Koma Figurines interview with Prof. Ben Kankpeyeng

Prof.Tim Insoll talking to Prof. Ben Kankpeyeng about the Koma figurines

This is the transcript of a filmed conversation between Prof Tim Insoll of University of Manchester and Prof Ben Kankpeyeng of Univeristy of Ghana talking about the mysterious figurines from Koma Land that are currently on display at Manchester Museum. An edited version of the filmed conversation will be posted in the third floor exhibition space shortly.

TI: I’m Prof Tim Insoll in  the Archaeology Department here in the University of Manchester and it’s my great pleasure to able to have a conversation with Prof Ben Kankpeyeng who’s the current Head of Department of Archaeology and Heritage Studies at the University of Ghana and who I’ve  been fortunate to be working with since 2004 in northern Ghana and in , in particular, since 2010 in the village of Yikpabongo, which this exhibitions is about, and of course, is the source of the fantastic figurines that you see in the exhibition here.

So Ben, why did you decide to, er, start the work in Yikpabongo again, because I know you were continuing the work of an earlier Ghanaian archaeologist?

BK: Yeah, Yikpabongo is significant for a number of reasons, er, within Yikpabongo we have some of those stone circular mounds that contain the unique cultural tradition that is now dated to about the 5-6^th centuries.

TI: Yes.

BK: Yes, the people of Yikpabongo have been very cooperative since work started on these mounds in 1985 and, therefore, we felt that we should go back and do and carry out a lot more research in the area.

TI: And am I right that you actually worked here in 1985. You were one of the original team members?

BK: Indeed we worked there in 1983. We had to walk for twenty-five miles.

TI: Twenty-five miles?

BK; Twenty-five miles to the site and twenty-five miles back.

TI: So this got your interest going didn’t it and this was with Professor James Anquandah, who was the original discoverer?

…

BK: Er, following the end, I mean there was massive looting of the site because antique dealers got interested and, er, it was so horrible. We had to carry out some educational campaigns to get together on with Mr Ben Baluri Saibu the elected MP for Yikpabongo. Er, with the staff of the Ghana Museums and Monuments Board, we carried out some educational campaigns within the area, talking to the people. They need to preserve these sites because of the importance not only for archaeological research but also for the development, er, of these areas through tourism.

TI: But I’m right, well I know it is, because I’ve worked there with you since 2010 that it’s a difficult area to visit, isn’t it, so the tourism potential isn’t something that can grow at the moment. Is that correct?

BK: That’s correct. The area is called ‘the Overseas’

Sign at border with ‘Overseas’

BK: … first of all it’s exciting sending… when you send students to the site, they get more interested in archaeology because as they excavate they see these figurines. It’s very fantastic for them. They get very excited. Not only do they get the figurines per se but they get the context that is exposed. It means the students need to think…

Camel figure in situ

TI: I’d like to talk to you a little bit more about these contexts because one of the amazing things is because you can almost predict the figurines are going to appear by the material above it, can’t you? A sort of contextual arrangement of the sherds and the grinding stones and the sort of material that we have here and then as you dig down a bit further, I remember you teaching me this in the field, the first time I was there, and as you dig down a bit further then you begin to find these arrangements of these wonderful figurines as well.

BK: Yes

….

TI: I’d like to say this is something the University of Manchester has been helping with and it has been a privilege to be able to work on these figurines, and, in particular, again, as the exhibition shows, with that scanning that we’ve been involved in… That Computed Tomography Scanning, which is really giving us an insight into this interior of the figurines, because people before only treated them as art objects, as representations, didn’t they, as you were saying about the art market. Once the scanning has looked inside, we can see that they were seen as powerful objects that may themselves have held medicines or some sort of substances so that has been very good, our collaboration on that.

BK: That’s the reason I invited you.

…

TI: I think your use of the term partnership is the right one because all this research, not just collaboration, it should be partnership, and this is something we’ve been able to do. Turning to the figurines themselves many of these are body-related that we can see that they are representing the human body and many of them are broken. They are fragmented and I know that we’ve been thinking that they are deliberately fragmented. Would you like to say a little bit more about that, why we…

Where does the other head go?

BK: Some of them were intentionally, er, broken and whereas, some of the pieces, we can’t tell, er, but it’s likely part of ritual procedure which in some cases where you have a double head and one head is missing, where does the other head go? Some rituals were carried out, took place in different settings, those heads were removed to other areas.  …

TI: Absolutely.

…

TI: Because I think the original hypothesis was that these are burial grounds and … You’ve sort of overturned that.

