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Panoramic photography and photographic excess
Paul Basu Fieldwork, N. W. Thomas, Photography July 6, 2018 July 24, 2019 Agulu, fieldwork assistants, National Museum Lagos, panoramic photography 0 Comment
Panoramic photograph made by N. W. Thomas using the Kodak No.1 Panoram camera, Nigeria, 1910-13. Print from the University of Cambridge Museum of Archaeology & Anthropology, P.39431.
Northcote Thomas used a number of different cameras during his four anthropological surveys in West Africa between 1909 and 1915. During his first tour, in Edo-speaking areas of Nigeria, his equipment list included a Hunter & Sands Tropical camera and a Goerz camera. On his three subsequent tours, in Igbo-speaking areas of Nigeria and in Sierra Leone, however, his photographic kit included three cameras: an Adams Videx camera, a Stereoscopic camera, and a Kodak Panoram camera. The majority of Thomas's photographs were taken on quarter plate glass negatives on the Videx, but it is clear that Thomas experimented with both stereoscopic photography, also using quarter plates, and panoramic shots using the Kodak Panoram, which used 105 format roll film.
Through the [Re:]Entanglements project, we have been systematically digitising all of N. W. Thomas's photographic negatives and prints with our partners at the Royal Anthropological Institute and University of Cambridge Museum of Archaeology & Anthropology. Until recently, we believed that only Thomas's quarter plate glass negatives and corresponding prints had survived. However, we were excited to discover quite a number of his panoramic prints in the collections in the Museum of Archaeology & Anthropology. On a recent research visit to the National Museum in Lagos, Nigeria, we were also delighted to find a number of these panoramic prints mounted in one of the photograph albums produced during Thomas's surveys.
Page of panoramic photographs from one of the albums produced during N. W. Thomas's anthropological surveys in Southern Nigeria. Originally deposited in the Colonial Secretariat in Lagos, the albums are now in the care of the National Museum, Lagos.
The Kodak No.1 Panoram camera, which Thomas used, was manufactured between 1900 and 1926. The camera had a swinging lens, which took 3.5 x 12 inch exposures across a 112 degree arc on 105 film stock. An advertisement of the time asserts that 'The pictures taken by these instruments have a breadth and beauty not attainable with the ordinary camera. The wide scope of view makes the Panoram excellent for taking landscapes, as it can cover a wide area without the distortion incident to the use of wide angle lenses'. There is an excellent article on the Kodak No.1 Panoram at Mike Eckman Dot Com.
Kodak No.1 Panoram camera. The picture on the right shows a close-up of the Panoram's 'swing lens', which turned 120 degrees when the shutter was released.
The more we explore Northcote Thomas's fieldwork photography, the more we learn how innovative he was for the time. For example, during his 1910-11 tour in what was then Awka District, he experimented with using two cameras simultaneously to photograph a scene from different angles. This technique would, of course, become an important technique in cinematography. (The earliest known example of a two-camera set up in cinema was the 1911 Russian film Defence of Sevastopol.) In the example here, we can see that Thomas and his assistants simultaneously photographed what is described as the Ogugu ceremony at Agulu, south of Awka, using both the Adams Videx and Kodak Panoram cameras.
Ogugu ceremony, Agulu, Southern Nigeria. Photographed by Northcote Thomas in 1910-11 onto quarter plate glass negative using the Adams Videx camera. Print from the University of Cambridge Museum of Archaeology & Anthropology, P.30566 (NWT 2170).
In the resultant sequences of photographs there is a further intrigue, which speaks of the 'excess' of the photographic image, and particularly the peripheral presences that creep into the frame without the photographer's awareness. Of over 7,000 photographs in the archive, there are perhaps only three or four that intentionally show something of the process of Thomas's anthropological survey work. It is only through this photographic excess that we catch glimpses of the endeavor.
To date, then, the only photographs we have seen in which we glimpse Northcote Thomas behind the camera are the reverse shots of the Ogugu ceremony at Agulu taken by one of his assistants on the Kodak Panoram. In the background of the panoramic shot we see Thomas stood behind the tripod mopping his brow together with three of his assistants and items of his kit strewn around. A rare insight into the anthropologist-photographer at work.
Ogugu ceremony, Agulu, Southern Nigeria. 'Reverse angle', photographed by one of Thomas's assistants in 1910-11 using the Kodak Panoram camera. Note Thomas, behind the camera tripod, and assistants caught in the background (see detail). Print from the University of Cambridge Museum of Archaeology & Anthropology, P.39450.
[Re:]Entangled Traditions exhibition, Nsukka
Paul Basu Art, Events, Exhibition, Igbo March 25, 2020 November 11, 2020 archives, art, hair, ichi, Nsukka, Omu, Uche Okeke, uli, University of Nigeria 2 Comments
'Red cap chiefs' appreciating Chijioke Onuora's large scale batik portrait of Ezeana Odigbo.
For 10 days in February 2020, the University of Nigeria, Nsukka hosted the third [Re:]Entanglements project exhibition to take place in Nigeria. The exhibition, '[Re:]Entangled Traditions: Nsukka Experiments with an Anthropological Archive', was the culmination of a collaboration between the project and eleven artists associated with the famous 'Nsukka Art School', as well as colleagues from the departments of Music and Linguistics.
Nsukka's Department of Fine and Applied Arts was established in 1961 by Ben Enwonwu and was one of the earliest departments of the University of Nigeria. The Department became famous in the years following the Biafran War (1967-70) when luminaries such as Uche Okeke, Chike Aniakor and Obiora Udechukwu began turning away from Western art traditions and finding inspiration in indigenous art, culture and philosophy. In particular a number of artists began rediscovering and experimenting with Igbo uli body and wall art traditions. Northcote Thomas's photographs are some of the earliest and most comprehensive visual documentations of uli wall paintings. This represents an important new reservoir of traditional uli work and, not surprisingly, a number of the participating artists drew upon these photographs in their contemporary works in different media.
Visitors at the '[Re:]Entangled Traditions' exhibition, University of Nigeria, Nsukka.
As with earlier exhibitions in Benin City and Lagos, the objective of the collaboration was to explore the 'creative affordances' of the photographs, sound recordings and artefact collections produced during Northcote Thomas's anthropological surveys in Nigeria between 1909 and 1913. As the leading university in the Igbo-speaking region of Nigeria, the Nsukka collaboration focused on materials assembled by Thomas during his second and third tours – those focusing on areas of what are now Anambra and Delta states.
The collaboration began in 2018 with an open workshop to introduce prospective participants to the [Re:]Entanglements project and Thomas's archival materials. Following a call to submit proposals, projects were given the go-ahead and provided with a budget to cover materials and expenses. A follow-up workshop took place in 2019 in which participants presented their works-in-progress.
The exhibition was opened by HRM Obi Martha Dunkwu, the Omu Anioma, a well known female chief from Delta State. The Omu has been a close friend of the [Re:]Entanglements project since our visit to Okpanam. In a very moving speech Obi Martha Dunkwu told the story of how Northcote Thomas's 1912 photograph of the Omu of Okpanam settled a dispute in which the Omu's right to wear the red cap of chiefly office had been contested. The story illustrated powerfully how these colonial era archives could intervene in contemporary issues. The Omu explained that this was no small matter.
Scenes from the opening event with special guest HRM Obi Martha Dunkwu, the Omu Anioma.
There was a lively and well-attended opening ceremony in which each of the artists presented their work to the Omu and her entourage. The event was accompanied by a traditional music ensemble made up of students of the Department of Music under the direction of Ikenna Onwuegbuna, Head of the Department of Music. The music included versions of songs originally recorded by Northcote Thomas himself.
Artist Chinyere Odinukwe introducing her work to HRM Obi Martha Dunkwu and other guests at the exhibition opening.
In '[Re:]Entangled Traditions', each of the artists took on a particular Igbo cultural 'tradition' – uli body and wall painting, ichi scarification, hair-styles, clothing, wrestling – that featured in Northcote Thomas's photographic archive. These visual references formed the basis of their experiments. In the following sections we present each of the participating artists' works juxtaposed with some of the Northcote Thomas photographs that inspired them. The musicological and linguistic contributions to the exhibition are the subject of separate blog posts (see Revisiting some Awka folksongs).
Chijioke Onuora, Ezeana Obidigbo
Chijioke Onuora, Ezeana Obidigbo, 2019, batik, 396x207cm
Listen to Chijioke Onuora discussing his training at the 'Nsukka Art School', his contribution to the '[Re:]Entangled Traditions' exhibition and the significance of the N. W. Thomas archives.
Chijioke Onuora is Head of the Department of Fine and Applied Arts at University of Nigeria, Nsukka. He initially trained at Nsukka as a sculptor in the early 1980s and was taught and influenced by many of the leading figures of the 'Nsukka School'. Through this training he came to appreciate the traditional Igbo art that was fast disappearing in his village in the Awka area and made studies of shrine carvings. For his PhD in Art History, Onuora made an extensive study of ikolo drums, including their sculptural, musical and socio-cultural dimensions.
Onuora works across many different media, though he regards drawing – the line – as fundamental to all these. For the '[Re:]Entangled Traditions' collaboration, he was particularly interested in re-engaging with Igbo ichi scarification, with its linear markings. As a child, Onuora encountered men – and, indeed, one woman – bearing these marks. Now he believes there is just one elderly man in his village who has still has the marks.
When he was introduced to the Northcote Thomas archives as part of the [Re:]Entanglements project, he was struck by the large number of photographs of men of all ages with ichi scarification. This has inspired him to focus on ichi in his ongoing work.
Onuora produced two monumental batik works for the '[Re:]Entangled Traditions' exhibition. The first is a portrait of Ezeana Obidigbo of Neni, originally photographed by Thomas in 1911. Onuora's village was close to Neni and his grandparents walked every week to the Oye market there – the scene of some of Thomas's most memorable photographs. The Umudioka community of Neni were specialist surgeons who travelled throughout the region making the ichi marks.
Chijioke Onuora, Nze na Nwunye ya, 2019, batik, 376x220cm.
Onuora's second batik, 'Nze na Nwunye ya', is based on a photograph taken by Thomas in Agulu of a mud relief sculpture of a male and female figure, and marks a return to Onuora's earlier work on shrine figures. The male figure again wears the ichi scarification marks. In both 'Ezeana Obidigbo' and 'Nze na Nwunye ya', the central panel is flanked by two panels evoking traditional wood carving – symbols of prestige and status – also photographed by Thomas during his 1910-11 survey of what was then Awka District.
Chuu Krydz Ikwuemesi, Playing with Time and Memory
Chuu Krydz Ikwuemesi, Playing with Time and Memory, 2020, acrylic on canvas, 4x 101x101cm.
Listen to Chuu Krydz Ikwuemesi discussing the history of uli at the Department of Fine and Applied Arts, University of Nigeria, Nsukka, including his own engagement with the uli tradition.
Chuu Krydz Ikwuemesi is a painter and Associate Professor in the Department of Fine and Applied Arts at Nsukka. He joined the Department as an undergraduate in 1987 and, like many students of his generation, was influenced by Uche Okeke and others who had rediscovered the uli painting tradition as a demonstration of Igbo cultural resilience, first as an indigenous response to European colonialism and subsequently in the wake of the traumatic defeat of the Nigerian Civil War. Ikwuemesi was encouraged to continue the work Okeke's generation had begun and to conduct research with the last generation of women who created uli wall paintings in the traditional setting of the village.
Although much of Ikwuemesi's work is more overt in its political engagement, providing commentary on the violence and corruption of contemporary Nigeria, alongside this, he continues to draw upon uli explicitly in his paintings. This he sees as a form of cultural activism. In particular, Ikwuemesi is keen to promote the popularisation of uli design, so that it reaches beyond elite art audiences and collectors, and returns as a popular form.
For the '[Re:]Entangled Traditions' exhibition, Ikwuemesi drew upon Northcote Thomas's photographs of uli wall paintings, merging motifs and linear forms from different locations, to produce a series of four acrylic paintings on canvas. The title of the series, 'Playing with Time and Memory', reflects both the long history of uli painting among Igbo-speaking people and his own part in that history.
Exploring Thomas's photographs of uli wall painting, Ikwuemesi was struck by the continuities and changes in the art form. Despite the ruptures of colonialism and war, he celebrates the resilience of cultural traditions, how people continue 'to do old things in new ways'. 'Colonialisation', he argues, 'did not take away the soul of the people or the soul of their culture'.
RitaDoris Edumchieke Ubah, Igbo Kwenu
RitaDoris Edumchieke Ubah, Igbo Kwenu, 2019, appliqué, 305x144cm.
Listen to RitaDoris Edumchieke Ubah discussing her translation of uli mural designs into textile art and her incorporation of N. W. Thomas archives into her teaching.
