EKU

All over the western part of the District a strange rite still obtains which is obviously only another manifestation of the phallic cult. As there are local differences it will be necessary to describe separately the peculiarities of each centre.

By the roadside near Umo Abale, a quarter of Omo Dioga, half hidden amid grass and creepers, we came across a crowd of figures formed of sun-baked clay, cone-shaped and painted black. Further on, in front of almost each compound, smaller groups were to be seen, usually arranged at the base of some Juju tree, or round a sapling of the sacred Ogrisi (_Dolichandrone_ sp.). In several cases circular moulds of baked clay, much like an old-fashioned spittoon in shape, lay nearby. It was explained that upon these the girls of each compound, after undergoing the initiatory ceremonies preparatory to marriage, set the food cooked as an offering to the Eku, as the phallic figures are called. This word is also used to designate the cones of baked clay used to support cooking-pots. Should any girl, after arriving at the age of puberty and being inducted into the feminine mysteries, neglect to set up such an image each year, about the time of making new farms, until she becomes a member of her husband’s house, no babes would bless their union. In one or two cases a slight amount of decoration, formed by lines drawn with the fingers in the soft clay, has been added; while here and there an attempt was made to surmount the cone by what was explained as a representation of the high head-dress only allowed to Ibo women after the birth of a babe. Mostly, however, the images showed nothing more or less than a simple attempt at depicting the phallus.

About a month later, at the house of Chief Ugwa in the Oturu quarter of Akpani, Eku of a still simpler type were found, together with clay pot-rests of much the same shape as those already described; while just outside, in the bush by the roadside, we came upon some thirty or more phallic figures, the tallest and frankest yet seen. Some stood on circular, some on rectangular, bases; but on each the membrum virile was modelled with especial care.

It was explained that every year, when making the more elaborate pillars, each betrothed girl fashions several of the plainer type, a foot to a foot and a half in height. These are said to be used as ‘strong Juju on which to swear people.’[17] Three of these are borne by each maid to her bridegroom’s compound, there to be presented to the chief woman of the family, by whom they are set together to support the pot in which food is cooked for the future husband. When ready, this is poured into a native bowl and placed upon the clay ring. After marriage, the bride comes to the new home and herself cooks her husband’s meals upon the same three pillars prepared by her own hands.

It is not without significance that the trinity of cone-shaped pillars, with cup-like depressions, raised before the Kalahari Nduen Fobara (ancestral shrines), into which libations to the forefathers are poured every eighth day, are of almost identical type. At Oru-Sangama, an ancient town on a creek leading into the San Bartholomeo River, we came across two of these small cones modelled within a circle, also of clay, beneath the palm-leaf roof of a tiny hut. So like were these to the Eku emblems that we took for granted that the little shrine was but another dwelling-place of one of the manifold representations of Ibudu Omumu, _i.e._ the Ibudu of fertility. Long sojourn in Africa should, however, teach caution even to the most careless enquirer, and we therefore, as always, took the precaution to keep our ideas to ourselves and asked the significance of the symbol. As a result we were told that they represented the Nduen Fobara of a neighbouring house. Our informant added:

Some men make three, some two, small pillars for the pouring out of libations to the spirits of their dead. Some again make only one such emblem for the reception of drink offerings. Here no carved images are shown as is usual in rich Kalahari towns; the cones themselves represent the ancestors, except in the case of men of distinction.

Considering the peculiar powers thought by many tribes to attach to the phalli of the dead, especially those of warriors or others who excelled in strength or power, as also the Egyptian legend of the birth of Horus--that seed of life, snatched by the widowed Isis from Death himself--it is perhaps not too far fetched an idea to imagine that the likeness of symbol was intended to signify a connection between the physical body of the new-born and the astral shape or ethereal mould, supplied in most cases according to general belief from the ghost realm, where the ancestral shades await reincarnation--by preference in the bodies of those about to be born to the family to which they themselves formerly belonged.

Kalabari Shrine of Awome-Ka-So]

Sir James Frazer, in his wonderful _Golden Bough_, tells of sacrificial victims whose phalli were beaten with twigs--not out of cruelty, but with the idea of increasing the powers of virility. Among the Ekkett Ibibio sacred boughs are drawn over the pudenda of warriors while parts are even cut off and buried secretly by the marriage bed, in the byre or on the farm. In this connection it is perhaps worth mentioning that one of the most dreaded of West African tortures, employed upon captives of distinction, was the continued flagellation of the phalli.

