Basden Collection 3: 'Africa Dances' pt 3: Dancing competitions and masks

This film is held by the British Empire & Commonwealth Museum (ID: 2006/070/003).

Synopsis

Dancing competitions and various masks. Umu-Chuku, Mbaku & Amanuke. Grandfather Maw, Enu-Ugwu-Abaw; Spirit maidens (Aghogho Mmonwui); District Officer mask (Onyeocha)?; Native Police masks. Nibo. Umu-Chuku Maws. Mgbedike masks.

Production / Donor Details: George Thomas Basden was a missionary in Nigeria 1900-1935, and Archdeacon on the Niger 1925-1935. He wrote two books ('Niger Ibos' and 'Among the Ibo') about the Ibo of Nigeria, who are the focus of these films.

 

Context

The life and work of George Thomas Basden (1873-1944) is a perfect case study of the shifting borders that separated missionary work, colonial administration and anthropology, and typifies the complex relationship that held between them in the first half of the twentieth century. At various times Basden, who held a Church Missionary Society post in the town of Onitsha, south-east Nigeria, from 1900, was involved in all three fields. As well as his longstanding missionary work which eventually saw him elevated to Archdeacon of the Niger, he published two large volumes on Igbo culture and custom which became standard works (Among the Ibos of Nigeria, 1921, and Niger Ibos, 1938), and was in 1931 appointed to the Nigerian Legislative Council as the representative of the Igbo people.

As van den Bursselaar (2006) has pointed out, the information and knowledge produced by missionaries ‘occupied a central, but also somewhat awkward place in colonial society’: missionary-produced knowledge was valuable for colonial administrations, but the occasionally tense relationship between missions and government and their differing priorities meant that missionaries were frequently disregarded as expert sources (van den Bursselaar, 2006, 434). Similarly, the major premises and objectives of missionary work put missionaries significantly at odds with the emerging discipline of anthropology, which sought to record precisely those beliefs which missionary work attempted to extinguish. Nevertheless, the in-depth knowledge acquired by missionaries over many years in field often left them with far greater familiarity with local cultures, languages and beliefs than most anthropologists were able to gain.

This was self-evidently the case before the advent of the first scientific anthropological expeditions, but remained true far into the era of professionalised ‘participant-observer’ anthropology – professional anthropologists still only remained in the field for a matter of a few years at most, whereas a missionary might remain living in a single area for decades. The missionary imperative to translate the Bible into local vernaculars, and preach in local languages, also meant that grammars and dictionaries were often initially the work of the church. The CMS also staged examinations for newly appointed missionaries in the languages of their area (Basden failed his first Igbo exams in 1901, which he had to retake). As a result, and despite fundamental differences, missionary-produced work was of great significance to anthropologists; as noted above, Basden’s initial work, Among the Ibos of Nigeria, became a standard work of reference, and is regularly cited in professional anthropological works on the area.

Basden himself seems to have deliberately courted several different audiences, and have modulated his style and attitude over time in relation to them. His first publication on Igboland – a map and description of the Igbo and their country – appeared in the Geographical Journal in 1912 (‘Notes on the Ibo people and the Ibo Country, Southern Nigeria’, Basden 1912), and was written in scientific mode, with little acknowledgment of his vocation. A later article in the same publication, ‘Notes on the Ibo Country, Southern Nigeria’ (Basden, 1925), bears the same scientific tone. However, the first of his large books, Among the Ibos…(Basden, 1921), is far more colloquial in manner, purporting to be an account ‘of some of the things a plain man may see and hear in Nigeria’ (ibid., 9), and reads as a combination of missionary text, travelogue and amateur anthropology. Though the wealth of factual information which quickly made it such a valuable tome – it was apparently widely read by District Officers in the area (van den Bursselaar, 437) – is largely presented in an academic manner, Basden does not shy away from anecdote and reminiscence, nor shrink from open moral judgement on matters which were considered church business (e.g. polygamy: ‘there can be no question that polygamy is a deadly evil…the dulling effect on the mind is such that a polygamist is rarely capable of any real mental attainment’; Basden, 1921, 107-8). By the time of his later long work, Niger Ibos (1938), Basden has become considerably more respectful, and appears to be directing his efforts specifically at an anthropological audience: he attempts punctilious objectivity with regard to local practices (rather than gawping, as he does regularly in Among the Ibos) and the weathervane issue of polygamy is treated with very great circumspection, and a marked lack of moralising (ibid., 228-33).

However, by 1938 anthropology was a far more professionalised discipline, with a largely standardised field methodology and many of its historically defining modern works already well established. There was less room for the observations of missionaries and colonial officials, however detailed and knowledgeable, and in general it is his earlier work that retains a reputation, despite being more amateurish in tone. 

 

Analysis

The 10 reels of the Basden collection were filmed on 16mm stock at unknown dates during the 1920s and 30s (though given that the first scenes are taken aboard the Elder Dempster ship Apapa it can be stated with some certainty that the date is post-1926 – the year that this Apapa entered service, the Apapa 1 having been sunk in the First World War). Six of the reels, with a running time of around an hour, are titled Africa Dances, and compose a intertitled film which documents various Igbo dances. Other reels contain various scenes in Igboland (including church scenes), and some home footage.