RitaDoris Ubah is a Lecturer in Textile Art. She completed her BA, MFA and PhD all at the University of Nigeria, Nsukka. Ubah's aunt was herself a traditional uli artist. When Ubah started teaching at Nsukka, she realised that while uli traditions had been incorporated into other forms of contemporary art practice, including painting, ceramics and other graphic arts, they had not been explored in textiles. Thus Ubah was keen to bring uli into the curriculum, whether through weaving, embroidery, knitting or appliqué.
Ubah was particularly excited to discover the rich historical documentation of uli in Northcote Thomas's photographs. As well as inspiring her own work, she has introduced her students to the archive and it now the subject of various class assignments. She describes the photographs as a 'landmark resource' and explains that every student passing through Nsukka is taught about it.
Some of RitaDoris Edumchieke Ubah's fashion collection inspired by N. W. Thomas's documentation of traditional uli designs.
For the '[Re:]Entangled Traditions' exhibition, Ubah produced several works, including a large appliqué panel entitled 'Igbo Kwenu', a second appliqué of a masquerade figure photographed by Thomas, and fashion collection featuring uli motifs from Thomas's photographs. Ubah is particularly interested in the history of uli as a women's art form, originally painted on the body. (The word uli comes from the plant from which the dye is made.) Ubah's fashion collection, which was worn by models at the exhibition opening, represents an interesting return of uli to 'clothing' the body.
Chinyere Odinukwe, Akwamkosa Achalugonwayi
Chinyere Odinukwe, Akwamkosa Achalugonwayi, 2019, oil on canvas, 2x 61x76cm.
Listen to Chinyere Odinukwe discussing her work for the '[Re:]Entangled Traditions' exhibition.
Chinyere Odinukwe took her BA and MA in the Department of Fine and Applied Art, Nsukka. She works mainly with acrylic paint on canvas, but also incorporates other materials in her work, notably salvaged plastics and metal foils.
For her [Re:]Entanglements project, Odinukwe wanted to juxtapose the historical and the contemporary by transforming the appearance of a woman named Nwambeke, photographed by Thomas in Nibo in 1911. (Odinukwe's maternal home town is Nibo.) In order to do this, Odinukwe subtly altered the Nwambeke's dress and jewellery – adding earrings, make-up and bra-top, for instance. In particular, she transformed her wrapper from a locally-made plain cotton garment (akwamkosa) into a dazzling contemporary fabric.
Odinukwe replaces Thomas's plain photographic backdrop with a background inspired by one of Thomas's photographs of uli wall painting.
Chinyere Odinukwe, Ulomdi, 2019, oil on canvas, 76x61cm.
In re-imagining Nwambeke as a modern Nigerian woman, albeit one framed by her indigenous culture, Odinukwe draws attention to the transformed place of women in Nigerian society today. Odinukwe says that she has given this woman her freedom. She observes that, even today, some people are enslaved in their different ways of life, whether religiously, politically or pyschologically. Odinukwe argues that we should not be chained by our traditions.
Chikaogwu Kanu, Isi Mgbe Ochie
Chikaogwu Kanu, Isi Mgbe Ochie, 2019, photography, 178x114cm.
Chikaowu Kanu trained at Nsukka as a sculptor. He is now pursuing a PhD in Art History, while continuing to develop his skills as a photographer, videographer and graphic designer. Familiar with the Nsukka School's long-standing engagement with traditional uli art, Kanu was impressed by another form of body art that was very evident in Northcote Thomas's photographs – hair dressing.
In his project for the '[Re:]Entangled Traditions' exhibition, Kanu sought to recreate some of the hairstyles that Thomas photographed. This proved to be a challenging task. It was not easy, for example, to find models willing to have their hair dressed in such remarkable styles. Others – barbers and models alike – assumed that Kanu would make lots of money from the photographs he was taking and thus demanded high fees that Kanu could not pay. Eventually, however, Kanu succeeded in collaborating with barbers and models, and displayed the results as a photo-montage in the exhibition. Kanu's display drew a great deal of interest from visitors.
Ngozi Omeje, Eriri ji obele
Ngozi Omeje, Eriri ji obele, 2020, clay, nylon thread, steel.
Listen to Ngozi Omeje discussing her work for the '[Re:]Entangled Traditions' exhibition.
There is a long tradition in ceramics and installation art at the Department of Fine and Applied Arts at University of Nigeria, Nsukka, associated with artists such as El Anatsui and Ozioma Onuzulike. Ngozi Omeje is foremost in the younger generation of ceramicists at Nsukka. In 2018, when the [Re:]Entanglements project collaboration with Nsukka began, she was in the middle of producing work for her highly successful exhibition, 'Connecting Deep', at the Centre for Contemporary Art in Lagos.
Omeje creates sculptures by suspending small clay pieces – miniature cups, leaves, rings, balls, etc. – on nylon threads. Often her works are of monumental proportions. For the '[Re:]Entangled Traditions' exhibition, Omeje echoed the form of an elaborated decorated clay pot photographed by Northcote Thomas by suspending miniature leaves made from clay. On the one hand, her use of leaves fashioned from clay allowed her to follow the form of the linear patterns on the pot; on the other hand they are expressive of the temporality of the archive – the play of ephemerality and permanence.
The title of Omeje's piece, Eriri ji obele, refers to an Igbo aphorism – 'the string that holds the pot' (or, more correctly, 'the string that holds the calabash'). Our lives are in God's hands.
Chukwunonso Uzoagba, Ogu Mnwere Onwe
Chukwunonso Uzoagba, Ogu Mnwere Onwe (Struggle for Freedom), 2019, acrylic on canvas, 130x97cm.
Listen to Chukwunonso Uzoagba discussing his work for the '[Re:]Entangled Traditions' exhibition.
Chukwunonso Uzoagba in a Lecturer in the Department of Fine and Applied Arts at Nsukka, specialising in graphics and art education. He has a particular research interest in Igbo rites of passage and ritual practice – aspects of traditional life that were thoroughly documented by Northcote Thomas.
When Uzoagba encountered the Northcote Thomas archives as part of the [Re:]Entanglements workshop at Nsukka, he was immediately drawn to Thomas's photographs of wrestling matches. Wrestling was very much a traditional art form and part of festivals marking coming of age ceremonies. Combining various elements from different photographs, including a portrait of Thomas himself, Uzoagba wanted to use the wrestling match as a metaphor for the struggle of Igbo people with the forces of colonialism. The title 'Ogo Mnwere Onwe' translates into English as the 'Struggle for Freedom'.
Chukwuemeka Nwigwe, Nibo Lady Fashionista, The Last Sacrifice, Eze Nri
Chukwuemeka Nwigwe, left to right: Nibo Lady Fashionista, 2019, 87x117cm; The Last Sacrifice, 2019, 95x171cm; Eze Nri, 2019, 93x120cm; all poly material, wire gauze and acrylic.
Listen to Chukwuemeka Nwigwe discussing his work for the '[Re:]Entangled Traditions' exhibition.
Chukwuemeka Nwigwe teaches art history, textiles and fashion at Nsukka. He has a particular interest in the history of Igbo dress and had already drawn upon the work of Northcote Thomas and other colonial-era publications in his PhD research. While Nwigwe made use of the small selection of photographs published in Thomas's Anthropological Report of the Igbo-speaking Peoples of Nigeria, through the [Re:]Entanglements project he was able to access a vast archive of thousands of images relevant to his research. He was able to utilise these in a recent postdoctoral fellowship.
For the '[Re:]Entangled Traditions' exhibition, Nwigwe produced three mixed media works, experimenting with weaving techniques inspired by the nest-building techniques of the village weaverbird to create silhouetted figures of characters from the Thomas archive. He used silhouettes to reflect the mystery surrounding these characters, which can only be seen imperfectly in Thomas's monochrome images.
The backgrounds of each panel are made from discarded poly materials – especially brightly-coloured polythene strips used to wrap motorbike tyres. Nwigwe explains how he collected these from roadside mechanics' shops.
Jennifer Ogochukwu Okpoko, The Beauty Within
Jennifer Ogochukwu Okpoko, The Beauty Within, 2019, tapestry weaving, embroidery, 3x 150x61cm.
Jennifer Ogochukwu Okpoko graduated from the University of Nigeria, Nsukka in 2018 just before the collaboration with the [Re:]Entanglements project began. She specialises in textile design. As part of her undergraduate studies, she conducted research with traditional Igbo weavers in Delta State.
When Okpoko started exploring the Northcote Thomas archives after the initial [Re:]Entanglements collaboration workshop, she was excited to see photographs of uli murals from her hometown, Agulu, in Anambra State. She chose to feature one of these in her work for the exhibition.
Her piece, entitled The Beauty Within, comprises three large panels, each reproducing the uli mural using different textile materials and techniques. The first uses tapestry weaving using a limited palette of earth colours, similar to the colours that are likely to have been used in the original wall paintings. The second panel has a tiled form, in which vibrant colours are used in the tapestry woven squares, juxtaposed with the earth colours in the other sections. The third panel is mixed media using tapestry weaving and embroidery techniques to recreate the mural in bright contemporary colours.
Ugonna Umeike, Renewal
Ugonna Umeike, Renewal, 2019, digital painting.
Ugonna Umeike majored in sculpture at the University of Nigeria, Nsukka, but he has a wide range of interests including illustration, painting and digital art. Umeike was particularly interested in Northcote Thomas's artefact collections and field photographs of traditional material culture. These he brought to life in a series of digital illustrations that were exhibited in the '[Re:]Entangled Traditions' show.
Umeike also exhibited an illustration of one of the stories that Northcote Thomas recorded and transcribed – 'The Blind Man, the Cripple, the Poor Man, the Thief and the King' – which will be the subject of a separate blog post. Finally. he is working on a comic strip of another story recorded by Thomas.
Left: Ugonna Umeike, Openly Covered, 2019, digital painting; right: charm collected by N. W. Thomas, used to keep owner from getting wet when raining.
Livinus Kenechi Ngwu, Mask with ichi
Left: mask featuring ichi scarifications collected by N. W. Thomas in Ugwoba; right: Livinus Kenechi Ngwu holding his freshly carved response to the mask in the N. W. Thomas collection.
Livinus Kenechi Ngwu is a Lecturer in Sculpture at Nsukka. He works in various materials. For the '[Re:]Entangled Traditions' exhibition Ngwu carved a wooden mask using traditional tools and techniques inspired by one of the masks collected by Northcote Thomas in 1911.
The original mask, which was collected in Ugwoba in present-day Anambra State, is described by Thomas as 'isi maun apipi'. On its forehead are representations of the ichi scarification marks.
'[Re:]Entangled Traditions: Nsukka Experiments with an Anthropological Archive' was curated by George Agbo and Paul Basu. We would like to thank all the artists who participated in the collaboration. Especial thanks to Chijioke Onuora and Krydz Ikwuemesi for championing the project within the Department of Fine and Applied Arts; to Chika Kanu for designing the exhibition catalogue; to Glory Onwuasoanya Kanu for coordinating catering at the exhibition launch; to HRM Obi Martha Dunkwu for travelling from Okpanam to open the exhibition; to Emmanuel Ifoegbuike for his invaluable assistance; and to Charles Igwe, Vice Chancellor of the University of Nigeria, Nsukka for supporting the initiative.
See also the following posts on other contributors to the exhibition:
Samson Uchenna Eze
Ikenna Onwuegbuna
Gloria Okeke and Ogechukwu Miracle Uzoagba (coming soon!)
Art Assassins at Autograph
Art Assassins Events, Outreach, Photography December 8, 2019 December 9, 2019 Autograph ABP, collage, Community, London, photography, representation, South London Gallery, young people 0 Comment
Collage produced by members of the Art Assassins at a workshop at Autograph, combining images from the N. W. Thomas archives with Autograph collections.
This is the latest is a series of blogs reporting on our collaboration with the Art Assassins, the youth forum of the South London Gallery. The programme includes a number of workshops run by project partners, each focusing on a different aspect of the N. W. Thomas archives. UCL's Museum Conservation programme will be helping the Art Assassins work with artefacts; the Igbo Studies Initiative will help unlock the sound recordings; and Autograph will help the participants think about photography and representation.
Autograph started in Brixton in the 1980s as the Association of Black Photographers. They are now based in a fantastic gallery and archive space in Shoreditch. Autograph's mission is to enable to public to explore issues around identity, representation and social justice through work produced by artists who use photography and film. It has a remarkable photographic collection dating from the 1860s to the present day.
Members of the Art Assassins at a workshop at Autograph led by Ali Eisa, Public Programme Manager.