Chief Igo, of Omo Nelu, gave the following information:

We start to make the Eki--as they are locally called--at the time of cutting the undergrowth for the new farms. Then, when we have carried out the images and set them up by the roadside, we begin clearing away the top branches. The ornamented pot-rests are used for cooking chop for the Eki.

Chief Chuku’s quarter cooks for two weeks (_i.e._ sixteen days). Amadi’s and my quarter cook for thirty days. It is the young girls who make these things--both the cooking ones and the others. For twenty-five days we hold the first festival, that of the low round Eki, which we call Eki Mother. Every evening at about five o’clock time the girls cook. On the twenty-fifth day each girl starts making one of the high Eki, Ada Eki (eldest daughter of Eki), which is worshipped for five days before carrying it out. When my father was alive, the ceremony always started in his compound; for he was the head chief. After he had made festival for eight days, all the other compounds joined in and continued till thirty days were finished. Then all men took notice and said: ‘It is now time to start the new farms.’

With us also the young girls go and get ant hill earth before they make the Eki, but they do not use it for these, only keep it in their houses for three months and afterwards take it with them to the market-place, where they dance and play round it and then finally throw it away.

Egu ’Nde ’Nwayin is a woman’s festival held at the time of digging new yams. It was my father, the priest of Ale, who set the time for this ceremony also. At this time the women dress very finely, wearing many beads round their ankles.

On another occasion, just after leaving Ndelle en route for Rumoji, we found, by the side of a bush-path beneath the spreading branches of a Berlinia, a hut, the long, low, palm-leaf roof of which was covered with the fragrant white-petalled flowers showered down from above. Under this shelter was a platform of clay some twenty feet in length, carefully smoothed and with gaily coloured plates set at intervals along its edge. Upon this a double row of strangely-shaped finely-decorated figures were to be seen, formed of sun-dried clay, much in the style of the Eku already mentioned, but far more elaborately modelled and painted. On the bright yellow clay, ridges and lines of shining black, vivid blue and white were to be seen, while each was surmounted with an attempt to represent the elaborate styles of coiffure affected by girls of marriageable age.

Each had been brought thither by a maiden of the neighbourhood after undergoing initiatory rites in company with her ‘age class.’ The ceremonies are conducted in places set apart, under the leadership of elderly women of the town. The time chosen is after the planting of new farms when the seeds first germinate. At this season all little maids who have reached, or are approaching, the age of puberty--for the ‘age class’ includes those born within three years of one another--come together to be instructed, by matrons chosen for the purpose, in all that it is thought necessary for them to know as a preparation for marriage. Later, the neophytes return to their parents’ house and there model the figures shown in the photograph. When all are ready they go, together with their instructress and a band of relatives, each bearing one of the Eku upon her head in procession to the spot chosen by priest or instructress. Here a platform of clay, decorated with insets of plates, pieces of looking-glass, etc., has already been prepared. The celebrants in turn place thereon the queerly shaped image which is supposed to be necessary in order to draw down upon the girl, who offers it, the blessing of fertility.

Beside those newly initiated, older maidens, to whom the mysteries have formerly been revealed but who are as yet unwedded, also take part in the rite, bearing a fresh Eku in the procession, year after year until the whole, or at any rate the main part, of the dowry has been paid, and they leave their parents’ house for that of a husband. The elder girls offer images often over a yard in height, while the new initiates bring smaller ones, proportionate to their size.

At a little distance from the places set apart for the principal images, fish racks may occasionally be seen by the roadside and on, or between them, the smallest figures of all are to be found. These are said to represent ‘the slaves of the Eku.’ Each girl, after modelling her own symbol, makes at least one such little attendant, so that her image may be well served.

Near Ndelle waterside a somewhat different arrangement obtains. In front of the long line of Eku, a separate group may usually be found set round a sapling of the sacred Ogrisi tree. The central figure is dedicated to the principal girl of the town, while the smaller ones grouped round her represent her attendants. Near the centre, springing out of the clay base, was a small sprig of the bush which Ale brought with her when she first formed the earth.