BK: Yes the context in which we recovered human remains does not really indicate that they were intentional human burials. Rather we see a situation where probably only the long bones were placed somewhere. You don’t get the entire human remains and therefore you really wonder why these ones were placed here. And there was one part… we mentioned about the skull we excavated and we discussed a skull…We have searched all around, excavated all round, we never found any other part of the human remains.

…

TI: So there’s a lot of different heads put in there but besides the body we’re also learning a lot about how these people were dressed, aren’t we, and what they wore on them and their weapons and I think the most fantastic find that you made and we’ve given great centrepiece in the exhibition is the great camel or a horse. What do you think it is? Do you think it’s a camel or a horse (and the rider)?

Horse or camel rider (photo: Alan Seabright)

BK: I think it’s clear that it is the camel that is showing that the people who produced the cultural tradition have long distance contacts with the people to the North…

…

TI: Entirely right but it does comes to an end doesn’t it, Koma Land and we see a depopulation and an abandonment of the area. When? And Why? Why do you think and when does this occur?

BK: I think so far we know very well that in the 19^th century the area suffered very severely under slavery. And we know very well that a lot of people emigrated from that area to different parts of Ghana.

TI: But before that we have a decline in the mounds. Your archaeology is showing, as we say in the exhibition, it indicates that there’s a sort of stop to the production of figurines tor example, isn’t there?

BK: Exactly. The time the real range is about the 8^th/9^th to 12^th/13^th centuries. That’s the age range we see the figurines coming in but since the but we know currently that we have the Koma people living within the area but the Koma oral tradition so not point to the fact that their ancestors produced the tradition.

…

TI: Yes that’s it. Then finally many of the figurines also show animals don’t they? … We don’t think that they are only wild animals. They are also animals there that may be symbolically important  aren’t there? There are those strange, er, sort of bird-like human figures. Samuel Encumba who you mentioned earlier, based on ancient understanding of Northern Ghana has said that are perhaps witches. Would you agree with him?

Kite figurine

BK: Yes, you have to agree with him, looking like that but birds with human faces. That should tell you something that what is happening. We do have, er, local folk stories and we do and we do see it happening ethnographically that witches transform themselves into birds or other forms of animals whether cats or dogs and move around at night where they carry out their activities. That should tell us that some of these figurines so reflect the world view and the way people believe in…

TI: So they weren’t just making models of wild animals for fun?

BK: No.

TI: More symbolic.

….

BK: There are situations where they are curing the people. They had the diviners or who was participated in … cast out disease form individuals and pass it on to inanimate objects and these

TI: What we refer to as scapegoats?

BK: Some of these are appliqués that we found on what you call it, pieces does suggest yes some of the connections.

Chameleon or lizard with pustules for casting out disease?

TI: Because there’s one reptile or snake that has large sort of boil-like representations on it that could be them wanting the disease to go to that rather than to the human being.

BK: Exactly, the Human being yes

TI: Well it’s been an absolutely fascinating conversations and thank you very much.

BK: You’re welcome.

You can read a review of the exhibition in the Journal of Museum Ethnography:-

Pole, L. (2014). Fragmentary Ancestors: Figurines from Koma Land, Ghana (Manchester Museum, University of Manchester). Journal of Museum Ethnography 27, 168-174.

See the Journal of Archaeological Science for publication of the sampling of the Koma Land figurines at the University of Manchester.

A transcript of a filmed conversation between Prof Tim Insoll of University of Manchester and Mr Ben Baluri Saibu from Koma Land Ghana talking about the mysterious figurines from Koma Land has been made available separately on the Ancient Worlds blog.

 

Koma Figurines Interview with Mr Saibu at Manchester Museum

Prof Tim Insoll and Mr Ben Baluri Saibu at Manchester Museum in October 2013

Transcript of a filmed conversation between Mr Ben Baluri Saibu from Koma Land Ghana and Prof Tim Insoll of the University of Manchester concerning the terracotta figurines from Koma Land that are on display at Manchester Museum. The exhibition about the figurines opened in October and will close early in May 2014. The film of the interview lasts about 6 minutes and will be shown together with an interview with Prof Ben Kankpeyeng of the University of Ghana in the third floor exhibition gallery at Manchester Museum.

TI: It’s my great pleasure to introduce Mr Ben Baluri Saibu, who is a native of Yikpabongo where the work has been going on. A distinguished gentleman, he is also a practising lawyer and he is a former member of parliament – the Ghanaian parliament… So you’re actually from Yikpabongo?

BBS: Yes, I was born and bred in Yikpabongo.

TI: Ok.

BBS: Except for when I went to school I’ve always been Yikpabongo.