One of the big questions that inevitably surfaces whilst working with anthropological archives is the issue of representation. Since their first encounter with the Northcote Thomas archive, the Art Assassins have been debating this issue and thinking about how it informs their response to the materials. This has led them to devise a manifesto to guide them:
The problems we encounter via the archive should be reflected in our work
We will document our understanding of the archive as it changes over time
We will consider our individual relationship to the archive given our different backgrounds
We will avoid replicating the problematic methodologies associated with the archive
We will question what the value of the archive is for young people today
To explore this further the group have participated in two workshops with Ali Eisa, Public Programme Manager at Autograph, which looked at how people and communities are represented in contemporary photographic archives. We asked Art Assassin, Jordan Minga, and Ali Eisa to talk a bit more about what we got up to in the workshops.
Can you give some background to Autograph as an organisation and the archive that it has collected?
Ali: Autograph shares the work of artists who use photography and film to highlight issues of identity, representation, human rights and social justice. Since its foundation in 1988, Autograph has collected photographic material, which reflects our mission: to use photography to explore questions of cultural identity, race, representation, human rights and social justice. The Archive constitutes Autograph's permanent collection of photography, and covers key periods in the formation of culturally diverse communities in Britain, including the post-war Windrush generation and Victorian era. It contains photographic works made by renowned fine artists, social documentary and high street studio photographers, plus personal family albums and vernacular imagery.
What did you do with Ali in the first session at Autograph?
Jordan: The first thing we did at Autograph was explore the current exhibition of work by the British-Liberian artist Lina Iris Viktor. After that we had the pleasure of getting to look at three portfolios of photographs in the Autograph collection. We discussed the compositions and the intentions of the photographers.
Members of the Art Assassins explore the Autograph collections.
What was the intention of introducing the Art Assassins to the different collections that Autograph has collected in its own archive?
Ali: The intention was to introduce the Art Assassins to a contemporary photographic archive that can give them a critical perspective on issues of representation, race, identity, human rights. This was seen as important in the project because the young people are responding to a colonial era archive, which from a contemporary perspective is highly problematic in its representation of the black subject. So, we were interested in generating a critical conversation with the young people around issues of representation, history, memory and identity with the intention of developing how they look at the colonial archive, and what kinds of questions they might ask of it.
At the first session you said that you'd never really looked into the lives of young black people in London in the past. What did you find interesting about seeing those photographs?
Jordan: I have always had an interest in the history of the area I live in. We looked at a series of works entitled Lovers' Rock by John Goto. It was interesting to learn that the subjects of the photographs were young people from a Youth Centre in South London. It helped me discover the fashion of young people around my age in that time period. I can now imagine myself in the 1970s!
In the second workshop the Art Assassins made collages that combined the imagery from the Autograph archives and the Northcote Thomas archive. How did the collage exercise try and address the difficulties of representation in the images?
Ali: The collage exercise was really great because you are forced in the making of the work to put different images into conversation. It also allows you to layer images on top of one another, to give them new ways of relating and new contexts to look at them. It was an activity that allowed the young people to tell their own story about these images and how they think we might start to view them. What was really interesting was how easy it was to start mistaking the Northcote Thomas images from the Autograph ones, once they had been creatively collaged. It showed how important a creative response is to telling new stories and thinking forward in the project, how this group of young people can rethink and reframe the Thomas archive to say something about our contemporary world.
Collages produced by members of the Art Assassins at a workshop at Autograph, combining images from the N. W. Thomas archives with Autograph collections.
Jordan, how did the collage exercise change the way you thought about the photos from the different archives?
Jordan: The collaging exercise showed me a lot about he the contrast between the contents of the archives. Through college, I got to play with the images. Changing the symbolism of the photography was fun as we gave them new meanings.
Discussing the Art Assassins' collages at the Autograph workshop.
You can read more about the Art Assassins' project on the South London Gallery website or follow them on Instagram @slg_artassassins.
Join the Art Assassins
The Art Assassins welcomes new members. If you are aged 14-20 and able to meet regularly at our base in Peckham, South London, please join us! Drop us an email at [email protected]
110 years of photographing N. W. Thomas collections
Paul Basu Art, Collections, Photography August 9, 2019 September 23, 2021 collections, mask, Museum of Archaeology & Anthropology, museums, photography, sculpture 0 Comment
Five photographs, spanning a century, of the same agbazi mask collected by Northcote Thomas in Fugar, North Edo in 1909 (NWT (1) 2654; MAA Z 12287 A).
As part of the [Re:]Entanglements project we have sought to document the material culture collections assembled by Northcote Thomas during his anthropological surveys in Nigeria and Sierra Leone as thoroughly as possible. An important aspect of this has been to photograph the collections at the University of Cambridge Museum of Archaeology and Anthropology stores, and then to use the photographs during our fieldwork activities in which we have been revisiting the communities from which they were originally sourced.
Left: George Agbo, postdoctoral researcher on the [Re:]Entanglements project, photographing Isi abogefi mask collected by Northcote Thomas in Agukwu in 1911 (NWT (2) 390, MAA Z 13689); right: community members in Nise, Anambra State, Nigeria, discussing photographs of objects collected by Thomas in the town during fieldwork (photograph by George Agbo).
As we have been pursuing this research, we have encountered various other photographs of the Northcote Thomas collections. Indeed, we have discovered that some objects in the collections have been photographed many times since they were collected – starting in 1909 with Northcote Thomas's own field photographs. In this article, we bring some of these photographs together as a kind of visual history of the photographic documentation of the collections.
The relationship between photography, ethnographic objects and ethnographic display has been the subject of much academic discussion. The manner in which objects have been photographed has shaped how such objects have been perceived, often within a strong Western modernist aesthetic, constituting them as 'art objects'. Walker Evans' photographic documentation of African masks and sculptures displayed at the 'African Negro Art' exhibition at the Museum of Modern Art, New York in 1935 is a famous case and has been the subject of an exhibition and catalogue in its own right – Perfect Documents. As well as lighting and framing, a key part of this aesthetic is the separation of an object from its context, accentuating the object's formal qualities, while disembedding it from the cultural context that often gives an object its original meaning and significance. This practice was evident in Northcote Thomas's own use of a blank photographic background sheet, and it is there, too, in our own photographic documentation of the objects. It has been difficult to escape these dominant photographic tropes, although we have also tried to experiment with other approaches in our creative collaborations with local artists.
[Re:]Entanglements team members, Katrina Dring and Paul Basu, setting up the photographic background paper at the University of Cambridge Museum of Archaeology and Anthropology stores. (Photograph by George Agbo.)
Northcote Thomas, 1909-15
Northcote Thomas made extensive use of photography during his anthropological surveys as we have discussed in many other project blog posts. While much of his photographic documentation was focused on people and their cultural practices, he also devoted considerable energy to photographing local material culture, including everyday utensils, tools and technologies, as well as 'decorative art' and objects associated with ceremonies, rituals and 'secret societies'. Much of this material culture was photographed in situ in its cultural as well as physical context. Very occasionally it appears that Thomas acquired objects that he had first photographed in their original context, such as this ikenga-like figure that Thomas collected in Fugar in the north of present-day Edo State, Nigeria.
Ikenga-like figure identified by Northcote Thomas as Akosi, collected in Fugar, Northern Edo, 1909. (Photograph by N. W. Thomas, NWT 1095, MAA P.29204; Object NWT (1) 2659, MAA Z 12293.)
In addition to photographing objects in situ, Thomas also photographed objects isolated from their cultural context. This is evident, for example, in these photographs of masks collected by Thomas during his first and second tours respectively. Thomas photographed many masquerade performances, showing how masks were just a part of a much more elaborate performative display that included full costumes, music, dance, other ceremonial objects and audience interaction. On occasion, he was able to collect entire masquerade costumes, but, as with other collectors, he also collected head pieces alone. While we do not know the circumstances in which he collected these for sure, we do know that at least some of the objects he collected were specially commissioned from artists – this may have been the case with these masks from Fugar and Agukwu. Note the physical arrangement of the masks from Fugar on the left, and the use of backdrop and a book as an improvised mount in the photograph on the right.
Left: Twin masks described by Thomas as Ibonodike, collected in Fugar, present-day Edo State, in 1909. (Photograph by N. W. Thomas, NWT 1088, RAI 400.17528; Objects NWT (1) 2602a & 2602b, MAA Z 12252 A & Z 12252 B.) Right: Mask described by Thomas as Isi abogefi collected in Agukwu, present-day Anambra State, in 1911. (Photograph by N. W. Thomas, NWT 2934b, MAA N.78430; Object NWT (2) 390, MAA Z 13689.)
During Thomas's second tour, which focused on the Igbo-speaking peoples of what was then Awka District (present-day Anambra State, Nigeria), Thomas started lining up the objects he had collected to photograph them prior to having them shipped to the University of Cambridge Museum of Archaeology and Anthropology (then known as the Museum of Archaeology and Ethnology). This example shows a series of items with Thomas's original object numbers (352 to 372), collected in Awgbu and Enugu Ukwu. One can get a good sense of Thomas's photographic backcloth here, supported on bamboo canes, which were in turn supported by two assistants, whose hands can be seen on either side! These photographs have been extremely useful in identifying Thomas's collections in the Museum's stores today, since many objects have since become separated from their labels. We have not, however, been able to locate all these objects.
Array of objects collected by Thomas in 1911 in Awgbu and Enugu Ukwu, present-day Anambra State, Nigeria. (Photograph by N. W. Thomas, NMT 2934, MAA N.78429.)
Arts of West Africa, 1935
To date, the earliest photographs we have discovered of Thomas collections after they had entered the Museum of Archaeology and Ethnology in Cambridge were published in 1935, 20 years after Thomas returned from his final tour. These are two photographs of the same Aule mask collected by Thomas in Agenebode, North Edo, in 1909. They were published in a book entitled Arts of West Africa, which was commissioned by the UK's Colonial Office following the recommendation of its Advisory Committee on Education in the Colonies. In the acknowledgements it is stated that the book's plates were produced by the 'expert photographers' of the Empire Marketing Board, under the supervision of John Grierson, pioneer of the British Documentary Film Movement. It is also noted that 'the British Museum afforded special facilities for the photography of [the] objects', including those lent by other museums. It is likely, therefore, that the Aule mask was sent to the British Museum to be photographed.
Plates XX and XXI in Arts of West Africa (1935). Aule mask collected by N. W. Thomas in Agenebode in 1909 (NWT (1) 2722, MAA Z 11910).
It is interesting that the editors of the book considered it worthwhile to illustrate the mask with two different views (it is the only example in the book). In the description of the mask in the text, reference is made to photographs taken by Thomas of Igbo hair designs similar to those carved on the mask published in Peoples of All Nations in c.1920. The photographs show how lighting and camera angle can be used to dramatize the appearance of the mask.
British Museum, dates unknown
We have recently chanced upon a series of photographs of Northcote Thomas collections in the British Museum. Only one of these had a catalogue note mentioning the name of Thomas, but we were able to identify others and the British Museum catalogue will be updated accordingly. It is not clear whether the photographs were all taken at the same time, or if they were photographed at the British Museum or supplied to the Museum by Cambridge. Nor do we have any information about the year in which they were taken. It is possible that they were also photographed for the Arts of West Africa book, but not included – we don't know.
Below we provide three examples, juxtaposed with our own photographs of the same objects. These highlight another value of historical photographs of objects, insofar as we are able to compare them with the objects as we encounter them today. The first photograph is of the same Aule mask collected by Thomas in Agenebode and published in Arts of West Africa. As can be seen in the recent photograph on the right, the mask has been fitted onto a wooden display mount. These mounts are also evident in some of the Len Morley photographs taken in the late 1940s. This mount is not present in the British Museum photograph of the same mask on the left, suggesting that the photograph was indeed taken earlier – perhaps in the 1930s.
Aule mask collected by N. W. Thomas in Agenebode in 1909 (NWT (1) 2722, MAA Z 11910). Left: photograph in British Museum collection, date unknown (BM Af,B62.18); right: photograph taken by George Agbo for [Re:]Entanglements project, 2019.
Comparing historical and contemporary photographs also allows us to gather information about the changing condition of objects. The foot of this ngene shrine figure from Awgbu, for example, has clearly been damaged since the British Museum photograph on the left was made. Actually, during our collections-based research, we have located the missing part of the foot and this figure will be repaired prior to being displayed at the [Re:]Entanglements project exhibition at the Museum of Archaeology and Anthropology, Cambridge, in 2021-22.
Ngene shrine figure collected by N. W. Thomas in Awgbu in 1911 (NWT (2) 378, MAA Z 14234.1-2). Left: photograph in British Museum collection, date unknown (BM Af,B62.11); right: photograph taken by George Agbo for [Re:]Entanglements project, 2019.
In the example below, we can see that a piece of patterned cloth was originally attached to the mask when it was collected and has subsequently been lost. In fact, on closer inspection, we see that this is the same Obo mask collected in Fugar that Morley photographed (see below). The negative of Morley's photograph has been printed back to front, such that the large crack that appears on the left side of the helmet can be see on the opposite side. The fact that the mask is attached to a wooden mount in Morley's photograph of 1949, but is no longer attached to the cloth, also suggests that the British Museum photographs are earlier. Today, both the cloth and the wooden mount are missing.
