatively easy to remove using standard museum vacuum techniques. However, on organic porous materials such as wood, if dust is left for a long time it can end up becoming engrained into the pores and harder to remove, giving the object a grey and dull look. This was definitely the case with the maiden spirit mask. So, first the loose dirt and dust were removed with a museum vacuum and soft brushes. This did not prove sufficient to remove the dull grey film of engrained dirt, and after testing the steadfastness of the various pigments, the mask was carefully swabbed with a solvent to help lift the dirt off its surface. This was quite successful and some of the original sheen of the surface was returned to the object.
The treatment then focused on the structural issues that were placing the mask at risk. There were cracks at the base of both the horns that attach the crest to the head. The crack to the front horn, in particular, seemed to go most of the way through and moved when handled. Both cracks were consolidated and secured by injecting a protein-based adhesive into the cracks with a syringe and holding them under tension in the correct position until the adhesive cured.
The stand which holds the bird on the right was very loose and unstable, and the historical repair there, which we discussed in an earlier blog post, no longer secured it. The iron metal sheet of the earlier repair also had a rusted surface and small losses to the bottom edge, as well as a nail missing, and even though the corrosion was not active, it was unsightly and was therefore cleaned off slightly. Flexible fills using Japanese tissue paper and a conservation grade adhesive were made under the metal sheet to pack the joint and secure the stand, and then tinted to match the colour of the mask in that area so that they would be largely invisible.
The surviving lip fragment was re-adhered and the old wooden mount has been temporarily raised with a layer of Plastazote foam, so as to lift the jaw off the ground and relieve the pressure exerted by the weight of the object on the jaw, which has resulted in cracks in the wood. A new mount will be made for the exhibition display to replace the existing one, which will definitively solve this problem.
Damage to the upturned bells on the top of the crest was also examined: two of the bells – the third and the fifth from the front – display losses. These do not present any risk to the stability of the object and therefore nothing was done other than cleaning. But a close examination of them tells of at least two episodes of damage. On the third bell some of the break edges are darkened and dirty, but there is also a cleaner and therefore relatively more recent break edge. Reference to the photographs showed that some of the damage to the third bell, corresponding to the darkened break edge, was there at the time Thomas photographed the object in 1911 and therefore predates acquisition. Further losses have evidently happened between the time Thomas photographed the mask and the date it was photographed for Jones’ book. The fifth bell also has a small loss to the rim, with a dark break edge suggesting an old break possibly contemporary with the earlier loss on the third bell, though the photographs do not show this area and so nothing can be said with certainty.
Throughout the conservation process, the mask gradually revealed more and more of its history, allowing us to speculate more confidently on how Thomas may have acquired it, guiding our conservation decisions, and helping us trace and even roughly date some of the damage episodes it has suffered after entering the collection. But it does not end here. As a result of this conservation treatment there is one more tale the object has started to tell us, and that could open another venue of information into this object’s past.
During the research carried out on Igbo maiden spirit masks as background for the conservation treatment, a very similar mask was located in the Art Institute in Chicago (Accession No. 1994.315). The mask in Chicago is described in Herbert Cole and Chike Aniakor’s book Igbo Arts: Community and Cosmos as being covered in an ‘encrusted patina’ and its polychrome surface may have been lost, but it is nevertheless recognisably similar and uses the same motifs as the mask collected by Thomas, suggesting that it was made by the same artist(s). It also appears to have the remains of the costume element. This discovery may open the door to further research into the provenance and origins of the mask collected by Thomas and the role it may have played in Igbo societies before it entered the collection, and is a clear example of the affordances conservation work offers within and outside its own remit.
As noted above, Thomas collected two maiden spirit masks in Agukwu Nri in 1911. The second one was recently included in a virtual ‘Museum Remix: Unheard‘ trail across the University of Cambridge’s museums. Senior Curator, Mark Elliot discusses some of the untold/unheard stories associated with the mask in this video.
H. Cole and C. Aniakor (1984) Igbo Arts: Community and Cosmos. Los Angeles: Museum of Cultural History, University of California.
B. Hufbauer and B. Reed (2003) ‘Adamma: A Contemporary Igbo Maiden Spirit’, African Arts 36(3): 56-65 + 94-95.
G. I. Jones (1984) The Art of Eastern Nigeria. Cambridge: Cambridge University Press.
N. W. Thomas (1913) Anthropological Report on the Ibo-Speaking peoples of Nigeria, Part I. London: Harrison & Co.
One of the most impressive objects collected by Northcote Thomas during his 1910-11 anthropological survey of present-day Anambra State, Nigeria is this Ngene alusifigure. Thomas appears to have acquired this 1.25m high sculpture in Awgbu, about 11km south of Awka.
Thomas wrote a great deal about alusi (or alose) in his Anthropological Report on the Ibo-speaking Peoples of Nigeria. According to Thomas this referred to a wide range of deities or spirits, which were subordinate to Chukwu, the supreme being of Igbo religion. Some, he explained, had personal names such as ‘Ngene’ or ‘Ofufe’, whose shrines were often located in large enclosures, sometimes surrounded by highly decorated walls. These shrines were the locus of weekly and annual rituals, sites for oath-taking and sacrifice. These deities are given material form in different ways, including through sculptures such as this Ngene figure.
In Igbo Arts: Community and Cosmos, Herbert Cole and Chike Aniakor note that in the area around Awka ‘sculptures of gods and their supporters are typically arranged against a shrine wall often hung with cult apparatus’ (1984: 89). The carvings, they explain, are rarely by the same artist – over time the figures rot, are eaten by termites or otherwise deteriorate and are replaced as necessary. They are repainted and re-dressed during annual festivals, when the community’s allegiance to the deities is renewed through feasting and sacrifices.
When we first located the Ngene figure in the University of Cambridge Museum of Archaeology and Anthropology stores, we were struck at how fresh the carving and its paint was. Unlike such figures we have seen in situ, it did not appear to have accrued the signs that it had been installed in a shrine or used in rituals. We know that Thomas commissioned carvers to make other objects he collected, such as a large number of ukhurhe rattle staffs in Benin City, and we wondered if this was the case with Ngene.
Photographing Ngene in the field
Three interesting photographs of Ngene exist from the time that it was collected. During his 1910-11 tour, Thomas began the practice of lining up objects he had collected in front of a cloth backdrop and photographing them prior to shipping them to Cambridge. Numbers are set up alongside each object, and Ngene stands in a row of objects numbered 374 to 388, including two masks, a dance paddle, an iron staff for ozo title holders, two drums, an ogene gong, a rattle, a yam grater, dish, basket, cup and a mat used for carrying the dead. In total, Thomas collected 19 objects in Awgbu. One of Thomas’s assistants can be seen on the left holding the backdrop straight.
