research note Nobody Can Harm You, Nobody Can Charm You Efik Nnabo Society Masquerades of ,

Onyile Bassey Onyile and Christopher Slogar all photos by Onyile Bassey Onyile except where otherwise noted

he Nnabo society is an institution of the Efik ordered by the Obong. The Efik phrase nedseo refers to people of Calabar, State, Nigeria. the act of execution. Formerly charged with martial duties, Nnabo The origin of Nnabo is shrouded in history, although Efik masquerades today serve various functions— oral history traces it to the region of the Ejagham peoples of including spiritual protection and public per- the upper Cross River region. According to members of the formances to honor deceased members and the Owanese group, Nnabo is not an Efik term, but rather is Qua/ Efik Obong, or paramount ruler—while offering a visually rich Ejagham, because they “owned” the word.1 However, the pre- displayT of heritage that speaks to a larger complex of masquer- cise meaning was not proffered because it’s “nsibidi”—that is, ade societies previously found throughout the Cross River basin. a secret. Apart from its general connotation as a “war dance,” Here, we address the lacuna in published sources about Nnabo members noted that Nnabo also means, “Everybody knows that by introducing the primary masquerade characters and their something happens” or, more succinctly, “Action!” It may be that roles based on interviews with society members in Calabar. the group originated with, or was inspired by, a Qua/Ejaham or Nowadays Nnabo highlights the warriorlike prowess dis- Efut source, as was the men’s Leopard Society, known as played by energetic young men in their attempts to intimidate amongst the Efik of Calabar (Latham 1973:36; Leib and Romano and frighten onlookers during public performances. That the 1984:48). masquerades seek to inspire fear is no surprise, considering their The institution of Nnabo is not limited to the Calabar region. former roles among the Efik, which included warfare (Figs. 1, 5, A Nnabo masquerade costume seen by the authors at the Oron 7). Hence, Nnabo connotes the fearlessness and steady vigilance Museum in 2004 indicates the group is widespread throughout required to protect the dignity and integrity of the Efik people. the southern Cross River region. Its label read: While a few members in Calabar today might still desire to regain Nnabo, otherwise known as Idem Nsibidi, is very prominent among its former power, Nnabo long ago ceded its martial function to the people of Ekoi, Quas, Efik of , and Idua in Oron government and now performs primarily to honor fellow mem- area of . bers during events such as commemorative funerals, or the instal- lation of a new Obong. Nnabo also provides public entertainment According to the Ibibio scholar A.E. Udoh, the Ibibio of Akwa at the holidays (e.g., the annual Christmas carnival of masquer- Ibom State also had a related group called “Nsibidi,” which, like ades in Calabar), and may perform during private functions. Ekpe, “had secret signs known only to members” (1983:54).2 We were repeatedly told that, prior to the colonial period, However, unlike the well-known Ekpe society, which is orga- Nnabo led the way onto the battlefield during times of confron- nized by grade and whose members are initiated by invitation, tation or war. Its masquerades were charged with intimidating membership in Nnabo is open to any interested person, male or the enemy and removing any malignant spiritual forces they may female—but men perform all of the masquerades. have incurred. In times of peace, certain members—the Nsi- The characters of Nnabo masquerades act aggressively because bidi Nnabo—carried out the executions of condemned persons they were meant to strike terror into the hearts and minds of

70 | african arts SPRING 2016 VOL. 49, NO. 1 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/AFAR_a_00271 by guest on 25 September 2021 1 Efik Nnabo Society masquerades called Mkpokoro, Calabar, Cross River State, Nigeria, 1996. Photo: courtesy of Ekpo Eyo tic tourists and therefore is potentially a lucrative event for the Nnabo members who perform. Hence, they decided to keep things more civil from then on. We were fortunate to be invited into the home of Atafiong Okon Ata (a.k.a. Ikwa Afang) in Calabar South municipality. He is a former Nnabo president of the (Owanese) Nka Okutama Isong Efik Eburutu group, one of the seven Nnabo associations of Calabar.3 Also present were fellow Nnabo members Dr. E.E. Ironbar (clan head); Mr. Aniekan (Financial Secretary); Louis Edem Duke (Secretary General); Bassey Offiong Okon (Youth enemies met on the battlefield, criminals condemned to death Leader); and Efeffiong Otu Effiong—a.k.a. Efere Otong, “Okra under Nnabo’s sword, or those who would threaten the Obong, Soup” (Protocol Officer). Their combined presence, no doubt, whom Nnabo is charged to protect. While these sentiments still was meant to validate the information provided to us. Atafiong hold true today, the powerful aura and imposing appearance opened the meeting in modern fashion, by reciting a Christian of Nnabo masquerades mostly serve to intimidate on-lookers prayer—after which his fellows replied, “Amen”—then poured rather than martial foes (Fig. 1). Mostly. Because it surprised libation onto the earth to honor the ancestors. He wore the dis- no one when, in the years immediately following the Nigerian tinctive indigo-dyed cotton wrapper (ukara) covered with nsi- civil war (1967–1970), the public performances of Nnabo grew bidi signs,4 a cloth that is the sole prerogative of Ekpe society so unruly amongst rival associations that they were occasion- members. Atafiong later emphasized that Nnabo is distinct from ally banned by the government. As recently as 2003, the Cross Ekpe, although they both use nsibidi as a secret code to transmit River state police forbade Nnabo from performing at the annual information to members. Nonetheless, Ekpe is the most presti- Christmas carnival, Calabar’s largest masquerade venue (Onah gious Efik men’s society, which explains why Ata proclaimed his 2003:n.p.). This event has become a massive draw for domes- membership in it as well.