TI: And that means you’ve known about the figurines all through your life?

BBS: Oh yes, at birth.

Ti: At birth.

…

TI: … well all your life in Yikpabongo, you’ve obviously see the other side of the coin, the other side of the situation, where these were being stolen, weren’t they? The figurines to supply the international art market. I know this is something you feel very angry and passionate about.

BBS: Yes, yes.

TI: How did you stop it? How did the community stop people exploiting your resources?

BBS: You see as I was saying, we grew up with these things, we used to play with them. No, the girls when they went to the bush or they were going to the riverside to fetch water, if they found one pregnant woman they would put it on their back and be playing like our mothers do in Africa.

laughing…

TI (laughing): Like how they tie the baby on?

BBS: Yes. When we went, when we went out hunting or as shepherds, we found them. They were commonplace. When they were doing compound farming, they gathered then together. That’s why you have some of them being well broken pieces that were just thrown there anyhow and erm, and those that were exceptionally intriguing, we asked questions certainly as kids. But you know, there were limits, say “Oh no please don’t go beyond bounds” particularly if the shrine was your father’s. Don’t dare (?) ask deep questions about it.

TI: What about if people were actually selling them?

BBS: Yes, until, until, until around 1979 I don’t know what happened. Some people must have come in there and they must have seen them somewhere and they must have realised that they have value.

Piece of pot left behind by looters

TI: I was told in your village it stopped but in the surrounding area, the 1990s were particularly bad for looting. Is that correct?

BBS: Yes, the problem because, er, no, much more serious because when Professor Anquandah published their first monograph – I think it was published in Rotterdam, eh?

TI: That’s correct.

BBS: So many people had access to that monograph and the information was now wide so people started sending their syndicates using the boys in the villages to buy. I would be sleeping in the village. In the night they would be in street, erm, selling with the zebra people and that kind of thing. So I actually had to, I had to make it, take stout measures. I even got some of the elders prosecuted…

TI: I think it’s important to also note that these boys from your village … they doing… they were paid very little money. It’s the international market where the big money is being made. So essentially they are exploiting both the people, the environment and the cultural resources of your area.

BBS: Certainly, certainly… they were given just pittances in English money wouldn’t you say?

TI: How much would you suggest?

BBS: One time I went to them and I saw a big one and I asked my brother to keep so that next I would send it to the museum when I went back the other time… 50 cedis

Ghanaian One cedi coin courtesy of Keith Sugden, Curator of Numismatics, Manchester Museum

Ghanaian cedi (pronounced see-dee) coin showing cowry shell

TI: Ghanaian cedis

BBS: Fifty Ghanaian cedis I think. This was around I think in 19… 2001 or so.

TI: Yes very small money.

BBS: Yes, very small.

So I can, I can, I can assure the world, the archaeological world that today, even though we haven’t stopped what, the public education, it is going down where…

TI: So the looting is declining?

BBS: Yes! Now that the field students go from year to year, they go…

TI: Do you think it is also helpful they were put on the Red List of antiquities that can’t be sold? Was that helpful?

BBS: Yes, well, I tell them. I tell them, even if you were zebra and he comes to buy it from you, even if he is taking it out abroad. The Police will arrest him and bring him back. And if he is brought back he will point you out.

TI: Yes.

BBS: And you will be arrested.

TI: Very good. So I think you have to be congratulated for what you have done to protect and promote the heritage in the region but finally, what I would like to ask you is what development would you like to see in Yikpabongo that this material is presented? How can the community benefit from the figurines directly?

BBS: Yes, we already far, we already produce our own food. If there is rain we can have bread. If there is we have jam, we have beans, we have ground nuts. We have a few animals to sell but the most important thing, because of the inaccessibility of the area we have been late in receiving, is formal education.

TI: Mmm.

BBS: You can imagine that whole Overseas Valley even though people went to school long before I went. I am the first graduate. I have been the first lawyer.

BBS: Yes, the privation affects all of us in that valley, so if you asked me, the good Lord what to give to you, something good for your people, what would you ask God to give you? It would be education.

TI: Education.

BBS: Of course, we have it late and now that the university is coming there it is an opportunity for us. It will attract the children, it will not run away. If we have, what, good class room, if we have, what, a good museum where these things are kept…

TI: In the context of the exhibition, I think it’s useful to for us to hear something about that. So you’re planning a small exhibition in Yikpabongo that tourists and locals can both use?