There are two even more intriguing photographs of Ngene in an album held at the National Museum in Lagos. The photographs were made using Thomas’s Kodak Panoram camera, which had a swivel lens and created a ‘panoramic’ exposure measuring 7″ x 2¼” on 105 format film rolls. In contrast to the formality of the documentation photo of the objects lined up with their catalogue numbers, these offer a glimpse of humour, even frivolity, behind the scenes.
In Thomas’ photo register, the images are captioned ‘Chief dancing’, and we can see two robed men in bowler hats dancing in front of an audience of young man and children, some lounging on Thomas’ camp chairs. To the left of the photographs is Ngene. It appears that a number of caps have been placed on its head, but they may be placed on top of the iron staff in front. Looking carefully, one can see other objects from collection documentation photograph in the frame, and indeed it appears musicians are playing the drums and rattle that also feature in the object line up. Again, one of Thomas’ assistants can be seen, smiling at the joyful spectacle, to the left of one of the photographs.
Notes on Ngene’s form
The Ngene figure acquired by Thomas in Awgbu shares many formal similarities to other alusi sculptures from the region, although it is also quite distinctive (it is less naturalistic than many examples). Like many alusi, it has ichi scarification marks on its forehead and a carved pattern on its chest and torso. It has a prominent umbilical hernia, a small penis, large nipples and carved bracelets and anklets. It is made from a single piece of wood and painted with white, yellow and red-brown pigments.
The hands and feet of alusi fugures are often not naturalistic. As Herbert Cole and Chike Aniakor note, ‘One conventionalized feature of these carvings, the palms-up hand position, has meanings which contribute to our understanding of the deities and their cults. Informants report that this shows the open-handedness or generosity of the deities, as well as their willingness to receive sacrifices and other presents. The gesture also means “I have nothing to hide”, suggesting honesty and a “good face” (1984: 92).
As part of the [Re:]Entanglements exhibition, we will be recreating the line up of objects, including the Ngene alusi figure, as per Thomas’ documentation photograph above. These objects are being prepared for display at the conservation labs at the Institute of Archaeology, University College London. The remainder of this article is written by Bill Mastandrea, a postgraduate conservation student who has been working on the figure.
[Re:]Connecting across time: Human hands and the conservator’s eye
by Bill Mastandrea
As mentioned in previous blog posts, conservation can help to provide a voice to objects which may otherwise have little to no context. Where objects are left voiceless, we run the risk of losing the valuable, humanizing information which surrounds them. It is these intangible facets of object biography that have personally interested me and propelled me to pursue conservation as a career. While the physical materiality of an object is integral, it is arguably its invisible stories which bring us closer both to it and to the people associated with it. Objects are not simply empty remnants of the past, but are living things, full of traces of what they have witnessed, endured, and experienced. While objects reveal different things to different people, the tools of conservation allow us to see particular narratives that others might miss, helping connect people of the present to those in the past.
As a post-graduate student in Conservation at UCL, the Museum Affordances / [Re:]Entanglements project has afforded me the great opportunity to investigate and conserve this Ngene alusi figure prior to it being exhibited. Here I want to report particularly on discoveries made during the initial stages of the conservation process, including condition checking and visual examination under visible and ultraviolet (UV) light. My observations point to a particular episode in the figure’s life history, which will inform my treatment proposal and future work on the object.
Condition checking of the figure began routinely, with investigation under visible light. The figure is carved from a single piece of wood and painted with white, yellow, and red-brown pigments and stands 1.24 metres tall. Intricate carving on the face, chest, upper arms, and stomach are interpreted as representative of scarification marks; and the carved rings around the ankles and wrists, bangles. Prominent areas of physical damage are noted on the head of the figure, where a non-terminal crack has formed, likely from fluctuations of temperature and humidity, and the right foot, which has been broken in two. Small flight-holes in the object are evidence of prior insect infestation, made by boring insects after reaching maturity.
Comparison with historic photographs shows that damage to the foot occurred after it had been accessioned into the University of Cambridge Museum of Archaeology and Anthropology collection. The foot appears to be in tact in a photograph of the figure probably dating to the 1930s held at the British Museum. The crack in the head is already evident in that photograph and, indeed, on close inspection, it can be seen in the field photograph of the figure lined up with other objects. The crack appears, however, to have worsened over time. It is presently unclear when the insect damage took place. Remnant material on the break edge of the foot suggests that someone in the past has attempted to adhere the foot back together.
In order to investigate the historic repair to the foot, the figure was observed under UV light. Some materials, including those used in the creation of objects or in their repair/conservation, have characteristic fluorescence, which can help in preliminary material identification. The use of UV is a valuable tool for a conservator trying to ascertain whether a repair was carried out with an historically-used conservation material, or through a more traditional repair practice carried out by the ‘source community’ itself. When I inspected the repair on the Ngene figure’s foot, the material was crusty and flaky in nature, and barely visible against the colour of the wood under ordinary light. Under UV, however, the material flouresced a pale yellow-white colour.
This routine investigation into adhesive material on the figure’s foot under UV light led, however, to the discovery of something unexpected. Hidden in plain sight, but made more obvious by UV light, were a series of hand prints on the back of the left leg and on the back of the head. In visible light, they appear only as a clear, glossy film, while under UV, these hand prints fluoresce strongly, similar in colour to that of the adhesive material used on the foot of the object. What information is there for the conservator to glean from these prints?
After discussion with the project conservator, Carmen Vida, and with Kirstie French, the Cambridge Museum of Archaeology and Anthropology’s conservator, it was decided that non-destructive material identification of the adhesive material used to make the hand prints will be conducted. In order to identify adhesive materials, conservators use a number of methods, including solubility tests, microchemical tests and what is called Fourier Transform Infrared Spectroscopy (FTIR). By identifying the material trace on the broken foot, it will be possibly to establish when and where the repair was likely to have taken place. And, by comparing this with the material of the hand prints, we will be able to ascertain if these were left at the same time as the repair or relate to another episode in the figure’s biography.
While we wait for the tests to be completed, we can only speculate as to who the hand prints belong to: Perhaps the object’s creator, or a member of the community? Perhaps N. W. Thomas himself, or one of his assistants? Perhaps a long-since retired conservator at the Museum of Archaeology and Anthropology? Other questions arise. Do the prints on the head and leg belong to the same person? Were they created at the same time? Their orientation may tell us more about how they came to be left. Was the figure being carried or set up straight?
Further investigation will hopefully provide at least some of the answers to these questions. For now, the hand prints remain an opportunity for personal contemplation. Tactility is an essential aspect of human experience, and one that is experienced by nearly everyone as we navigate through our world. So much of our past has come into being through the hands, as well as minds, of artisans, craftspeople and other specialists. At the very least, these hand prints add to the biography of the Ngene figure, instilling in it yet another story of lived experience with which we can connect.