VOL. 49, NO. 1 SPRING 2016 african arts | 71 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/AFAR_a_00271 by guest on 25 September 2021 2 Efik Nnabo Society altar, known as okpokoro Nnabo, Calabar, Cross River State, Nigeria, 2006.

3 Efik Nnabo Society members, including the masquerades Eka Nnabo (far left), Mkpokoro (cen- ter), Isa Nnabo (near right), Edua Nnabo (far right), Calabar, Cross River State, Nigeria, 2010.

72 | african arts SPRING 2016 VOL. 49, NO. 1 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/AFAR_a_00271 by guest on 25 September 2021 NNABO AS MEDICINE 4 Efik Nnabo Charm-Bearer, Calabar, Cross River State, Nigeria, 1970. The man shown was known by According to Efik oral history, Abasi, or Almighty God, pro- the name Ebisase. vided Nnabo troupe members with the knowledge to create anti- dotes—recipes for specific ibok (medicines) using combinations of plants—so that humankind could protect itself during war or conflict with neighboring villages. Nnabo personifies the most potent of ibok used for protection against impending danger. It lore can be linked to the origin of creation (and for this reason, is one of many masquerades in Efik culture that are believed to Nnabo maskers generally perform in groups of seven). be imbued with spiritual prowess and clairvoyance. A Nnabo As the gathering is called to order, libation is poured onto the masker properly empowered with ibok is considered to be able to earth to invite the spirits of departed members and the ancestors perceive hidden danger in order to overcome it. of the larger Efik community to join the gathering. At the same Before any Nnabo performance, many rituals must be con- time, the spirit of Nnabo and all of its powerful medicines are ducted, including the singing of sacred songs to empower the invoked. Immediately after the pouring of libation, the egg on medicines that protect Nnabo performers. The rites also include the okpokoro is picked up protectively by its custodian. The egg setting the “table,” or altar, called okpokoro Nnabo (Fig. 2), which symbolizes life and motherhood. Essentially, it represents Ndem is placed on the floor with members seated around it. The okpo- Efik, a tutelary deity of the Efik people associated with the rivers koro contains a plantain leaf with two old swords crossed over it; and seas who is revered by Nnabo. Eggs are central components nkoi-ebion (porcupine quill); a portion of iduot (a reddish pow- in Ndem rituals because of their potent medicinal and healing der obtained by scraping the bark of the ukpa tree, Pterocarpus properties. Cowry shells, which come from the sea, also pay soyauxii, which is used as a medicinal ointment); and charcoal homage to Ndem. They solicit protection from evildoer s. Cow- (ukan or nkan), a metaphor of the past. Here nkan and iduot ries were also a precolonial form of currency and so are sym- act as antidotes to any malevolent charm present on or around bolic of wealth and status (Eyo 1979:42–44, 58). The plantain leaf the altar. Also included is a bottle of locally brewed gin wrapped represents nature and provides the assurance of unity among with a red scarf, an egg, and a string of seven cowry shells. In Nnabo members. The crossed swords literally project a show of Efik folklore, itiaba (seven) is a sacred number having special strength. But their four ends also symbolize the cardinal points powers. It signifies completeness, the perfection of a complete of the earth and the coming together of the spiritual and human cycle. The symbolism invested in the number seven in Efik folk- realms. The red scarf represents blood shed in war.5