Obo mask collected by N. W. Thomas in Fugar, 1909 (NWT (1) 2662, MAA Z 12297). Left: photograph in British Museum collection, date unknown (BM Af,B62.16); right: photograph taken by George Agbo for [Re:]Entanglements project, 2019.
Len Morley, 1949-51
In 1947, a faculty photographer was appointed to work in the Anthropology and Archaeology sections of Cambridge University, including at the Museum of Archaeology and Anthropology – his name was Len Morley. He continued working at the Museum until 1974. To date we have been able to identify around 15 objects from the Thomas collections photographed by Morley between 1949 and 1951. The objects are taken against a plain background and include a small scale. Two of the masks in the examples below have been fitted with wooden mounts similar to that discussed above, giving an indication of how they would have been exhibited in the Museum at the time.
Three examples of Len Morley's mid-20th-century photographic documentation of masks collected by Northcote Thomas in North Edo in 1909-10. From left to right: Ogbodu, collected in Agenebode (NWT (1) 2729, MAA Z 11917.1), Amababa, collected in Irrua (NWT (1) 2566a, MAA Z 12816), Obo, collected in Fugar (NWT (1) 2662, MAA Z 12297).
Some masks are difficult to photograph without expensive purpose-designed mounts due to their shape and weight-distribution. In one remarkable photograph taken by Len Morley, we can see how he addressed this problem by getting an assistant, or perhaps a member of the Museum's curatorial staff, to wear the mask. The area around the mask has then been painted out on the print making it suitable for publication purposes.
Moji mask, collected by Northcote Thomas in Afikpo, present-day Ebonyi State, Nigeria in 1912-13, photographed by Len Morley in 1951. (NWT (3) 50, MAA Z 13585.)
African art publications, 1960s-80s
A number of objects from the Northcote Thomas collections have featured as plates in more recent popular reference works on African art. In African Sculpture by William Fagg and Margaret Plass, first published in 1964, the authors use explicitly European art historical vocabularies to discuss African objects. At the time the book was published, Fagg was Deputy Keeper of Ethnography at the British Museum. Margaret and Webster Plass were American collectors of African art; Margaret donated their collection to the British Museum after her husband Webster's death in 1952.
Fagg and Plass use the example of a mask Thomas identifies as agbazi, which was collected in Fugar in 1909 to illustrate what they refer to as an 'African Gothic' style ('the strong tendency towards a 'Gothic' verticality in African woodcarving', p.101). The mask, which also appears in the photographs at the top of this post, appears to have been photographed lying on the floor of the Museum of Archaeology and Anthropology in Cambridge.
Front cover and p.101 of William Fagg and Margaret Plass, African Sculpture, first published in 1964. The photograph on p.101 is an agbazi mask collected by Thomas in Fugar in 1909 (NWT (1) 2654; MAA Z 12287 A).
Like William Fagg, Frank Willett was a leading Africanist anthropologist and archaeologist. Having spent a number of years working in the antiquities department in Nigeria in the 1950s, at the time he published his classic survey of African art in 1971 he was Professor of African Art and Archaeology at Northwestern University in the USA. African Art has remained in print ever since, and was revised in 2002. Willett used a photograph of a carved wooden figure Thomas collected in Sabongida, in the so-called Ora country, north of Benin City in his introductory chapter, discussing the development of the study of African art.
Willett refers to the 'cubist qualities' reflected in the artistic traditions of the Edo-speaking peoples. He also notes how little known these artistic traditions are when compared to the 'better known art of the Benin court'. Thomas's label and catalogue entry describe the figure merely as a doll. A piece of string is tied around its neck, attached to which are two cowrie shells.
Front cover and p.31 of the revised edition of Frank Willett, African Art, the original edition of which was first published in 1971. The figure on p.31 is described by Thomas merely as a doll, collected in Sabongida Ora in 1909 (NWT (1) 2164; MAA Z 13449).
A photograph of the Isi abogefi mask collected by Thomas in Agukwu, discussed above, was published by G. I. Jones in his monograph, The Art of Eastern Nigeria, published in 1984. Gwilym Iwan Jones was a colonial administrator in Igbo-speaking Eastern Nigeria between 1926 and 1946. During his time in the Colonial Service he undertook anthropological training at Oxford. In 1946, he left the Colonial Service and became a lecturer in anthropology at the University of Cambridge, specializing in Igbo art. Jones made extensive collections himself, now in the Museum of Archaeology and Anthropology, and he was also an expert photographer – his photographs of Igbo masquerade performances are especially well-known. In the 1930s and 40s, he worked in many of the same areas that Thomas visited during his second and third tours (1910-13), and he makes frequent reference to Thomas's collections in the book.
Jones uses the mask as a particularly fine example of a 'maiden spirit' helmet mask. The marked-up, camera-ready artwork used in the production of Jones' book can be found in the archives of the Museum of Archaeology and Anthropology, among Jones' papers.
Isi abogefi mask collected by Northcote Thomas in Agukwu, present-day Anambra State, Nigeria, in 1911 (NWT (2) 390, MAA Z 13689). Left: camera-ready artwork of Figure 46 (MAA archives); right: Figure 46 of G. I. Jones, The Art of Eastern Nigeria.
Jean Borgatti, 1969
In 1969, the art historian Jean Borgatti conducted the first comprehensive research on Northcote Thomas's collections, focusing on the material he collected in North Edo sixty years previously. This research would form an important part of Borgatti's MA dissertation, 'The Northern Edo of Southern Nigeria: An Art Historical Geography of Akoko-Edo, Ivbiosakon, Etsako and Ishan', submitted to the University of California, Los Angeles in 1971. Her decision to concentrate on this area was a response to William Fagg's observation that 'the arts of the Northern Edo and Ishan have remained "a universe … practically unknown to the outside world, but which is extremely rich in new forms"' (Borgatti 1971: 2). Building on her MA work, she would go on to conduct PhD research in the same region and, indeed, devote much of her career to studying the arts and masquerade of North Edo (see, for example, her guest blogs for the [Re:]Entanglements project).
Borgatti made extensive use of photography in her research on the Thomas collections at the Cambridge Museum of Archaeology and Anthropology, using formal analysis to categorize the artworks according to a series of 'style provinces'. She focused especially on carved figures and mask types. As well as presenting the photographs in the appendix of her MA thesis, she used these in her PhD fieldwork, during which she would rephotograph many of the same masquerade types, providing a remarkable analysis of how they have changed and developed over several decades.
Examples of Jean Borgatti's contact sheets of her photographic documentation of N. W. Thomas's North Edo collections in 1969.
Roger Blench and Mark Alexander, 1983-90
Prior to the [Re:]Entanglements project, the most sustained attempt to document Northcote Thomas's collections was carried out by Roger Blench and Mark Alexander in the 1980s. Blench and Alexander were graduate students in the Anthropology Department at Cambridge. Together they set about cataloguing Thomas's papers, sound recordings, photographs and material culture collections across various institutions. Blench presented an overview of the results of this survey in an article, 'The Work of N. W. Thomas as Government Anthropologist in Nigeria', published in The Nigerian Field in 1995. They also published a bibliography of Thomas's written works, while Alexander used Thomas as one of a number of case studies in his MPhil dissertation, 'Colonialism and the Political Context of Collection: A Case Study of Nigerian Collections in the Cambridge Museum of Archaeology and Anthropology', submitted in 1982.
As part of this work, Blench and Alexander created a computerized database of the Thomas collections and photographs in Cambridge, and photographed as many of the objects as they could locate. Blench notes that many seemed to be missing. In the early 1990s, Blench and Alexander pursued other interests and passed on their catalogue and photographs to the Museum of Archaeology and Anthropology. Their photographs are pinned to the reverse of the Thomas object index cards in the Museum's original card index catalogue system. While we have made many discoveries since, Blench and Alexander's work with Thomas's collections may certainly be regarded as laying the foundations of the [Re:]Entanglements project.
Examples of Roger Blench and Mark Alexander's photographs of Thomas collections pinned to the reverse of MAA index cards. Anticlockwise from top right: guitar (NWT (4) 132, MAA Z 14553), charm (NWT (4) 130, MAA Z 14551) and powder horn (NWT (4) 100, MAA Z 14527), all collected from Yalunka-speaking areas of Sierra Leone (probably Musaia); charm (NWT (4) 74, MAA Z 14502), collected from Sendugu, Sierra Leone.
'Artist: Unknown' exhibition
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Installation views of objects collected by Northcote Thomas featuring in the 'Artist: Unknown' exhibition, Kettle's Yard, Cambridge. Photographs by Nicholas Thomas.
One consequence of the [Re:]Entanglements project is that the various archives and collections assembled by Northcote Thomas during his anthropological surveys in Nigeria and Sierra Leone are gaining greater exposure. This is true in West Africa, but also in the UK and elsewhere. As a example, two objects collected by Thomas are currently being featured in an exhibition at Kettle's Yard Gallery in Cambridge entitled 'Artist: Unknown, Art and Artefacts from the University of Cambridge Museums and Collections'. The exhibition opened on 9 July 2019 and will run until 22 September 2019.
The exhibition brings together a selection of artworks and artefacts from across the University of Cambridge's diverse collections, including the Museum of Archaeology and Anthropology (which holds the Northcote Thomas collections), Cambridge Botanic Garden, Museum of Classical Archaeology, The Fitzwilliam Museum, The Polar Museum, Sedgwick Museum of Earth Sciences, Whipple Museum of the History of Science, Museum of Zoology, University Library and a couple of the colleges. The selected items share one thing in common: despite displaying remarkable creativity and skill, the identities of the artists or makers are not known. As an exhibition text states, 'Not knowing, in each instance, who the artist or maker is, shifts our attention from a name and a known or imagined persona, to focus instead on the multiple reasons why the creator is lost to history'.
In the context of historical ethnographic collections, of course, the absence of a named individual artist or maker is the norm, rather than the exception. We'll return to this issue, but first let us take a look at the two artworks/artefacts collected by Thomas that feature in the exhibition.
Z 14207: Lamellophone (ibweze)
Lamellophone (ibweze) collected by Northcote Thomas in Enugu-ukwu, 1911. NWT 351; University of Cambridge Museum of Archaeology and Anthropology, Z 14207.
According to Thomas's label, this lamellophone or thumb piano was collected in 1911 in Enugu-ukwu, south-west of Awka, in present-day Anambra State, Nigeria. It is one of a number of lamellophones collected by Thomas. The Igbo word for a lamellophone is ubọ-aka, and it is thus curious why Thomas gives this particular instrument the name ibweze. According to Dr Ikenna Onwuegbuna, a lecturer in the Music Department at the University of Nigeria, Nsukka, and native of Awka, ibweze – which should actually be spelt ibhe-eze – means simply 'the thing belonging to the king', or 'the king's thing', and is not the name of an instrument at all. Onwuegbuna speculates that this ubo-aka was made for the Eze (king) or a musician in his court.
Judging from the lamellophones collected by Thomas, they were a medium for displaying the virtuosity of those who made them as well as the musicians who played them. However, the ibweze is particularly remarkable given the elaborate superstructure (indeed, a lamellophone fit for a king!). The finger-board, which has six cane tongues, is mounted onto a wooden block. Above the finger-board, this has been carved with two human faces, one facing front, one facing back, as well as two antelope heads facing left and right. Surmounted on the antelopes' horns is a cat-like creature – probably a leopard given its spots. The leopard is also a symbol of kingship.
Sequence of photographs by Northcote Thomas showing the ibweze being played. NWT 2889-2891; RAI 400.16305-16308.
The elaborate carving makes the instrument heavy and poorly balanced. One would imagine that it is impossible to play, but Thomas also took a series of photographs of the ibweze being played along with a drum, which Thomas also acquired. In his register book, Thomas describes the photograph series simply as 'Young men's dance'. A further photograph shows both the thumb piano and the drum (Z 14200) lined up before a backcloth with other objects that he had collected in Enugu-ukwu.
During his second tour, in Igbo-speaking Awka District, Northcote Thomas sometimes arranged his collections in a line to photograph them prior to sending them to the Cambridge. Here, the ibweze can be seen alongside other objects collected in Enugu-ukwu. Photograph by Northcote Thomas.
We know that Thomas purchased objects for his collections and he also commissioned artists and craftspeople to make things for him. We do not know, however, whether the ibweze was a specially commissioned piece. If it was, we might speculate that the ibweze-maker used the opportunity to show off his skills as an artist, perhaps aware that his work would travel to a distant land, carrying his reputation and fame with it. Did he imagine that 108 years later, his masterpiece would be displayed in a fine art gallery in Cambridge?! If Thomas did commission the ibweze, it is possible that he was aware of the artist's name – what a shame that he appears not to have recorded it.
