Conquest and Construction Palace Architecture in Northern Cameroon
Total Page:16
File Type:pdf, Size:1020Kb
Conquest and Construction <UN> African History Editorial Board Peter Geschiere (University of Amsterdam) Odile Goerg (Université Paris-Diderot) Shamil Jeppie (University of Cape Town) VOLUME 5 The titles published in this series are listed at brill.com/afh <UN> Conquest and Construction Palace Architecture in Northern Cameroon By Mark Dike DeLancey LEIDEN | BOSTON <UN> Cover illustration: Jawleeru Ndjakmoukon, Palace of Ngaoundéré. Ngaoundéré, Cameroon. Photographer Mark D. DeLancey, 1999. Library of Congress Cataloging-in-Publication Data Names: DeLancey, Mark Dike, 1973- author. Title: Conquest and construction : palace architecture in northern Cameroon / by Mark Dike DeLancey. Other titles: African history (Brill Academic Publishers) ; v. 5. Description: Leiden ; Boston : Brill, 2016. | Series: African history ; v. 5 | Includes bibliographical references and index. Identifiers: LCCN 2016018304 (print) | LCCN 2016019800 (ebook) | ISBN 9789004309104 (pbk. : alk. paper) | ISBN 9789004316126 (E-book) Subjects: LCSH: Palaces--Cameroon--History. | Architecture--Cameroon--History. | Fula (African people)--Cameroon--History. | Fula (African people)--Kings and rulers--History. | Fulani Empire--History. | Ngaound?er?e (Cameroon)--Kings and rulers--Dwellings--History. Classification: LCC NA1599.C3 D45 2016 (print) | LCC NA1599.C3 (ebook) | DDC 728.82096711--dc23 LC record available at https://lccn.loc.gov/2016018304 Want or need Open Access? Brill Open offers you the choice to make your research freely accessible online in exchange for a publication charge. Review your various options on brill.com/brill-open. Typeface for the Latin, Greek, and Cyrillic scripts: “Brill.” See and download: brill.com/brill-typeface. issn 2211-1441 isbn 978-90-04-30910-4 (paperback) isbn 978-90-04-31612-6 (e-book) Copyright 2016 by Koninklijke Brill nv, Leiden, The Netherlands. Koninklijke Brill nv incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill nv provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, ma 01923, usa. Fees are subject to change. This book is printed on acid-free paper and produced in a sustainable manner. <UN> For Art With Love ∵ <UN> Contents Acknowledgements ix Transcription, Translation, and Transliteration xi List of Illustrations xii Introduction 1 1 Architectural Form 17 2 Political Symbolism 65 3 Spatial Orientation 108 4 Ritual Movement 163 5 Secrecy 233 Conclusion 265 Bibliography 269 Index 290 <UN> Acknowledgements The research and writing of this book benefitted from the support of numer- ous institutions and individuals, some of whom are unfortunately no longer with us. First, thanks are due to my copy-editor Dawn Nell for her help in get- ting the text into publishable condition, as well as to Franca de Kort and Peter Buschman at Brill Press, the reviewers, and the series editors Peter Geschiere, Odile Goerg, and Shamil Jeppie for their patience. Funding and support at various stages was received from DePaul University Research Council Summer Grants and Paid Leaves, las Summer Research Grants, as well as a Franklin Grant from the American Philosophical Society and Visiting Scholar Appoint- ments at Northwestern University’s Program of African Studies. Other grant sources have included the Aga Khan Program for Islamic Art and Architecture, Mellon Foundation, Damon Dilly Grant, Frederick Sheldon Traveling Fellow- ship, and a Whiting Fellowship in the Humanities. At DePaul University, I must thank all of my colleagues in the Department of History of Art and Architecture, and especially Paul Jaskot, Lisa Mahoney, and Susan Solway who read and commented on portions of the manuscript. At Harvard University, I thank Suzanne P. Blier, David Roxburgh, Gülru Necipoğlu, Jeff Spurr, and Andras Riedlmayer. In France, Switzerland, and Germany, I thank Anne Zourabichvili, Mme. Pierre, M. Garcia, Paul Jenkins, Bernard Gar- di, Eleonore Schmitt, I.D. Wolcke-Renk, Christina Seige, and Hermann Forkl. There are numerous people to thank in Cameroon, including Bernard and Eunice Nzo-Nguty, Carl Ebobissé, Joseph-Marie Essomba, Verkijika Fanso, Jean-Paul Notué, Martin and Dorothy Njeuma, Edward Ako, Edmond Biloa, Claude Digara, Thierno Mouctar Bah, Ndji Menoung, Martin Elouga, M. Bertin, Charles Mbouti, Ahmadou Toukour, Joseph Danjie, and many others. In Ngaoundéré, I would like to thank Lamido Ngaoundéré Moham- madou Hayatou Issa, Kaygama Mboum Baba Moussa, Moussa Ndjiki Hayatou, the Lamido’s Personal Secretary Aboubakar, Court