VOL. 49, NO. 1 SPRING 2016 african arts | 73 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/AFAR_a_00271 by guest on 25 September 2021 5 Efik Nnabo Society masquerade called Mkpokoro, Calabar, Cross River State, Nigeria, 2004. Before any performance or outing, Nnabo troupe mem- bers employ a medicine (ndomo) to predict the outcome of their impending activity. Ndomo is made up of short strands of broom, tied with a piece of red cloth, and an egg. Effiong told us that, as part of the consultation rites, the egg is smashed on the floor beside the broom, and depending on layout of the empty eggshell, the future of the impending performance may be pre- THE NNABO ENTOURAGE dicted. If interior of the broken eggshells lie facing the floor, this Nnabo troupes consist of several types of performers, each would indicate that a problem is imminent. On the other hand, with specific roles that contribute to the total harmony of the if the insides of the shells are visible, this would signal a positive Nnabo performance. Chief Effiong Effiom noted that there outcome.7 are many different characters represented by Nnabo masquer- Leading the way is Edua Nnabo, the scout, who keeps ahead ades, including Edua Nnabo (Nnabo dog) or Edua Ino (dog of the other performers as they move through town. It vigilantly thief); Nsibidi Nnabo; Idem Nnabo; Mkpokoro (human skull); seeks out enemy ibok, and is heavily armed with its own ibok to Ayabom Nnabo (male Nnabo); Eka Nnabo (Nnabo mother); ward away their effects (Fig. 3). This character also acts as the cus- and Anansa.6 This section describes them according to their todian of gifts given to the troupe in appreciation of their perfor- seven hierarchal orders, which corresponds to how the troupe mance, in order to inspect them for any hidden ibok before they advanced on their enemies during wartime. All the Nnabo mas- are handed out to members of the troupe. Edua Nnabo’s costume querades wear strands of nyok (seed shells from the ebo tree), bears some resemblance to that of Mkpokoro, but is only about which jingle rhythmically as they perform. half its size. And while Mkpokoro is always in black, Edua Nna-

74 | african arts SPRING 2016 VOL. 49, NO. 1 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/AFAR_a_00271 by guest on 25 September 2021 6 Efik Nnabo Society masquerade called Idem bo’s garments may vary in color, though red is preferred. In both Nnabo. Calabar, Cross River State, Nigeria, 2004. hands, Edua Nnabo holds stems of the cocoyam (Colocasia escu- lenta), which are used to scare off anyone who might get in its way (in fact, the fluid from this plant can be very irritating on contact with human skin). The face cover of this Nnabo is very much like that of Mkpokoro, though its headgear is different and varies depending on the choices of its maker. Closely following Edua Nnabo is Nsibidi Nnabo, the security force of the entourage, whose appearance informs the public of an impending performance. Nsibidi maskers appear with faces and bodies painted with charcoal and heads adorned with mkpa- right hand, and with the left hand holds okpoho, a long wooden tari (Seleginelia canaliculata). Around their waists hang short hook cut from a Y-shaped branch, which formerly was used to shirts made from the fiber of young palm frond shoots, ekpin secure the heads of those sentenced to execution. Following (Elaeis guineensis). Each Nsibidi member also holds a piece of closely is the “medicine man,” or charm-bearer, who carries a ekpin between their lips to prevent them from speaking during rectangular box filled with skulls symbolizing the victims of pre- the performance. vious wars—a warning to potential enemies. He is the heart of There are three characters represented by Nsibidi Nnabo. The the Nnabo performance and is fiercely protected (Fig. 4). executioners bear a machete with the right hand, and with the Altogether, the Nsibidi troupe is usually made up of about left, a basket—claimed to be full of water. Of course, the claim twenty people. In their midst is a man in plain clothes, who that a loosely woven basket could contain water is preposterous. blows the obukpon (antelope horn) to announce the presence The boast is meant to demonstrate the power of Nnabo charms of Nnabo. He remains in close proximity to the charm-bearer to achieve the impossible … and also to intimidate an opponent. throughout the performance. The horn blower is dressed in Another type of Nsibidi Nnabo again wields a machete with the white from head to toe, which echoes the appearance of Ndem

VOL. 49, NO. 1 SPRING 2016 african arts | 75 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/AFAR_a_00271 by guest on 25 September 2021 7 Efik Nnabo Society masquerade called Ayabom, Akpabuyo, Cross River State, Nigeria, 2011. This masquerade rarely appears in public due to the ritual proscriptions necessary to contain it.

