Nok culture

The Nok culture is a population whose material remains are named after the Ham village of Nok in southern Kaduna State of Nigeria, where their terracotta sculptures were first discovered in 1928. The Nok people and the Gajiganna people may have migrated from the Central Sahara, along with pearl millet and pottery, and diverged prior to arriving in the northern region of modern-day Nigeria. This may have led to their respective settlements in the regions of Gajiganna and Nok. Breunig (2017) expounded: "The people of the Nok culture must have come from somewhere else. So far, however, we have not found out what region, though we suspect the Sahel zone in West Africa." Champion et al. (2022) suggested that they may have come from the Central Sahara, and stated:

<blockquote>The cultivation of pearl millet diffused from the desiccating West and Central Sahara into the West African savanna zone after 2500 BCE, in the context of southwards population movements (Ozainne et al. 2014; Neumann 2018; Fuller et al. 2021)…The presence of pearl millet without roulette decorations or chaff temper, as seen in the Nok and early Gajiganna sites, suggests that the third diffusion originated directly from the central Sahara and possibly split before reaching northern Nigeria, accounting for the differences in Nok and Gajiganna pottery (Fig. 8; and see Champion 2020, p. 462).</blockquote>

thumb|250px|West African sites with [[archaeobotany|archaeobotanical remains from third to first millennium cal bc. The arrows indicate directions of pearl millet diffusion into sub-Saharan West Africa, including 5. Nok region sites.]]

Archaeology

The first Nok terracotta was discovered in 1928 by Colonel Dent Young, a co-owner of a mining partnership, near the village of Nok in Kaduna State, Nigeria. The terracotta was accidentally unearthed at a level of from an alluvial tin mine. Young presented the sculptures to the Museum of the Department of Mines in Jos.

Fifteen years later, in 1943 near the village of Nok, in the center of Nigeria, a new series of clay figurines were discovered by accident while mining tin. A clerk in charge of the mine had found a head and had taken it back to his home for use as a scarecrow, a role that it filled (successfully) for a year in a yam field. This scarecrow was eventually noticed by Bernard Fagg who at the time was an administrative officer who had studied archaeology at the University of Cambridge. Fagg noticed that the head on the scarecrow looked similar to the sculpture that Young had found. He traveled to Jos where Young showed Fagg other recently uncovered terracotta figures. Eventually it became clear that the tin mining in Nok and Jema'a areas was revealing and destroying archaeological material.

In 1989, German scientists were working in northeastern Nigeria's Chad Basin as part of a cooperative project between the University of Maiduguri located in Borno State, Nigeria, and archaeologists of Goethe University Frankfurt. This project examined the beginnings of sedentary farming societies in the Chad Basin. Questions arose about whether there were other societies like those in the Chad Basin, and these questions led the team to investigate the Nok Culture. In the early steps of the Frankfurt Nok Project, researchers had difficulty finding sites to excavate. The team began collaborating with Umaru Yusuf Potiskum and they started finding distinct Nok culture sites, although most had been looted. Scientific field work began in 2005 to systematically investigate Nok archaeological sites and to better understand Nok terracotta sculptures within their Iron Age archaeological context, and was subsequently concluded in 2021.

The terracotta figures are hollow, coil built, nearly life sized human heads and bodies that are depicted with highly stylized features, abundant jewelry, and varied postures. Because of the homogeneous composition of the scultptures across the Nok cultural, in contrast to the varying compositions of Nok pottery, it is thought that Nok sculpture was made from a few clay deposits, suggesting a centralized and specialized production.

Little is known of the original function of the pieces, but theories include ancestor portrayal, grave markers, and charms to prevent crop failure, infertility, and illness. Also, based on the dome-shaped bases found on several figures, they could have been used as finials for the roofs of ancient structures.

Margaret Young-Sanchez, Associate Curator of Art of the Americas, Africa, and Oceania in The Cleveland Museum of Art, explains that most Nok ceramics were shaped by hand from coarse-grained clay and subtractively sculpted in a manner that suggests an influence from wood carving. After some drying, the sculptures were covered with slip and burnished to produce a smooth, glossy surface. The figures are hollow, with several openings to facilitate thorough drying and firing. The firing process most likely resembled that used today in Nigeria, in which the pieces are covered with grass, twigs, and leaves and burned for several hours.

As a result of natural erosion and deposition, Nok terracottas were scattered at various depths throughout the Sahel grasslands, causing difficulty in the dating and classification of the mysterious artifacts. Luckily, two archaeological sites, Samun Dukiya and Taruga, were found containing Nok art that had remained unmoved. Radiocarbon and thermo-luminescence tests dated the sculptures to a range of dates between about 2,900 and 2,000 years ago, making them some of the oldest in Western Africa. Many further dates were retrieved in the course of new archaeological excavations, extending the beginnings of the Nok tradition even further back in time. Among Nok terracotta sculptures at Pangwari, there are sculptures portraying a large teeth-bearing therianthropic (human-feline) figure and the torso of a seated figure wearing a belt around their waist and a necklace, which had added features (e.g., bows, knots); there are also sculptures portraying the head of a human figure that has a bird beak and the head of a male figure with a seashell on it, which may have been created by the same sculptor. Additionally, there are sculptures portraying figures wielding slingshots, as well as bows and arrows, which may be indicative of Nok people engaging in the hunting, or trapping, of untamed animals. The Nok terracotta depiction of a dugout canoe may indicate that Nok people utilized dugout canoes to transport cargo, along tributaries (e.g., Gurara River) of the Niger River, and exchanged them in a regional trade network.

