During the era of German colonial rule over the Cameroon Grasslands, the impressive “Mandu Yenu” throne was brought to Berlin. It exhibits an impressive level of artisanry, and continues to pose important questions to this day.

The Kingdom of Bamum in the Cameroon Grasslands is known for its opulent, courtly art from the last third of the 19th century. The throne known as “Mandu Yenu” (meaning “rich in beads”) from the collection of the Ethnologisches Museum is viewed as a resplendent example of these artistic traditions. It is made up of two sections, a chair and a footstool, both carved from solid timber. The carving portrays symbols related to the kings of Bamum, such as the two-headed snake and the earth spider, a symbol of wisdom. The two large human figures on the chair represent twins, who are supposed to protect the king, while the two smaller figures on the footstall carry rifles, a reference the military might of the kingdom. The entire throne is adorned with valuable glass beads from Europe and cowrie shells from the Indian Ocean.

Beginning in 1905, the Königliches Museum für Völkerkunde (Royal Museum of Ethnology) engaged in efforts to attain the throne, initially with no success. In 1908, however, King Ibrahim Njoya (reign ca. 1887–1933) gifted his throne to the German emperor Wilhelm II after a joint foray with German troops against the neighbouring Nso’ Kingdom. He had a copy of the throne made, which remained in the capital of Foumban. The history of the throne leaves many questions open. Why did Njoya decide to gift the throne? Why did he keep the copy and give away the original? And can a gift that is given under the unequal power relations of colonialism ever actually be a gift?