Cole, H. M. and C. C. Aniakor. 1984. Igbo Arts: Community and Cosmos. Museum of Cultural History, University of California, Los Angeles.
The areas in which Northcote Thomas worked as a Government Anthropologist in Nigeria and Sierra Leone have, of course, changed a great deal in the 105 years since the end of his last tour. During 18 months of fieldwork, retracing the itineraries of Thomas, we have, however, also been struck by the many continuities. Despite urbanisation and Christianity, cultural traditions are strong! Take chalk, for example…
Thomas’s reports and fieldnotes on the Edo- and Igbo-speaking communities that he researched between 1909 and 1913 are full of references to the use of chalk in rituals, ceremonies and customs. This chalk is known variously as ‘calabash chalk‘ and ‘kaolin‘. In Igbo it isnzu, in Edo orhue. As Thomas documented, this chalk is used in multiple ways – as an offering to the deities and ancestors, as a medicine, as a symbol of purity, of good fortune and hospitality. It is a sacred substance.
Rites of passage
Chalk is used in many ceremonies and rituals, from birth to death. For example, Thomas describes the initiation of boys into the Ovia society in Iyowa, north of Benin City. ‘The boy joins the society’, Thomas writes in an unpublished manuscript, ‘by payment of a calabash of [palm] oil, 20 yams, a calabash of palm wine, 4 kola and 5 legs of Uzo [duiker]. The yams are cooked and fufu is sacrificed to Ovia. The boy marks his face with chalk and is then called Oviovia or the son of Ovia’.
Thomas recorded a number of what he labelled ‘birth songs’ in his travels in what is now the north of Edo State. The Omolotuo Cultural Group interpreted a number of these when we visited Otuo, explaining that they would be sung when the newly born child was presented to the community. To celebrate, both the child and the community members would mark their faces with chalk or arue as it is called in the Otuo dialect. The Omolotuo Cultural Group performed such a song for us, marking their faces accordingly…
Title-taking and kingship
During our fieldwork in Okpanam, in present-day Delta State, Obi Victor Nwokobia explained that nzu is part of the paraphernalia associated with royalty, signifying blessing and purity. It is used in the coronation of a new king (obi) and to invoke ancestral blessings on his guests at the palace.
With others in Okpanam, Obi Nwokobia was particularly interested in a series of photographs Northcote Thomas took in 1912 of an individual he identified as ‘Chief Mbweze’. The name, we were told, should be written ‘Mgbeze’, and what the photographs record is his title-taking ceremony. Thomas does not state what title Mgbeze was receiving, though he lists the highest titles a man may attain in Okpanam as being eze and obu.
Obi Nwokobia explained to us the use of nzu in the obi/eze coronation ceremonies. Prior to the conferment of the title, the initiand is rubbed with chalk all over his body. He also wears a white wrapper. The white of the chalk and cloth represents purity and sanctification. The candidate must then spend a period of 28 days in isolation. During this time, the white of the chalk connects the initiand to the ancestors. When the candidate emerges from this period of seclusion, he is considered pure and to have received ancestral validation of his coronation. The newly titled man dances and throws nzu on the people gathered as a mark of blessing on them. It is a moment that Thomas captured in his series of photographs of Mgbeze’s title-taking. These same practices are used in the coronation of an obi today.
Seeing beyond the visible
Among the hundreds of photographic portraits of individuals made by Thomas can be found many in which people have chalk smeared around one or both eyes. This could signify various things. The high female office of Omu, for example, was entitled to wear chalk around both eyes, as can be seen in Thomas’s photograph of the Omu of Okpanam (see centre photograph below).
Thomas notes that native doctors (dibia) were also entitled to wear chalk around either one or both eyes, depending on their seniority. The same was true of priests. Chalk around the eyes signifies an ability to see beyond the visible world and into the world of the spirits. Chalk is still used in this way among traditional doctors, diviners and priests, as we have often encountered during our travels in Thomas’s footsteps. They are sometimes called dibia anya nzu, meaning ‘native doctor with the eye of chalk’.
When we met Paul Okafor, chief priest of the Nge-Ndo Ngene shrine in Nibo, Anambra State, he wore chalk on his forehead and left eyelid. He explained that the mark on his forehead granted him access into the spirit world, while that on his eyelid allowed him to see into the spirit world so as to be able to solve his clients’ problems. Okafor further explained that he must wash the nzu off before going to bed, or else he would not be able to sleep, but rather continue to commune with the spirits until the next morning.
According to Nwandu, a dibia we met at Ebenebe, he uses nzu as a medium to communicate with the ancestors. He also applies nzu to part of his eyelid to be able to see the spirit world, and he demonstrated for us how he draws chalk lines on the ground when performing spiritual consultations – igba afa – for his clients.
Ọgbọ obodo and the Mkpitime cult
In the fourth part of his Anthropological Report on the Ibo-speaking People of Nigeria(1914), concerning the ‘laws and customs’ of the Western Igbo or Anioma people, Thomas provides an interesting account of the Nkpetime or Mkpitime cult. Mkpitime is the name of a female deity associated with a small lake close to Onitsha Olona, now Delta State, which Thomas visited in October 1912. Thomas evidently spent time with the orhene or priest of Mkpitime, a man named Mokweni, whom he also photographed. His visit coincided with the annual Iwaji (New Yam Festival).
During the festival, the orhene is said to ‘go into nzu (chalk)’. This is a period of seclusion during which no one is allowed to make a noise, quarrel or fire a gun. Three days after going ‘into nzu‘, the orhene is supposed to make offerings at Lake Mkpitime and swim in its waters. On the fourth day, the orhene comes out of seclusion, accompanied by drumming and dancing before the mmanwu (spirits manifest as masquerades). Thomas describes how a woman created figureson the earth of the dancing ground using chalk, but also charcoal, red mud and ashes. Thomas notes that this is called obwo [ọgbọ] obodo – translating as ‘circle of dance’. The motifs represent various ‘totemic’ animals and other aspects of local cosmology, including a leopard, ‘tiger cat’, pangolin, monkey, viper, cross-roads, mirror, the sun, moon and Mkpitime herself. According to Thomas, domestic animals such as goats, ducks and fowls must not step on the figures. However, they are soon obliterated by the dancing feet of the celebrants.
Chalk at shrines
Chalk is associated with many deities throughout Southern Nigeria, including Ovia, Ngene and Mkpitime, mentioned above, but also Olokun, Ake, Imoka and others. Artist-educator, Norma Rosen, has written about chalk iconography in Olokun worship, for example, and some of the designs she discusses are not dissimilar to those Thomas photographed in Onitsha Olona. In an article Rosen wrote with the art historian Joseph Nevadomsky, the scene is described in which this ‘elaborately drawn chalk iconography’ is similarly ‘obliterated by dancing feet’, sending ‘vaporous messages fly[ing] back and forth … between the other world and earth’.
