This book is a descriptive and documentary analysis of the Mankon I-language and E-language mirrored through aspects of history, geography, flora and fauna. These aspects manifest in the taxonomic nomenclatures attributed to referents in society. Because these referents were hitherto transmitted orally from generation to generation, the author has painstakingly analysed and documented aspects of Mankon culture for posterity. The work focuses in particular on Mankon proverbs for insights into the structure and function of the language. As a vehicle of communication, language plays a primordial role in encoding and decoding 'metalinguistic' data. Through thorough scientific linguistic universals and principals, Chi Che has proposed orthography for Mankon pedagogy that is simple, tenable and practicable. This book is the answer to the international clarion call for societies to analyse and document their endangered indigenous cultures. Schools, linguists, sociolinguists, anthropologists, historians and others will find this book especially useful.

This book presents the artistic and cultural production of the small kingdom of Mankon located on the high plateau of Western Cameroon. Featured are objects which are linked with rituals, of prestige or more ordinary pieces all bearing the memory of the treasures of kings, notables and secret societies. Their production plays a fundamental role in cultural continuity, protects evidence of the past and preserves objects used in rites for the well-being of society. This is why they form an essential part of the artistic and cultural heritage of the whole of Mankon. They are extraordinarily rich, both regarding the quality of the objects, by the diversity of domains they approach and by the variety of decorative patterns, styles and themes.

Written as part of the Bambui Museum and Ecotourism Project (BMEP), this stunningly illustrated book introduces readers to the history of the Bambui fondom in the western Grassfields of Cameroon, and presents an exhaustive interpretation of the artistic and cultural heritage of the fondom. Initially conceived as part of an initiative launched in 2001 by Centro Orientamento Educativo, an Italian NGO, aimed at creating museums in some palaces of the Cameroon Grassfields, the book serves as a pilot endeavour towards addressing problems associated with antiques and other cultural assets such as theft and the illegal traffic of objects, the exploitation of poor fondoms by African art dealers and researchers from the West, and the lack of education about the different ways and means the fondoms could employ to transform these resources to the benefit of all. For anyone aspiring to learn about the rich and diverse art of Bambui, in particular, and the western Grassfields as a whole, this book will prove useful, especially since it is written by someone who has lived, and is still living, the Bambui experience.

We are thrilled to share with you this rich harvest of tributes on Fo Solomon AnyeGhamoti Angwafo III of the Kingdom of Mankon. The tributes are by people and institutions from Mankon, Cameroon and the world at large, that knew him well and generously responded to our call for memories, testimonies and reflections to mark his transitioning from Atsum to join his ancestors at Alankyi. The tributers share with the reader their thoughts on various aspects of who King Solomon Angwafo III was and what he meant to them. A common thread in the tributes is the irrepressible admiration for the ideas, ideals, principles and values he championed and lived by for 97 years. His leadership, wisdom, deeds, sociality and humanity are in focus. Fo Angwafo III had a lifelong commitment to cultivation. To him, living was not just about tilling the soil for sustenance, it was also about tending the mind and the soul. He valued agriculture and culture in equal measure. In this and other aspects he was a pacesetter all his life. He had a warm heart and welcoming smile for all and sundry. In conversations and good company, his distinctive laughter brightened and lightened the weights of hearts and minds. In leadership, he distinguished himself most as a servant. Fo Angwafo III was father of both the beginner and the expert, the pupil and the teacher, the fool and the philosopher. He was the father of all: the good, the bad and the ugly. His disappearance offers us an opportunity for introspection. He leaves us in the well-cultivated hands of Fo Fru-Asah Angwafo IV, an educationist, through whom his presence and inspiration will continue to be felt, and from whom we will continue to learn.

This book addresses the epistemological, ethical and methodological challenges faced by African scholars in their research practices. The epistemological domain addresses three interrelated topics: how African university students ethnocentric choice of research topics hampers the production of knowledge; researchers adaptation of their research methods to improve validity; and the challenge of knowledge production on community museums plagued by gross inertia, irregularities, uncooperative gatekeepers and inadequate funding. The methodological domain foregrounds issues around scientific rigour, the criteria for what counts as quality research, and reporting standards. Contributors contend that the use of mixed methods provides the best scope for the effective study and evaluation of social issues. They also detail how better-funded projects tend to improve the respect of ethical standards especially as they pertain to the protection of subjects confidentiality. Self-financed researchers on the other hand tend to be less compliant, a challenge that afflict especially younger and inexperienced researchers. This volume thus contributes not only to a critical understanding of the challenges faced by social scientists in contemporary Africa, but also the prospects and mechanisms on how to improve knowledge production processes.

This book interprets a sample of major and significant objects from the rich cultural and artistic heritage of Babungo, which was formerly the most important iron-working center in Cameroon . The treasure of the talented sculptor kings of Babungo, with thousands of pieces, still remains the most impressive of the Grassland.