[ILLUSTRATIONS]
| Konkombwa Warrior in full Gala Dress | [Frontispiece] |
| To face page | |
| Portrait of the Author | [32] |
| Rehearsing for the Cinema | [36] |
| Playing an "Interior" Scene in a Native Drama | [36] |
| Cinema Acting in the Wilds | [42] |
| Authoress and Bodyguard of Tschaudjo Horsemen | [46] |
| Major Hans Schomburgk | [50] |
| European Rest-House at Tschopowa | [52] |
| Cinema Films:—(1) A Konkombwa Giant; (2) Paying Carriers in Salt; (3) The Old Uro Djabo of Paratau; (4) A Live Alarum Clock; (5) Boy Scouts | [62] |
| Market Scene in Paratau | [72] |
| Native Boys at Paratau | [74] |
| Cinema Films:—(1) Women Hairdressing; (2), (3) Baby's Bath; (4) Better than the Tango; (5), (6) Scenes from "The White Goddess" | [88] |
| Cinema Films: Bead-making | [94] |
| A Hausa Woman | [104] |
| Tschaudjo Girl from Bafilo | [104] |
| Konkombwa Warrior | [112] |
| Camping Out in the Bush | [112] |
| Konkombwa Dandy | [116] |
| Young Konkombwa Warrior | [116] |
| Cinema Films: A Woman's Work | [120] |
| Tamberma Fort | [128] |
| Canoeing on the Oti River | [134] |
| Chiefs' Compound | [138] |
| Native Pig Iron | [138] |
| Unfortified Tschokossi Village | [144] |
| Natives Gambling | [154] |
| Sketch of a Fortified Tschokossi Village | [166] |
| Plan of the Same Village | [167] |
| Basket-making | [170] |
| Authoress and Dead "Hippo" | [188] |
| A Fine Head of Hair | [208] |
| Native Hairdressing | [208] |
| Young Konkombwa Warrior | [214] |
| A Huge Communal Corn-Bin | [224] |
| "Roman" Fort at Ibubu | [232] |
| Banjeli the Centre of the Native Iron Industry | [240] |
| Section of Old Native Iron Furnace | [244] |
| A Couple of Young Supers | [260] |
| A Study in White and Black | [260] |
| Native Village in Northern Togo | [280] |
| Cinema Films: Konkombwa at Archery Practice | [290] |
[A CAMERA ACTRESS IN THE
WILDS OF TOGOLAND]
[CHAPTER I]
LONDON TO LOME
Actresses who, like myself, specialise in cinema productions, frequently find themselves "up against" all sorts of queer propositions of a business character; and we are not, therefore, easily surprised out of that orthodox professional calm, which we all try, more or less successfully, to cultivate.
When, however, it was suggested to me, early last summer, that I should take a trip into the far interior of Africa, in a district where no white woman had ever been before, in order to play "leading lady" in a series of dramas of native life, I confess to having been for once completely taken aback.