At the same time of year, when the seed corn and yams lie awaiting rebirth in the womb of the Earth Mother, the unmarried girls of Elele carry out a ritual similar in many respects but with certain points of difference. Here the images are modelled from clay supplied not by the parents, as is usual in other parts, but by the bridegroom. These must be rubbed and smoothed for seven days and each is surmounted by a head, the coiffure of which is carefully copied from that of the girl herself. Every evening, food offerings are carried to the place where the Eki are set up, while the girls dance and sing before them. The bridegroom must provide from sixty to a hundred Awarawu manillas during this time, which are accepted by the parents as part of the dowry.

Often these strange images are modelled with breasts in addition to the male emblem. Is it an unwarrantable assumption to think that this may possibly be intended as a primitive attempt at picturing the ideal marriage, in which male and female attributes play equal parts? This peculiarity is not confined to the Eku but is even more marked in many Ibudu, as for instance the one already mentioned at the Umo Alipo compound, Omo Chuku (see p. 66).

Some time after all the Eki have been set up in the farms, compounds and bush round Elele, preparations are made for the carrying out of a further ceremony, called Nwan Aja, _i.e._ Child of the Earth, which is said to be closely related to the festival already described. For this, the unmarried girls of Elele go out to the bush and search round until each has found one of the great mounds thrown up by termites. ‘With the help of relatives she digs down into this until she comes to the heart of the cave, named in our speech Wekwe Eruru.’ The floor of this looks like a mountain range in miniature. Breathless with excitement, the little maid counts the number of peaks; for just as many as there are of these, so many babes she will bear. With infinite pains, that not one may be broken off, she cuts round, then lifts the flat, roughly circular mass to her head and carries it home. This is a time of great anxiety; for, should any part break away during the process, the number of fallen points denotes--alas!--the still-born babes which fate will send her.

In some places all the girls of the quarter join together to seek out an ant hill and dig up the part in which dwells the queen ant. ‘One of their number is appointed to carry this thing, which is then borne back to the town and set down on the road near some of the principal compounds. All stand watching to see in what direction the ants will go; for the way they take points out the compound in which the girls are to live until the time of the new yam harvest. There they must stay in seclusion, grinding cam-wood and preparing for the approaching festival. Thither their future husbands come bringing palm-wine, yams and fish, together with six Awarawu manillas as dash for the owner of the compound.’

From many indications we had long suspected that the magic powers of the ant hill proceeded, in part at least, from its phallic resemblance. This was borne out by the number of Ibudu shrines, avowedly raised for the increase of children, before which these curious structures, known in these parts as ‘Bush-men,’ were found. In several, one of these lesser ant hills had been set up amid the special ‘servants of the Juju’ modelled on either hand of the principal image. Such an one is to be seen in the shrine of Ezum Mezum, erected within the compound of the Aro chief Ogunda of Azu-Miri near Nkarahia. On each side of the pillar stand her ‘servants.’ The nearest, a conventionalised phallic pillar surmounted by a head and with a little doorway in its tower-like base, through which one of the small elongated chalk cones--offered by every woman of the compound after conception--is seen, half in and half out, so as to appear in the act of entering. Next to this, but further from the image, is a natural ant hill, daubed with paint, against which leaned several of the lesser symbols.

These chalk cones or images, though more roughly moulded, bear considerable resemblance to those carefully modelled in clay and suspended over their father’s shrine by each ‘true daughter’ of an Ibibio chief in the Mkpokk region to show that they were the legitimate offspring of the dead man, not of slaves, or of ‘widows’ born to the house, of whom he was only titular parent.

At the end of their period of seclusion in Nwan Aja’s compound, the girls of Elele put on new cloths and gay ornaments, then sally forth to market (Eke Oma). This is a sign that the play is ended for the time.

