Unit: Iron Age

Theme: Dokwasa / The Last Iron Master

Introduction

Learning Objectives

Understand why the Bantu migration was so important
Explain the role of dance withing the iron smelting process
Gain an awareness of the function of a smelting master within a large ritual context
Experience the creation of a three act dance/performance in which you re-enact the three stages of the smelting process

III

Main Lesson

Nok Culture / Iron Age

The Iron Age is the final epoch of the three-age division of the prehistory and protohistory of humanity. It was preceded by the Stone Age and the Bronze Age. The concept has been mostly applied to Iron Age Europe and the Ancient Near East, but also, by analogy, to other parts of the Old World. Although, the Sahel (Sudan region) and Sub-Saharan Africa are outside of the three-age system, there being no Bronze Age, the term "Iron Age" is sometimes used in reference to early cultures practicing iron-working, such as the Nok culture of Nigeria from 1500 BC to 500 AD.

The Nok culture is a population whose material remains are named after the Ham village of Nok in Kaduna State of Nigeria, where their terracotta sculptures were first discovered in 1928. Based on evidence from the sites of Nok archaeological culture, such as considerable quantities of charcoal layered among Nok sculptures, goods (e.g., technically crafted ceramics, numerous stone-beaded necklaces) found in burial pits that support the view of them serving as grave sites, difference in soil coloring of burial pits and their immediate geographic area, and burial pits containing materials from organic substances, this supports the conclusion that Nok sculptures were part of a complex funerary culture.

Latter 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.

2 Reading

Bantu Migration

LINK

https://www.google.com/books/edition/The_Historical_Encyclopedia_of_World_Sla/ATq5_6h2AT0C?hl=en&gbpv=1&dq=The%20meaning%20of%20the%20christian%20cross%20for%20Bantu%20people&pg=RA1-PA69&printsec=frontcover

The Historical Encyclopedia of World Slavery (1997). Volume 1. Junius P. Rodriguez (Editor). ABC-CLIO, (page 69).

Question 1

Why was the Bantu migration important for the rest of Africa?

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IV

Case Study

Dokwasa / Last of the African Iron Master

Dokwaza: Last of the African Iron Masters (1988; 49 mins)

CONTENT

1. Construction of the furnace

a) Choosing a site for the furnace

b) Initial prayer and offering

c) Digging the base of the furnace shaft

d) Burying a charm beneath the shaft

e) Building the facade

e) Calling of God and the ancestors

f) Bellows are set on the platform

g) sheep skin to create the bags for the bellows

h) Building the Shield

i) Magic decorations

j) Seven day - Ensemble the bellows

k) Adding protective herbs, selection of charcoal

l) collecting magnetite and iron oxide

m) Fire is lit within the shaft

Question 2

Name the instances in which worship and sacred practices are used in this part of the ritual. What would you say is their function?

2. The Smelt

a) Pouring a libation to the Gods

b) Installing upstick with sacred tuber

c) Bellows are readied

d) Consecration of the smelt

e) War dance (min. 25:00)

f) Prayer with ore and magic herbs down the shaft

g) Music is played for the first time using the bellows.

h) Offering

i) Blood offering to the ancestors (min. 28:00)

j) Removing the fused

k) Insertion of medicine plant

l) Monitoring of flame by iron master

m) Bellows stop and cutting through the sides of the shaft

n) Revealing the bloom

o) Bloom is carried to the compound

Question 3

How important is the war dance in this second part of the smelting process compared to other sacred elements of the ritual? Explain.

3. The Forge

a) Prayer

b) Picking out the metal droplets and lumps

c) Iron is crushed and broken

d) Creation of crucibles

e) Playing the bellows

f) The crucibles are filled with bits iron

g) Placing crucible in the fire

h) Compacting the iron in the crucible

i) Pulling semi-molten mass from the fire

j) Drawing the iron into a small mass

k) Pieces are welded together

l) Hammering to flatten

m) The blade is spread

n) Quench to give blade the right angle

o) Final touches

(The highlighted items are relate to ritual practice).

Question 4

The last part of the process seems to include the sacred element only at the beginning. Speculate why this part of the ritual is different from the rest in that sense?

