The carving objects of Kom as elsewhere in the Grassland of Cameroon has meaning and different forms of interpretation depending on the different inscriptions that are on them. They reflected different aspects of the people’s culture and their way of life. In Kom most cultural values were preserved through works of arts as a whole and carved works in particular. This objects were designed and kept as treasures in palaces or compounds of importance or were just tangible or craft objects that were deigned to be used in different domestic and other functions like cultural activities. The Kom craft even though had some peculiarities with carved objects in its neighborhood still maintained its originality. The different ethnic groups located around Kom as the next paragraph indicates had carving sectors as well. 

As regards the location of Kom, it is worthy to note that it is one of the most populous ethnic group in the Grassland region of Cameroon. This study area falls between latitude 6°7' and 6° 43' North of the Equator and 10°4' and 10°33' East of the Greenwich Meridian. Kom is bounded to the South by Babungo and Kijem Keku (also known as Big Babanki), to the South West by the Kingdoms of Bafut, to the North West by the Aghem Federation, to the North by the Fondoms of Bafmen, Bum and the Fondom of Oku and Nso to the East [1]. These areas have patches of forests that are rich with carving trees. 

The wooded items produced in Kom included statues, masks, walking sticks, chairs, eating bulls, mortars, spoons and many other items like drinking cups and palm oil containers. The carved objects had different designs that symbolized different aspects of the Kom culture; for instance, the masks that were used during festivals carried the heads of different animals like the lion, elephant, human, leopard, buffalo, birds and the snake. These objects portrayed the different spirits that existed in Kom traditions and belief system [2]. The masks were used in traditional dances and other festivals. 

The artist in Kom that were involved in carvings worked within a particular stylistic tradition of Kom which was as the result of their feelings, perceptions and skills and this made their final product to be unique and could be differentiated from that of other areas. This confirms the arguments of Hammond who assert that African traditional arts are intensely symbolic. It is mostly for rituals and other aspects of their culture. African traditional arts are representing their psyche which focused on their attention on the material object. The observer viewing their traditional art should know that its depth knowledge and understanding of the study, the next part highlights some conceptual clarification.

Conceptual Clarification

This study focuses on wood carving and its cultural heritage in Kom. Generally, the carving tradition of the Bamenda Grasslands and Cameroon as a whole had received considerable attention in ethnographic literature. For example, Chilver and Kaberry explicitly state that the Kom, Kijem, Oku and Bamungo who are all neighbors had a rich carving sector and some prominent carvers were royalties [3]. Nkwi and Warnier confirm this as they illustrated that carving and other craft specialties were booming sectors in the Grasslands and played a great role in the society. Warnier further indicated how the people were specialized in high rate wood sculpture for royal decoration. Knöpfli in another dimension explains the significance of works of arts with animals and human’s motifs among the people of the “Western Grassfileds”. This works of arts helps to uphold their culture and tradition. In the similar light, Ebune raises the issue of people’s culture which needs to be uphold because of emerging globalization. Klopper also highlight that reconstruction the history of carved royal chairs in Zulu is problematic because of lack of evidence and inability to preserve some of the chairs. Ndeh and Ngeh shows the power of the Royal staff and stools with artistic designs among the Ngembas clan. The authors depicts royal stools with motifs which project royalty. This existing literature remains imperatives for the present study. This is beacuse it clarifies the academic niche which the study sets out to fill-the significances and interpretations of symbols embedded on the Kom carved works of arts.

Carved Objects 

Carving was very common among the people of Kom. This was testified by some prominent writers. For instance, Chilver and Kaberry argues that Kom, Oku, Babanki and Babungo had prominent carvers in their communities. They further analyses that even though all other chiefdoms had their own carvers quite capable of turning out mortars, cam wood-mixing bowls, pillars, door posts, stools masks and chairs, the high quality artistic pieces came mostly from the chiefdoms mentioned above which were all neighbors [3]. This means that this particular area was rich in the production of carved material. Some of the prominent objects that were carved in Kom are analyzed below. 

Masks 

Masks which had different designs as well as stools were used in the enthronement of Fons, enstoolment of lineage heads, initiation into some cults and decoration of great achievers. Some masks and masquerades provided answers to ancient mythical puzzles and their presence in everyday life represented mythological spirits known to protect the local community from evil doers and wizards [4]. They were believed to protect the people wearing them. Masks and masquerades were also used to capture restless spirits of the living death which could not be caught at the moment of their death. Religious art gave material expression in visible and tangible forms to superhuman beings and entities. The Kom people had several carved masks objects that had an indispensable significance to their culture and tradition. Some of these masks are indicated in Figure s 1and 2 below.