We witnessed something similar – and, indeed, participated in the dancing – when we visited the Ake shrine at Idumowina, on the outskirts of Benin City. We had created an album of Thomas’s photographs, which documented the shrine in 1909, and presented copies to the community and the Ake priest. A special ceremony was held in which the album was presented to the deity. As can be seen in the photograph above, adjacent to the altar was a pile of molded chalk blocks and a dish of powdered chalk. The powdered chalk was sprinkled on the altar on which the album was placed, and was used to create patterns on the ground, which were subsequently erased by our dancing.
In his fieldnotes about the Ake Festival that he documented at at Idumowina in 1909, Thomas describes how women would come to the shrine asking the deity to bless them with children, and also to thank the deity if they had recently given birth. (Ake, like Olokun, is a deity associated with fertility.) He records that children were given chalk to eat.
Indeed, chalk is traditionally ingested by pregnant women and as a medicine for various complaints. We have eaten nzu, too, during our fieldwork, after seeking blessings at the Imoka shrine, during the Imoka Festival in Awka.
A symbol of goodwill, friendship and hospitality
In some areas of Igboland, nzu is used instead of or alongside kola-nut in traditional hospitality ceremonies. The most senior man or traditional priest will draw or sprinkle lines of chalk on the ground while uttering a prayer. The number of lines drawn is often four, corresponding to the four deities or market days of the week – eke, oye, afo and nkwo. The prayer is addressed to Chukwu (the supreme God), lesser deities and the ancestors, asking for long life, wealth, peace and fairness. At the end of each prayer, those present will respond by saying Ise!
After the prayer, the chalk will be rolled across the ground from the feet of one person to the next in order of seniority (and social/geographical proximity to the host). It is important that the chalk is not passed hand to hand. Each will then make a mark on the ground before him, again often four lines. Ozo title holders are entitled to mark eight lines. Before rolling the nzu to the next person, each will take a small piece of chalk and mark one of their feet, or an eyelid and put a little in their mouth.
Nevadomsky, J. & N. Rosen, 1988. ‘The Initiation of a Priestess: Performance and Imagery in Olokun Ritual’, The Drama Review 32(2): 186-207.
Rosen, N. 1989. ‘Chalk Iconography in Olokun Worship’, African Arts 22(3): 44-53.
In the early 20th century, the disciplines of anthropology and folklore studies were very close. Prior to his appointment as Government Anthropologist in 1909, Northcote Thomas was a member of the Councils of both the Royal Anthropological Institute and the Folklore Society. Folklorists, in particular, documented traditional stories and songs, and Thomas had edited a number of such collections.
During his anthropological surveys in Southern Nigeria and Sierra Leone, Thomas recorded many stories on wax cylinder phonographs. He transcribed and published many of these in his Anthropological Reportsand in articles in the journal Man. Other than regarding these as specimens of ‘native texts’ (though, of course, they were not ‘texts’ but oral traditions), he provided little explanation or commentary. Given that his surveys were intended to be of practical value to the colonial governments that were funding them, neither did he attempt to explain the utility of collecting the stories from a governmental perspective. As with so many aspects of Thomas’s surveys, while the value of the research at the time was unclear, the significance of the recordings as historical documents is now considerable.
The recordings are, however, challenging to listen to and the transcriptions and translations Thomas provided have many errors and inconsistencies. The potential for future research is immense. To illustrate this the [Re:]Entanglements project has worked with Yvonne Mbanefo of the Igbo Studies Initiative and Ugonna Umeike of the Department of Fine and Applied Art, University of Nigeria, Nsukka, to bring some of the stories to life. Yvonne has rendered some of the stories into contemporary Standard Igbo, re-recorded and translated them, while Ugonna has illustrated the stories, drawing upon Northcote Thomas’s photographs for visual reference. Here is one of the stories Thomas recorded in Asaba in 1913…
Akuko onye isi, onye ngwuro, ogbenye na Eze
(The Story of the Blind Man, the Cripple, the Poor Man, the Thief and the King)
Otu nwoke onye isi nọ n’obodo ọ maara ọfumaoge oke ụganị dakwasara ya. A blind man was in a town that he knew very well when a great famine befell him. Ọ gara na be Eze obodo ahụ, wee yọọ ya nri. He went to the king of that town, and asked him for food. Eze nyere ya ji na anụ, ọ wee were obi aṅụrị pụọ. The king gave him yams and meat, and he walked away rejoicing. Mana tupuu ọ pụọ, Eze nyere ya ndụmọdụ, gwa ya ka ọ ghara ịgwa onye ọbụla na e nyere ya nri. But before he went the king advised him not to tell anyone that he was given the food items. Ọ pụwara, wee hụ onye ngwụrọbụ onye oke agụụ ji, He walked away and met the cripple who was very hungry Wee gwa ya ka ọ gaa na nke Eze ka ọ nata ya ihe oriri. And he told him to go to the king to receive things to eat from him. Onye ngwụrọ gakwuuru Eze wee yọọ ya nri. The cripple went to the king and asked him for food. Eze jụrụ ya onye gwara ya na ọ nwere nri. The king asked him who told him he had food. O kwuru na ọ bụ onye isi gwara ya. He said it was the blind man that told him. Eze weere ji na anụ nye ya, ka o si nye onye isi. The king took yams and meat and gave to him as he gave to the blind man. Ọ nyekwara ya otu ndụmọdụ ahụ. He gave him the same advice. Ozugbo nje, onye ngwụrọ wee jiri nwayọọ wee laa. Immediately the cripple went quietly. Ọ gatụrụ n’ụzọ, wee hụ ogbenye, malite kwuwe n’olu ike He went a little way, then met a poor man and began saying in a loud voice, “Gakwuru Eze maka oke nke gị; ọ na-eyere ndị nwere nsogbu.” “Go to the king for your share; he is aiding the helpless.” Ogbenye gakwuuru Eze wee yọọ ya oke nke ya. The poor man went to the king and at once asked for his own share. Eze jụrụ ya onye gwara ya na ọ na-enye ndị mmadụ nri. The king asked him who told him he was giving food to people. O kwuru na ọ bụ onye ngwụrọ. He said it was the cripple. Eze nyere ya ihe ka o sị nyeOnye ngwụrọ, wee gwakwa ya ihe ọ gwara ya (onye ngwụrọ). The king gave to him as he gave to the cripple, and told him the same word he told him (the cripple). Ogbenye pụwara, wee hụ onye ohi. The poor man went away and saw a thief. Onye ohi yọrọ ya gwa ya ebe ọ nwetara ji na anụ mana ogbenye ekweghịị. The thief begged him to tell him where he got yams and meat but the poor man refused. Onye ohi gakwuuru Eze ka ọ yọọ ya nri. The thief went to the king to ask for food. Eze jụrụ ya onye ọ hụrụ n’ụzọ. The king asked him whom he met on the road. Ọ gwara ya na ọ bụ onye ngwụrọ. He said it was the cripple. Eze jụrụ ya ma ọ nwere ihe ọ gwara ya, ọ wee sị mba. The king asked him whether he told him anything and he said no. Ọ gwara ya gaa n’ụlọ onye isi na onye ngwụrọ, zuo ihe ha nwere. He said go to the house of the blind man and cripple and steal what they have. Eze gwakwara ya hapụ ogbenye, ka a ghara ikpe ya n’aka Eze. The king told him to leave the poor man alone so that he does not get reported to the king. Onye ohi zuuru ihe onye isi, ma onye isi ahụghị ya, zuo ihe onye ngwụrọ ma onye ngwụrọ enweghi ike iso ya. The thief robbed the blind man who didn’t see him, he robbed the cripple who couldn’t chase after him. Ọ bụrụ na o zuuru ihe ogbenye, Ogbenye ga- ekpe ya n’aka Eze. If he had robbed the poor man, the poor man would have reported him to the king.
