ETHAF 033554

"planche des objets"

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033554
Plate of Objects
Drawing by Ibrahim Njoya
Cameroon, Grassfields, Foumban
Bamum kingdom. Circa 1930
Drawing paper, Indian ink and coloured pencils
Gift of the missionary pastor Jean Rusillon in 1966
MEG Inv. ETHAF 033554
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This work shows the sacred objects made at the king's request by specialised families. It was probably commissioned by a European.
Ibrahim Njoya has arranged the objects according to their owners and their use: royal or princely headdresses, musical instruments and masks from the secret societies frame the ntieya fabric in which the kings were buried, in a sitting position. The regalia were kept in the palace and worn on very rare public occasions. In 1910, the king liberalised the use of motifs and materials previously reserved for the court, paving the way for a flourishing craft industry. In the late 1920s, when his power began to crumble, Njoya created a museum to keep control over these objects. It was the first museum created by an African king in Central Africa.
Alexandra Loumpet Galitzine

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Ressources

Cameroon Grassfields Map

The Kingdoms of the Cameroon Grassfields

In the west of present-day Cameroon, a highland region known as the Grasslands or Grassfields shelters numerous tiny states: the Bamenda cultural area in the north, the "Bamileke" kingdoms in the south and the Bamum kingdom in the east. Before the colonial era, these kingdoms vied with one another in prestige and riches as well as in art and architecture. The kings commissioned the best sculptors and bronze casters from the neighbouring regions.

Masks performance. Bamum Kingdom

Masks performance. Bamum Kingdom. Photo by Anna Wuhrmann, Foumban, around 1920. Gifted by Josette Debarge in 1932. © Archives MEG

The "Memory" of Ibrahim Njoya

Descended from a princely family, Ibrahim Njoya (circa 1887-1966) was a relative of King Njoya and one of his closest collaborators. He had the same name as the king. He was involved in most of the royal inventions, including writing, and was a driving force in the development of drawing and wood carving, arts soon renowned throughout the Grassfields kingdoms. He thus incarnates the model of the modern Bamum artist, combining ancient know-how and renewal. His work explores several thematic registers and techniques: free drawing, portraits of the Bamum kings for which he laid down the conventions, maps, decorative motifs, carved panels, furniture. His drawings in the 1920s during the conflicts between King Njoya and the French colonial administration are essentially political. After the king's death in exile, Ibrahim Njoya worked for a varied foreign clientele of missionaries and travellers. The aesthetic value of his drawings then prevailed over their great historical value.

Alexandra Loumpet Galitzine

Le roi Njimoluh, fils du roi Njoya, devant les regalia les plus importantes du royaume bamum.

King Njimoluh, son of King Njoya, in front of regalia conserved in the Museum of the Palace of the Bamum kings at Foumban. Unknown photographer, around 1933. MEG Archives

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