Publish at June 01 2023 Updated June 01 2023
In a globalized cultural context that could veer towards global standardization, it seems important to exist in some way in this world. This existence depends on the ability of each people to propose something singular, so as not to be left hanging at the "rendezvous of giving and receiving", by proposing a cultural element that carries identity.
In Cameroon, for example, there are several local initiatives along these lines. But the one that is the subject of this article is Ndop. Our aim here is to demonstrate how this cultural element has transcended national borders. To do this, it seems important first to trace the history of this traditional fabric, then its manufacturing process, and finally to highlight the dangers of such popularization.
Original to the West Cameroon region, Ndop is a traditional fabric with a strong cultural imprint due to the geometric figures that make it up, bearing witness to the cosmogony of the people whose story it tells. Perrois and Notué take a similar view when they say that Ndop "is a book in which one can follow the message transcribed by the embroiderer by means of signs". With a strong resemblance to the Ndop Wukari from Nigeria, the presence of Ndop among the Grassfield peoples dates back to the 19th century. This fabric was used for a long time as a currency of exchange between Nigeria and the Grassfield peoples until well into the 20th century, before being gradually replaced by paper money.
But the typically Cameroonian Ndop owes its origins to King Njoya, who began its manufacture in the town of Foumban. It was from 1914 onwards that this fabric with its distinctive graphics became visible in photographs of the Foumban court. Intended for the clothing of high dignitaries in traditional Bamiléké and Bamoun society, such as chiefs, notables and members of secret societies, this fabric is generally used for funeral, agrarian and ritual customs. The making of this garment is the product of a process linking two regions of Cameroon, the North and the West, which are its main production centers. So how is this prestigious fabric produced?
The manufacture of the original Ndop follows the following production circuit: in the north, weaving and dyeing are carried out, and in the west, over-sewing and finishing work. Taking place in the north of Cameroon, more precisely in Garoua, the first stage consists of hand-spinning. This is done either alone or in groups of five or so. Once this stage is completed, the weavers enter the scene. They weave a thin ribbon of unbleached cotton called "gabaga", which they sell to craftsmen from the west. Once half the work is done, the craftsmen can set off again for the West, where the fabric will continue its metamorphosis thanks to the craftsmen's know-how.
Once in the West, the craftsmen sew the fabrics edge to edge to obtain a fairly large canvas. Thus, on each unbleached piece, a master craftsman uses a cut bamboo fork dipped in brown vegetable ink to trace the various motifs that make up the Ndop. Later, these patterns are materialized by knotting or binding the fabric with raffia thread, which is removed after the fabric has been dyed. Once this second stage is complete, the embroidered fabric is sent back to Garoua for indigo dyeing. Once dried, the Ndop is transported back west by land to the main production and distribution centers of Bandjoun, Foumban and Baham. These particular stages highlight a know-how that is unfortunately tending to disappear if nothing is done.
While globalization offers plural opportunities to all peoples, this benevolent machine has the small defect of crushing certain particularities in its path when the necessary measures are not taken. This is the case of Ndop, whose magnificence has seduced industrial production companies, who manage to offer low-quality fabrics on the Cameroonian market that are, on the one hand, pale copies of Ndop. On the other hand, the appropriation of the fabric's motifs by the famous fashion house Hermès is one of the initiatives that contribute greatly to the deterioration of the fabric's symbolic character and, in the long run, to the loss of artisanal know-how, according to defenders of the fabric such as Hermann Yongueu, founding president of the "Sauvons le Ndop" association. This art form used to be handed down from generation to generation. But increasingly, with the advent of modernity, young people are fleeing the countryside for the cities and showing less and less interest in this art.
While it's true that initiatives such as those we've pointed out above are contributing to a democratization of the Ndop, which is moving out of its original traditional sphere, the fact remains that with the influx of pale copies of this fabric the younger generations will be unaware of its symbolic value and even unable to distinguish the original from the copies. This concern also forms one of the battle horses of the Association "Sauvons le Ndop".
It's with this safeguarding in mind that we're seeing more and more players in the urban music scene sporting this fabric, following the example of rapper Kameni in her "Back to sender" music video, or at the Olympic Games in Tokyo 2020, Cameroonian athletes proudly wore this heritage element. Among these initiatives, it's also worth highlighting the Ndop and Toghu Awards set up by Hermann Yongueu.
While the "Sauvons le Ndop" association has already been able to have this jewel listed as part of the national heritage, there's still a long way to go. The next step would be for the Ndop to join UNESCO's World Heritage list, in order to preserve this endangered skill. But before that can happen, we need to find local strategies to encourage the younger generation, who are more city-dwellers and more interested in trades such as motorcycle passenger transport, to take an interest in this know-how. Why not set up a Ndop sewing academy to pass on these techniques?
References
AWOUNANG S. Francine, KOUOSSEU Jules, 2020, "Le tissu " ndop ". Un processus de fabrication entre tradition et modernité, dans l'Ouest Cameroun", e-Phaïstos, VIII- 1 online https://journals.openedition.org/ephaistos/7739
DELPIERRE Antoine, 2022, "Cameroun : ndop un tissu traditionnel menacé" online https://information.tv5monde.com/afrique/cameroun-le-ndop-un-tissu-traditionnel-menace-820069
FOUTE Franck, 2021, "Cameroun : le ndop fait son retour dans le wake du wax" online https://www.jeuneafrique.com/1133443/culture/cameroun-le-ndop-fait-son-retour-dans-le-sillage-du-wax/
NKEMENI Fanda, "Awards du ndop et toghu: un évènement pour célébrer les artisan", online https://voixdesjeunes.com/actualite/awards-du-ndop-et-toghu-un-evenement-pour-celebrer-les-artisans-du-ndop-et-toghu
You might also like:
Talking to animals, the possible dream offered by AI
Wouldn't the world be a simpler place if we could grasp all the subtleties of animal communication? What seemed like fiction could become reality within a few decades, thanks to artificial intelligence.
The green house in sub-Saharan Africa
Very often perceived as a sign of poverty, these houses made of local materials integrate several environmental assets that contribute to better preserve the planet.
Action research, a political choice
An alternative approach to research is very field-based. Its objective is not the same as others. The idea is to change ways of doing things in order to better meet needs. It's called action research.
Bringing the robot into the classroom
Robots in the classroom. It's a rare occurrence, but a reality. More and more teachers are using robotics, and are invited to do so.
Writing in the age of artificial intelligence
Artificial intelligence will have a major impact on many human activities, including writing. Authors and students alike can in fact use it as an ally, provided they don't depend entirely on it and inject a little soul into their writing.