Z 25889: Carved and painted wooden head
Carved and painted wooden head, collected in Southern Nigeria between 1909 and 1913. University of Cambridge Museum of Archaeology and Anthropology, Z 25889.
The second object from the Thomas collections featuring in the 'Artist: Unknown' exhibition is much more enigmatic. The label is of a kind that was attached to Thomas's collections when they were originally accessioned at the Museum of Archaeology and Anthropology. It reads simply 'Head, one side painted white, the other with white spots, straw round neck'. There is no surviving record of where it was collected or what its original purpose or function was, let alone who created it.
Unlike the ibweze, Thomas took no photographs showing the carving in situ prior to being collected. There are, however, some formal similarities with some shrine figures photographed by Thomas in December 1909 in Aja-Eyube (spelled Ajeyube by Thomas), which is now a suburb of Agbarho in Delta State, Nigeria. This is, however, inconclusive.
Nama shrine, Aja-Eyube (Ajeyube), in present-day Delta State, Nigeria. NWT 1394a; RAI 400.16630.
The division of the body using paint – in this case white on the right side, and spotted on the left – has cosmological significance and is found on both carved figures and human bodies. The Anglican missionary, George Basden, published a photograph of a man with his left side painted white in his book Niger Ibos [sic] (1938), which he stated represented the dualism of 'body' and 'spirit'.
More than many of the objects that Thomas collected, this carved wooden head perhaps most closely resembles an 'art object', the primary function of which is aesthetic.
Artists unknown
In a podcast accompanying the 'Artist: Unknown' exhibition, Director of the Museum of Archaeology and Anthropology, Nicholas Thomas (no relation to Northcote!) reflects on historical distinctions between art museums and ethnographic museums. In the following excerpt he discusses a Fijian painted barkcloth from the Museum of Archaeology and Anthropology that also appears in the 'Artist: Unknown' exhibition, but the broader points apply equally to the Nigerian objects.
Excerpt from Nicholas Thomas's podcast. Listen to the full version by clicking here.
Whereas (Western) art objects are often valued because of their association with individual artists, (non-Western) ethnographic objects were historically valued as 'specimens' of the material culture of particular societies and cultural groups. Although they recognized and appreciated the skills and artistry of individual makers, anthropological collectors such as Northcote Thomas were primarily interested in what material culture could tell them about a given 'people'. Thus, Thomas conceptualised his collections in terms of 'technologies', or their function in relation to religion and ritual. He was also interested in documenting 'decorative arts', both in architecture and artefacts. This was, however, principally of interest insofar as distinctive styles and techniques were perceived to delineate cultural boundaries and influences. Thomas used art(efacts) much as he used language and physical type photography as a tool in cultural mapping.
It was only in the 1980s that the distinction between art objects and ethnographic objects began to be questioned critically. This period also saw the rebranding of many ethnographic collections as 'World Art'. Today, acknowledging the individuality of the artists and craftspeople responsible for making these works is part of a decolonisation agenda. The reduction of singular works such as the ibweze or carved head collected by Thomas to representative specimens, with the corresponding erasure of the identities of their individual makers, is part of the epistemic violence of colonialism. But, at the same time, we might also question whether the highly-commoditised global art system, with its obsession with the named celebrity artist, represents another form of coloniality, obscuring other possible artworlds in which creativity is not necessarily the property and outcome of individual activity.
Creative engagements with the archive
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Art workshop at Nosona Studios, Benin City. Introducing the colonial ethnographic archive to participants. Photograph by Paul Basu.
As part of our exploration of the contemporary value of the colonial-era collections and archives assembled by the Government Anthropologist, Northcote Thomas, in Southern Nigeria and Sierra Leone between 1909 and 1915, we are working with various young artists in the areas in which Thomas worked. To facilitate this, we have held a series of workshops in the Department of Fine and Applied Arts at the University of Nigeria, Nsukka, at Nosona Studios in Benin City, and at the Sierra Leone National Museum in Freetown. We have also been developing collaborations with more established artists, for instance with Kelani Abass, Mike Omoighe and Ndidi Dike in Nigeria, and with Charlie Haffner in Sierra Leone.
Sierra Leonean artists discuss each others' initial ideas for works engaging with the archives and collections assembled by Northcote Thomas during his 1914-15 tour in Sierra Leone, Sierra Leone National Museum, Freetown. Photograph by Paul Basu.
At the workshops we have been introducing artists to the Northcote Thomas archives and collections, and discussing the context of the colonial anthropological surveys through which they were assembled. We have then looked at other examples of how contemporary artists have engaged with the colonial archive in their work – often as a way of interrogating or critiquing colonialism and its legacies. Participants then discuss their initial ideas for how they might respond specifically to the Northcote Thomas collections through their art practice. After the initial workshops we have held follow-up sessions and been in close contact with the artists as they have developed their initial ideas and begun producing their works. We report here on just a few of these works-in-progress.
Work-in-progress by Derek Jahyem Jombo-Ogboi, Benin City. Derek Jahyem is especially drawn to the expressions on the faces and the body language of those Northcote Thomas photographed. 'I can't really say much about the piece, as it's ongoing', he explains. 'The eyes of these people in the images keep directing me on where to go … it's like I hear each one of them whisper to me, saying: "Tell my story, tell my story!"'. Artist photograph by Jonathan Chambalin Nwachukwu.
Uli-inspired works-in-progress, Nsukka. There is a long-standing tradition of creating contemporary work inspired by Igbo uli body and wall painting in the Department of Fine and Applied Arts, University of Nigeria, Nsukka. Continuing the tradition of the 'Nsukka School', a number of workshop participants, including C. Krydz Ikwuemesi, RitaDoris Edumchieke Ubah, Jennifer Ogochukwu Okpoko and Chinyere Odinukwe are developing works in different media inspired by Northcote Thomas's documentation of historical uli art. Left: preliminary drawings for mixed media work by Chinyere Odinukwe ; Right: RitaDoris Edumchieke Ubah, discusses her ideas for translating uli motifs documented by Thomas into textile designs.
Work-in-progress by Jonathan Chambalin Nwachukwu, Benin City. Photographer and sound artist, Jonathan Chambalin Nwachukwu, is collaborating with painter, Anendu Edozie, to create a series of linked cinemagraphs (a hybrid of stills photography and video) and sound installations based on Northcote Thomas's photographs and phonograph recordings. Jonathan is recreating a number of Thomas's photographic portraits using the painted bodies of live models. Artist self-portrait by Jonathan Chambalin Nwachukwu.
Works-in-progress by Chukwuemeka Nwigwe, Nsukka. Chukwuemeka is a textile artist who combines traditional weaving techniques with the use of discarded plastics and foils. He is producing a series of works featuring silhouettes of figures drawn from Northcote Thomas's photographs woven into colourful backgrounds formed of waste materials. His work highlights the contrast between the historical Igbo worlds documented, in monochrome, by Thomas, in which organic materials dominated, and the present environment, full of colour, but also facing a crisis due to the dominance of petrochemical industries and plastic waste.
Works-in-progress by Bello Imoudu Ameen, Benin City. Among the works that Bello Ameen is producing for the project is a pair of paintings provisionally entitled 'Loss or Gain'. Based on Thomas's photograph of Chief Ero and his son, taken in Benin City in 1909, he is re-imagining the scene in oils, with abstract backgrounds incorporating architectural design motifs that Thomas also documented. The foreground characters are represented 'then' and 'now' as a way of reflecting on what has been gained in Nigerian society in the last 100 years, but also what has been lost.
Contemporary artworks resulting from these collaborations will be exhibited at a series of exhibitions over the coming months and years. The first will open at Nosona Studios, Benin City, in July 2019, to coincide with a meeting of the Benin Dialogue Group (a forum to discuss the future of antiquities looted from Benin during the 1897 Punitive Expedition). Then exhibitions will be taking place at the National Museum, Lagos, in October 2019, and at the University of Nigeria, Nsukka in February 2020. A selection of the works will then be redisplayed in the final [Re:]Entanglements exhibition that will be held at the University of Cambridge Museum of Archaeology & Anthropology, due to open in April 2021.
Hand-colouring Northcote Thomas's photographs
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Colourised versions of Northcote Thomas's original monochrome photographs. Left: Nwamboyi (Nwamgboye) (NWT 2972); Right: Eze Nri Obalike (NWT 2227). Both photographed in Agukwu Nri in 1911. Coloured by Chiadikōbi Nwaubani, 2018.
Although there were many early experiments with colour photography from the 1850s, it was not until the mid-1930s, with the introduction of Kodachrome film, that it became widely used. All of Northcote Thomas's photographs made during his anthropological surveys of Southern Nigeria and Sierra Leone between 1909 and 1915 were monochrome. Since the beginning of photography, however, various techniques have been used to hand-colour monochrome prints. Hand-colouring photographic prints using a fine brush with different kinds of dyes, watercolours and oils was a highly-skilled task. Demand for hand-coloured photographs reached its peak in the early twentieth century.
To date, we have come across only one historical example of a photograph taken by Thomas that has been hand-coloured. This was published in the serialised pictorial encyclopaedia, Peoples of All Nations, around 1920. In the section entitled 'British Empire in Africa' Thomas contributed around 23 photographs, many of which have been touched-up for publication, among these is the colour plate disparagingly entitled 'Gewgaws of Primitive Society'. The photograph shows two young girls, which Thomas elsewhere describes as 'onye ebuci', adorned with bracelets of hippo ivory, anklets and garters of cowries, and necklaces and headdresses of long red beads. In addition to colouring the photograph, a vaguely 'tropical' background has been painted in place of Thomas's calico photographic backdrop.
Comparison of Northcote Thomas's original photograph of 'onye ebuci' girls (NWT 4135), photographed in Onicha Olona in 1912 and the hand-coloured version published in c.1920 in the popular encyclopaedia, Peoples of All Nations.
Today, with digital tools such as Adobe Photoshop, new possibilities for colourising historical monochrome photographs present themselves, though the process is no less skilled. Artist and Ukpuru blogger, Chiadikōbi Nwaubani has long been interested in historical visual representations of Nigeria and has been digitally colourising some of the Northcote Thomas photographic archive.
Colourised versions of Northcote Thomas's original monochrome photographs. Left: 'Nwaeyeye girl' (NWT 1853); Right: Nwaifu (NWT 1846a). Both photographed in Awka in 1910. Coloured by Chiadikōbi Nwaubani, 2018.
Chiadikōbi explains:
I've started colouring some of the photographs from the Northcote collection and I'm focusing mainly on the photos of his tours of the Igbo area. Since the colouring is partly based on guess work, some knowledge about the culture helps in deciding what is coloured what, such as the indigo cloth in the picture of the Eze Nri. Resist-dyed indigo cloth like that is still popularly used and I could notice the depth of the grey and the patterns and guess that it was one of the indigo cloths.
I started colouring some of these pictures a few years ago from digital scans of the printed Anthropological Report volumes. I was looking at other areas of the past, and at the time I used the Northcote Thomas images to practice colouring photos. I think the impact of the original black and white photos was less than these coloured versions because of the quality, but there was another sense of familiarity that was added to the pictures after they were coloured, partly because the age and the surroundings had already made the images quite distant.
One of the reactions to Northcote's pictures I've heard is that 'they don't look like Igbo people' (by some Igbo people referring to the pictures he took of Igbo people), and I think this was partly because of the lack of reference for anything in the pictures that they can relate to today, which may also be related to the ambiguity that black and white gives some objects, in this case cultural ones. The colourisation adds another sense of life to the photos, which also includes the colouring of material culture.
Colourised version of Northcote Thomas's original monochrome photograph. Mooku(?) (NWT 3649a), photographed in Mgbakwu in 1911. Coloured by Chiadikōbi Nwaubani, 2018.
Animated image showing stages in colourising Northcote Thomas's photograph of 'Nwaeyeye girl' (NWT 1853) using Photoshop. Note the multiple layers needed to build up the skin tones. Chiadikōbi Nwaubani, 2018.
See Chiadikōbi Nwaubani's [Re:]Entanglements project blog on his 'Susu Boy' painting.
Museum Affordances Workshop 1: Collections, Guest blog by Cécile Bründlmayer
[Re:]Entanglements Events, Museum Affordances October 2, 2018 October 2, 2018 0 Comment
On 19-20 September 2018, the first of three workshops that we are organizing as part of the Museum Affordances project took place at the Museum of Archaeology and Anthropology, University of Cambridge. The workshops seek to bridge the worlds of museum and archives scholarship and practice, and critically explore the concept of 'affordance' in relation to different spheres of museum and archive work. The first workshop focused on collections; subsequent workshops – to be held in Berlin and Leiden respectively – will focus on museum interventions and museum exhibitions. One of the objectives of the workshop series is to contextualize our work with the N. W. Thomas collections and archives in relation to other innovative museum and archive projects currently taking place.
