Indigenous Museums in Bamenda Grassfields: The Unsung Open-air Museum in Kedjom Keku Fondom.
Keywords:
indigenous museum, open-air museum, unsung, bamenda grassfields
Abstract
The history of Intangible Heritage Convention which dates back to the late 19th century, involves the intensive collection of old objects, the construction of museums, the preservation of monuments, and the foundation of National Heritage Protection Programs in order to preserve locally rooted culture at all costs. Modern museums were described as a colonial legacy in Cameroon. This has posed a problem to indigenous museums, commonly referred to as openair museum in Kedjom Keku as they remain unsung because of the innovations introduced by the European concept of museology. Indigenous museum constitutes of artisanal workshop, ecological sites, and institutional photos like family album, religious institution, traditional architecture and monuments. Today, the paradigm has shifted to mean a building in which objects of historic, scientific, artistic, or cultural interest are stored or exhibited. This paper looks at the significance of indigenous museums as veritable tools in preserving Kedjom Keku cultural heritage.
Downloads
How to Cite
References
Evaristus Abam, Nyong (2019) Examining the Role Played by Museums in the Development of Cultural Tourism in Cameroon - A Case Study of the Babungo Meseum of the North West Region. 1(4), 10-13.
Kimah Abato, Debora (2023) Regional Chief of Service for Arts, Performance, Cultural Enterprises and creative Industries in the Regional Delegation of Arts and Culture.
Akumbom Abong, Irad (2023) Student. Fuphense Quarter in Kedjom Keku.
Lorna Abungu (2005) Museum and Communities in Africa: Facing the new Challenges. 4(2), 151-154.
Che Afumbi, James (2023) Chief of Archive and Records Management.
Mathem Aithnard, Kokou (1976) Museums and Socioeconomic Development in Africa.
Orhioghene Akpomuvic, Benedict (2010) Museums and Development in Africa. 4(4), 532.
Bassey Andah (1990) The Museum and Related Institutions and Cultural Resources Management.
Magnus Aniago (2015) Deities and Shrine in African Traditional Religion: The "Spark" in Igboland. 15(1), 2183-2185.
Raymond Asombang (1990) Museums and African Identity: The Museum in Cameroon -A Critique.
Nkiene Baneh, Meli-Ellen (2020) The Bamenda Regional Museum, 1972-2018. 40.
J Bowechop, P Erikson (2005) Forging Indigenous Methodologies on Cope Flattery: The Makah Museum as Center of Collaborative Research. 291(1/2), 264.
Ngeajung Chumbom, Frankline, Kingmaker (2023) Futang Quarter in Kedjom Keku. 4.
Philip Curtin, Feierman Thompson, Leonard (1978) African History.
Umberto Eco (1976) A Theory of Semiotics.
Grace Ewang (2023) Former Regional Delegate of Arts and Culture.
Elizabeth Ezenweke, Chikaodili Nwachukwu (2017) The Instrumentality of African Shrines and Sacred Places to Sustainable Development in Africa: A Phenomenological Approach. 3(5), 45-56.
Gediminas Petrauskas, Lijana Muradian, Augustina Kurilienė (1920) Archaeology of Modern Conflict and Heritage Legislation in Lithuania during Thirty Years of Restored Independence. (66).
Fon Vutsiboung, Vubangsi Benjamin In, Kedjom Keku (2023) Unknown Title.
Mathias Fubah, Alubafi (2016) Modern Museums in the Palaces of the Western Grassfields, Cameroon. 29(2), 21-37.
Christraud Geary (1983) Steiner, Franz, Verlag Wiesbaden GmbH.
Aluyendoh Gemoh, Julius (2023) Successor of Pa. Gemoh N. Vustile in Germany.
Sheavuboh Gemoh, Georgette (2023) Daughter of Pa. Gemoh N. Vustile in Germany.
Wusigah Gemoh, Magdalene (2022) Daughter of Pa. Gemoh N. Vustile in Germany.
Richard Hull (1980) Modern Africa Change and Continuity.
Benedict Igene, Ogbole (1990) The Use of Photography for Information Reinforcement.
Erica Jones, Perlmutter (2014) The Multiple of Objects: Museum, Memory and Modernity in the Cameroon Grassfields.
Erica Jones, Pertmutter (2016) A Lending Museum: The Movement of Objects and the Impact of the Museum Space in the Grassfields (Cameroon). 49(2), 6-19.
Evelyn Kabisumo (2023) Farmer/Twin Mother. Fuphense Quarter in Kedjom Keku. 4.
George Kemah, Maison (2023) Futang Quarter in Kedjom Keku.
Christopher Kemie (2023) Clayton, Rear Adm. Christopher Hugh Trevor, (born 21 May 1951), Assistant Director Intelligence, NATO International Military Staff, 2004-07.
Hans Knöpfli (2002) Living in Style Crafts and Technologies: Some Traditional Craftsmen and Women of the Western Grasslands of Cameroon part 4: Handicrafts, Music and the Fabric of Social Life.
Hans Knöpfli (1997) Sculpture and Symbolism Crafts and Technologies: Some Traditional Crafts men of the Western Grasslands of Cameroon part 2: wood carvers and Blacksmiths.