The first reel of Africa Dances, ‘Liverpool to Onitsha’, shares its title with the first chapter of Among the Ibos, and in general the familiar (rather than academic) tone of the intertitles and the travelogue structure – after the boat, we proceed ‘by car through the Niger delta’ – link the film with the more popular aspect of the latter book.

Though there is footage of and information about missionary works in the area, by far the largest amount of the film is taken up with scenes of dancing, including children’s and competitive dances. These sequences include some striking footage of masked dancers, and reel three in particular contains both long dance sequences and dramatic scenes of masquerade performance.

Masked theatre is of very great significance to the Igbo, and Igbo masquerade combines secular dramatic entertainment and socio-religious ritual functions in a single highly elaborated and flexible form, capable of absorbing and commenting (sometimes satirically) on contemporary changes and current events as well as reflecting on elemental and spiritual verities. It is a medium through which the Igbo negotiate and interpret the forces, both inside and outside their control, which structure their world: ‘its purpose is neither to deconstruct myths nor to demonstrate human mastery of the universe but to explore the many forms by which the Igbo accommodate, control, assuage, propitiate and interact with the myriad forces of their physical environment as they negotiate their ways through a complex cosmology’ (Ukaegbu, 2007, 30).

Several masks can be seen in the footage here: the longest sequences are of the white-faced maiden masks Aghogho Mmonwui, which dance energetically in elaborately decorated body-suits, some having a large superstructure of hanging elements above the head. Referred to in the intertitles as representing ‘young women’, these masks are ‘females of the spirit world’ (Enekwe, 1987, 97), danced by men, and represent various ideals of femininity and various ages of womanhood. Also visible in this sequence, though for all too brief a time, is a mask of a white official, perhaps a version of the mask known as Onyeocha, which represents a District Officer, and which generally behaves by taking profuse notes, behaving as though unaware of the amusement he causes, and reading out tedious rules and regulations in a monotone (Cole and Aniakor, 1986, 149). There also is a longer sequence of three masks which evidently represent native police: these masks stand in a line near the white official mask, and later can be seen ‘marching’ on the spot. Finally there is a very dramatic sequence of an Mgbedike mask in performance. With a fearsome face crowned with horns and a shaggy suit hung with shaking pendants, Mgbedike is an aggressive mask, designed to present a dramatised and vigorous masculinity.

As with most of the dancers and other masks, Basden’s presence is clearly acknowledged by the Mgbedike, and toward the end of this sequence, the mask stands before camera, apparently declaiming. Enekwe reports that these masks commonly engage in ‘highly conventionalised’ dialogue with spectators, usually ‘distinguished members of the masking society’ (ibid, 87). The sample dialogue he reproduces is of interest in this context: ‘(pretending anger) If you stand facing me, the consequence will face you. If you run, it will happen to your back. Is it defiance that makes you confront me like that? Or is it because we eat from the same bowl? Wait for me, so you will get what you ask for. (Then the mask wheels, runs four steps, and turns quickly to face the same direction where the member is. By this time all the people in that direction take to their heels, including the member)’ (ibid.). (The wheeling away from the spectator described above can be seen several times in the footage).

It is easy to imagine that conventional declamations of the latter kind may well have been adapted in the ritual space for the benefit of an official European observer. Even in this form they would take a clear double meaning if directed at a colonial spectator, and perhaps it was performances like this that prompted Basden (who was fluent in Igbo and perfectly capable of understanding what was being said) to write of Igbo masking that the behaviour of masks toward white men was ‘cheeky, little short of insolent’ (Basden, 1921, 237).

Francis Gooding March 2010

 

Works Cited

Cole, Herbert M. and Aniakor, Chike C. Igbo Arts: Community and Cosmos(Los Angeles: Museum of Cultural History, 1986)

Enekwe, Onuora Ossie Igbo Masks: The Oneness of Ritual and Theatre(Lagos: Department of Culture/Nigeria Magazine, 1987)

Ukaegbu, Victor The Use of Masks in Igbo Theatre in Nigeria: the Aesthetic Flexibility of Performance Traditions (Lampeter: Edwin Mellen, 2007)

Basden, George T. Among the Ibos of Nigeria: An Account of the Curious & Interesting Habits, Customs and Beliefs of a Little Known African People By One Who Has For Many Years Lived Amongst Them On Close and Intimate Terms(London: Seeley, Service and Co. Ltd., 1921)

Basden, George T. Niger Ibos: A Description of the Primitive Life, Customs and Animistic Beliefs, &c., Of The Ibo People of Nigeria By One Who, For Thirty-Five Years, Enjoyed The Privilege Of Their Intimate Confidence and Friendship(London: Seeley, Service and Co. Ltd., 1938)

Basden, George T. ‘Notes on the Ibo people and the Ibo Country, Southern Nigeria’ in The Geographical Journalvol. 39, no. 3, (March 1912), 241-7.