One of the participants, Cécile Bründlmayer of the Humboldt Forum in Berlin, kindly agreed to write a guest blog summarizing some of the presentations and discussions that took place.
I was recently fortunate to attend a two-day workshop with the title 'Museum Affordances' at the Museum of Archaeology and Anthropology in Cambridge. The venue served as an excellent background to kick off a series of three workshops over the span of three years which are loosely based around three broad dimensions of museum work, starting with the topic of collections and then continuing with the topics of interventions and exhibitions. The workshops are part of a research project funded by the UK's Art and Humanities Research Council which is engaging with a multifaceted ethnographic archive assembled by the colonial anthropologist, Northcote W. Thomas, in Southern Nigeria and Sierra Leone between 1909 and 1915.
Within that context, the first workshop on collections served as a means to ask how the concept of affordances might help in order to address current questions concerning ethnographic museum practice. Applying the concept to specific case examples served as an interesting tool for experimental brainstorming which raised a lot of thought provoking questions.
Introduction: The affordance concept and its application to ethnographic museum practice
The workshop started with an introduction to the Museum Affordances project by Paul Basu (SOAS University of London, UK). He started by positioning the project within a broader context of questioning the continued relevance of ethnographic museums and their collections today, particularly confronting the colonial entanglements of these institutions and what these entanglements mean in a postcolonial or decolonizing world.
He presented the concept of 'affordances' which was developed in the 1970s by the American psychologist James Gibson who described the term in the following way: 'The affordance of anything is a specific combination of (its) properties in light of what it offers, provides, or furnishes for the animal that perceives it' (Gibson 1977). So while properties are objective phenomena with an existence independent of values and meanings, they serve as affordances only in particular combinations and relative to particular actors. Based on this concept, the following questions where discussed throughout the workshop: What do museums afford? What do they make possible?
Panel 1: Changing contexts, changing perceptions
Chaired by Nicholas Thomas, Museum of Archaeology & Anthropology, University of Cambridge (UK)
Presentations from Chris Wingfield and Michae Aird in the 'Changing contexts' panel.
The first panel dealt with examples of how the changing of time and context affects the perception of particular affordances. Dan Gilfoyle from The National Archives (UK) opened the panel with a talk about the archive of the Colonial Office which was responsible for the overall administration of the British Empire. The Colonial Office gathered an enormous amount of documentation about the Empires' administration, from correspondence letters to maps and photographs. From the 1870s on the Colonial Office appointed scientific specialists to work in and for the colonies: one of them was the anthropologist, N. W. Thomas. Despite some small achievements in language teaching for colonial officers, his work wasn't considered a success during his time and the results of his project have remained hidden in the archives for over 100 years. The affordances that Thomas' collections might offer are therefore latent and unused. While Thomas' work didn't afford much in the eyes of his past employers, what might it afford today?
Chris Wingfield, senior lecturer at the Sainsbury Research Unit for the Arts of Africa, Oceania & the Americas (UK), then shifted the focus to the London Missionary Society, its history and questions of affordance and affordability. Based on the collecting history of the London Missionary Society, he reflected on the tension between affordances and affordability. If affordances are unlimited, he asked, how is it possible that only some of them are activated and others are not? How are the affordances of collections affected by institutional considerations, including judgments of value and cost? How do people negotiate affordability? As he showed with the example of the London Missionary Society, the perception of affordability of collecting or of an existing collection changes throughout time. The same collection can be considered useless in one context and useful in another.
Michael Aird from the Museum of Anthropology at the University of Queensland (Australia) then continued to reflect upon his exhibition 'Transforming Tindale', which was shown at the state library of Queensland in 2010. In that exhibition, he displayed a collection of photographs taken in 1938 by the prominent scientist Norman Tindale, an Australian anthropologist who documented about 5,000 Aboriginal people for the government. As part of the exhibition, Michael Aird reunited the photographs with their depicted subjects or their descendants. As most of the people that have been photographed by Tindale were on governmental reserves and had no chance to refuse to be photographed, Aird's presentation prompted a long debate about the ethics of exhibiting photographs that where taken under forced conditions.
Panel 2: Engaging with collections, perceiving affordances
Chaired by Haidy Geismar, Department of Anthropology, University College London (UK)
Presentations from George Agbo, Philipp Schorch and Dean Sully in the 'Engaging with collections' panel.
George Agbo, a postdoctoral researcher on the Museum Affordances project based Museum of Archaeology & Anthropology, University of Cambridge (UK) opened the second panel by asking what digital photography affords when working with collections, taking his own work with the N. W. Thomas collection as an example. He pointed towards the ability of digital photography to get closer to the objects and to be able to reunite objects that were originally collected together but which have become separated in the museum stores. He also stressed the affordance of digital photography to put the collection online and circulate it. What happens when you do that? He provided examples of discussions from the project's own Facebook Group, which has a growing number of Nigerian and Sierra Leonean members. Finally, he discussed different methods of photographing the objects and the specific qualities of a photographed object. How to capture the integrity of an object? What happens when you manipulate the background of the object? Is the environment not part of the object? And what are the things that photography cannot afford, such as the smell, sound or touch of an object?
Philipp Schorch from the Staatliche Ethnographische Sammlungen Sachsen (Germany) then continued with a presentation about an experiment he undertook together with his students and the German art historian/philosopher Bruno Haas. Based on the example of a Tatanua mask from Papua New Guinea, he started with the following questions: What can a mask tell us? How can we see the mask for what it is and not for what it supposes to represent through a typical anthropological or art historical lens? By referring to Bruno Haas' recent work, 'Die ikonischen Situationen', he tried to come closer to the structures that show themselves in the singular piece, starting with the specific formal qualities of the object, and ignoring preconceived notions such as ritual or ethnic group, in order to approach the mask in all its individuality.
Finally, Dean Sully, from the Institute of Archaeology, University College London (UK) took us through the everyday life of a conservator and revealed the tools, techniques and thought processes that come together in contemporary museum conservation practice. He presented heritage conservation as a broader analysis of the past which affords an understanding of the world from the traces left behind by people. The analytical process of conservation reveals how museum objects may have been used in the past, how they transmitted agency to the present and how they impact the lives of people now and in the future. Through the enduring presence of heritage places and objects cultural practices can be rethought, reimagined and revitalised continuously.
Panel 3: Whose affordances? Connections and communities
Chaired by Enotie Ogbebor, Nosona Studios, Benin City (Nigeria)
Presentations from Rita Ouedraogo, Maria-Katharina Lang and Chris Morton in the 'Whose affordances' panel.
The second day of the workshop started with a panel focusing on questions of affordances related to collaborative work. Rita Ouedraogo from the Research Centre for Material Culture at the Nationaal Museum van Wereldculturen (The Netherlands) started by presenting a project she conducted within the context of the 60-year celebration of Ghana's independence. For the project she invited people who feel a connection to Ghana to look at the Ghanaian objects in the collections of the Tropenmuseum and choose objects that related to them. After several months of talks, meetings and depot visits, one person became intrigued by a Fanti canoe, which became the centre of a series of discussions. What does the canoe represent or make possible for the differently-positioned participants of the project? What does the object afford to whom? Do all such affordances co-exist harmoniously?
Maria-Katharina Lang from the Institut für Sozialanthropologie, Österreichische Akademie der Wissenschaften (Austria) then continued to present her work with a collection from Mongolia, which was gathered by the Austrian natural scientist Hans Leder during the second half of the 19th century. Shortly after the objects arrived in Europe, Buddhism was forcefully eliminated in Mongolia, monasteries were closed or even destroyed. With her project, which was called called 'Nomadic Artefacts', Maria-Katharina Lang tried to reassemble the dispersed collection, which got distributed among different museums. She then linked the objects with specific regions and people and conducted interviews with monks, herders and museum workers in Mongolia about the collection and its meanings. The results of the project were presented in an innovative exhibition and website.
Chris Morton from the Pitt Rivers Museum, University of Oxford (UK), then continued with a presentation about a collection of physical anthropology photographs from Botswana, discussing its original context and his recent work with the community. The collection comprises photographs of the San people in Botswana taken by the anthropologist Joseph Weiner in the 1950s. Weiner was part of an expedition into the central Kalahari, where he led one of the physical anthropology sub-sections. The latter focused his work on taking blood and hair samples, measuring skin color, genitalia, muscle strength, weight measure and photographs, based on a systematized method to document physique. Despite the huge effort, the work was not successful and the methods fell into disrepute – an example of 'false affordances', in which the project failed to deliver what it promised. Chris Morton asked what the photographs might afford the communities in which they were taken today and presented some preliminary findings in which the photographs were perceived very differently. While the photographs represent an anthropological 'dead end', how might they be useful for the future? Who decides what the future of such a collection is?
Panel 4: Difficult histories, latent possibilities
Chaired by Wayne Modest, Research Centre for Material Culture at the Nationaal Museum van Wereldculturen (The Netherlands)
Presentations from Michael Barrett, Annette Schmidt and Tal Adler in the 'Difficult histories' panel.
Michael Barrett, curator at the Varldkultur Museerna, Stockholm (Sweden) opened the panel with a presentation of a project he started in 2017, a long term public engagement in collaboration with people of African descent in Sweden whose purpose is to adopt new perspectives in order to make the museum more relevant for a broader and more engaged audience. In the course of a workshop series called 'Encountering the collection' he tried to ease out previously unacknowledged affordances of the collections together with the participants. His case study showed that ethnographic collections may afford some aspects of a utopian 'Afropean' museum, which includes highlighting and questioning cultural and social identities. The project also afforded uncovering entangled histories between Sweden and Ethiopia which allowed a reflection on the historical development of African identities in Europe/Sweden.
Annette Schmidt from the Nationaal Museum van Wereldculturen (The Netherlands) then shed light on the hidden affordances of so-called 'tourist art' from the Museum's Lower Congo collection in order to unpack the local perspective on life in the region during the period 1850 to 1908, covering a time frame in which power relations between the local rulers and the European traders changed dramatically. Annette Schmidt emphasized the potential of tourist art as representatives of the local Congolese view of Europeans. Can it provide a new perspective on the history that for so long has been told from the perspective of the colonisers?
Sharon Macdonald and Tal Adler from the Centre for Anthropological Research on Museums and Heritage (CARMAH) at the Humboldt Universität zu Berlin (Germany) concluded the panel with a talk about the project 'TRACES' (Transmitting Contentious Cultural Heritages with the Arts, From Intervention to Co-Production) which allowed artists, researchers and museum staff to engage on a long term basis with ethically problematic collections. Tal Adler presented his work on a collection of human skulls and photographs from the Natural History Museum in Vienna and showed clips of a film that resulted from his work.
Panel 5: Focus on sound
Chaired by Ikenna Onwuegbuna, Department of Music, University of Nigeria, Nsukka (Nigeria)
Ikenna Onwuegbuna chairing the 'Focus on sound' session, ,with Yvonne Mbanefo and Janet Topp Fargion.
Finally, the last panel focused on sound archives. Janet Topp Fargion from the British Library (UK) presented her work at the British Library Sound Archive and the challenges of making its large collection available (online and offline) to all kinds of communities. She emphasized the importance of recirculating the collections in order to keep languages and cultural traditions alive. She provided examples of the connections with communities being made through the sound elicitation work being done as part of the Museum Affordances project.
Yvonne Mbanefo from the Igbo Studies Initiative (UK), then gave a talk about the possibilities of historical sound recordings and what can be done with it. Alarmed by the language and culture decline in Nigeria, she started to record oral histories in her native language Igbo which triggered strong interest in many different groups. With the example of two audio files from the N. W. Thomas collection, she demonstrated the creative possibilities inherent in these recordings. She demonstrated how one of Thomas's recordings of a traditional folktale could be transcribed, translated and re-recorded, forming the basis for a Igbo language training resource for children. From linguistic information to the creation of text-based T-Shirts in the Igbo language or inspiration for rap-songs and new choreographies, Yvonne Mbanefo argued that the possibilities to create something new out of old sound recordings are endless. The more museums involve the community the more ideas can be found.
Wayne Modest leading the discussion after the 'Difficult histories' panel, with Sharon Macdonald, Michael Barrett, Annette Schmidt and Tal Adler.
Throughout the workshop, questions and discussions opened up a variety of different topics concerning the usability of the concept of affordances for museum practice. All presentations made clear that affordances change over time and that while the possibilities they enable are seemingly endless, they are still limited by certain restraints which are connected to certain institutional, academic or historical contexts as well as to ethical or political views. It became clear that museum affordances are made up of latent relations between things, people and intentions, which are interdependent, changeable and in constant mutual exchange and can be (re)activated within different contexts.