Every other year a special play is given. According to Mr. D. Braid:

‘This cannot be carried out more often, on account of the great expense incurred therein by the bridegroom. The name of this play is Ajiji’--in some places Adidi or Adadi--‘and it is one of the best of all plays for girls and ladies. It looks grand whenever they start same. They dress with brass ornaments, corals, etc., on their feet, all which expenses are run by the husbands, with the exception of the anklets for one foot which the parents are expected to provide. The brass ornaments are prepared by the blacksmiths, from nine Awarawu manillas for growing up ladies and four to five for younger girls. All go in procession round the town until they come to a place in the Omuneta quarter called Ebu, where there is a great tree in which dwells a certain powerful Juju. Here fowls are sacrificed and cut in such a manner that blood falls upon the feet of each girl. After this has been done, they sing all kinds of songs, dancing with great gladness for some hours.’

Both on the way there and back those girls who are about to marry rich men are carried in decorated chairs, with a canopy fastened above them. Bearers are hired for this service by the future husbands. During the Ajiji ceremony many ghosts flock into the town. In olden days, these would strike the girls as they were borne by; because spirits are jealous of any mortal whose feet are not set upon the ground. A bride thus struck always sickens and usually dies within the year. That is the reason why, nowadays, each girl holds a picture before her, so that the ghosts may strike at this and let her go by unharmed.

On reaching home a feast is given by the parents and next morning all the girls take chop to the husbands’ place. This food is distributed to all in his compound, together with rewards of money. The bridegroom is expected to do the same in return and all the expenses incurred by him at this time are counted as dowry. The play generally lasts for seven Ekes, _i.e._ about two months.

In October 1916, just outside Elele, on the Nkarahia road, a group of specially interesting symbolic images was found. It consisted in roughly modelled male and female figures, arranged in pairs and lying outstretched at the base of a great cotton tree (Akpu). The bays, formed by its buttress-like roots, were separated from one another by giant snakes moulded in clay, which, arranged in irregular loops, usually with the tail of one against the tail of the other, served to fence off the sacred enclosure from the wayside. Within the various bays thus formed smaller serpents twined and twisted, often placed between the male and female figures. In one case the phallic serpent was shown in the act of entering the body of a woman.

Dotted over the slope, forked sticks were seen driven into the ground or raised on little clay mounds. From these depended strings of great snail shells (_Acatina marginata_) or empty fish racks, in shape much like the head of a Badminton racquet.

This group, the name of which was given as Akpu Ogbe Ajiji, had been modelled by maidens of marriageable age belonging to Chief Woyike’s compound as an additional means of increasing fertility.

_See p. 94_]

Just beyond Elele Aliminni, on the Ndelle road, a great tree may be found to the Genius of which the unmarried girls of the neighbourhood go and pray during the Ajiji--locally called Adidi--ceremony. Three circular clay steps are built, one above the other, round the base of the tree and reaching about four feet up its trunk, forming a rough altar upon which piles of _Acatina marginata_ shells and empty fish racks (Paka Eji) were laid. A few yards further, in front of the compound of Chief Ofonda, a large terminal bud of the banana flower-spike, pierced with four slivers of wood was set up on a tall palm stalk. This bud is called Eni Awsoku, _i.e._ navel of plantain or banana. It is natural enough that these two trees should bear special significance in the fertility rites. The combination of phallic-shaped fruit and terminal bud with its oval form offers an obvious symbol of the male and female reproductive organs.

After building the Adidi altar and setting up Eni Awsoku, the celebrants go in procession round the town, their faces rubbed with chalk of a pale café au lait shade and their hair covered with bright yellow paste. From a distance this colouring gives them a curiously European look. At the back, hanging round the waist, they wear a kind of apron of large glass beads, arranged in alternate squares, usually green and brown in colour, the whole fringed with little brass balls.

After a girl has been given in marriage and has gone to live with her husband, she may never again take part in the Ajiji play. At the end of the series of Eku ceremonies, which last, roughly speaking, from the ending of farm planting to harvest time, the whole town of Elele goes to Chief Eleche’s compound for the feast of new yams which is held in honour of the great Juju Aya-Eke. On this occasion every man, woman and child bears a gift to the priest. Even little babes, too small to stand alone, are borne before him. The mothers press a gift into the tiny hands and then hold them out towards the chief that not even the smallest should fail to make offering.

The name Ajiji, given by Ibo to the greatest play in the series, would seem to be derived from Aja (sacrifice), which is also in some parts the name of the Earth Goddess herself, and Ji (yam).