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, there 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 hand of the sculptor, therefore, leaving room for error and a never entirely smooth surface[2]. Sculptures with heart shaped faces symbolize the earliest artistic endeavors, while current masks 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
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Tadep depict male and female pairs usually carved from low density wood. They can also depict singular figures or 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. Their figures made of soft pith, and attachments to shrines and sacred enclosures that only certain sexes are allowed to see. The pith figures were to act as embodiments of visiting ancestral spirits, which guarded family treasures located within the shrines. Another distinction is the annual application of their color scheme of red, white, and black to functioning objects[5].
Masks
editDuring the biannual dance that takes place in June or July and November or December, they celebrate the planting of crops, typically a celebration for only men. Men travel from village to village for festivities which include dancing, 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 rests on top of the head[6].
Language
editThe Mambila say they had never left their past homeland. Previous and extended contact with other Bantoid and Bantu language groupes is traceable. Dialects have been recorded but there is not one common language among the plateau. Mambila's cultural heritage is resemblant of the Fulani culture in their current environment[7]. 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. p. 14.
- ^ Zeitlyn, David (Autumn 1994). "Mambila Figurines and Masquerades: Problems of Interpretation". African Arts. 27 (4): 38. Retrieved October 2, 2019.
- ^ Zeitlyn, David (Autumn 1994). "Mambila Figurines and Masquerades: Problems of Interpretation". African Arts. 27 (4): 40. Retrieved October 2, 2019.
- ^ Gebauer, Paul (Winter 1971). "Art of Cameroon". African Arts. 4 (2): 32. Retrieved October 29, 2019.
- ^ Schwartz, Nancy. Mambilla - Art and Material Culture. Milwaukee Public Museum. p. 15.
- ^ Gebauer, Paul (1979). Art of Cameroon. Portland Art Museum. p. 40.