Inspiring story of an African alphabet

Once upon a timeIt  flourished in Central Africa, and after the huge Bantu migrations, it took root in parts of Nigeria’s Cross River state, and is said by many scholars to be the first indigenous written script from Africa. It is called Nsibidi, and can be called a ‘language of signs’, and  the ‘oldest west […]

Once upon a time
It  flourished in Central Africa, and after the huge Bantu migrations, it took root in parts of Nigeria’s Cross River state, and is said by many scholars to be the first indigenous written script from Africa. It is called Nsibidi, and can be called a ‘language of signs’, and  the ‘oldest west African writing’, as another puts it. This is proof that Africans had an indigenous form of writing long before the European came to the continent. Nsibidi could be written in the air, as well as on the ground. It is very flexible, and it adapts itself to new social and cultural developments. This explains its continued existence. Nsibidi does not resemble any of the forms of writing present today in the Nigerian region, and it stands on its own in every sense. Nsibidi was formed and used by a people who were very spiritual, and this is captured by the fact that it expresses itself in vivid pictures. The spirit speaks in pictures rather than words, so does Nsibidi, and it does this in a visually pleasing and uplifting fashion. In Nigeria, this same written script was embraced by the Ekpe society, which was the traditional police and judiciary in the Efik speaking parts of the country. The society functioned as keeper and promoter of Nsibidi. It gave life to Nsibidi, by extending to it the social and legal oxygen for the script to survive. At a point some of the early principal’s of the Hope Waddell Institution, such as Reverend James Macgregor, developed a healthy interest in Nsibidi and wrote about the script passionately. In many parts of Calabar today, one can see Nsibidi symbols conspicuously displayed. These include the Margaret Ekpo airport, the Calabar Museum, and many other parts of the green capital. The story of Nsibidi has an international dimension to it: taken to Cuba and Haiti by means of the slave trade,it  still exists in those countries today.
Alok stone monoliths
In Alok, a quiet  community in Ikom local government area of Cross River state, there are stone monoliths spread across 27 sites, which have  been dated to 2500 BC, and all of these  have Nsibidi symbols inscribed on them. It seems that when Nsibidi entered its golden age, the fields of Alok became one of the numerous spaces  where it freely expressed itself, and the people inscribed Nsibidi on countless monoliths which dot the landscape. Alok itself means ‘a cool place’ in Nnam, the local language, and at that time it must have been a refreshing spot to carve out the stone masterpieces. Upon the monoliths are also inscribed signs and symbols which are also present in geometry, as well as in the natural sciences. This means that those involved with the Nsibidi script had utilised the scientific method in their investigations. If not, why would they be concerned with triangles or the spirals which are evident on a number of stone monoliths at Alok. These spirals are indicative of the rotational movement in creation and of the planets, which also capture the concepts of seed and harvest, beginning and end, life and death.
An equal armed Cross
Chief Sylvanus Akong, the village head of Nto Atel, Alok and Curator of the Open Air museum in the same community, says that  an equal armed Cross can be seen on one of the stone monoliths at Alok,and this  is one of the many Nsibidi symbols on the carvings there. His words ‘The equal armed cross  symbolises the four parts  of the world coming together. The four arms of the cross are of equal length, and these show that the Almighty created all parts of the world equally. That is what this Nsibidi sign denotes.’ He adds that the monolith with the cross depicts a female figure who seems to be in a prayerful pose, with its arms coming together at the base of the monolith, as though holding the cross protectingly.’ Mr. Ayokunle Akinboyede, an Adherent of the Grail Message, also comments on the significance of the equal armed Cross. His words ‘The equal armed cross is the symbol of Truth. It is the cross of Truth. It is the Truth itself and it has been known to be so from the beginning of time.’ He comments on the appearance of the cross on the carving at Alok. His words ‘The carving of the cross on a monolith is the equal armed cross in a circle, which is the symbol of Truth in creation. The equal armed cross is the cross of Truth, the circle represents creation. So, the cross in the circle means the truth in creation.’ In Signs and Symbols of Primordial Man Albert Churchward makes an insightful comment on the cross. ‘Amongst the Bantu negroes several missionaries, who are authorities attest that before Christianity was introduced the cross was used as a … symbol by the priests’(p.351). Ayokunle Akinboyede comments further on the significance of the cross. His words “Those who carved these symbols in stone to preserve them, either still had this knowledge about the existence of the equal armed cross, or had this knowledge passed down from generation to generation.” It seems then that the civilisation which used Nsibidi, which also has strong Bantu roots, must have been a very advanced one.
Older than Egyptian hieroglyphics
Chief Sylvanus Akong, who has encyclopaedic knowledge of Nsibidi, says of the script ‘Nsibidi involves the use of symbols and signs, and it is older than, and supercedes the Egyptian hieroglyphics, and it is also the first written script in the world.’ The Egyptian hieroglyphics have been dated at 3200-AD 400. Chief Akong is presently writing a book on Nsibidi which will be published later  this year, and he has been researching into the area for well over ten years. Chief Asuquo Otop of the Ediba Qua clan in Calabar, adds that Nsibidi is an integral feature of Ekpe traditions, stressing ‘Those who go deeply into Ekpe traditions can explain the different signs to the younger ones.’ Comrade Iso Edim, a human rights activist, describes Nsibidi ‘It is mostly used by the initiates of the Ekpe society, and it is  a means of initiating new members into the society. During the pre colonial days, it was used for communication within the Ekpe society. It was also used at that time to fulfill the burial rites of the king in Efik land. It is also a method of contesting between masquerades, with each masquerade trying to exhibit his talent in Nsibidi, and his superiority over the other masquerades.’ He adds that with the coming of Christianity, Nsibidi was no longer a preserve of the Ekpe society, for it became more widespread in society. Nsibidi gives people a sense of security, and they feel more respected by their proficiency in it, he adds.