Basden, George T. ‘Notes on the Ibo Country, Southern Nigeria’ in The Geographical Journalvol. 65, no. 1, (Jan 1925), 32-41.

van den Bursselaar, Dimitri ‘Missionary Knowledge and the State in Colonial Nigeria: On How G. T. Basden Became an Expert’ in History in Africa, vol. 33 (2006), 433-50.

 

Titles

  • Basden Collection 3: 'Africa Dances' pt 3: Dancing competitions and masks (Archive)
Series Title:
Basden Collection
 

Technical Data

Year:
1930
Film Gauge (Format):
16mm
Sound:
Mute
Footage:
400
 

Production Credits

Production Details
See synopsis
 

Countries

 

Genres

 
 

Groups

This film belongs to the following groups.

Basden Collection

 

 

Basden Collection 1: 'Africa Dances' pt 1. From Liverpool... (1930)

Leaving Liverpool. Madeira. Las Palmas. Sierra Leone. Takoradi. Accra. Lagos. Bonny. Port Harcourt.

Production / Donor Details: George Thomas Basden was ...

 

Basden Collection 2: 'Africa Dances' pt 2. Port Harcourt... (1930)

Crossing Niger. Young Isaac Waltons. Dancing Class. Asaba, Mbieri, Amawbia. Mbaku (leader run amok) Ugwu-Awba.

Production / Donor Details: George Thomas ...

Basden Collection 3: 'Africa Dances' pt 3: Dancing competitions and masks

Basden Collection 3: 'Africa Dances' pt 3: Dancing... (1930)has video enhanced entry

Dancing competitions and various masks. Umu-Chuku, Mbaku & Amanuke. Grandfather Maw, Enu-Ugwu-Abaw; Spirit maidens (Aghogho Mmonwui); District Officer mask (Onyeocha)?; ...

 

Basden Collection 4: St Monica's School Obunike December... (1935)

Various scenes in and around a girls school on the Niger Delta.

Production / Donor Details: George Thomas Basden was ...

 

Basden Collection 5: 'Africa Dances' pt 4: Competive... (1930)

Girls' dance groups.

Production / Donor Details: George Thomas Basden was a missionary in Nigeria 1900-1935, and Archdeacon on the ...

 

Basden Collection 6: Scenes on the Niger Delta (1930)

Various scenes on the Niger Delta. River trade. Music. Blacksmith. Mission hospital. Varoius shots of church-going Africans in European dress, ...

 

Basden Collection 7: 'Africa Dances' pt. 5: Funeral... (1930)

Various dances and masquerades, possibly at a funeral. Funeral celebrations and sacrifices. Dancing and masks. Final part of film.

Production ...

 

Basden Collection 8: St Monica's School Obunike December... (1935)

Negative exposed reel of Basden Collection 4

Production / Donor Details: George Thomas Basden was a missionary in Nigeria 1900-1935, and ...

 
 

Archive Work Groups

Groups

This film belongs to the following groups.

Basden Collection

 

 

Basden Collection 1: 'Africa Dances' pt 1. From Liverpool... (1930)

Leaving Liverpool. Madeira. Las Palmas. Sierra Leone. Takoradi. Accra. Lagos. Bonny. Port Harcourt.

Production / Donor Details: George Thomas Basden was ...

 

Basden Collection 2: 'Africa Dances' pt 2. Port Harcourt... (1930)

Crossing Niger. Young Isaac Waltons. Dancing Class. Asaba, Mbieri, Amawbia. Mbaku (leader run amok) Ugwu-Awba.

Production / Donor Details: George Thomas ...

Basden Collection 3: 'Africa Dances' pt 3: Dancing competitions and masks

Basden Collection 3: 'Africa Dances' pt 3: Dancing... (1930)has video enhanced entry

Dancing competitions and various masks. Umu-Chuku, Mbaku & Amanuke. Grandfather Maw, Enu-Ugwu-Abaw; Spirit maidens (Aghogho Mmonwui); District Officer mask (Onyeocha)?; ...

 

Basden Collection 4: St Monica's School Obunike December... (1935)

Various scenes in and around a girls school on the Niger Delta.

Production / Donor Details: George Thomas Basden was ...

 

Basden Collection 5: 'Africa Dances' pt 4: Competive... (1930)

Girls' dance groups.

Production / Donor Details: George Thomas Basden was a missionary in Nigeria 1900-1935, and Archdeacon on the ...

 

Basden Collection 6: Scenes on the Niger Delta (1930)

Various scenes on the Niger Delta. River trade. Music. Blacksmith. Mission hospital. Varoius shots of church-going Africans in European dress, ...

 

Basden Collection 7: 'Africa Dances' pt. 5: Funeral... (1930)

Various dances and masquerades, possibly at a funeral. Funeral celebrations and sacrifices. Dancing and masks. Final part of film.

Production ...

 

Basden Collection 8: St Monica's School Obunike December... (1935)

Negative exposed reel of Basden Collection 4

Production / Donor Details: George Thomas Basden was a missionary in Nigeria 1900-1935, and ...