Many thanks Yvonne, Kosi and Ugonna for bringing this story to life for us!
[Re:]Entanglements is part of a broader project entitled Museum Affordances, which is exploring what museum collections and archives make possible, or afford, for different stakeholders. As we have retraced the journeys made by the colonial anthropologist Northcote Thomas over 100 years ago in Nigeria and Sierra Leone, equipped with the photographs and sound recordings that he and his local assistants made, it has become apparent that one of the most powerful affordances of these archives is to enable people to reconnect with their ancestors. It has been a privilege for us to witness as community members set eyes upon the faces of their grandparents and great-grandparents, often for the first time.
Another striking affordance is the way these ancestral reconnections also connect extended families in the present. The descendants of those photographed during Thomas’s anthropological surveys now reside in many places throughout the world, forming transnational family networks among the broader diasporas of people with West African heritage. Social media platforms such as Facebook and WhatsApp enable such families to stay in contact, and it is interesting to see how the archive photographs that we bring back to communities in Nigeria and Sierra Leone are recirculated on these platforms, bringing extended families together through an appreciation of their shared past.
In October 2019, we were delighted to receive a message from Dr Obianuju Helen Okoye (née Nnama), a public health physician based in Chicago, Illinois, USA, sending us a photograph she had received from family members in Nibo in Anambra State, Nigeria. Dr Okoye – ‘Uju’ – wrote seeking confirmation: Was this really Chief Nnama, her late great-grandfather? It had been presented as such by a researcher from the [Re:]Entanglements project who had visited Nibo bearing the photographs.
In this guest blog, Uju tells the story of this ‘reunion of sorts’. Part family memoir, part eulogy for an illustrious ancestor, part local history, it is a rich and personal reflection on the contemporary value of these colonial-era archives.
The visitor from the University of Nigeria, Nsukka came unannounced, bearing precious gifts. ‘My name is Dr George Agbo’, he said in Igbo as he explained the purpose of his visit to the assembled group of Nibo indigenes. As he set up copies of Northcote Thomas’s 100-year-old photographs in an impromptu display, many of those gathered were somewhat bewildered. The exhibition of these portraits of strange-yet-familiar faces can best be described as a homecoming – an unexpected reunion of sorts, an intimate opportunity to embrace a past that was lost…
Staring at my phone in disbelief, I carefully examined the image that had pinged into our Nnama family WhatsApp group, which has over 50 members dispersed across West Africa, the UK and USA. My cousin, Chief Edozie Nnama (Ozo Odenigbo), had just shared a black and white photograph of a chiefly-looking man stating that it was our famous great grandfather. For the next two days there was confusion as we tried to make sense of what seemed to be an interesting rumour. How could we be sure? My cousin in the UK, Mrs Uzoamaka Nwamarah (nee Nnama), went off searching, and found the contact information for the [Re:]Entanglements project. So, to the source we went for confirmation, and I sent an email enquiry to Paul Basu, the leader of the project.
Fingers shaking, I took a screenshot of my email correspondence with Paul Basu, forwarding it to the family WhatsApp group. A mere ‘copy and paste’ seemed inadequate for news of such magnitude. For all of our Nnama family members – all who knew Nnama in the same manner that I did, as a revered name – it was the unearthing of a priceless family heirloom, made possible through the archival excavations undertaken by the [Re:]Entanglements project.
Nibo, my great-grandfather’s lands
Dusty red sand. Lush green tropical terrain. A bumpy ascent along untarred roads above the Obibia river. The joyous chants of children playing in the water below. My father’s loud voice bellowing, ‘These are my grandfather’s lands! These are all Nnama’s lands!’ These images remain ingrained in my mind. As a child I knew their significance. This was the land of my ancestors. It was my land. This place, Nibo, was home.
Nested in Igboland, on the banks of the Obibia river in Anambra State, Nigeria, Nibo lies close to its populous neighbour, Awka, with whom it shares a long history and close cultural ties. As children raised in various locations in West Africa and the United States, my father – Prof Samuel Kingsley Ifeanyi Nnama (Ozo Oyibo, Ozo Akaligwe, Ikenga Nibo-Traditional Prime Minister of Nibo, and the second in Nibo’s hierarchy at the time of his passing in 2016), who spent his childhood in Nibo and initially migrated to the United States in 1975 – made it a point to ensure that my siblings and I fully understood the legacy with which we had been entrusted. This was made especially tangible each Christmas during our childhood and teen years, when we would make an annual pilgrimage to our Nigerian hometown, Nibo.
Hearing the pride in my dad’s voice as he attempted to connect us, his children, with our mysterious and powerful ancestor – his grandfather, who he never actually knew in person – left a desire for a deeper understanding. Who exactly was this Nnama? How did he acquire his fame? What did he look like?
Since we had no photographs to look at, we created our own images in our minds. As I matured on another continent, thousands of miles from Nibo, my curiosity grew even stronger.
There he sits, with identifying facial marks and the nza over his shoulder. The scarification marks are called ichi – they signified royalty and status. The nza is a horsetail switch, which in those days formed part of the regalia of leadership. It is even used today by the current ruler of Nibo. His neatly-cut beard amazed me – what instrument, I wondered, did they use to maintain such neatness?
The photograph had a profound effect on me. I realized that while my dad has passed on his love for history and family to me, this image validated my connections. Nnama was more than a figure in a folktale – he was real! And the tears started flowing.
