Abstract

Dance which is a vital part of African tradition, is inseparable from culture. This research has examined dance as a form of cultural manifestation in the life of the Nkambe people.

This research has made use of literary elements like symbolisms, imageries and songs and dance, which forms part of the oral tradition geared towards promoting Cameroon’s culture and the traditional values of Nkambe. This study also shows how dance has enhanced the socio-cultural life of the Nkambe people.

CHAPTER ONE

GENERAL INTRODUCTION

0.1 Background to the Study

            For a long time, the study of oral literature was never taken to be of any importance by African Scholars. Consequently, Africans studied literature as if they had no literature. It took some time for them to know that literature is not only the written text in English or any other languages but a quality of imaginative thought. Africans have now started to study their own literature to better understand their roles. The more one studies the literature of a people, the more one comes In terms with the people’s civilization. By civilization here, I mean the people’s beliefs, custom, history and conventions.

Dance being orator, in most part of the world, it is used for entertainment just what the ancient Greeks did or to express some cultural activities. In any of the above cases, it has some cultural niche which must have developed. Such developments certainly had at the outset some desire to express cultural or traditional events. In most parts of African dance is used to celebrate occasions like birth s, deaths, naming ceremony and marriage rites. Bikutsi, Assiko, bottle dance and Makossa are some dances peculiar to Cameroonian society.

 

In the same vein, “Mbaya”, “Njuh”,  Njang”, Mkong, Berlin dance  are some dances characterizing the Nkambe society. Most of these dances are performed annually and on very special occasion like births, deaths and marriages provided the person concern is a member of the group.

To a Nkambe man dance is seen as an aspect of cultural revival, unity and sense of continuity in the tradition handed down from the older to the younger generation.

The Mfuh is the military hand of the place and so their dance is not performed any time or any where. It is being performed anytime or anywhere. It is being performed inside an enclosed building where only men who are members are involved. But at times it is being done in the public for every one to see with some of the rites which are very sacred not shown to every one. This dance is a symbol of cleansing and it done only when necessary and at Chief’s crowning ceremony and annual events.

Just like any other African, the Nkambe man thinks that the dances in “Mfuh deals with religious ideas and practices. The Nkambe people therefore use the “Mfuh” dance  to give an outlet to their emotional expression and as a means of communicating traditional life. It is in this sense therefore that “Mfuh” dance will be studied as literature.

The purpose of literature is to entertain to enlighten and teach which are some reasons for the dance, those involved do not even know that these aspects are involved in what they do. This study is an attempt to prove to those who think that literature or culture cannot be handed down through dance that it can and how interesting it is.

0.2 Historical Background

The Wimbum Fondom of present day Donga-Mantung Division are Tikar people. They are divided into three main groups, the war, the Tang and the Wiya. The war made their first settlement at Mbembe having travelled upland along the Mabe river valley. Mbembe their first migratory settlement and secondary center of dispersal, is generally referred to in War and some neighbouring traditions as Mbiribo. The war group which comprises the Fondoms and villages of Mbot, Nkambe, Njah, Wat, Nsoh, Ntumbo, Njab, Chup and Mbat are probably the first Wimbum-speaking people to reach and settle in the southern area of Donga-Mantung.

It is believed that the above mentioned movements were due to wars or search for fertile lands for cultivation. Since their arrival at the present-day Donga Mantung, they have gone through the rules of thirteen Fons; with the present one being Fon Jabo Ibrahim Nfor was enthroned on March 18th 1959.

Given the overall struggle for domination of smaller by bigger and more powerful nations that were characteristics of Africa before it’s colonization by Europe, Nkambe people’s movements were influenced by tribal wars against their neighbours. These wars led to loss of lives that led to the creation of this dance for the memorial service in honour of fallen war hero who were neither given decent burials nor whose corpses were even seen. The Nfuh dance is therefore the memorial celebration in honour of those who laid down their lives to defend the institutions of the village. It also celebrates the success and achievements of those who went for wars and came back successful and victorious.

Being believers in ancestral worship and the need to maintain close contacts with their ancestors, the Wimbum people pay a lot of attention to death celebrations during which prayers and sacrifices  are offered and singing and dancing are used to appease departed parents and also to celebrate victory.

0.3 Statement of Problem

The cultural aspects of the “Mfuh” dance has undergone tremendous transformation. This transformation has come as a result of contact with foreign cultures especially the western forms of entrainments like radio, televisions, internet and formal education which affects traditional modes. These modern forms

of entertainments have challenged the art of oral performance especially its cultural aspects. The primary objective of this study is to show how the link between dance as a whole, influence the culture of Nkambe. The study also hopes to put into print the cultural aspects and values of the Nkambe orature for the enjoyment of posterity in particular and a wider public in general.

Consequently, we therefore set out to investigate if the basis of the Mfuh dance has been tampered with.

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