What does dance have to do with Master Dokwasa's iron smelting ritual?

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A Note to Remember

The African nations that became part of the cultural makeup of our continent as a result of the slave trade brought with them their culture, their gods and their dances.

Discussion Questions

5. Which part of the process impressed you the most? Why?

6. What is the role of dance and ritual in the smelting process?

7. What is the difference between Dokwaza, the iron master, and a shaman?

VII

Activity

So far, you have recreated ritual dances in the subjunctive mood.

This is the first time you see a ritual actually performed within the context of and actual prehistoric activity, the smelting of iron.

Create a three act dance/performance in which you re-enact the three stages of the smelting process: Construction of the Furnace, The Smelt and The Forge.

Use 8 moves for each one of the stages by creating a phase for each. Turn the three phrases into a dance/performance.

Students making up, record and post your phrase on Discussion Board.

VIII

Journaling

Glossary

Sources

Students' Work

Iron Age

Georgia Burtt

Dokwaza is the last iron-master. The video mentions that he is 65 years old when this was recorded and its been 28 years since he has last smelted iron and with the help of his community, he will try to recreate the ritual of iron making. Dokwaza's son his is right hand man but the children and other members of the community also work and help him. They begin by making the furnace and embedding different sentiments of spirituality into the craft: charms -burried beneath the furnace- and prayer. The first morning, Dokwaza prays to the gods and offer them beer(?) for help with their task. Different part of the community make different aspects of the furnace; a potter make clay parts and a neighbor prepares the sheepskin that will be used for ther bellows.

Different decorations on the furnace signify different things. The spikes on the shield signify strength, as well as a bust of Dokwza's father so he can gain his ancestors knowledge and skills. By the 7th day, the furnace has dried and more assembly takes place. Special plants with healing powers are then working to a special plaster that is then used in the furnace shaft. The furnace is complete after 7 days but must be left to dry for another 2 days. During the 2 day period, Dokwaza and others gather and clean the iron ore that is found as black sand in stream beds and other areas.

On the day of the smelt, Dokwaza is up before dawn preparing and approving beer to be offered to the gods. After, the offering begin to fill the furnace and the last few preparations before the ore can be added and the smelt can begin. To the community and anyone who has worked and wil work on the smelt, Dokwaza prays and offers beer.The bellows will never stop bellowing for just over 10 hours until the smelt is complete. While his son bellows, Dokwaza prepares for battle, how they ritualized the smelt.

Now, in war attire, they finally add the ore tot he furnace. Dokwaza plays the bellows like drums and another member plays his harp. A cock is sacrificed to the gods and is blood is spilt on the furnace as an offering. Throughout the process, Dokwaza removes debris and slag to open the airways and allowing the smelt to continue. Every so often, they must close and open another vent higher as the debris as the bottom grows. The furnace in now working at maximum efficiency and ore and charcoal are added more frequently until the is no more ore to add. They cut into the furnace as the bellows finally cease. There is a large bloom that is brought to Dokwaza's compound.

After oraying for successes, Dokwaza begins to break apart the bloom into small bits and lumps. The iron is then further broken to remove more slag and charcoal. The forge is the prepares and a fire is lit inside. The crushed iron is put into clay crucibles in the fire to melt. Dokwaza pulled the motlen mass from the fire and begins to compact is by hitting it with a rock., then to shaping it with a stone hammer. Then, the pieces are weilded together with slurry assisting the weld. After it is shaped, they grind and sharpen the edge of the hoe and final touches are finished.

I think its amazing that people, at any point in time, could figure this process out. And, in a greater feat, going back after years and generations and creating the ritual and function again. The dance aspect of this process could be separated into 2 main parts. One: as a ritual; the beating of the bellows and addition of the harp creates music and the symbolic movements create a ritual. This ritual was a way for Dakwaza and his community to connect to the gods and spirits. The second way, I think, was a way to enjoy the long hours of the process while still being significant. Overall, this is an incredible thing to see, especially coming from somebody who has never been anywhere close to doing anything like this.

Iron Age: Dokwasa / The Last Iron Master

2

Reading