In the heart of the Western Region of Cameroon stands the Historic Museum of the Bamoun Sultanate, a testament to the rich African heritage and the strength of the Bamoun people. Housing over 10,000 objects, it offers more than 600 years of history in its display of the treasures of the Bamoun kingdom, one of the oldest in sub-Saharan Africa.
The museum embodies both a tangible and symbolic place of memory. Its location and its treasures reflect the historical, cultural and artistic heritage of the Bamoun people.
Origins and Establishment
The Bamoun (or Bamum) kingdom in western Cameroon was established in 1394 by the Tikar prince Nshare Yèn. Settling in the region from neighbouring territory, he established the palace at Foumban. Nshare Yèn’s daughter became notable as the first female ruler of the kingdom. Her name means “skin of the sky”, a reference to her light complexion at birth.
Key Figures and Developments
King Mônjù (1461-1498) introduced an eight-day week, advancing the idea of chronological organisation. After a period of some stagnation, Mo'Nguh (1568-1590) reconstructed the palace, preserving royal heritage. The 11th king, Mbuombuo Mandù (1757-1814), expanded the kingdom through military campaigns but this was followed by a period of internal strife and massacres under Gbètnkom (1814-1817). When he died, power was left in the hands of his son, still a child.
Nguwuo (1818-1863) was a minister in the Bamum royal army who unexpectedly ascended to power. Despite not being from royal lineage, he restored the kingdom. He governed wisely for four decades until he was unseated in a coup by Nsangu, who was noted for his military skill and cruelty, but also his generosity.
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One of Bamum’s most illustrious leaders was Njoya Ibrahima (1889-1933), an innovator and cultural icon. He invented the A Ka U Ku script around 1896 and the Shümom language in 1912, promoting education and literacy. Njoya also established a hybrid religion, Nwet-Nkwete, blending Islam and Christianity with animist beliefs. His reign saw the construction of a magnificent palace in Foumban.
His son, Njimoluh, restored stability to the Bamum kingdom. He reintroduced the Nguon festival and served in Cameroon’s parliament, but faced challenges during Cameroon’s transition to pluralist democracy. Mbombo Njoya Ibrahim (1992-2021) held various high-ranking positions and modernised the kingdom’s administration. Nji Mforifoum Mbombo Njoya Mohammad Nabil (2021-) is the reigning monarch.
Architectural Significance and Symbolism
As the brainchild of architect Issofou Mbouombouo, the museum's architecture pays homage to the emblem of the Bamoun - a double-headed snake, a spider, and a double-mounted gong. The museum’s striking architecture is dominated by a two-headed snake at its entrance and a spider perched on top of it. Perched 1200 meters above sea level and spanning an area of 7.625 km², the Bamoun Sultanate's roots can be traced back to 1394 AD under the reign of Nshare Yen.
The kingdom’s coat of arms, featuring a mygale spider, a two-headed snake, and a double-gong bell, decorates the wall. Here's a breakdown of the symbolism:
- Two-headed snake
- Spider: Symbolic of industriousness.
- Double-gong bell
The premises of the museum, with its impressive collection of 12,500 artifacts, has outgrown its capacity, leading the current Sultan, Ibrahim Njoya Mbombo, the 19th of the dynasty, to commission the construction of a new, larger museum. This museum, designed by a native architect in close collaboration with the Sultan, seamlessly blends tradition with modernity.
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Museum Exhibits and Cultural Significance
A pivotal moment in Bamum history was King Njoya’s decision to open royal treasures to the wider community, breaking with the tradition of exclusivity tied to specific cultural ceremonies. He also reformed Bamoun craftsmanship.
A museum mediator accompanies visitors through almost a dozen key exhibition spaces, starting with the portrait gallery showing images of the 20 kings. This leads to vast murals, including one that illustrates the establishment of the kingdom. This leads to exhibits from the 2nd to the 10th kings. Items on show include Bamoun cloth. King Mbuombuo’s space displays a large statue of the 11th king in traditional attire.
In the centre of the room, a human skull and calabash are displayed. Highlights of the 12th and 13th kings’ space include royal headdresses, umbrellas and handbags. One then arrives at a room with audiovisual projections that offer insights into the secret societies of Bamoun culture. There are then artefacts from these societies (the Nguri, Mut-Ngu, and Mbansié) including dance costumes and masks.
Originally located in the royal palace, itself an architectural marvel, the museum was relocated to a new building under King Ibrahim Mbombo Njoya, the 19th monarch. This shift allowed for a more modern exhibition.
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The Issue of Restitution
The restitution of cultural objects taken from places like the Bamoun kingdom during colonial rule is a multifaceted issue. It involves emotional, cultural, political, legal and economic dimensions. The removal of Bamoun artefacts from their designated environments disrupted their cultural significance and function. In their new settings, they lost much of their meaning, becoming incomplete.
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In Bamoun society, cultural objects gain legitimacy through their use in socio-cultural practices under the authority of the palace, the pinnacle of the social structure. These objects serve dynamic roles, activated or deactivated depending on their context - be it rites, initiation ceremonies or public exhibitions.
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