‘Nsibidi is the way in which we communicate by signs which have meanings. Only a member of the Ekpe society will understand these signs, and it is a very old system of communication’, says Edim Ekong, the clan head of the Njagasang Quo clan, himself a member of the Ekpe society. Chief Orok Okon, the village head of Etim Usang village, describes Nsibidi in this way ‘It is an art. We grew up with it. Even a method of sitting adopted by an individual is a sign. The way the eyes move  can also be a sign, as well as the way the arms could  be folded or unfolded.’ He explains that Nsibidi can also be used by the hunters in the forest, and many other groups in society can use it to pass information, or to regulate conduct among its members.
‘Wholly African’
A published document which Weekly Trust came across in Calabar, describes the script thus ‘Nsibidi do not derive from western writing systems. There are no Arabic or Latin letters in the script. It is wholly African’. Amanda Carlson, commenting in Nsibiri, Gender, and literacy: The Art of the Bakor-Ejagham, writes ‘a writing system developed among the Ejagham of south eastern Nigeria and southwestern Nigeria…unlike many western writing systems, Nsibiri does not correspond to a spoken language. Thus, it is a type of non-verbal conversation, which is displayed in written signs in three-dimensional forms,and in pantomimed gestures.’(p.1,2). According to her ‘Although scholars rarely think of gestures as writing, the Ejagham consider it to be a part of the Nsibiri system. Initiates of the male Leopard society enact pantomimed performances that constitute the gestural form of Nsibiri.Among the Bakor  Ejagham this is the most prominent form of Nsibiri use.’ She also comments on the way Nsibidi works in secret societies ‘In many cases, knowledge of Nsibidi is limited to members of certain ritual associations. Even within these groups, members only learn meanings of signs as they move up through the system of grades or titles. In certain cases, a person will only know all of the signs when they have reached the highest grade, which is usually obtained in old age. Therefore, the majority of the population does not know the full meaning of all signs.’
A slow decline
But Nsibidi which seems to have enjoyed a golden age in Nigeria as well as in Cameroon has witnessed a steady decline in its use over the years. ‘The number of Nsibidi literate people  has declined, and Nsibidi is not being practised as it was done in the past ‘says Chief  Akong. He draws attention to the fact that the Ekpe masquerade, in its regular performances, can exhibit Nsibidi, stressing ‘All the elements that help to  beautify  its costume, constitute Nsibidi.’ He also laments that Christianity regards Nsibidi as idol worship, and states that in the past when a girl goes into the fattening room, she would have Nsibidi signs rubbed all over her. But today, because of the influence of Christianity, this culture has declined, and this fall has negative implications for the Nsibidi script.His words ‘This culture has stopped because of the preaching by the various churches ,to the effect that the fattening room is not good. Even dances today are seen by the church as being disrespectful towards the Almighty, and this also is not good. Take note that the Ekpe masquerade was used by the British to force people to go to Church in the last century. Today, the masquerade which once acted in favour of Christianity, is seen as being barbaric by the same church which it helped, when Christianity itself was trying to gain ground here. ‘
Comrade Iso Edim also sheds light on the current state of Nsibidi ‘With the coming of the European, Nsibidi was no longer kept within the confines of the Ekpe society. It now went onto the streets.’ He explains the nature of the change that has come upon Nsibidi ‘Even those that were involved in Ekpe society, had a change of mind with the advent of Christianity, and now in almost all the areas where Nsibidi had been quite visible in the past, Christianity has made it decline. That notwithstanding, the Ekpe society is still in existence, hence, the continued existence of Nsibidi.’ On the decline of Nsibidi, Chief Edim Ekong says ‘Christianity has affected Nsibidi very much. Modern preachers have come out to say that it is satanic, and some Churches have suspended some of their flock who were thought to be  members of the  society.’ He states that today the elders exhibit a keen interest in Nsibidi, unlike the younger generations who have found other fresh interests. Chief Orok Okon also adds that Nsibidi ‘is on the decline, although it is still very much in practice. He adds ‘Religion looks at Nsibidi as something which is occultic. People say the signs are occultic. But it is neither of these. It is simply an indigenous medium of communication’.
  Nsibidi rising
Chief Edim Ekong also comments on the possibility of reviving Nsibidi to the level it had reached in the  early 20th century ‘It is possible to revive Nsibidi to the level at which it was in the early 20th century. Today, if you leave Calabar, you will see Nsibidi being demonstrated in the rural areas, much more than you will see in Calabar. If a member of the Ekpe society dies, or if someone is being initiated into the society, and even at the coronation of a new paramount ruler, these are moments when one can see Nsibidi being used by the people. Nsibidi has a long life ahead of it,and it can be revived.’ Chief Akong  thinks that with  the use of audio visual aids, it  is possible to enlighten people about Nsibidi, and therefore revive the script.He also suggests that those who produce traditional fabrics could inscribe Nsibidi on their fabrics. This is a way of drawing attention to Nsibidi, he assures. He feels that film is another avenue to disseminate the script too. His words ‘Film is equally a good medium. It is part of giving publicity to Nsibidi. In those days Nsibidi was exhibited on calabashes, and this helped to spread knowledge about it.’ But Nsibidi may be about to enjoy a revival. As one scholar mentioned to Weekly Trust in Calabar,’ the 21st century is the age of signs, and Nsibidi itself is all about signs and symbolism. Also, a few groups are using the internet to spread knowledge about the script. That too, is another good sign.’