Masks and Historical Reflections 

Masks were wooden objects that were produced using soft sticks which does not crack easily. The masks were meant to be seen in action during traditional performances. Masks were quite outstanding in terms of designs and outlook. They were elements of long traditional history in Africa. In the African traditional set-ups, the use of masks has been associated with agricultural rites, funeral and initiation rites and they equally explain the kinds of gods that were worship by the people. Some masks symbolize spirits. Some were designed to capture the strength of a human being or an animal. The used of mask for traditional performance was generally devoted to men while the women were not allowed to see some of these masks especially pregnant women. In African traditional set-ups, the use of masks has been associated with agricultural rites; funeral and initiation rites and they equally explain the kinds of gods that are worshipped by the people [4]. African art like mask are enchants, excites, and haunts the imagination of modern man. Therefore, masks in particular were and are used by secret societies which held ceremonies aimed at aiding and controlling the fertility, health, and productivity of the community. Such ceremony also attempts to protect the community from sorcerers, witches or evil spirits. An individual wearing a mask in a dance would become possessed by the mask’s spirit [5].

Figure 1: Kom Juju Masks 

Source: Adopted from Tamara Northern, The Art of Cameroon, 4

Figure 2: Prestigious Royal Mask 

Source, Field Work collection 24, 01, 2020

In addition, masks were made of different shapes and sizes carrying animal faces like Buffalo, elephant, leopard and a panther bird and human face. The harrowing quality of this dancing masks came from wearer’s belief in the spirits represented by the masks, strange forces that were supposed to flood through him.

This mask in Figure 1 above among others were used to be displayed in funeral ceremonies by its members because it was belief that it was the best way to make the death rest in peace. Masks were used in ceremonies, generally depicting deities, spirits of ancestors, mythological beings, good and bad evil spirits, the dead, animal spirits and other objects that were believed to be having power over humanity [6]. The person wearing any mask was automatically transformed by the spirit of that mask and his actions were to reflect the animal or position that the masquerade had on the community. Masks from rural compounds or popular quarter head compounds in Kom like the once in Figure 1 and Figure 2 were viewed with respect and the person behind such masks usually displayed with honour and prestige which symbolized the position of the masquerade in the set community.This masquerades in most circumstances were own by law enforcement agents in the community like the Fon, Quarter heads or some big compounds. For this reason, disrespecting such masquerades was an indirect disloyalty to the owner and it was punishable. Apart from this, the Fon of Kom was addressed as “cha’mufo” ( kicker of things), Lum- nyam( King of all animals or big animal) and Nyamabo (leopard). These praise names reflected his power and supreme authority over his subjects and the protection they needed [3]. Apart from masks, there were also carved chairs which had similar symbols as the next paragraph analyses.

In Kom the chairs that were used by women were different from the once that were used by the men. Even the once used by the men were in different categories depending on their role and function in the community. These carved chairs had different symbols and structure which varies depending on the person using them.

Most royal chairs like the first one in Figure 4 with elephant inscription was an indication that the fon was like an elephant. The second stool in Figure 4 was an indication that the fon or any family leader sitting on it was crown by the people and he remained there because the people were supporting him as the caving depicts. Also, carving had symbols of animals that the fon was called.

Figure 3: Women Chairs 

Figure 4: Carved Chairs

Source: Authors Collection, Mbessa, December 2019

Carved objects especially the chairs in Figure 4 also had several designs and different cultural meanings. The one with the elephant head as well as with Kings and crowns shows dignity and could only be used publicly by distinguished personalities and members of the ruling class. Family heads also had their own chairs that were designed for them. In a man’s house, one could fine several carved chairs kept in his sitting room for his visitors like the once in Figure 5.

Figure 5: Male Chairs

Source: Authors Collection, December 2019

In the Kom society, it is very difficult to enter a man’s compound or house and does not find a carved chair. Apart from chairs, statues were also very vital in the history of Kom because of its role in the people’s history and culture. Some of these statues were smaller in size and others bigger. Statues were used to convey a people’s belief pattern and way of life. The statues sometimes had pearls and cowries. They were used to commemorate kings, queens, princess, princesses, notable servants or protective guardians. Some of the statues were used in various purpose in rituals by the community like ancestral worship, divination, healing, justice and fertility rites. Generally, masks, figurines and some statues honored the dead, implored the gods for early rains, cleansed a village of disease or witchcraft or even celebrated a deity. An example of a prominent Kom totem or deity was Afo-A-Kom.

Afo-a –kom (Mbang)

Afo-a-kom which literally mean ‘the Kom thing’ was a male and two female statues with joined stools as seen on Figure 6. This was a carved object and had been one of the greatest artifact in the Kom Fondom. It was an embodiment of spirits and acted as a unifying factor to the so many kom villages. Most carved objects with animal or human faces as had already indicated had an underlying meaning and significance [7]. The human and animal masks associated with societies had sometimes been described as representing ancestral or nature spirits. It was generally in most cases not the mask itself which has the potency but the medicine or charms owned by the society of which it is an emblem [3]. So, most carved objects were regarded depending on its spiritual significance to the community as the Afo-A- kom literally translated as Kom thing [8] This iconic totem which became very famous has been analyzed in this paper.

