KAFUR LOCAL GOVERNMENT

TSAUNIN KAYA

            Tsaunin Kaya is an ancient site located about five kilometers south-west of Kuringafa  town in Kafur Local Government Area. It was named after a neighbouring settlement known as ‘Unguwar Kaya’. The site was accidentally discovered in 1995 by illegal miners searching for precious stones. Items discovered include terracottas, pottery and grinding stone.

            The story of accidental discoveries of ancient sites and artefacts is not new in Nigeria. For instance, the famous Nok Terracotta otherwise known as ‘Nok Culture’ was accidentally discovered in 1944 by a tin miner. The fired clay figure head represented a human being just like those discovered at Tsaunin Kaya. A careful search for more materials was initiated and enough evidence was gathered which indicated the existence of a previously unknown culture.

            These sculptures and other associated materials were described by Bernard Fagg as belonging to the Nok Culture, named after the village of Nok where the first finds were made. Since then, more evidence of this culture has been found, and it is now beyond doubt that it included knowledge for the manufacture and use of iron, the earliest so far known from sub-saharan Africa.

            Secondly, in 1987, the Dafuna Canoe was accidentally discovered by a herdsman while digging a well to water his cattle in the dry valley of Kumadugu Gana river in Yobe State. When the canoe was excavated and carbon dating conducted, the canoe was rated the oldest in Africa.

            A preliminary research conducted on the fragment poetry and terra cottas found at Tsaunin Kaya shows that they were made form baked clay and fired to a temperature which made them to become hard, after which they were put into use and later buried.

            The research also indicated that the motive behind the making of the terracotta were likely to be religion, prestige and festivities.  This information is largely drawn from a study conducted in some African societies which shows that until the 19^th century, the motives behind making sculptures and terracotta among the diverse ethnic groups found in Africa and other parts of the world is religion, prestige and festivals.

            However, it was religion more than any other thing else that provided the primary stimulus for the making of sculptures, Religion has a great influence on human life since man started to confront problems posed by the environment as well as life and death.  Nearly every where, man believes that there is a great life force outside him when is supreme and invisible.  Most human societies believe that this supreme force is benevolent, but there are other forces which are less benevolent and their nature is unpredictable.  These forces include lightening, thunder trees, rocks and rivers.  Others are ancestors and heroes who once lived on earth.  It was believed that they could act as intermediaries between the Supreme Being and man.

            As far as ancestors and heroes are concerned, their deaths do not terminate their association with the living.  The head of the lineage or a celebrated hero, while in the land of the dead, continues to keep a watchful eye and exercise influence over the living and shared in lineage or family rituals.   Everyone must live properly or incur their displeasure and be punished.  Ancestors must therefore be propitiated with sacrifice.  One the other hand, they can intervene between the supreme Being and the living through prayers.  Offerings are made through them to him.

            A study of Kalabari Religion by Robin Hurton reveals how sculpture is so important as a vehicle for bringing down sprits to the level of the worshipers.  Here, the sculptures blessings are requested, the spirits must be induced to take their dwelling in the sculpture.  Once the spirits are localised the communication becomes possible.

            In the context of festivals and festivities, several authors including Ladislar Segy believe that sculptures serve to strike fear into peoples’ mind and that the African life is dominated by such fear.  They see sculpture as being the response by which the African people fortify themselves from the fear of nature.  Hence, it serves as a tool for the maintenance of law and order.

            On prestige, the study indicates that sculpture serves as objects which enhance prestige royalty and wealth.  The Benin bronzes are excellent examples of the use of sculpture for the glorification of the king.

            From the study conducted on Tsaunin Kaya and similar areas, we can deduce that people had lived in the area for hundreds or thousands of years.  They produced a kind of civilization comparable to other advanced people found in history.  Secondly, the people were farmers, hunters and animal rearers.  This is because the area is fertile, with abundant rainfall.  Moreover, the discovery of terracotta depicting a man with a stick in his hand like a Fulani, Suggests that the people must have domesticated animals.  Further research in the area may shade more light in this regard.

Source: Katsina State History and Culture Bureau