Secretary Ahmadou, Court Secretary Abba Hassan, Sarkin Ara, Pana Amadou, Palace Guide Hamadou, Chef Bamoun El-Hadji N’ji N’joya Arouna, Hamadou Adama, Mme. Fadima- tou, Mme. Hadidjatou, Eldridge Mohammadou, Lisbet Holtedahl, Ketil Fred Hansen, Gilbert L. Taguem Fah, Evelyne Tegomoh Ngwaelung, Saïbou Issa, Iya Moussa, Mamoudou, Hamadou, and Faouziatou Dandi. Elsewhere in northern Cameroon, I thank Bellaka Ngew Saliou Saomboum, Sultan-Bellaka Mbang- Mboum Mbang-Birni El Hadj Hamadou Sadjo Aboubakar, Yaya Alim, Djaouro Idool Mohamman Haman and his brothers, Lamido Tignère Abbo Adamou, <UN> x Acknowledgements Lamido Galim Wan Djallo Hamadina, Lamido Ngadjiwan Djibrilla Djibi Danki, Lamido Kontcha Aboubakar Ibrahim Déwa, Yérima Haman Adama, Yérima Mansourou Déwa, Lamido Tibati Mohammadou Barkindo, Yérima Abdoul Wahhabi, Charlie and Barbara Bunk, Lamido Banyo Mohamman Gabdo Yaya, Lamido Tchéboa Moussa Aboubakary, Matakarda Bobboy, Sarki Pawa Bou- bakari, Lamido Touroua Ali Moustafa, Lamido Garoua Alim Garga Hayatou, Modibo Ahmadou Bassoro, Lamido Demsa Mohamadou Moustafa Moussa, and Lamido Bibèmi Daouda Alidou. <UN> Transcription, Translation, and Transliteration All interviews have been transcribed by the author. All translations, except as noted in the text, are the author’s own. All proper names, whether personal, topographical, or otherwise, use the transliteration commonly used in northern Cameroon; that is, all proper names will use the Francophone transliteration. I have used the conventions established by unesco in Bamako in 1966 for the transliteration of Fulfulɗe terms, and more precisely follow the specific transliterations used in Galina Zoubko’s Dictionnaire peul-français.1 Letters which may be unfamiliar to the general reader include the implosives “ɓ” and “ɗ,” as well as “ŋ,” which sounds somewhat like “ng,” and “ƴ,” which takes on the value of a glottal stop. Also perhaps unfamiliar are nasalized consonants in which an “n” or an “m” precede another consonant, as in the term ndiyam (“water”). The consonant “c” takes on the value of “ch” in English. Doubled vowels or consonants indicate an elongation of the sound. A major difficulty in learning Fulfulɗe are the wide differences in dialects. Thus, even in the small geographical area with which this study is concerned, several differences arise in dialects. Most common are the simple substitutions of “p” for “f” and “s” for “c.” Also frequent are the inclusions of terms from various local languages. Thus, for example, Mboum terms are regularly introduced into the Fulfulɗe of Ngaoundéré, which may not be used in the Fulfulɗe of Garoua or Maroua. For Mboum, I have used Shun’ya Hino’s transliteration in The Classified Vocabulary of the Mbum Language in Mbang Mboum.2 One of the peculiarities of Mboum for the general reader may be that it is a tonal language, a not un- common feature of African languages. Mboum uses three tones: “´” high, “`”low, and “ˆ” falling. The use of different tones changes the meaning of term. 1 Galina Zoubko, Dictionnaire peul-français, Senri Ethnological Reports 4 (Osaka: National Museum of Ethnology, 1996). 2 Shun’ya Hino, The Classified Vocabulary of the Mbum Language in Mbang Mboum with Ethno- graphical Descriptions, African Languages and Ethnography 10 (Tokyo: ilcaa, 1978). <UN> List of Illustrations All images are the work of the author unless otherwise noted. 1 Map of Cameroon indicating sites mentioned in the text 7 2 Banco construction. Ngaoundéré, Cameroon 24 3 Ruined building made of tubali. Koulawa, Cameroon 24 4 Replastering a wall. Boundang-Touroua, Cameroon 26 5 Molded unbaked bricks drying. Maroua, Cameroon 27 6 Roof framework. Idool, Cameroon 28 7 Internal supporting framework for the roof of the palace entrance. Ngangha, Cameroon 29 8 Thatching a roof by the cut ends of the grass. Idool, Cameroon 29 9 Jawleeru Njakmuukon thatched by the tufted ends of the grass. Ngaoundéré, Cameroon 30 10 Jawleeru with netting over the thatch. Tchéboa, Cameroon 32 11 Degraded roof-cap revealing its underlying framework. Ngaoundéré, Cameroon 32 12 Man wearing an mbuloore. Guassanguel, Cameroon 33 13 Palace entrance, nineteenth century. Rey, Cameroon 35 14 Roof distinctive of the Far North Region. Tchéboa, Cameroon 36 15 Detail, roof of the palace entrance. Rey, Cameroon 37 16 The author and Yaya Alim before a sekko fence. Mbang-Mboum, Cameroon 41 17 Compound entrance flanked by kírà dámpáánî. Saadek, Cameroon 42 18 Palace entrance with sekko fencing. Tibati, Cameroon 46 19 Contemporary palace entrance flanked by the garage on the left and the sec- retariat