Figure 6: Afo-a –kom (Mbang)

Source: Adopted from Tamara Northern's Art of Cameroon, Photographed by Adolf Deihli Circa 1900

These three totems in Figure 6 were in human size and height. It had great significant to the Kom people. The father “Nyamabo” symbolized the ruler of the Kom people. The mother “Ifuochini” symbolized food which means she was responsible for the providence of family and community food. The third one the child “Wain” was like the pride of the community and family. The one that was stolen was the father. These statues were the gods of the people. 

This could be likened to other communities around the world. For instance, the mother Goddess could be said to be as universal as the religious impulse itself. Whether she is an inherited figure of the human psyche or one created by the common experience of life itself. One could not presume to judge, but she seems to have eternal life. Her powers waxes and wanes; sometimes she is almost disposed by her son or by the divine power, but she lives on the mine of the worshiper, whether he calls her Nentinugga, Ishtar, Isis, Hara or Mary [9]. Among the Tiv people of Nigeria, there were female carved figures with elaborately facial and abdominal scarification, it necks, knees and hips adorned with beads. This female pedestal figure known as mtam, was associated with good marriage and successful hunting and farming [10]. This was similar to Kom where the Female totem of Afo-A-Kom signifies fertility and prosperity. 

Apart from the fact that some African art objects were taken to the Western world, the Africans too that migrated went with their own artistic ideas. African diaspora deities particularly in their derivation but universally accessible in their earthly aspirations: love, success, health and wisdom. The alters had glittering testament, an accumulation of reverential offerings to Africa especially in West Atlantic world. 

Afo-A-kom as other African art objects were looted by the European imperialists. This Kom totem was stolen to New York city in 1966, discovered and was returned to Kom 7 years later after intense diplomatic maneuverings [2].The incident brought Kom to international prominence and since its return to Cameroon it is used annually by Kom inhabitants for ceremonial purposes. The Fon of Kom can only see the statue once during his reign. This is during his coronation. After that he cannot longer see the totem. It is considered as the embodiment of his powers. However, he can see it as many times as possible before he is made Fon [2]. The palace and some compounds of notables had pots where people converged and drink during meetings.

Carved Pots 

Carved pots were used along size clay pots in the pre-colonial period. Carved pots were not used for cooking because it was carved out of wood. Rather, they were used for serving food and palm wine. Wine served in traditional gathering or ceremonies in these pots in Figure 7 was was very significant as it served as a unifying factor for the people. Carved pots were also used by livestock and cattle owners to give water and salt to their animals. Pots were also used in the households to store food stuffs and water.

This pot is very heavy and used to be made and kept only at the meeting or notable compound where people converge occasionally to discus and drink. This pots in most cases had it laws. A person having an evil intension or plotting evil against a brother or friend could not drink from the same pot with the person he had an evil intension because it could earn him his life. One could not also drink from that pot when he was bearing a grudge against the person whom they were drinking from the same pot.

Figure 7: A clay and carved pot used for drinking palm wine in traditional gatherings

Source: Authors Collections January 2020

The Royal Staff and Stool

The royal staff and stool were very relevant artistic designs among the Grassland people in general an Kom in particular. They were not only deemed as symbols of authority but they carried with them other important potentials that reflected the status of the Fon and his entire Fondom. The wood used to carved royal objects was well selected so that the carved object will be of high quality and durable as well. Royal were designed using symbols of some animals like lion, crocodile, elephant, leopard, lizard, antelope, buffalo and the python. Carvings that carried these animals symbolized royalty. Most sculptures or carvers whose works represented these animals offered it to the Fon as a gift and in return he was honored with a red feather. Stools that were made for commoners could not carry these important symbols. The symbols that were reserved for notables and commoners were different. The different classes that existed in the Kom society were represented in the carved objects especially stools, chairs and walking sticks. These styles, themes and models of objects created by the artists in the past in Kom country represented the peoples History and how their society was hierarchically stratified.

The royal staff was equally very important carved object that portrayed the people’s history. A starve was the walking stick that was held by the Fon. In most of the Grassland Fondoms, this staff was usually designed in a special way with different decorations inscribed on the stick. In some cases, the head of the stick was designed to picture the head of a crocodile or a snake. Others carried the head of a lion or tiger. What is important to note here is that these different items that were inscribed on the walking staff carried different meanings and actually portrayed the level and authority of the Fon [5]. Fons who were warriors decided to make their walking staff to be a spear. The spear symbolized the warlike nature of the Fon and his people. It was therefore not surprising that historians and other social anthropologists could make meaning out of the meaning out of the objects that were carried by Fons. Apart from stools and staffs, traditional cups that were made out of wood and animal horns also constituted important historical symbols [5].