Cornelius Lambi, Martha Tumnde, Simo (2001) Cultural Significance of Works of Art in the Grassfields Region of Cameroon. 1(5), 80-95.
Julius Mbicho, Photographer (2023) Tokorh Quarter in Kedjom Keku.
John Mbiti (1969) African Religions and Philosophy.
Exodus Moffor, Tikere (2022) An Insight into the Cultural Significance of Indigenous Bowls in the Cameroon Grassfields Cosmology. 13, 356-383.
K Momin, A Okpoko, Ikechukwu Museums and People.
W Bassey, Andah (1990) Unknown Title.
Jeremiah Mundi, Toh (1990) Serving God My Way.
Ndimba (2023) Franey, David Francis, ( born 23 June 1965), Regional Employment Judge, North West Region, since 2020.
Victor Ngitir, Rene Bayena, Monteh Ngek (2021) The Survival of Community Museums in Cameroon. 2(2), 31.
Victor Ngitir, Bayena (2011) Bamenda Grassfields Art Collections and Museums:. 137-166.
Victor Ngoh, Julius (1996) History of Cameroon Since 1800.
Peter Ngole (2023) Retired Pioneer Curator/Museum Attendant of the Buea Public Museum.
Joseph Ngong (2023) Former Chairman of Kwifon society.
Eric Njinuwo (2010) Communication the meaning of Objects in Community Museums in Anglophone Cameroon. Case Study: Mankon Community Museum. 6-7.
Eric Njinuwo (2015) Community Museum and Meaning Making: A Survey of Community Museums in the Grassland Region of Anglophone Cameroon.
Solomom Njuh, Njuh (2023) Kingmaker/Farmer, Bamutoh Quarter in kedjom Keku.
E Nkwankwo, M Agboeze (2014) Community Development Approaches and preservation of Heritage Resources in Igboland. 143-160.
Paul Nkwi, J Warnier (1982) Elements for a History of the Western Grassfields.
Paul Nkwi (1996) A Conservation Dilemma Over Africa Royal Art in Cameroon.
Che Nshom, Patrick (2023) Retired Red Cross Worker/ Custodian. Futang Quarter in Kedjom Keku.
Kingsley Nwannennaya (2020) Chapter 4: Religious Functionaries in African Traditional Religions. 28, 240-253.
Ngambouk Pemunta, Tabenyang, Tabi-Chama Communitarianism and the Obasinjom mask performance in ritual healing among the Bayang and Ejagham of Southwest Cameroon.
Johnson Smith, B Georgia (2013) Unknown Title.
Richard Talla, Funteh, B Mark, Louis Wihbongale (2020) Utilitarian and Ritualistic Significances of the Calabash in the Kedjom Chiefdoms (Babanki) of the Bamenda Grassfields of Cameroon. 1(1), 11-19.
Unesco (2023) Convention Concerning the Protection of the World Cultural and Natural Heritage Paris, 16 November 1972. 135-148.
Maurice Toh (2023) Famer/Quarter Head. Futang Quarter in Kedjom Keku.
Gemoh Tsongwain, Christopher (2015) The Kedjom Culture Series One.
Eric Tum, Exodus Moffor, Louis Wihbongale (2023) Royalty and Ancestral Venerations: Commemorating /Teh Pfu Teh Vu'ntuh/ the Death of Palace Children of Kedjom Keku Fondom in the Cameroon Grassfields. 13(03), 253-277.
Eric Tum, Makiyighome (2021) Spiritual Debts as Idioms of Wellness and Distress: Tsuteh Nyu in the Conceptualization of Illness amongst the Kedjom Keku People. 1.
(2023) The United Nations Declaration on the Rights of Indigenous Peoples.
Bumuh Viyu, Martin (2023) Martin, Rev. Hugh, (7 April 1890-1 July 1964), Retired.
Michael Vugah, Photographer (2023) Ndeloh Quarter in Kedjom Keku.
Patrick Vuku (2023) Chair of Village Council in Kedjom Keku.
Frankline Vuyof, Kingmaker (2023) Chubali Quarter in Kedjom Keku.
Chia Wihbongale, Vincent (2023) Maison/Quarter Head in Muyuka.
Louis Wihbongale, Aghogah, Abonge Nkongwibuen, Laura (2023) Toristic Attractions in the Bamenda Grassfields: The Kedjom Keku Natural Landscapes. 12(1), 72-79.
Linda Ankiambom (2022) THE ORIGIN, EVOLUTION AND CHANGING PERSPECTIVES OF WIDOWHOOD IN THE BAMENDA GRASSFIELDS OF CAMEROON SINCE THE PRECOLONIAL PERIOD. 3(1), 836-852.
Louis Wihbongale, Aghogah (2015) The production and Symbolism of Kedjom Keku Works of Arts, 1961-2014. 62.
Ian Woodword (2007) Understanding Material Culture.
Published
2024-01-19
Issue
Section
License
Copyright (c) 2023 Authors and Global Journals Private Limited

This work is licensed under a Creative Commons Attribution 4.0 International License.