185 Abibisika (Black Gold) Points

Rank: Unranked Obibini

Colors occupy an important place in
Bamiléké culture. They are not solely used as aesthetic signs but also as symbols loaded with meaning representing cosmology, eschatology and the elements of creation.

“From ancient to modern times, colors, shape, line, and movement constitute branches not separated from being in Black Africa (Obenga, 1985; pg 103).”

Color symbolism in Bamiléké arts is closely linked to the natural environment, the social environment and culture where these arts flourished. They are very rich and steeped in spiritual beliefs(Notué 1988; pg. 476).

Black and Blackness are extremely important in Bamiléké identity. Black is the color of the night sky and the cosmos where life and reality itself originated. The primordial force Ké is also described as brilliantly black by the Bamiléké.(Notué, 1988; pg. 481). This indisputable and necessary force Ké permeated the supreme being and the first ancestor(s), Fossi(Mpfessi) during the creation process(Maillard, 1984). The Bamiléké believe that this Black force Ké is the foundation of existence in all creatures (plants humans, animals etc.) beings and things. There is a hierarchy among the elements of creation based upon the concentration of the force ké. Noble Fouowoum Tchouta describes this force as invisible and immaterial. Matter is only one of its emanations along with air, speech, rainbows wind etc. It is neither God nor a spirit. It is defined by its spectacular operation and is similar to transcendental forces in other Afrikan traditions(Notué, 1988; pg. 433).

The black tarantula called goom, gôm si’i, gob si’i or ngah si’i by various Bamiléké and associated with wisdom divinity and intelligence is the most revered oracle. In West Cameroon, a legend states that after their departure from Kemet, the Bamiléké questioned the tarantula each time they arrived at a site that was probably suitable for their installation, whether their choice was good. The black tarantula only gave them an affirmative answer when they set foot on the present site. It is common among the Bamiléké to see people consult black tarantulas as as diviners. If a man is in engagement with a girl, he wants to know if their union will be a success or a failure. He goes to the mountains to find the burrow of a black tarantula. Once found, he cleans it all around and covers it with a small shed of straw or mat. At the entrance to the silk-veiled burrow, it slightly digs two small channels, one facing to the right and the other to the left, so that the whole forms a V pointed on its threshold. In each one, he places a stick about two inches long. As he put them down, he said, “If this woman is the one Nsi has reserved for me, then remove the stick from the right. But if it’s not mine, remove the one on the left. ” The next day he returns to the sanctuary to look for the result(Foaleng, 2019 pg. 1024).

Blackness is also associated with mystery and as stated before the eschatological conflict between life and death. Mkem members(secret societies) who are in charge of the administration of justice, and stand as the last line of defense for the throne of the Mfon, hide under black raffia fiber hoods in representation of the force ké. This lithurgical costume symbolizes their authority and their speedy justice (Notué, 1988; pg 473). The most senior wear carved canes whose decoration is made of kinds of ideoplastic grams relating to the doctrine of this society (Notué, 1988; pg. 738). Bamiléké society is characterized by the rigorous discipline imposed on its members, a strong organization under the leadership of Mfon. This society is hierarchical and the customary associations mkem are essential spiritual and political cogs which strengthen the powers of the sovereign Mfon and his notable kam (Notué, 1988; pg. 463).

The mkem are separated into three grades:

1. The society of the descendants of the Mfon or princes
2. The society of the servants of the throne
3. The society of the commoners(Notué, 1988; pg. 161)

Born of social demands which in the details do not pair identically from one sector to another, these societies are of a great variety from one chiefdom to another (each Mfon ascending to the throne and under specific conditions, can create a new society). But some types of mkem (related to the very essence of the original monarchical institution of the nafo) are found in each sector of the Bamiléké plateau, despite sometimes having different names and in some case particular modifications according to local needs (Mkamvʉ’ʉ, Mkamsombʉa, Kemjya, Ku’ngaŋ, Kwo’si, nyaleŋ, etc.) (Notué, 1988; pg 831-834).

FOALENG, J. (2019) “Chapter 5: Section 2.” Les Voyants Africains: Le Cas bamiléké: Les Mkam Si, Éditions De Midi.

MAILLARD, B. (1984), Pouvoir et religion. Les structures socio-religieuses de la chefferie de Bandjoun (Cameroun), Berne, Peterlang, 2e ed.

NOTUÉ J.P. (1988) La symbolique des arts bamiléké (ouest Cameroun) :Approche historique et anthropologique Thèse de doctorat, PARIS SORBONNE.

OBENGA, T. (1985), Les Bantu, Paris, Présence Africaine.