My late father was a keen family historian. This was a passion which he passed on to me at an early age. Back in 2007, we together created Wikipedia pages for Nibo and Chief Nnama to document their histories. Nibo is made up of four villages: Ezeawulu, Umuanum, Ifite and Ezeoye. Nnama Orjiakor was born sometime in the late 1860s/early 1870s into the royal family of Umuanum village. In the late 19th century there was a dispute between the ruling lineages of Umuanum and Ezeawulu, each claiming the throne. After decades of conflict (ogu uno), Umuanum prevailed and Nnama was confirmed as the Ezeike (king). To secure the peace, the opposing factions were united in the marriage of Nnama’s son – my grandfather – Orji Nnama and Mgbafor, the daughter of Ezekwe, the warrior leader of Ezeawulu village.
Ezeike Nnama Orjiakor was an astute strategist and formed an alliance with the powerful Aro warlord Okoli Ijoma of Ndikelionwu. Nnama arranged for his younger sister to marry Okoli’s second son Nwene Ijomah. In pre-colonial days, Nnama served as Okoli Ijomah’s deputy in the ‘Omenuko’ court, which presided over much of present-day Anambra State. This alliance offered Nibo great protection and safety during turbulent times.
With the coming of the British, however, Nnama recognized the futility of resisting the colonialist’s military might and the Nibo war council agreed to surrender. This marked the end of Nnama’s alliance with Okoli, who vowed that he would not be ruled by any other king and waged a military campaign against the British, suffering great losses and eventually putting an end to his own life rather than succumbing to the enemy. Meanwhile, Nnama was appointed as a Warrant Chief by the British in 1896 and continued to serve as Nibo’s traditional ruler until his death in 1945.
Northcote did not only photograph Chief Nnama when he visited Nibo in 1911. Inquiring further from Paul Basu, I was directed to a Flickr album containing almost 300 photographs he had made of people and places from my hometown. I was amazed to see my people in their natural habitat, often with remarkably intricate hairstyles that would be envied even today. As I looked through the photographs, I tried to connect the dots.
The photograph of Nnama begins the sequence of images that Northcote took in Nibo. The anthropologist would, of course, have gone to the king first. After taking Nnama’s picture, I reasoned that Nnama would then have arranged for Northcote to photograph other members of the ruling family. Prof Basu then sent me copies of Northcote’s photographic registers, allowing us to put names to the faces. Although the Igbo names were often incorrectly transcribed, I was hopeful that some of them might correspond with those recorded in our extended family (umunna) tree compiled by my late father.
In the photo register, after ‘Chief Nnama’ was ‘Oniyi’, who I couldn’t identify. But next was ‘Eke’. This was Nnama’s brother, whose descendants we all know. Then there was ‘Aduko’, which sounded so familiar. Could it be? Was it her? I wondered. Yes, this was surely Nwonye Oduko, my grandfather’s older sister, and Nnama’s first child.
Unfortunately, Aduko’s photograph is spoilt by a double-exposure. But, nevertheless, there she stands: Nnama’s ‘Ada’, his first child and daughter. Tall and seemingly full of pride, with scarification marks around her breast signifying her status as a daughter of the king. My dad had told me about his aunt Oduko, and the image made me smile.
‘Nwoze’, ‘Ekewuna’, ‘Ekwnire’, ‘Nweze’, ‘Ebede’, ‘Nwogu’, ‘Nwankwo’… these names I did not recognize, even taking into consideration Northcote’s errors of transcription. But then came ‘Nwanna’. Looking at the family tree, I saw there was indeed a Nwanna under the Ogbuefi branch of the family. I looked up the corresponding photograph and was stunned to discover that this Nwanna bore a striking resemblance to my dad’s older cousin, Chief Lawrence Ogbuefi, as well as his siblings, children and grandchildren. Other family members made the same observation.
In haste, I forwarded the image and a summary of my findings to Chief Lawrence’s daughter via WhatsApp. It was a remarkable discovery. For the Ogbuefi family members, looking at the photograph of Nwanna was akin to gazing in a mirror. For my Uncle Lawrence, aged 87 years old, this was a priceless heirloom. Nwanna was his father. He died when Uncle Lawrence was still young and my uncle had never before seen a photograph of him. After over 80 years, this image was a kind of resurrection that had him shedding tears of joy.
Uncle Lawrence wrote to me:
I salute the doggedness of the British anthropologist, Northcote Thomas, who visited my town Nibo in 1911 and took photographs of my people, including my dad – Nwanna Ogbuefi. I also salute the Royal Anthropological Institute and University of Cambridge for preserving those photographs for us. Those of us who were too young, even at our father’s death, to have any mental picture or reminiscences of what he looked like now have the opportunity of seeing what our dad looked like and appreciate the resemblances.
Northcote Thomas made trips to our land and made recordings that now establish a link with our fore-parents. Thomas may be long gone, but his work lives on to unite peoples of lost identities and educate and inform our children of the kinds of lives their great grandparents lived.
Travelling in time
To see Northcote’s photographs of Nibo carries us back to the Nibo of my grandfather’s childhood. To hear voices, recorded on Northcote’s phonograph, chanting songs in a pure Nibo dialect, stirs up a deep nostalgic feeling. As my cousin, Chief Nnamdi Nnama (Ozo Owelle) put it: It is an uncommon feeling, like one has travelled back in time to truly discover who you really are. Looking at the pictures said so much to me, and also left so much unanswered.
While much has changed in Nibo since Northcote’s visit, there are still traces of that time. Although faded over time, still standing is our famous uno nko nko – built over the site where our founding ancestor, Anum Ogoli, who established our village Umuanum was laid to rest. Inside can still be found the huge ikolo drum, which was also photographed by Northcote in 1911. The sound of this great drum could be heard at a great distance and the ikolo was used to communicate with the villagers.
The large tree that Northcote photographed, was still to be seen in my youth, when we took the short cut along the dusty path back to our house. And the obu, or court house, that Nnama’s father – Chief Orjiakor Eleh – built around 1856 remains an important landmark. (Nnama was buried just behind it.) Long gone, however, were the richly decorated walls that once enclosed the Ngene shrine.
My dad always told me that when the British came to Nibo, they came with a gun in one hand and a Bible in the other. Chief’s Nnama’s son, my grandfather, Orji Nnama, chose the Bible. He converted to Christianity, taking on the Christian name Joshua, and eventually became a missionary. This must have dismayed his father, since Nnama was not only the king, he was also keeper of the local gods, the chief priest of the Ngene shrine (Ngene Ukwu Afa), the biggest shrine in Nibo.
Even though Chief Nnama was a traditionalist he was also pragmatic. When his missionary son, now known to everyone as Rev Joshua, approached his father for land to build what would become St Matthew’s Anglican Church, Nnama rose to the task by offering his prized land at the very centre of the town – the Eke market square. A remarkable edifice that still stands today.
Rev Joshua also later built his own personal church on Nnama family land, All Saints Anglican Church. When the church needed to expand, the Nnama family donated the land on which the Ngene shrine once stood, and which had long-since become overgrown with bushes, to be the site of the new All Saints Anglican Church. In the passage of over a hundred years since Northcote photographed it, different religious institutions, the old exchanged for new, and yet the site is still sacred.
