The Mystery of the Nok Culture

Paper Summary:

This paper examines the relationship between Nok art and the long lost culture. It explains that the tragedy of looting and the loss of cultural/archaeological context for surviving artifacts has made a true exploration of the Nok history extremely difficult and speculative. It concludes that what can be known for certain is that, prior to 500 B.C.E, at a time when Africa was once thought to be completely plagued by intellectual darkness, there existed a civilization with the ability to create advanced and symbolic relics of a civilization where hierarchy, art, and science prevailed.

From the Paper:

"The second vein of interpretation is based on surrounding tribes. For example, Gillan takes this tactic when he writes: "A number of heads and bodies, depicting deformities or ailments (similar to diseases portrayed in Ibibio masks), may well have been used for magico-medical purposes" (66) Taking this approach, there seem to be indications that the statues were used for a variety of religious purposes. Surrounding tribes in Benin have frequently used lifelike statues, not unlike the terra cottas found in Nok, as part of ancestral altars through which they either invoked the spirits of their ancestors or prayed for them. Statues may also have been used as representations of the divine. There are other options as well. They could have been used with funeral ceremonies, ancestor cults or other religious rituals. They might have been conceived as representations of chiefs--though not as their portraits--or as mythical beings and spirits... Others may have served as grave figures ...charms and fertility amulets, possibly worn as pendents. (Gillan, 66) Most surrounding cultures have been polytheistic/animistic and either worship or placate a wide range of deities. "Janus figures" found in Nok may have been used like those in surrounding cultures, to "express the male/female duality of human nature." (Gillan, 66) Additionally, even today ceramic figures are used as finials on many roofs and shrines, and Gillan speculates that terra cotta figures might have taken this place centuries before."

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