ARTS FOR FORGIVENESS and commemorate the bicentenary of the abolition of slave
trade
BY FREDERICK EBOT ASHU ON BEHALF OF THE AFRICAN HERITAGE ARSTFESTTEAM
CAMEROON ADVICE AND SUPPORT SERVICES UK, CHAIRMAN
To down Load: www.caassuk.org
"The horrors of slavery and destruction wrought upon Africa and its people
cannot be forgotten, The descendents of victims of slavery should exercise
forgiveness. "Now is the time for reconciliation and healing through dance
memories and festivals." This process of reconciliation tells myths about
Ngbe the centre arts piece encounter with slavery and encourages the return of
African relics and artwork which have been taken abroad. "Today these stolen
African treasures adorn public museums, libraries, art galleries and private
homes in foreign lands, Mr Gurirab said. "They must come home to assuage the
pain and anger in the hearts of the succeeding generations of Africans."
Ngbes arrival among humans (1912: 37-48), and tells of the central
characters of the secret society, their connection with the super unnatural,
their first contact with the European slave traders and how they help or
prevented brothers and sisters from taken away or returning home. These stories
about Ngbes original functions in Ejagham society are not clear but reveals
stories that could heal souls.. The Ngbe society originally was associated
with community issues from the start. In addition, it must have had
recreational importance and have provided a forum for men to discuss community
(eteck) issues in a relaxed atmosphere. Stories about Ngbe recorded seven
grades, of which the seventh, Nkanda, was the most prestigious; it was often
entered late in life (1912: 41-42). The head of Nkanda was usually the head of
the Ngbe Lodge, and the membership of Nkanda often includes the village Council
heads. According to this myth about Ngbe (1912:44) and its connection to
slavery, the central spirit Okum-Ngbe, wore a long garment pieced with
eyeholes, and a skin covered Janus wooden headpiece acted as the master piece
and victimise its own community people in times of warfare.
Okum-Ngbe seems to have disappeared as a masquerade figure, although it is
apparently still the societys main spirit. Its presence is announced by a
voice or special Ngbe Drum, whereupon the masked attendants appear, looking
somewhat as they did in the old days. The two spiritual creature used for
African rituals are called Ebongo and Emanyankpe, both wear close-fitting
garments, usually of red, yellow and white, or of gold, black, and red
horizontal striping, with raffia ruffs at the chest, wrists and ankles. Two or
more Ebongo often appear, but Emanyankpe is a single figure. Both forms carry
a staff or whip, which Emanyankpe uses to strike spectators particularly none
Ngbe members. Each may hold green boughs that are used in greetings and that
are apparently also have spiritual qualities. According to this myth about
Emanyankpe and Ebonga wore metal bells at their waists warn that Ngbe is in the
village and its attendants are about. Ebongo is considered the
softer and gentler creature, as it dance movements and cotton costumes
suggest. Feminine in nature, its name is sometimes translated as the mother
of the Leopard Spirit. Emanyankpe presents more ferocious appearance, with
its body costumes of netted fibre. Sometimes when dancing, its movements
become erratic and it can be destructive, lashing out a persons and property.
Unlike Ebongo, Emanyankpe should not be seen by non-members. A cloth disk
attached to the back of the dancers head evokes the Janus concept- the idea
the spirit can see in more directions than humans. The neck and chest are
encircled by a raffia ruff that adds to the power of leopard, the power of the
Lion. Emanyankpe performs is preceded by heralds, Ngbe singers, who are
accompanied by drumming. Sometimes, without warning, the spirits attempts to
escape, and spectators and Ngbe members accompanying Emanyankpe encircle it and
gradually guide it toward the council house
It is apparent that
Ebongo and Emanyankpe are major symbols of Ngbe and its authority, and as far
as we know they have been so for hundreds of years. South-western Cameroon the
Leopard is most often employed in metaphorical statements regarding his
relation to his natural cultural environment, among the Kpe and peoples to
Southeast the Leopard is replaced by the elephant; the human ability to
transform to have animal doubles centres on that animal.