Excluding ancient Egyptian figurative art, Nok sculptures are regarded to be the most early, large figurative art in continental Africa. Later artistic traditions of West Africa: Bura of Niger (3rd century CE – 10th century CE), Koma of Ghana (7th century CE – 15th century CE), Igbo-Ukwu of Nigeria (9th century CE – 10th century CE), Jenne-Jeno of Mali (11th century CE – 12th century CE), and Ile Ife of Nigeria (11th century CE – 15th century CE) – may have been shaped by the earlier West African clay terracotta tradition of the Nok culture.

Settlements and architecture

In the central region of Nigeria, Nok archaeological sites are determined to be settlement sites, on the basis of archaeological evidence discovered at the surface level of the sites, and determined to be of the Nok culture, on the basis of the type of archaeological evidence discovered, specifically, Nok terracotta remnants and Nok pottery. Nok settlement sites have been found in flat plains, on hilltops, and on the slopes and summits of mountains. There appears to have been a preference for specific topographic features like elevations and gentle slopes, possibly because they provided favourable drainage during the rainy season. The archaeological evidence indicates that Nok houses were built primarily of organic materials like wood, plant stalks, grasses, and animal hides, which decomposed without leaving visible traces in the soil. Typical Nok settlements were either hamlets or single compounds, similar in size to modern farmsteads found in the same area. There is no indication of agglomerations of people above village level, thus "no evidence that would warrant the existence of communities of a size that would be necessary to develop social stratification, which is regarded as one of the attributes of social complexity." Numerous excavations and prospections have indicated that no towns or any kind of urban environments existed in the Nok culture, and no evidence has been found for special buildings or areas occupied by high-ranking community members. The lack of substantial stratigraphies or evidence of mound formation processes further indicates that Nok sites had brief occupation episodes. In sum, the evidence indicates that Nok culture communities were small-scaled and organised in locally autonomous groups. According to Rupp et al. (2016):

Iron metallurgy

Iron metallurgy may have developed in the Nok culture between 750 BCE and 550 BCE. Nok people may have independently invented iron metallurgy in the 9th century BCE or 8th century BCE.

Stone tools

The shapes of stone tools found at Nok sites change little throughout the entire span of the Nok Culture. What tends to strike researchers is a lack of cutting tools. Apart from stone axes, no tools with a cutting edge have been found. Projectile points made of either iron or stone are also absent from Nok sites.

Grinding tools are very common at Nok sites. They are rarely preserved in one piece, but can still illustrate the different shapes and sizes of tools used throughout the Nok Culture. Grinding stones were made of quartzite, granitic, or metamorphic rock. At the site of Ungwar Kura, grinding stones seem to have been placed in a certain order, and at the site of Ido huge grinding slabs were arranged in an upright position with pots and stone beads next to them. This context is assumed to have been ritual in some way. Most of the grinders are merely hand-sized. Throughout Nok sites, there is an abundance of grinding slabs but there seems to be a low number of hand stones. It is possible that members of the Nok Culture used these grinders until they reached a certain state of wear, and then repurposed them as pestles. At Pangwari, pearl millet was domesticated and cultivated, cowpeas were cultivated, and various forms of vegetation (e.g., Caesalpinioideae, Canarium schweinfurthii, Combretaceae, Phyllanthaceae, Vitex) were utilized. At almost all Nok sites, there are charred plant remains consisting of firewood and plant material for cooking. Remains of pearl millet, one of Africa's oldest grain crops, are commonly found. Pearl millet is highly productive and resistant to adverse growing conditions, including drought. Cowpeas, valued for their high protein content, are also found at some sites. So far, pearl millet and cowpeas are the only crops known to have been cultivated by the Nok people. It is unclear whether they ate or farmed tubers of any kind. The numerous grinding stones found at Nok sites suggest that the grains were ground into flour and made into a type of porridge.

Trees and farming

The Nok people probably used an agroforestry system, combining cultivated crops with useful trees on the same plot of land. These plots are ecologically sustainable and inter-cropping of trees and several cultivated plant species were common from the savannas to the rain forest, with the origins of the practice going back to the first millennium BC, right at the time of the Nok culture. Most West African trees are not domesticated but are part of the wild vegetation which is left after farmers clear their fields of their crops. Because they are left to grow they multiply naturally without needing to be planted. Trees can produce food, medicine and animal feed. The honey may have been utilized by Nok agriculturalists to add to West African cuisines. As evidenced by remnants of beeswax and fats from animals on ceramics, the pottery may have been utilized to store meat, along with honey utilized for preservation purposes. Because of this, hundreds of Nok Culture sites have been illegally dug in search of these terracotta sculptures. Valuable information about the Nok Culture is lost when these objects are taken from out of the ground and removed from their archaeological contexts. A joint research project with Goethe University and the National Commission for Museums and Monuments conducted since 2005 showed that more than 90% of Nok Culture sites known in the research area have been illegally looted. Art historical studies carried out shows that over 1,000 Nok terracotta sculptures have been illegally excavated and smuggled into Europe, the USA, Japan, and elsewhere. In February 2013, Daily Trust reported that the Nigerian Federal Ministry of Information and National Orientation repossessed five Nok statuettes looted by a French thief in August 2010. The pieces had been seized by French customs agents and were repatriated following a Nigerian Government Directive. What further complicates the problem are the many workshops which fake Nok sculptures and then put them on the market as authentic. and Bassa people may be descendants of the Nok peoples. Based on stylistic similarities with the Nok terracottas, the bronze figurines of the Yoruba Ife Empire and the Bini kingdom of Benin may also be continuations of the traditions of the earlier Nok culture.

Archaeology

Settlements and architecture

Iron metallurgy

Stone tools

Trees and farming

See also

References

Bibliography

Further reading

External links