KWAYEP Sidney Littlefield Kasfir & Till Förster, Indiana University Press, Bloomington and Indianapolis, 2013. This situation could already have begun in the 1930s (Förster and Kasfir unpublished manuscript, 4): “different types of workshops often co-existed at a time and sometimes interacted with each other. So-called traditional workshops may provide the bulk of sculptures for the tourist market and, at the very same time, accommodate one or two outstanding artists who only produce on commission but also make a living as intermediaries between the often younger carvers under their patronage and outside clients.” 33. Egerton, African Majesty (as in no. 1), 217. 34. Ibid., 64–65. 15. Egerton, African Majesty (as in no. 1), 218, 219, no. 69 and also Musée du Quai Branly. 16. Banganté did not come to prominence as an administrative center until colonization; see Harter (as in no. 14). Before European rule, there were regular power struggles between the chefferies, which included warfare (see Egerton, African Majesty as in no. 1, 193 and 222– 24). The situation in Banganté was also described in a literary work by J. Tisi, The Usurper and Other Stories (Frederick, MD, 2004). 17. Harter (as in no. 14), 293, fig. 327. 18. Ibid., 354. 19. Egerton, African Majesty (as in no. 1), 218. Also see Etienne Féau, “Bawok, Province du Nord-Ouest (Bamiléké)” in Louis Perrois and Henri Marchal, Les Rois Sculpteurs: Art et Pouvoir dans le Grassland Camerounais: Legs Pierre Harter, Editions de la Reunion des musées nationaux, Paris, 1993, p. 162: “Today Bawok is a small chiefdom located a few kilometers from Bali-Nyonga, southwest of Bamenda but of southern origin (südlich). A group of Bamileke from the confines of Banganté, Bangoulap, and Balengou emigrated there around 1906. Among them were notable sculptors who developed a geometric style.” 20. The mother and child could, from a sculptural point of view, be regarded as the more complex artwork of the two. The female figure is turning attentively to her infant, and the sculpture captures this moment of movement, intimacy, and tenderness in a wonderful way. 21. Catalogue de l’exposition de la mission au Cameroun de M. H. Labouret, exh. cat. Musée du Trocadéro (Paris, 1935), 2. 22. Egerton, African Majesty (as in no. 1), 218. 23. Ibid., pls. 70–72: see figs. 18, 17 in this article. 24. Egerton wrote about the term “Grassfield” (ibid., 72): “At Banganté I was in what the French call the Bamiléké country. The Germans used to call it Grassfield, a pidjin word, which is still used by the British in the Cameroons. There does not seem to be any reasonable explanation for the use of ‘Bamileké’, but it is easy to understand why the country was called ‘Grassfield.’ In the early days of European settlement, the difference between the dense forest country near the coast and the open stretches of the plateau, with their scrub and high elephant grass, must have impressed itself strongly and pleasantly on the few travelers who ventured into those regions.” 25. P. N. Nkwi, “‘Becoming Foyn Among the Kom of the Cameroon Western Grassfield,” Paideuma 36 (1990): 235–45. 26. Cf. Vakkari, Johanna: “Giovanni Morelli’s scientific method of attribution and its reinterpretation from the 1960s until the 1990s.” In Konsthistorisk Tidskrift/Journal of Art History. Volume 70, Issue 1–2, Stockholm 2001. 27. The German Thorbecke Expedition came from Nkongsamba on the newly completed road between Douala and Bonaberi, by way of Dschang, Bana, and Banganté. It reached the Nun River, which defined the border of the Bamum Kingdom, and crossed it in early 1912. Although the expedition’s main purpose was to conduct geographic and geologic surveys, its members also collected figural sculptures and stools from several locations; K. Born, Skulpturen aus Kamerun, Sammlung Thorbecke 1911/12, exh. cat. Reiss-Museum (Mannheim, 1981), 2–9. 28. Egerton, African Majesty (as in no. 1), 219. 29. Ibid., 219. 30. Ibid. 31. Ibid., pls. 119, 120. 32. African Art and Agency in the Workshop, edited by FIG. 26: F. C. C. Egerton, 1936, The Other End of the Same Veranda of the King’s House in which Egerton was staying. From Egerton, African Majesty, pl. 10. FIGS. 24 and 25: F. C. C. Egerton, 1936, Boy Taking Jiggers from His Feet Carved by Kwayep. From Egerton, African Majesty, pl. 119 and 120.
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