It is recorded that the Qua were near the slave route that passed through the
Ejagham region, connecting old Calabar with the Cameroon grass fields. Ngbe
was well established in Old Calabar by the beginning of the nineteenth century.
This town, on the Cross River estuary, was headquarters for the slave trade and
trade in palm oil and Ivory from the hinterland-from the Ibibio, Annang,
Ejagham, and from further north-as well as from various other peoples on the
Cross River. Cloths, Iron and brass, Liquor, guns, and ammunition for the
European ships stopping at the Calabar went inland. The European there called
it Egbo runner and used the spirit Emanyankpe especially to facilitate their
trade. Ngbe/Ekpe spread along the trade routes at that time of the African
holocaust despite the society endeavours to empower its people and help develop
their communities. Many African arts literature suggested how Ngbe helped
united these diverse and political none central cultures
with political none centralized cultures with common ritual experience and the
universal nsibidi language in the 16th 18th century. This unification of
many African tribes helped to centralize trade and political power within each
settlement. And the members of its senior grade were invariable wealthy
traders, politicians, and heads of communities; even some European traders
joined. Jones believes that the presence of Ekpe in the Calabar is led to
greater development of political functions (1956:140-42). The society cut
across the economic and political factionalism of family and descent group, and
helped to unify the community. In the Efik area and beyond, Ekpe was employed
to assist in the collection of debts, particularly those involving trade and
frighten, beat, and control slaves. The organisation settled disputes, having
the authority to fine and ultimately to decide life or death. The society was
important not only in maintaining social stratification but
also in keeping peace between communities (Jones 1956:142)
While missionaries and British accounts tend to emphasis the destructive
aspects of Ekpe and its support to slavery, this article notes its positive and
integrative side as well. Ekpe allowed it to frighten slaves, even to kill
them in ritual sacrifices (Jones 1984: 45). Though Europeans, particularly
missionaries, saw the Egbo runner as evil, it had positive functions, not
only symbolically, but in terms of its roles within the secret society and its
relationships to the public. Yet for many years ex-slaves apparently could not
become members; later they could join only the lower grades. The Aro, as they
are called, were the dominant interior slave-trading group. There were
colonies of Aro over much of eastern Nigeria, and Arochukwu provided Old
Calabar with most of their slaves.
Ekpe has disappeared from some Ibibio and Annang communities, partly as a
consequence of Christian influence, but it still exists in other village which
represents the spirits of pride. It does not attack indiscriminately,
although its behaviour is aggressive, even Okongo members.
Ngbe among the Bayang is organised in much the same way as it is among other
peoples, with its various grades, lodges and other elements. It is aware
that Ebongo is the pleasanter, softer, and the more attractive image, while Ema
Nyankpe wears the coarser costume and appears more ferocious in manner. Ebongo,
which can occur in multiple numbers, enters first in ceremonies. After it
leaves, Emayankpe dances, but none-Ngbe persons are expected to flee before it
appears, or risk being bit by its whip or staff. The masquerades appear at
initiations, during the informal dancing of the Ngbe society, and at the
conclusion of ceremonial mourning. In the last case they the performance by
coming out together and engaging in more controlled dancing than otherwise,
including mime and nsibidi demonstrations. Yet, all Bayang Ngbe have the basic
constitution and rules, the nsibidi signs, and the paraphernalia appropriate to
the grades purchased (Ruel 1969: 218). Ngbe is perceived
as supportive to the whole community and is closely aligned with the community
court. In spite of this political involvement it is still very much a
recreational organisation and one that provides opportunities for meetings and
discussions.
For Further information about this article or to join our free mailing list,
please contact Frederick Ebot Ashu, Development Director, CAASS UK, Tel: 0121
2497755, Mobile: 07720431026,
Email: [EMAIL PROTECTED], www.caassuk.org
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