Efik. The sound of the obukpon alerts everyone of the approach- and are recognized as the best entertainers. The costume of ing Nnabo entourage.8 Idem Nnabo is similar to that of Edua Nnabo and Mkpokoro. Together with Nsibidi Nnabo and the charm bearer, the drum- They hold a broom (ayan) in their right hand, which they wave mers dictate the dancing steps of Nnabo. Following the drum- around to ward off the effects of any charms that might be lin- mers is the character called Mkpokoro (skull), an unpredictable gering about, and with their left hand hold okpoho. Like Mkpo- and potentially violent image (Figs. 1, 5). This figure wears an koro, these Nnabo masquerades are adorned with skulls as part oversized black gown trimmed on both arms with tightly woven of their headgear. However, the major difference is that these brown raffia (Raphia farinifera or R. ruffia). Its startling appear- Nnabo wear woven multicolored knitted fiber suits (esik), simi- ance is enhanced by the display of actual human skulls that stare lar to the Ekpe costume. On their backs are vibrantly colored lay- ahead menacingly. The relics, members claim, are those of slain ers of raffia. The top of the costume is also raffia, thickly layered, enemies—the spoils of war. Bold, cryptic symbols (nsibidi) cover including a section dyed with indigo. One layer covers most of the masquerade’s “face.” Mkpokoro is the scavenger who picks the head and features a small skull dangling over the forehead; things from the ground as it moves along, covering them with the second drapes over the shoulder. Beneath the skull is a red its gown. It is believed that anything Mkpokoro covers in this cloth masking the bearer’s face. The costume displays large-scale way will disappear, hence onlookers carefully avoid its approach. nsibidi signs (e.g. arcs, circles, and cruciforms) boldly delineated According to Efik tradition, it was the duty of Nnabo to protect in cowry shells, the archaic currency. We were told these nsibidi the integrity of the Obong—and by extension that of the Efik motifs constituted the “face” of the masquerade. Cowries, as people as well—in part by overt visual intimidation. Mkpokoro’s noted previously, are also symbolic of Ndem. They serve as pow- costume, in other words, represents a legacy of studiously devel- erful transformative medicines that, according to Ata, “imbue oped psychological warfare. the masquerade with fear … once on a masquerade it turns to Appearing with Mkpokoro are the Idem Nnabo, which rep- another thing. It can harm.” Moreover, in Nnabo ontology, cow- resent the “spirit” of Nnabo (Fig. 6). They sing and speak with ries are considered the “teeth” of Nnabo. a disguised voice. They are the dance specialists of the troupe, But for the masquerader himself, cowries have an opposite, pro-

76 | african arts SPRING 2016 VOL. 49, NO. 1 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/AFAR_a_00271 by guest on 25 September 2021 tective effect, which was explained poetically by Ata during our reminiscent of the costume worn by Abang dancers of the Efik 2009 meeting: “Nobody can harm you, nobody can charm you.” women’s Ekombi society, whose performance emphasizes flex- The most feared and potentially violent character in the entire ibility and grace while attracting the admiration of the opposite Nnabo troupe is called Ayabom. Due to the rituals involved sex. Abang dancers wear akasi to exaggerate the appearance of in its preparation, as well as the presumed effects the costume their waistlines, which is meant to enhance the erotic effect of has upon its wearer, Ayabom rarely appears in public. When it the dance. Isa Nnabo, her male companion, also wears a carved does, it never appears unescorted and is restrained by a leash wooden mask. Together, Eka Nnabo and Isa Nnabo represent tied around the waist, which broadcasts even more loudly the the duality of the sexes, and the continuance and growth of the simmering potential for chaos implied by its grisly countenance family. (Fig. 7). This image represents a kind of visual assault that, in Nnabo masquerades, like so many others, continue to commu- times past, was meant to psychologically terrorize its enemies nicate a multitude of simultaneous and overlapping messages. with shock and awe. Despite the reality that the colonial gov- They are to Efik society what poetry is to prose—compressed, ernment long ago ended the martial role of Nnabo, its form is intensified, symbolic, and metaphorical. Efik values are invoked maintained by the society as a part of their history. We think it by the masqueraders as striking visual forms during entertain- is likely that the actual skulls and bones used to create the mas- ing and spiritually-charged performances. Despite the dearth of querades illustrated here were recovered during the construc- written sources, it is clear that Nnabo served vital functions for tion of the University of Calabar in the 1970s, when the cemetery the Efik people in times past, and its performance remains a for- located there was destroyed. midable symbol of Efik culture today. The most prominent member of the Nnabo masquerade lineup is Eka Nnabo, the leader of the troupe who embod- Onyile Bassey Onyile is Professor of Art and Design at Georgia South- ern University. He was raised in the area of Calabar, Nigeria. He spe- ies calmness and sanity, life and rebirth (Fig. 3). She represents cializes in the arts of Africa, particularly the tradition-based arts of the Anansa, the goddess of the sea. She “cools” Nnabo maskers with Cross River region of southeastern Nigeria. Research interests include her graceful dancing. According to our informant, the group’s performance and masquerades, and the figures carved for ancestral protocol officer, Efeffiong Otu Effiong, Eka Nnabo personifies shrines. [email protected] the mother of humanity, despite the fact that the performer is a man. Her costume is radically different from the other Nnabo. Christopher Slogar is Associate Professor of Art History at California She wears a carved face mask, adorned with multicolored feath- State University, Fullerton. He specializes in the arts of Africa, particularly southern Nigeria. Research interests include archaeology, cultural conti- ers and an elaborate hairdo. She holds a walking stick in each nuity and change, colonialism, and the illicit antiquities trade. cslogar@ hand and wears a multicolored akasi around her waist. This is fullerton.edu

