Nigeria’s First Women Police serves as a historical record of the introduction of policewomen in Nigeria. In its representation of this event, the film ostensibly demonstrates the gender equality now within the force, and more broadly within Nigeria, but its emphasis on the female recruits, also indicates the continued distinctions along gender lines. As a celebration of the work of the modern police, the film serves, in part, to legitimise both the police force and the colonial rule it served to protect.

Throughout the film, the commentator emphasises the common ground between the male and female recruits. The men and women ‘take the same examination’ and ‘when it came to their turn to pass the saluting base it was obvious whether on parade or off, they [women] are more than capable of holding their own with the men’. He stresses the increased opportunities and rights now offered for women – indicating the perceived social advancements within colonial Nigeria – but he also notes differences between the male and female recruits. ‘They receive identical training’, he states, ‘except that the women, who patrol unarmed, don’t learn the weapon drill’. At the presentation ceremony, the male recruit receives a baton – ‘a symbolic weapon’ – while the woman receives ‘a morocco leather case’. The final sequence most clearly illustrates this continuing gender division. As the policewomen attend to a ‘small’ cycling accident and then help schoolchildren across the road, the commentator explains that the women give ‘services of humanity and authority to all who need them’. ‘Policewomen will’, he adds, ‘carry out every task assigned to them with smiling efficiency, bringing a human touch to their many and varied duties’. In contrast to the violent and physical duties performed by the male recruits, the women provide ‘smiling efficiency’, ‘a human touch’ and ‘humanity’.

The film thus clearly reveals the gender-specific roles allotted to the female recruits, and ultimately, in its emphasis on the female recruits – indicated in the title – within a mixed passing out ceremony, divides the force along gender lines. The camera reveals the women literally on display, watched by large crowds; this was the ‘biggest crowd ever to attend such a ceremony and no wonder, for the first time women were taking part’. However, while the commentator claims that this large crowd ‘reflected the keenness of the interest which the people of Nigeria have in their women police’, it may equally indicate the curiosity of the public towards this unusual event.

Nigeria’s First Women Police endorses a message of colonial development and authority. It shows the social development of the African men and women, with particular emphasis on the training and ‘smartness’ of the recruits, and clearly advocates British authority within Nigeria as it notes the ‘element of sadness’ in the parade, as the retiring Inspector General of the Police completes his ‘great service to the Police’. Furthermore, the film claims that this Police force is ‘well loved and well respected throughout Nigeria’. The Police were noted for their activities in enforcing colonial rule and in blocking oppositional groups during the 1950s. Historian Etannibi Alemika wrote of the ‘colonial legacy of repressive policing in the society to sustain governability in the face of widespread opposition and legitimation deficits’ and, to an extent, this film serves to endorse and legitimise the Police as an organised national authority (Alemika, 1993, 187). The film was produced by the Federal Information Services Film Unit, which despite the presence of trained local crew, still evidently served to strengthen the work and authority of the colonial government within Nigeria.

Tom Rice (March 2009)