Since that fateful day when his face appeared on my phone, I often think about Ezeike Nnama. What would he think about his many descendants scattered around the world? What would he think of his town of Nibo today, with a new church prevailing where his traditional shrine once stood? I wish I could tell him that, though his descendants now serve a Christian God, we all stand tall with great pride in our rich legacy, because we know from whom we came.
Ancestral reconnections foretold
Reflecting on the significance of these ancestral reconnections, I want to leave the last words to my cousin, Chief Chibueze Nnama (Ozo Orjiakor VI, Ozo Nnama V), the current Nnama clan family head, who eloquently states:
I was elated, excited, amazed and joyous when we were informed of the interviews, records and pictures of our great-grandfather Chief Nnama Orjiakor (also known as Ozo Orjiakor II, Ozo Nnama I, Ofulozo, Alukachaa ekwe). This was awesome because in line with the cultural oral tradition of our forefathers: we, my brothers and sisters, children of Chief Godwin Chukwuedozie Davidson Nnama (Ofulozo), the first son of Rev Joshua Orjiakor Nnama (Ogbuaku), as teenagers and undergraduates, would sit down with our grandfather at the Obu Nnama Orjiakor while he relayed our entire family history, culture, taboos, African tradition religion, the coming of the white man and conquering of the Igbo tribes of the Lower Niger, slave trade, notable judgements as Warrant Chief, words of wisdom of his father, Chief Nnama Orjiakor and grandfather, Chief Orjiakor Eleh, the Warrior King. We were repeatedly told that our great-grandfather, Chief Nnama Orjiakor, was interviewed and the records were stored in the archives somewhere in Britain.
As the family historian and cultural custodian, it is awesome and uplifting that the truth of the records, culture and heritage of our great-grandfather, Chief Nnama Orjiakor, as foretold and repeatedly emphasised by our grandfather, Rev Joshua Orjiakor Nnama Ogbuaku, has come to light in our lifetime.
Thank you very much, Uju, for sharing your family’s remarkable story with us!
There is a wealth of cultural and historical knowledge locked away in the sound recordings that Northcote Thomas made during his anthropological surveys of Nigeria and Sierra Leone in the early twentieth century. Recorded on wax cylinders using a phonograph and without the benefit of a microphone, these sound archives are, however, some of the most challenging materials to work with. The audio signal is often weak, and the levels of noise very high.
Working with Yvonne Mbanefo of the Igbo Studies Initiative and thanks to a small grant from the British Library, which cares for Thomas’s wax cylinder recordings today, we have begun to transcribe, translate and re-record some of the the audio tracks. We have also been revisiting some of the transcriptions and translations that Thomas published in his Anthropological Reports. The original transcriptions and translations have proven to be invaluable in re-engaging with the recordings, but they can also be quite inaccurate.
During his 1910-11 tour of what was then Awka District (corresponding more or less to present-day Anambra State, Nigeria), Thomas spent a considerable amount of time at Agukwu Nri. Nri was an extremely important town in Igboland, the seat of the ‘highest ritual political title’, the Eze Nri. The reigning Eze Nri at the time of Thomas’s visits was Obalike. During the [Re:]Entanglements project, we have had the privilege of presenting Eze Nri Obalike’s grandson with a hitherto unknown photographic portrait of his grandfather made by Thomas.
Another important figure in Nri at the time of Thomas’s anthropological survey was Chief Onyeso. Onyeso was the son of the previous Eze Nri, Enweleana, and had served as regent during the interregnum between the reigns of Enweleana and Obalike. Whereas the Eze Nri was a spiritual leader, it appears that Onyeso remained a powerful ‘secular’ leader. As well as photographing him and his family, Thomas recorded a speech by Onyeso. In this case, the original recording seems not to have survived, but there is a transcription and translation of the speech in Part III of Thomas’s Anthropological Report on the Ibo-speaking Peoples of Nigeria; a volume devoted to ‘Proverbs, Narratives, Vocabularies and Grammar’.
Below is a rendering of the text of Onyeso’s speech in standard Central Igbo together with a revised English translation, both provided by Yvonne Mbanefo.
Ọkwa mụ na abịa, Onyeso, nwa Ezenri, It is I who come, Onyeso, son of Ezenri Nna m bụ Eze. Egburu m ichi n’epughị eze My Father was the King, I got Ichi marks before I got teeth N’izu iri na anọ, nwa eze na-enwe eze, At fourteen weeks the son of the King has teeth, mana ọ bụrụ na ọ nweghị ichi, But it happened that he didn’t have ichi marks. Eze pụta, ma ichi adịghịị, anaghị ekwe, aga etufu ya. but if the teeth come out without the marks, it is forbidden, they throw him away. Obodo ọbụla mere mkpọtụ. All the towns made noise. Mana nwa eze, gaa n’obodo ahụ, But the son of the king, went to the town. Wee sị, emena ihe ọjọọ, e buna agha , anụna ọgụ and said, ‘Don’t do bad things, don’t start wars, don’t fight’. Ọ ihe a ka nwa Eze na-eme. That is what the son of the King does. Anyị na-eyi akpụkpọ agụ We are the wearers of leopard skins Ife siri ike n’obodo. Things are hard in the town. Anyị bụ ụmụ eze. Anyị ga-eje dozie ya. We are the children of the King. Ọbịa ka Gọọmentị jị bịa kpọlụ ndi Igbo niile. The Government was visiting and took all the Igbo people. Anyị wee sị ndị Igbo niile na ife anyị na-eme, ka ala dịrị anyị mma. We are then saying that all Igbo that what we do, to make the land good. Anyị bụ Nri, Isi ala Igbo niile. We are Nri people, head of the entire Igbo land. Anyị bụ isi ọbọdọ niile, mmadụ niile . We are the head of all the towns, and all the people. Oge ụwa Gọọmentị bịara , anyị wee lee, obodo mebie. When the Government came, we looked, and the town got spoiled.
Onyeso’s speech is remarkable for many reasons. In this text, we can hear the voice of one of Thomas’s prominent interlocutors – a known, named individual, who Thomas also photographed. It is the voice of a confident, defiant member of an aristocracy, highly critical of the British colonial government, which has usurped the authority of traditional rulers, and undermined the status of the royal town of Nri. Onyeso asserts the primacy of the Nri people as the ‘head of the entire Igbo land’, a ritual and political status discussed at length by the Nigerian anthropologist M. Angulu Onwuejeogwu in his book An Igbo Civilization: Nri Kingdom and Hegemony (1981).