Notes Road; Owanese, near Mount Zion; Nsidung in Hen- the Nigerian Federal Department of Antiquities. shaw Town; Akim, Big Qua; and Ikot Ishie. Together This project was supported by a Probationary Faculty Kalu, Olu. 1980. “Writing in Pre-Colonial Africa: A these troupes make up the Nka Okut-Ama Isong Efik Research Stipend from California State University, Fullerton. Case Study of Nsibidi.” In African Cultural Development, Eburutu. In May 2011, all Nnabo groups in Calabar 1 Nka Okutama Isong Efik Eburutu sociocultural ed. Olu Kalu, pp. 76–83. Enugu: Fourth Dimension were united as one by the Munene of Efut, Muri Muene group, personal communication with Onyile Onyile, Publishers. Efiong Okokon Mbukpa, under the name Nka Okutama Calabar, 2004. Isong Efik Eburutu. This ended a long-standing group Latham, A.J.H. 1973. Old Calabar 1600–1891. Oxford: 2 Similarly named mens’ associations were also rivalry among the various Nnabo societies of Calabar. Clarendon Press. found in the upper Cross River region. For example, 4 For more on nsibidi see, among others, Camp- P.A. Talbot noted an “Nsibidi or Nchibbidi Society,” Leib, Eliot, and Renee Romano. 1984. “Reign of the bell 1987, Kalu 1980, and Thompson 1983. among the Ejagham, whose “seven Images [i.e. mas- Leopard: Ngbe Ritual.” African Arts 18 (1):48–57. 5 Members of the Owanese Nnabo group, per- querades] acted as the executioners of those sentenced sonal communication with Onyile Onyile and Christo- Migeod, Frederick. 1925. Through British . to death” (Talbot 1923:792). Malcolm Ruel mentioned pher at Calabar South, Calabar, 2007. London: Heath Cranton. an “Nsibiri” Society that was said to have predated the 6 Chief Effiong Efiom, the Obong Ekpe, personal acquisition of the Leopard Society at the Banyang vil- Onah, George. 2003. “Police Ban Masquerades in communication with Onyile Onyile, Ikot Ishie, Calabar, lage of Nchang and noted that a prominent section of C-River As Xmas Approaches.” Vanguard (Nigeria), Nigeria, 2007. the modern Banyang Leopard Society is called Nsibiri November 19. http://allafrica.com/stories/200311190542. 7 Chief Effiong Efiom, the Obong Ekpe, personal Nkanda (Ruel 1969:202). Hugh Migeod noted in 1925 html communication with Onyile Onyile, Ikot Ishie, Calabar, that the Widekum of had a society called Nigeria, 2011. Ruel, Malcolm. 1969. Leopards and Leaders: Consti- “Nchibi,” with a masquerade of the same name (Migeod 8 Atafiong Okon Ata, personal communication tutional Politics Among a Cross River People. London: 1925:82). with Onyile Onyile, Calabar, 2003. Tavistock Publications. 3 Much of the information for this essay was col- lected during an interview with the Owanese Nnabo Talbot, Percy Amaury. 1969. The Peoples of Southern References cited troupe, at Nsammo Street Calabar, April 17, 2004. While Nigeria. London: Frank Cass. Originally published 1923. most of the narratives collected for this paper were from Campbell, Kenneth. 1987. “Nsibidi actualise.” Arts Thompson, Robert Farris. 1983. Flash of the Spirit. New the Nka Okut-Ama Isong Efik group, there are several d’Afrique Noire 47:33–46. York: Vintage Books. nnabo troupes in the Calabar area. They are: Esuk Eyo, Ekpo. 1979. Nigeria and the Evolution of Money. Orok of the Mount Zion area; Bayside, along Marina Udoh, Akpan Edet. 1983. Who Are the Ibibios? Onitsha: Lagos: The Central Bank of Nigeria in association with African-Fep Publishers.

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