Traditional Cups and Historical Symbolism

Traditional cups were specially designed items that carried different symbols and the symbols that were carved on the cups varied from one class of the society to the other. Traditionally, a man’s drinking cup reflected his status in society. Cups that were made from the horn of a buffalo were reserved for the King or notables. Commoners were not allowed to carry such cups around. Thus, carving a cup required an extraordinary specialist whose age and experience in choosing the material used for the production played an important role. Cups that were made of the dwarf horn were commonly used by princes and princesses and this reflected nobility. 

Traditional cups were considered the most precious and sacred insignias of the land. It was a symbol of power and any person who possessed it was considered a family head with a very important role to play at the level of the family and the entire village. The traditional cup was therefore a delicate heirloom that was handed down from one generation to the other and often to the most honored member of the family. These cups were used to perform libations and important rituals with regard to the survival and good health of the family. They were used for reconciliation in the event of family disputes. These traditional cups were also used to place a curse on a person or family member who decided to bring shame upon his family or an entire community. The shame was in the form of suicide, witchcraft practices, murder and disrespect of a title holder. Abominable acts like adultery were also seriously cursed using these traditional cups that were believed to carry a lot of powers.

Another type of traditional cup was the cow horn that was mostly used by commoners. Traditional cups were believed to be linked to the ancestral spirit and the powers of the predecessor. It was used for blessings of all kinds be it in the case of a new born or a marriage ceremony. Therefore, drinking out of the ancestral cup, a couple had the blessings of the ancestors that were manifested in child bearing and peace in marriage homes. These ancestral cups were thus very important instruments that were used to convey a people’s history.

Talking Drums and the Transmission of Information

The talking drum was an important instrument in the history of Kom. It was a wooden object that was designed in a special way that it produced different sounds. The message conveyed through the talking drum was mostly interpreted by the elders who had a mastery of the language and the understanding of the sound of the talking drum. The talking drum was usually placed at the entrance of the palace and in almost every home it was at the center of the yard in front of the compound. In Kom quarter head compounds also had the talking drum as seen in plate 8. These talking drums were used to summon the villagers when the need arose. Important messages were conveyed through the talking drums. For example the death of a king maker or an important personality was often announced through the talking drum. The chief or quarter head also used this forum to summon people for community labour. Thus, these drums were used as a traditional form of telephone and the media or radio. Ndeh asserts that History was not only conveyed through legends and myth but carved drums were equally used as historical instruments [5]

Figure 8: Talking Drum, Nguh 

Source: Field Work Compilation, Muteff, 15^th September 2019

When the chief had to summon the war council, this was done using the talking drum. The various manjongs also used this instruments to pass across war messages. It can therefore be observed that the Kom had a rich history of communication.

The drum especially the talking drum and the skin covered drum as seen on plate below could be mankind’s most antient means of communication in the Grasslands. There were many types of drums, the talking (slit) drum served the local community as a rallying signal, often used by the fon and quarter heads or their representatives to summon his subjects for a special message (declaration of an intertribal war, welcoming an august guest, announcing the planting season, summoning manjong members or juju groups and so forth). It was also used to pronounced important assignments (road or bridge constructions, work on the fon’s farm and so on). It equally served some palace dance or cult groups (chong) either as musical instruments or similarly as rallying signal for their members. These dance groups had drums as seen in Figure 9.

Figure 9: Big and Long Drum 

Source, Authors collection, January 2020

Figure 10: Juju Display at Death Celebration

Source, Authors Collection, December 2019

In Kom there were big, small, upright, horizontal and inclined drums. There was also round shape drums, straight and slim waited drums. Some drums were plain and simple looking while others were rich and beautifully carved with symbolic decoration. Others were played singly or in sets. Some drums were played sitting or kneeling. Some drums were held between the knees, while others were either held in the hand or under the arm to be played. This drums were mostly played during the dancing displays of masquerades as seen in plate 10 or during the dancing ceremonies of njang groups.

The work of arts was indispensable to the people of Kom because of its socio cultural and political significance to the people. This was mainly due to the people’s commitment to their belief system, symbols, knowledge of law and customs and habits that contributed remarkably to the cultural survival of the people. Even though over the years the carving sector has been affected by westernization and other arenas of globalization, it worthy to note that the sector has continue to triumph or to be resilient. This has been because of the great value that the people of Kom attaches to it. Art works especially carving contributed in the sustainability of the people’s belief patterns. It equally symbolizes the cultural practices of the people of Kom. In fact, it is very difficult to separate Kom history and culture from its carvings.

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