Abstract
In May and June 1943, a photographer with the American Office of War Information (OWI) photographed West African men who he identified as ‘witch doctors’ engaging in masquerade dances dedicated to water spirits. However, rather than the typical aquatic-themed headgear, these ‘witch doctors’ wore model planes – reproductions of British, French, and American aircraft. The photographs and their captions constructed a narrative of a ‘new ju-ju’, in which an indigenous community incorporated model aircraft into their traditional masquerades in order to reflect upon and support the power of Allied armies, which had supplanted their previous notions of spiritual power. However, despite their absurd and over-contrived captions, these photos were never published, demonstrating that the narrative of ‘new ju-ju’ was too complex to fit within the standard propagandistic narrative of widespread Allied support. This fascinating story provides insight into how indigenous communities in Nigeria coped with massive societal changes throughout the Second World War period, reveals the constructed narratives of American wartime propaganda, and, overall, demonstrates the uncontrollable nature of photographs as sources that insist upon revealing distinctive forms of agency and telling their own stories.
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