Haidy Geismar stressed the tension between the ecological definition of affordance by James Gibson which is about understanding the entangled nature of things and their environment and the idea of a pure and unmediated engagement with an object. How can we stick with the ecological complexity? And what does engaging with the object really mean?
An important topic circulated around questions of how to find ways to apply the concept of affordances within museum practices and what ethical and political questions emerge while doing that. When opening up a collection and making all affordances accessible, isn't there also a danger of losing control over misuse and misapplication? How to deal with this tension of wanting to make the collection and its affordances accessible while having to consider ethical and political issues at the same time?
With reference to Michael Aird's 'Transforming Tindale' exhibition, Sharon Macdonald asked about the limits of aesthetization, which prompted a long discussion about the aesthetization of potentially discriminating photographs. How far does one affordance play off against others? How do you decide if a photograph can be shown or not? Does the strength of the people looking into the camera transcend their status as victims, as Michael Aird suggested? Nicholas Thomas argued that it is not constructive to stick to a rigid methodology in order to judge if some photographs are appropriate and others are not. Deciding whether or not photographs are potentially hurtful is a social process and always depends on the specific objects or photographs and what people are doing with them or how they respond to them. The discussion then turned towards the question of the responsibility of the curator concerning the openness of contentious collections. Who should be allowed to use them and for what? And what role does the institutional context play? What is the difference in storing or exhibiting problematic collections in ethnographic museums, art galleries or natural history museums?
The presentations of collaborative projects then prompted discussion on how these projects serve to rethink the ethnographic archive and push beyond their original intentions. Can the ethnographic museum be reframed not as a problematic site, but as a more hopeful place for discussing identity in a novel way?
Finally, with regard to the last two presentations, Wayne Modest asked about the affordance of sound in relation to the visual. Does it afford something different? By pointing to the large amount of research that has been done on the nature of sound, Janet Topp Fargion stressed the immersive quality of sound which has the ability to trigger strong emotional reactions. When seeking to reveal the hidden affordances of museum collections, audio recordings have as much potential for collaborative projects as material objects or photographs do.
Cécile Bründlmayer studied Social and Cultural Anthropology and Fine Arts in Vienna and currently works as research associate and curator at the Humboldt Forum in Berlin. Prior to this she worked at the Weltmuseum Wien (former Museum of Ethnology, Vienna) during the process of re-establishing and reconceptualising the entire new permanent exhibition.
Sound recording in the field, Agila, 1913
Paul Basu Igbo, Sound recording April 18, 2018 September 22, 2021 Agila, Igbo, phonograph, sound 3 Comments
N. W. Thomas's phonograph. Recording sound in Agila in present-day Benue State, Nigeria. 4 June, 1913. Photography by N. W. Thomas. NWT 4885. MAA P.32756.
Between 1909 and 1915, over the course of four anthropological surveys in Nigeria and Sierra Leone, Northcote Thomas made about 750 sound recordings using a wax cylinder phonograph. He recorded samples of speech (for linguistic analysis), stories, songs and musical instruments.
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.
Incidentally, from the photograph we have been able to identify the Thomas's phonograph as a Pathé 'Coq' model. It is likely that it was supplied by Lily Frazer (wife of the anthropologist J. G. Frazer), who supplied sound recording equipment to field researchers and provided a phonograph duplication service.
N. W. Thomas – an accidental artist?
Paul Basu Art, Photography March 30, 2018 August 4, 2021 art, Benin City, Fugar, N. W. Thomas, Olukun, photography 0 Comment
N. W. Thomas, Shrine of Olukun, Benin City, 1909. NWT 144. MAA P.28134.
Along with the sound archives and collections of artefacts, the photographic legacy of N. W. Thomas's anthropological surveys in West Africa provide a remarkable record of life in Southern Nigeria and Sierra Leone in the early twentieth century. As part of a 'scientific' endeavour, they were intended primarily as a form of ethnographic documentation and also constituted 'data' in themselves – particularly with regard to physical type photography. As part of a government-sponsored project, their entanglement in colonial power relations and racial representation/categorisation is unavoidable. This political context must be the primary lens through which we approach these images and practices.
Working through this vast archive of photographs, however, one is also struck occasionally by the aesthetic qualities of the images. This extends to both portraiture – which, in many cases, complicates our reading of these as 'physical type' photographs (this will be the subject of a future blog) – and what we might call 'still life' photographs. Indeed, as the examples included here show, Thomas's photographs of material culture or architectural details are sometimes strongly redolent of the early still-life photography of Fox Talbot or Daguerre . This includes photographs of what appear to be 'found scenes' as well as compositions in which objects have been arranged purposefully for the camera. (Compare, for example, with Fox Talbot's 'The Open Door' and Daguerre's 'Fossils and Shells'.)
N. W. Thomas, Instruments for marking body and medicines, Benin City, 1909. NWT 49. MAA P.28070.
This reminds us of a dual characteristic of photography that has been present throughout the history of the medium – that photography has been regarded as both a medium for the objective documentation of reality, independent of the photographer's 'artistry', and as a medium of subjective artistic expression akin to painting or drawing. In the context of Thomas's anthropological survey photography, a further question is raised regarding whether we may appreciate the aesthetic qualities of the photographs, while being mindful (and critical) of the racial/colonial politics in which they are entangled?
N. W. Thomas, Shrine, Fugar, 1909. NWT 1056. MAA P.29135.
Peripheral presences: N. W. Thomas's Field Assistants
Paul Basu Fieldwork, N. W. Thomas, Photography March 16, 2018 November 8, 2019 Anthropological Report on Sierra Leone, Anthropological Report on the Edo-Speaking Peoples of Nigeria, Corporal Nimahan, fieldwork, fieldwork assistants, John Osakbo, N. W. Thomas, translators 0 Comment
One of N. W. Thomas's assistants, probably John Osakbo, as a peripheral presence at the edge of the frame in a series of physical type portraits photographed in Benin City in 1909. NWT 194b, 195a, 196a, 200a.
The image of the anthropologist as a heroic, lone fieldworker, battling through adversity in order to single-handedly document disappearing customs and rituals is a tenacious myth. Some anthropologists intentionally portrayed themselves in such terms. Malinowski's 1922 monograph, Argonauts of the Western Pacific, famously begins with the lines: 'Imagine yourself, suddenly set down surrounded by all your gear, alone on a tropical beach close to a native village, while the launch or dinghy which brought you sails away out of sight'. In fact, we know that anthropological fieldwork is – and always has been – a highly collaborative endeavour. The important role of fieldwork collaborators – including fixers, brokers, assistants, interpreters and other participants – has, however, often gone unacknowledged. A notable exception was Franz Boas, who acknowledged his debt to his Tlingit-speaking assistant, George Hunt, who collected much of the data on which Boas's publications were based.
N. W. Thomas was undoubtedly an energetic fieldworker, travelling extensively in Southern Nigeria and Sierra Leone in the course of some 55-months of anthropological survey work between 1909 and 1915. While Thomas was the sole author of the various reports and publications that resulted from this research, and is credited with assembling the thousands of photographs and sound recordings, and extensive collections of artefacts, botanical specimens and linguistic materials that are the legacy of these surveys, it is clear that this could not be the work of just one man. But who accompanied Thomas on his travels? How many assistants did he have? What roles did they play? One has to look hard to find a trace of such collaborators in the archives of Thomas's surveys – but they can occasionally be glimpsed as peripheral presences.
This peripheral presence is most literally manifest when Thomas's assistants appear at the edge of the photographic frame, holding a number board, supporting the photographic background sheet, or diffusing the sunlight with an umbrella. Many of Thomas's photographic negatives are loosely framed, allowing peripheral detail to creep into the picture. The intention would have been to crop these images prior to publication, removing the traces of their co-production. As an experiment, such photographs can be differently cropped, placing the peripheral presences in the centre of the frame.
Placing the peripheral presence in the centre of the frame. Again, probably John Osakbo, described by N. W. Thomas as 'the most capable boy I ever saw'. NWT 427, 959.
Represencing Thomas's fieldwork collaborators also entails recognising their trace elsewhere in the archive. In negative number NWT 261, a photograph of a group of Hausa musicians and dancers taken in Benin City in 1909, an assistant can be seen on the verandah making notes in what appears to be Thomas's photographic register. These register books survive in the archives of the Royal Anthropological Institute and, indeed, the handwriting on these pages is not Thomas's. Has the act of writing this very register entry been captured at the periphery of the frame?
Left: A group of Hausa musicians and dancers, photographed in Benin City in 1909. Right: Detail showing figure on the verandah at the right edge of the frame, and of the photographic register entry he appears to be writing. NWT 261.
Within the photographic archive of the anthropological surveys, there are just five photographs of N. W. Thomas himself. These were likely taken by Thomas's field assistants. In one intriguing pair of photographs, taken at the same location, it appears that Thomas and one of his assistants – probably Corporal Nimahan (see below) – have taken it in turns to photograph one another. This raises the question as to how many other photographs in the archive might have been taken by Thomas's assistants rather than by Thomas himself.
Left: N. W. Thomas, possibly photographed by Thomas's interpreter, Corporal Nimahan. Right: Unnamed assistant wearing corporal's stripes (possibly Corporal Nimahan), probably photographed by N. W. Thomas. RAI 400.38267, 400.38292.
There appears to be only one entry in Thomas's photographic register books in which it is noted that an assistant has taken a photograph. Thus photograph NWT 283 is described as 'Burial of Legema, 26.3.09'. Evidently a sequence of four photographs was taken under this same number: 3 and 4 'by N.W.T.', 5 and 6 'by John'. In fact we know a little more about 'John' compared with Thomas's other assistants. This was evidently John Osakbo of Benin City. In a surviving letter from Thomas to the Colonial Office, sent from London in May 1910 after the completion of his first anthropological tour, Thomas requests that this assistant be paid a 'retaining fee' of £1 a month until his return to West Africa. Thomas describes John Osakbo as 'the most capable boy I ever saw', but notes that he was illiterate, and that the retaining fee should be paid on condition that he learn to read and write, and that he should also 'receive training in photography'. It appears that Thomas's request was granted. Thomas also recorded a phonograph of John Osakbo playing a song on a high-pitched woodwind instrument. Thomas' voice can be heard at the start of the wax cylinder recording (NWT 16; BL C51/2164), '…song played by my servant, John, February 10th, 1909'.
http://re-entanglements.net/wp-content/uploads/2018/03/NWT_16_Song_played_by_my_servant_John.mp3
It is likely that the number of individuals who accompanied N. W. Thomas on his travels varied from tour to tour. He travelled with camp equipment as well as photographic kit, phonograph and much else and would therefore have needed carriers. He seems to have travelled on foot, on bicycle and by hammock. In a letter to the Royal Botanic Gardens, Kew, written in 1928, recalling the collecting of vernacular names of plant species in Sierra Leone, Thomas mentions that Temne and Mende plant names were obtained from his hammock boys, and that they had been recruited in Freetown. Thomas relied on the assistance of interpreters, not only in his day-to-day interactions with people in the communities he visited, but also in compiling vocabularies and other linguistic data. In the preface to Part II of Anthropological Report on the Edo-speaking Peoples of Nigeria, concerned with linguistics, Thomas provides a list of the interpreters with whom he worked during his first tour and explaining the methodology he employed. Their names are: Erumese (Edo/Benin City), Nimahan (Kukuruku and Ishan), Osidora (Agbede and Kukuruku), Ogbedo (Edo/Benin City), James Smart (Sobo), George, Oganna and Isuma (Kukuruku). Nimahan was a corporal of the Southern Nigeria Police, and appears to have acted as both official interpreter and as representative of colonial authority. In Part III of Anthropological Report on Sierra Leone: Timne Grammar and Stories, Thomas notes that the first twelve stories published in the book 'were recorded from the mouth of various members of my staff'.
In conclusion, by attending to their peripheral presences in the archive, it is clear that N. W. Thomas was not a lone fieldwork, but was accompanied and assisted in his anthropological survey work by an entourage of collaborators. While further work needs to be done to identify both the names and full range of activities they undertook, it is evident that their roles were fluid ('hammock boys', for example, provided ethnographic and linguistic information and did not simply transport the anthropologist on his itinerations). These collaborators were not peripheral to the anthropological project, but were in fact central to the endeavour. Hopefully, through the [Re:]Entanglements project, we will be able to identify more of N. W. Thomas's Nigerian and Sierra Leonean collaborators, and correct the erroneous impression that Thomas was single-handedly responsible for assembling this remarkable ethnographic archive.
Photographic Affordances exhibition
[Re:]Entanglements Events, Photography, Royal Anthropological Institute January 25, 2018 August 4, 2021 anthropology, colonialism, N. W. Thomas, photography, physical type 0 Comment
Marking the launch of the [Re:]Entanglements project, the first of a number of exhibitions related to the project has been installed at the Royal Anthropological Institute in London. The exhibition, entitled 'Photographic Affordances', includes a selection of fine digital prints from scans of N. W. Thomas's original glass plate negatives that are held in the Royal Anthropological Institute's collections.