BBS: Yes, yes. In the first place the people themselves will realise that if these things were not important people wouldn’t  fight to get them permanently displayed somewhere and however small it is people will be coming from other places to see what is happening. Certainly ideas change when you meet others. Now that the Legon students go and their lecturers go, when then the children pass the secondary school they get admission. Ben and colleagues they are there so I’ve been telling the people, let us protect them. Legon will come. When the children qualify for the secondary school, they are… their entry in the university is guaranteed, and they have been seeing it. Destroy the mounds and destroy your children’s work… future education. So my paramount thing is that whatever steps can be done … so that we also have, what, reliable educational facilities.

BBS: Yes, sure, yes, yes.

TI: And I believe that the exhibition is actually going to transfer ultimately, in the end, to Yikpabongo, so you’ll display there the exhibition that we can see here?

BBS: Yes, yes.

TI: That will go there.

BBS: Yes.

TI: And be nicely looked after?

BBS: Yes.

TI: Very good.

BBS: Yes.

TI: Well, it’s been a great pleasure talking to you.

BBS: It’s been my pleasure.

Mr Saibu addressing the audience at the opening of the Fragmentary Ancestors exhibition

You can read a review of the exhibition in the Journal of Museum Ethnography:-

Pole, L. (2014). Fragmentary Ancestors: Figurines from Koma Land, Ghana (Manchester Museum, University of Manchester). Journal of Museum Ethnography 27, 168-174.

 

Fragmentary Ancestors Figurines from Koma Land Exhibition

Head of horse or camel rider from the Fragmentary Ancestors exhibition

With little more than a week to go before we open our new temporary exhibition, Fragmentary Ancestors Figurines from Koma Land Ghana, on 25th October there is a real sense of expectation and anticipation building at Manchester Museum.

Work on this project began about a year ago when it was decided to put on an exhibition featuring the results of archaeological fieldwork in Koma Land in Northern Ghana involving the University of Manchester, the University of Ghana and the Ghana Museums and Monuments Board (GMMB). In May, Sam Sportun, Senior Conservator at Manchester Museum, flew to Ghana to pack a selection of the figurines for exhibition in Manchester. Since that time Prof Tim Insoll and the Ghanaian partners wrote the text for the exhibition and the accompanying  booklet, and FDA Design Ltd designed the new displays.

Head of figurine from Koma Land

This exhibition is the first ever officially approved showing of the clay figurines, which were made by a previously little-understood people in Koma Land in Ghana in West Africa. The figurines are often fragmentary and depict stylised two-headed creatures, bird figures, and animals. They are believed to represent the ancestors. It is possible that some had liquid offerings or libations poured into channels in the figurines, and that some might have been linked with healing and medicine. Scanning is now being carried out to study these channels in detail and to try and identify any substances that survive in them.

Head of man wearing a cap from Koma Land

The figurines were discovered during archaeological fieldwork directed by Professor Ben Kankpeyeng (University of Ghana) working with Professor Tim Insoll (University of Manchester) and the Ghana Museums and Monuments Board (GMMB). The Koma figurines have been dated to between approximately 500 and 1300 AD.  This corresponds broadly-speaking to the early to mid Medieval Period in Britain.

We don’t know a great deal about how the figurines were used but it would appear that they were used in special ceremonies and rituals in which the sprits of the ancestors were invoked. In the course of these ceremonies the figurines were deliberately broken. The fragments are often found in mounds, possibly because they were felt to have residual power and had to be disposed of carefully.

Janus figurine from Koma Land

As will be clear from the photos the figurines are full of character and have tremendous presence. The people who made the figurines were very skilled. For that reason the Koma Land figurines have generated considerable interest amongst collectors on the international art market with the result that the mounds where the figurines are found have been looted by treasure hunters. Of course, once removed from their original contexts and localities and the relationship between the objects as archaeological finds destroyed, a huge amount of invaluable information is lost. The GMMB and the University of Ghana have been working with local people to explain to them the cultural importance of the figurines and to support them in protecting the mounds. Though other figurines have been displayed outside Ghana these are the first to be exhibited abroad with the approval of the Ghanaian authorities. After the exhibition closes the figurines will be put on display at the Museum in Accra in Ghana.

The Fragmentary Ancestors exhibition opens to the general public on 25th October and runs until 5th May 2014.

You can read a review of the exhibition in the Journal of Museum Ethnography:-

Pole, L. (2014). Fragmentary Ancestors: Figurines from Koma Land, Ghana (Manchester Museum, University of Manchester). Journal of Museum Ethnography 27, 168-174.

Alan Seabright took the photographs for the exhibition and exhibition booklet (available price £3.50 from the Museum shop).

Sampling of the Koma Land figurines by Dr Heather Robinson was published in 2017.