This sounds like a worthy project, good luck with it. Don
--- In AfricanLanguages@yahoogroups.com, Frederick Ebot <[EMAIL PROTECTED]>
wrote:
>
> 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."
>
> Ngbe's 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 Ngbe's 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 society's 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 dancer's 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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