Photographs made during Thomas's four anthropological surveys in West Africa between 1909 and 1915 are dispersed in various institutions, including over 5,000 glass plate negatives held at the Royal Anthropological Institute and several thousand loose prints in the collections of the University of Cambridge Museum of Archaeology and Anthropology. Approximately half the photographs made in Thomas's three Nigerian tours were compiled in albums. Triplicate sets of these albums were made: one was originally kept in the Colonial Office Library in London, another was sent to the Colonial Secretariat in Lagos, while the third was intended for scholarly reference and originally deposited at the Horniman Museum in London. Today complete sets of the albums can be found in the UK's National Archives and the University of Cambridge Museum of Archaeology and Anthropology. During research in Nigeria for the [Re:]Entanglements project, we also discovered a further 16 albums of Northcote Thomas photographs at the Nigerian National Museum in Lagos, presumably those that had originally been deposited at the Colonial Secretariat.
Selection of N. W. Thomas's physical type photographs on display at the Photographic Affordances exhibition.
Many of the prints on display at the Royal Anthropological Institute are so-called 'physical type' portraits. In the late nineteenth century and early twentieth century anthropological orthodoxy imagined the world's population to be divided into distinct races and tribes, each with its own language, material culture and cultural traditions. It was also believed that people belonging to these groups were physically different from one another. Anthropologists of the era, including N. W. Thomas, expended a great deal of effort in mapping these different groups and their physical characteristics. One technique for doing this was through making photographic portraits of people – usually full face and profile – which could then be compared. The same techniques were used in the Ethnographic Survey of the British Isles, for example, but this kind of photography is often associated with colonial attitudes, which seemingly reduced people to objects that could be measured, categorized and compared.
Plate XVII, N. W. Thomas, Anthropological Report on the Ibo-speaking Peoples of Nigeria, Part IV, 1914. Physical type photograph captioned 'Woman of Islele Asaba'.
When physical type photographs were published in Thomas's Anthropological Reports, the captions followed this objectifying anthropological practice. Thus, people were reduced to 'types' and the photographs were accompanied by labels such as 'Man of Awka', 'Man of Mbwaku' and 'Woman of Isele Asaba'. In keeping with the supposedly 'scientific' genre of the photographs, the subjects do not smile. They seem to manifest the colonial violence we expect of them. By examining Thomas's photographic negatives, however, a different impression emerges: Thomas was usually careful to note the names of those he photographed and, among the unpublished outtakes, we find people smiling and even giggling. This challenges our expectations and suggests there was a more personal relationship between the anthropologist and the person being photographed.
Scans of N. W. Thomas glate plate negatives, comparing two 'takes' of NWT 6105. The sitter's name is recorded as Laiah. In the blurred 'outtake' on the left Laiah appears to be giggling. (RAI 400.38046, RAI 400.38045)
Despite the large number of physical type photographs made by Thomas while he was engaged as Government Anthropologist, the colonial authorities themselves had little interest in them, regarding them as being of 'purely scientific interest' and of no value in colonial governance. Thomas himself seems to have pursued this kind of photographic practice more out of a sense that this was what a professional anthropologist was expected to do, rather than a conviction in its scientific import.
The physical type photographs displayed in the Royal Anthropological Institute exhibition raise difficult questions, particularly for an institution founded in the 1870s and also entangled in histories of colonialism and 'racial science'. Some of the faces smile, but others gaze into Thomas's camera lens defiantly. They return the colonial anthropologist's gaze, and now, gazing down from the Institute's meeting room walls after 100 years hidden away in storage, they confront and unsettle representatives of the discipline today.
Photographic Affordances exhibition, Royal Anthropological Institute.
'Fire Brigade', Benin City, January 1909
Paul Basu N. W. Thomas, Photography January 15, 2018 November 8, 2019 Benin City, N. W. Thomas, photography 2 Comments
Photography played an important part of N. W. Thomas's work as Government Anthropologist in Southern Nigeria and Sierra Leone. During the 55 months between 1909 and 1915 that he spent conducting fieldwork, Thomas took approximately 7,000 photographs on quarter plate glass negatives. Although these photographs were made as part of an anthropological survey, today they form a remarkable historical record of the localities in which he worked.
The first surviving photograph from Thomas's anthropological surveys, made soon after he arrived in Southern Nigeria in January 1909, shows a chain of three men passing pots of water between them to put out a house fire in Benin City. Thomas captions the photograph 'fire brigade' in his photographic register. It is one of a sequence of shots of a house fire and its aftermath.
Thomas individually numbered each of his photographs and subsequently categorized them under geographical and thematic headings, such as Topography, Houses, Daily Life, Decorative Art, Technology, Ceremonies and so forth. He also kept a photographic register, in which he – or an assistant – made a brief note about each photograph as they were taken.
Excerpt from the Report of the British Association for the Advancement of Science, 1912. This shows a report of the Association's Committee on Anthropological Photographs, including a catalogue of the photographs from N. W. Thomas's first tour, classified by location and theme.
Over the course of the [Re:]Entanglements project we will be researching this unique photographic archive alongside Thomas's sound recordings and artefact collections and will regularly post about our discoveries. Please share these posts and add any comments you may have.
Botanical specimens
The [Re:]Entanglements project has been researching and rearticulating the collections originally assembled by the anthropologist N. W. Thomas in the early years of the twentieth century in Nigeria and Sierra Leone. What does this remarkable ethnographic archive mean for different people today?
In the early twentieth century, anthropological fieldwork was primarily directed toward collecting and documentation. In the course of four anthropological surveys in West Africa, Northcote W. Thomas assembled remarkable collections of artefacts and local arts and crafts, but also 'specimens' of language, and even botanical species. With the aid of local assistants, he documented many aspects of contemporary life in Southern Nigeria and Sierra Leone in thousands of photographs; recorded songs, stories and music on wax phonograph cylinders; and conducted household surveys.
Thomas's fourth tour, in Sierra Leone, coincided with the outbreak of the First World War. Due, in part, to the straitened economic conditions that prevailed, it was decided to discontinue this early experiment in colonial anthropology. Rather than being kept together, Thomas's collections were dispersed to various institutions where they were mainly put into storage. For the first time in over 100 years, as part of the [Re:]entanglements project, we shall be researching and rearticulating these collections, which today constitute a unique ethnographic archive of life in areas of Nigeria and Sierra Leone in the early 1900s. We are interested in understanding what this archive means to different people today.
We welcome your help. If you have any insights into the objects, photographs, sound recordings and other materials we post about, please do add your comments or get in touch using the contact form.
Material culture, art and artefacts
Thomas was particularly interested in material culture. He photographed many objects in situ, and documented manufacturing processes such as pot-making. He also collected around 3,000 objects, the majority of which were subsequently acquired by the University of Cambridge Museum of Archaeology and Ethnology (now the Museum of Archaeology and Anthropology). From the little correspondence that survives relating to his collecting practices, it appears that Thomas purchased and commissioned the majority of objects he collected. He occasionally photographed his collections prior to sending them to the UK.
Igbo maiden spirit mask collected by N. W. Thomas, probably from Awgulu in 1911. On the left is Thomas's field photograph of the mask, on the right, the mask today in the collection of the University of Cambridge Museum of Archaeology and Anthropology, Z 13690.
As part of the [Re:]Entanglements project, we have photographed a large part of the collection and taken images of the objects back to communities from whence they came. Many objects have been researched and conserved, and a selection are on display as part of the [Re:]Entanglements: Colonial Collections in Decolonial Times exhibition at the Museum of Archaeology and Anthropology.
In addition to the extensive collections at Cambridge, a small number of objects from N. W. Thomas's first tour are held by the Pitt Rivers Museum, Oxford.
Explore the collections made during the anthropological surveys led by Northcote Thomas by searching the Museum of Archaeology and Anthropology's online database. Tip: select 'Search Object Records', then use 'Advanced Search', searching for 'Thomas' (Source) AND 'Nigeria' (Place) OR 'Sierra Leone' (Place).
See also blog posts:
Rediscovering Northcote Thomas's artefact collections
Meeting themselves again. An object-oriented perspective?
Alele, Ọja, Flute
Introduction to the Museum Affordances project
Otuo wrestling festival, July 1909
Ibillo's Ugolo mask, Guest blog by Jean Borgatti and Wendy Emmanuel Adejumoh
The Eliminya Festival, Otuo, Guest blog by Jean Borgatti
The Eliminya Festival masquerades 'in detail', Guest blog by Jean Borgatti
Conversations with a carver
Fieldnotes: protection from witchcraft
Nigerian String Games
Giving objects a voice: conservation and the N. W. Thomas collection
Conservation notes: 'Akosi' figure from Fugar
Ukhurhẹ – ancestors, archives, interventions
Collection notes: Ngene alusi figure
Conservation notes: Maiden Spirit mask
Art, appropriation, activism
Esan carving traditions, Ubiaja
Collection notes: object labels
A questionnaire on dolls
Over the 55 months between 1909 and 1915 that Thomas spent conducting fieldwork in Nigeria and Sierra Leone, he exposed approximately 7,000 quarter plate glass negatives. Around 5,200 of these negatives survive and are held in the photographic archives of the Royal Anthropological Institute. Approximately 6,200 loose contemporary prints are held by the University of Cambridge Museum of Archaeology and Anthropology. About half of the photographs that Thomas took during his three Nigerian tours were compiled in triplicate sets of albums, each set comprising eight volumes. Originally, sets of these albums were held by the Colonial Office in London and the Colonial Secretariat in Lagos, while a third set was intended for scholarly reference and held by the Horniman Museum in South London. Today copies of the albums are held by the UK National Archives, the University of Cambridge Museum of Archaeology and Anthropology and the Nigerian National Museum in Lagos.
A page from one of the photograph albums from N. W. Thomas's first tour, among Edo-speaking communities in Southern Nigeria. The photographs were arranged under approximately 30 thematic headings. This is one of three pages devoted to 'markets'.
Explore many of the photographs made during the anthropological surveys led by Northcote Thomas at the [Re:]Entanglements Flickr site.
Ancestral Reconnections
Sierra Leone masquerades
Northcote Thomas, Benin Kingship and the Interregnum
'Susu Boy', Guest blog by Chiadikōbi Nwaubani
Omu and the red cap controversy in Okpanam
Colonial Indexicality
One of the most remarkable legacies of N. W. Thomas's anthropological surveys are the field recordings he made. These were recorded on wax phonograph cylinders without the use of a microphone. Thomas made over 700 recordings, including samples of speech in the different regional dialects used in the areas in which he worked, as well as songs, stories and musical instruments. Copies of the wax cylinders were originally deposited at the Museum of Archaeology and Anthropology in Cambridge, the Pitt Rivers Museum in Oxford, and the Horniman Museum in South London for scholarly reference. The British Library Sound Archive now holds the most complete set.
Hausa 'small boy's song' recorded by N. W. Thomas in 1909 during his first tour as Government Anthropologist. NWT117a. BL C51/2408.
Thomas also transcribed and translated a selection of the recordings using a somewhat idiosyncratic phonetic alphabet. Here is an example of an Igbo story he recorded in the Asaba region, 'The Tortoise and the King'.
Transcript of the story of 'The Tortoise and the King', published in N. W. Thomas, Anthropological Report on the Ibo-Speaking Peoples of Nigeria, Part VI, Proverbs, Stories, Tones in Ibo, London 1914.
Igbo story of 'The Tortoise and the King' recorded by N. W. Thomas in the Asaba region in 1913. NWT617. BL C51/2942.
Explore many of the phonograph recordings made during the anthropological surveys led by Northcote Thomas at the [Re:]Entanglements SoundCloud site.
Fieldnotes: Kuranko flute
A musical journey in the footsteps of N. W. Thomas
Revisiting some Awka folksongs, guest blog by Samson Uchenna Eze
Archival Soundscapes with Onyeka Igwe
Traditional Nigerian Folktales
[Re:]Entanglements on the radio
Experiments in language
Musical returns and revivals
Voicing silences in the colonial archive
Thomas became increasingly interested in ethnobotany and, from his second tour, made large collections of botanical specimens for the Herbarium at the Royal Botanic Gardens, Kew. Thomas recorded the vernacular name of plants in the local language and made notes on their use. To this day this constitutes an important reference collection of botanical species in Southern Nigeria and Sierra Leone. The dates and localities Thomas noted on the specimen cards provide the most comprehensive record of his tour itineraries.
Specimen of Memecylon normandii collected by N. W. Thomas near Ezi during his third tour, in the Asaba region, in 1913. Royal Botanic Gardens, Kew K000904002.
See also blog post:
N. W. Thomas botanical collections