The pre-1940s history, indigenous culture, and heritage of the Ìgbò and their neighbours.
Two women who are most likely Igbo and from the Önïcha area judging by the presence of the Obi Önïcha in related photos. Photographed by Herbert Wimberley, c. 1903-18. Cambridge University Library.
The pair posing with a man with a staff in the middle that looks to be a staff for men who hold the ǹzè title (alọ̀).
A woman from Guadeloupe (apparently en route to Montreal, Canada). Photographed by Augustus Frederick Sherman.
The word for white men in the French-speaking Caribbean island of Martinique and to a certain extent Guadeloupe is Béké presumed to be from bèkée in Igbo meaning the same. These islands were the disembarkation points for many Igbo people during the forced Atlantic migrations from the 16th to 19th century. Igbo is the main component of English Caribbean creoles and, as may be apparent, has influenced French Caribbean creoles.
Some of the Ubani (Bonny) Igbo recorded by slave trader Hugh Crow.
The popular folk etymology of the word bèkée in Igbo says that it was derived from the Scottish explorer William Baikie who had contact with Igbo people, however, what seems to be a word used in the same way as bèkée has been found in the memoirs of Captain Hugh Crow, a slave trader out of Liverpool who had close contacts with the Igbo speaking middlemen of Bonny Island in Rivers State today. His voyages largely took place in the 18th century and he died in 1829, Baikie was born in 1825.
An Igbo lady from Öka (Awka) with pearl buttons in her hair. Photographed by Northcote Thomas, c. 1910-11.
[Published photo.]
This is a woman and child from Agukwu Nri taken in 1910-11. The colonial appointed anthropologist Northcote Thomas made several volumes on the colonial examination of Igbo society. Among anthropological work, the 'side' material were outtakes like this which didn't make it to publishing.
These are three separate photos, MAA Cambridge. This is the photo that was published in Northcote Thomas' Anthropological Report on the Ibo-speaking Peoples of Nigeria, vol. I.
The woman's name and the child's name may have been recorded by Thomas, but it has not been made public yet. For more information see: [Re:]Entanglements: N. W. Thomas – an accidental artist? and [Re:]Entanglements: Who was N. W. Thomas?
You can see how the 'no-smiling' convention of old photography plays here, it may also have further connotations considering this is a colonial work made primarily for colonial dissection. There are many other example like this. In addition to that, many of the candid-looking photos taken outside of the makeshift studios were planned and staged ahead of Northcote Thomas (and hence other colonial-era photographers) taking photographs.
How does the contrast between these 'outtakes' and the published image come across, what is the reaction to seeing both and possibly realising how manipulated colonial images can be?
Her scanty toilet has been completed, apparently to her entire satisfaction, and the gladiatorial headdress represents the dernier cri of in the fashion world of Awka. The crest of wood, ornamented with large pearl buttons, is tightly secured on the top of her head.
