Mambila Art
editThe Mambila Plateau lies north of the grasslands. The inhabitants developed unique art styles of sculpture made of clay, terracotta, pith, and wood[1]. Wood carving is done primarily by men, although, ther is no one specific specialist of creation. Tools are a creation of the carver themselves, creating tools as needed. Things like chisels, curved knives, straight knives are made by the sculptor. Using these handmade tools leaves room for error and never leaves and entirely smooth surface[2]. Sculptures with heart shaped faces symbolize the earliest artistic endeavors, while current mask display stylizations of birds, beasts, and humans. A majority of Mambila figures in the Mambila Plateau were taken by art traders in the 1960's and 1970's, leaving very few figures and sculptures to be documented[3]. The most documented figures of the Mambila culture are Tadep and Kike figures.
Figures
editTadep depict male and female pairs usually carved from low density wood. They can also depict singular figures of multiples of one sex. Kike are figures carved and made from the pith of raffia palm. and are larger statue type figures. These figures would often be placed inside of granaries, while other statues are displayed on the outside as well. These objects were sacra of associations related to illness and healing. Tadep and Kike were part of the Sauga association[4].
There are several eccentricities that set their art apart from other cultures. Mambila figures made of soft pith, and the attachment to shrines and sacred enclosures are something that only certain sexes are allowed to see. The pith figures were to act as embodiments of visiting ancestral spirits. Ancestral spirits guarded family treasures located within shrines by embodying these figurines. Another distinction is the annual application of their color scheme of red, white, and black to functioning objects[5]. The male figure had a small opening in the abdomen as a receptacle for food particles, while the female figure had a blocked off abdomen opening[6].
Tawong Festival
editDuring the biannual dance that takes place in June or July and November or December, the young unmarried people of the villages are allowed freedom of sexual experimentation. Typically after the dancing and pairing off of the unmarried, they celebrate the planting of crops with a celebration that happens only for men. Men travel from village to village for festivities which include dance, sports, and form friendships that promote intertribal relations. Masks are worn during this time and can only be seen by men. The "Suah Bvur" is a mask of the first rank, typically like a helmet and worn over the head, resting on the wearers shoulders. It is always accompanied by a number of second rank masks like the "Suah Dua", which rest on top of the head[7]. Almost all masks and art figures are kept from women as they are not allowed to see them, or be any part of them.
Language
editThe Mambila say they "have never left their past homeland". Previous and extended contact with other Bantoid and Bantu language groups is traceable. Dialects have been recorded, but there is not one common language among the plateau. Mambila's cultural heritage is resembland of the Fulani culture in their current environment[8]. A large number of inhabitants of the Plateau moved into the lowlands of the Banyo District of Cameroon's Adamawa.
- ^ Gebauer, Paul (1979). Art of Cameroon. Portland Art Museum. p. 39.
- ^ Schwartz, Nancy. Mambilla - Art and Material Culture. Milwaukee Public Museum. pp. 14–16.
- ^ Zeitlyn, David (Autumn 1994). "Mambila Figurines and Masquerades: Problems of Interpretation". African Arts. 27 (4): 38.
- ^ Zeitlyn, David (Autumn 1994). "Mambila Figurines and Masquerades: Problems of Interpretation". African Arts. 27 (4): 40.
- ^ Gebauer, Paul (Winter 1971). "Art of Cameroon". African Arts. 4 (2): 32.
- ^ Gebauer, Paul. "Art of Cameroon". African Arts. 4 (2): 185.
- ^ Schwartz, Nancy. Mambilla - Art and Material Culture. Milwaukee Public Museum. p. 15.
- ^ Gebauer, Paul (1979). Art of Cameroon. Porland Art Museum. p. 40.