Onyeso also provides first hand details about some of rituals around his office and the political functions of the nwa eze, the son of the king. He refers, for example, to the traditional practice of infanticide. A newborn child is not supposed to have teeth, and if it does this was traditionally considered an abomination, resulting in the child being left to die in the forest. Similarly, a baby who cut his upper teeth first was also considered an abomination. Onyeso states that the sons of kings cut their teeth early, but that it is important for them first to have the ichi facial scarification marks made – if they haven’t received the ichi marks, the child, he says, will be thrown away. Onyeso proudly states that he received the ichi marks as a baby before his teeth came through.
Onyeso also explains that the nwa eze acts as a peace-maker, travelling to towns, quelling disturbances and quarrels, advising towns under the Nri hegemony to keep the peace. This was an important role for Onyeso since the Eze Nri himself was traditionally prohibited from travelling outside of Nri after his coronation. As Onwuejeogwu argues, the Eze Nri ‘ruled but was never seen by the people of his hegemony’. The sacred status of the Eze Nri was undermined by the British colonial authorities; part of the destruction of the traditional order to which Onyeso alludes in his speech.
And what of the Government Anthropologist? Thomas’s position seems to have been ambiguous. On the one hand, he was surely associated with the forces of colonialism that were destroying the Nri hegemony. On the other hand, however, he contradicted colonial officials and sent despatches to the Colonial Office arguing that the ritual authority of the Eze Nri should be respected. He also documented the voices and words of people like Onyeso, representing the experiences of colonisation from the perspective of the colonised in his official Reports. One wonders how many people, even to this day, have actually read Onyeso’s speech or recognized how subversive an act it was of Thomas to include such anti-colonial sentiments in publications funded by the colonial government and distributed to colonial administrators.
Many thanks to Yvonne Mbanefo, Oba Kosi Nwoba, Janet Topp Fargion and British Library Sounds for supporting our research on Northcote Thomas’s sound recordings.
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.
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.
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.
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.
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.
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.
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.
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.
by George Emeka Agbo, Chijioke Onuora and Paul Basu
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.
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.
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.
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
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.
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.
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.
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.
In 2018 we photographed many of the artefacts collected by Northcote Thomas during his anthropological surveys in Nigeria and Sierra Leone and now held at the University of Cambridge Museum of Archaeology and Anthropology. This allowed us glimpse into the artistic skills of the various communities in which Thomas worked. This included metal working such as bronze casting and blacksmithing, wood carving, pottery, basketry, weaving and leather working. Our engagement with these collections has led us to pursue certain lines of inquiry in our fieldwork: for instance, we are interested in who made these objects, why and how they were made, to what uses were they put, and whether these artistic practices have survived.
In some place, such as Benin City, we have found that traditional arts continue to flourish, as can be seen in the metal working guilds in Igun Street or the nearby wood carvers who produce works not dissimilar to those collected by Thomas over 100 years ago. In many places, however, it appears that these skills are being lost or have died out.
In Amansea, Anambra State, Nigeria, which Thomas visited in 1911 during his first tour among Igbo-speaking communities, we met a carver – Chief Raphael Anaemena – who also holds the Ozo title. We did not see him work; he is advanced in age and has not carved in a couple of years, but he shared interesting insight into the art. He is from the Ibe family in Amansea, historically known across the region for the art of carving.
Although we do not have record of any wooden artefacts collected by Thomas from Amansea, Chief Anaemena’s father or grandfather may well have carved the doors or shrine figures that Thomas photographed in the town. He and other carvers from the Ibe family also received commissions from neighbouring towns such as Ebenebe, Ugwuoba and Awka where Thomas did collect. There were carvers in these places too, but the works of the Ibe of Amansea were particularly sought after due to the high quality of their craftsmanship.
down with Chief Anaemena to look over some of the photographs of the wooden
objects Thomas collected in the area and benefitted from his insight into production
techniques. Consider, for example, how carvers joined pieces of wood.
Looking at the above elegant wood carving to which a thumb piano (ubo) is attached, and which was acquired by Thomas in Awgbu, Chief Anaemena explained that some parts such as the leopard and the animal heads with horns were carved separately and then joined together. While other carvers would use glue, such as the type made of wax from a certain insect in the bee family, to join the various parts, the Ibe would achieve a better result by creating a protrusion on one piece of wood and a groove on the other wood into which the protuberance would be fitted. Another joinery technique is ‘nailing’ with thorns such as those from orange trees, palm branches or pieces of wood given nail-like shape. However, this technique only works with soft woods such as the type used in the production of the box for keeping eagle feathers which Thomas collected from Nise.
Generally, the kind of wood used for carving is determined by the object the carver intends to create. Masks for instance would be produced from light wood so that they could easily be carried by the masker. Other production specifications such as size and design are largely determined by the one who commissioned the carving. Carvers do not usually produce carvings to be kept for sale. The work is driven by demand, where the carver could even be employed for some time in his client’s home. One who wishes to have an ikenga figure made, for example, would give the carver specifications about size and the objects it would carry in its hands. However, clients could at times ask the carver to make design decisions for them. According to Chief Anaemena, it was once common to see the ikenga figure with a knife in one hand and a human head in the other as exemplified by the one Thomas collected from Awgbu.
is suggestive of the malevolent side of ikenga’s power. At some point, people
began to find that too fierce. Ozo Chief Anaemena explained that, in the 1970s,
he began to put the ofo stick in one of the ikenga’s hands and a knife in the
other to suggest ‘okpegbuo ogbuo’ (it can only kill justly). This was well
received and it soon became fashionable.
Today, Ozo Chief Anaemena does not carve anymore but he still has some of his works. An example is the stool he carved in 2013 for his Ozo title taking ceremony the following year. He also showed us some of his carving tools including nkori oshishi (for creating effects on the wood), muma (for shaping), ugama (for cutting), and mma oge (for cutting). We hope that in the course of our fieldwork we will meet some traditional carvers who still practice their art and look forward to learning more from them.
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.
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.
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.
To date, we have found just one photograph that shows Thomas’s phonograph in use in the field. This photograph was taken in Agila (then spelled ‘Agala’), in present-day Benue State, and is captioned in Thomas’s photo register merely as ‘dancing’. Thomas made only a few sound recordings in Agila, all on 4th June 1913, including this one of a female vocal group (British Library C51/3222).
Northcote Thomas’s recording ‘ident’ can be heard at the beginning of the track, ‘Agala, June the 4th, 1913’, followed by the womens’ song. It is likely this was recorded as part of the session captured on the photograph in front of a large group of local spectators (including lots of children), who were no doubt intrigued by the strange presence of the ‘Government Anthropologist’ in their town.
Although Thomas’s third anthropological survey, which took place in 1912-13, was intended to focus on Igbo-speaking communities in what was then Asaba District, west of the Niger River, he also spent three months travelling to towns in eastern Igbo areas, including Owerri, Aba, Ikot Ekpene, Afikpo, Obubra, Ikom, Agila and Nkalagu.