Cameroon in the African continent is endowed and blessed with different traditions from various ethnic groups, amongst which fashion and clothing play a vital role in its socio-economic development. Today, the majority of Cameroonian cultural outfits are being transformed and utilized in contemporary fashion. In an attempt to capture the exhaustive nature of cultural outfits, Ngome (2016) iterated that toghu cloth is attributable to those from the North West and West regions; sanja (loin) and shirts inferable to the South West regions; aqwada or gowndorra traceable to the Hausas and Fulani groups of Northern Cameroon. The underline value of clothing entails a totality of traits and characters that are peculiar to a people to the extent that it marks them out from other peoples and distinctively from other human societies. The peculiar traits go on to include the people’s social norms and values. Nonetheless, traditional clothes are at the threshold of rapid technological and communication pathways, and are trapped in a world of cultural diffusion and integration (Jong, 2014) . In this way, it gives credence to an authentic identity in a society that cannot escape its cultural and physical environments during the process of social interaction. In a multi-ethnic country like Cameroon, cultural outfits are used in magnifying ethnic identities and have played out in economic, social and political arenas at different periods in the history of the country (Kah, 2014) . Based on cultural considerations, toghu regalia has embodiments that depict priest caste, royalty, wealth, messenger caste, and nobility class systems within society (Ngome, 2016) . This valuable cultural heritage multipurpose wear, produced often by hand or machine embroidery, and commercialized as well in the form of printed fabric, is known for its complexity, colourful appearance and numerous motifs.

As an important part of Cameroon art, toghu cultural heritage art has mostly been studied from the historical perspectives, inheritance and economic development. There is a lack of information about the demonstration on the selection of symbols used as motifs, which is a difficult process for designers and instructors of fashion clothing and textile in Cameroon. In addition, most of the designers and scholars have little or no knowledge about the significance of various symbols and motifs. Therefore, this paper sorts to enlighten designers, scholars in the field of fine arts, instructors of fashion clothing and textile, historians, vendors and consumers on the selection criteria and significance of various symbols and motifs embodied in toghu cloth, thereby, providing a quick reference for identification and understanding during exchange activities at any level.

The improvement of the audience’s self-awareness on certain aspects concerning aesthetics, easy-to-read, diversity and other vital information, enables them to make appropriate decisions on their choices (Chen, 2022) . This embraces a wide range of human phenomena and shows the dimensions of heritage passed down from one generation to another to promote a more progressive and dynamic society. Cultural heritage of art promotes cultural dissemination and effectively alleviates the constraints of cross-language, while opening a window for foreigners to understand the culture of other countries intuitively, fast, authentically and comprehensively (Chen, 2022) . The methods used for this research are explorative and descriptive type. Nonetheless, this section of the study identifies the symbols used as motifs to design the cultural heritage art toghu, as well as their significance. Different procedures were used for collection of vital information, which includes literature from archives, Internet, photography and interactive participation. The studies summarize them as cultural sharing of symbols and significance, motifs, aesthetics and interactive participation.

Participation, experience and interaction are the leads of art intangible cultural heritage compared to other art categories. The inheritors of the intangible cultural heritage of art may display their skills at the event site. The audiences through close contact and face-to-face communication with the inheritors could have a more intuitive understanding of the creation process of artworks, and rich tactile experience (Wang, 2012) . Following the face-face interaction with a notable, who is a cultural consultant in the Mankon Fondom, the “ukara” fabric used today for toghu production, originated from Northern Nigeria. This cloth had traditional motifs, from which were extracted some symbolic icons by the grasslands people and used for toghu production. On the embellished cultural outfit are found motifs such as rectangular boxes, fish, scorpions, crocodiles, hands in friendship, war, work, masks, moons, and stars (Aborogong, 2015) . These underscore the iconic value of the “ukara” cloth, which is used presently in decorating the seating backgrounds of all the Fons (chiefs) in the North West region of Cameroon. Besides, the “ukara” cloth, there are different types of garments designed and worn by the North-Westerners. Among the different types of garments, we have the gorgeous wear (Figure 1) and sang (Figure 2). The gorgeous wear is used in any ceremony and could be worn by anyone in the society. Sang has the full moon symbol embedded on “ukara” fabric or on velvet; and is worn by classes of Fons (chiefs) and other title holders, conferred by the powerful traditional rulers, in the North West region (Aborogong, 2015) . These traditional rulers, who are also members of other secret societies, are the law makers in the palace and play a vital role in enthronement of the new Fon, when the old gets missing. Also, they are delegated to accompany the Fon in any occasion. Nowadays, the fabrication of toghu cloth using hand and machine embroidery is not limited to “ukara” fabric, but also involves the use of velvet, pigger, organza and cotton as well as commercialized printed fabrics (Figures 1-6).

Symbols are elements in the iconography of a particular subject or type of subject that is seen in other works, or may form the main subject of the piece of art

work (Alain & Jemes, 2004) . The study of a symbol cannot be carried out independent of its social context, because it represents the vent aesthetical value in the work of art and the sense of beauty that is epitomized on the design. In the North West region of Cameroon, symbols play an essential role in distinguishing rulers from their subjects. The cultural heritage incorporates the collective wisdom of the working people and the art forms are collectively created, developed, shared and inherited by the general public (Chen, 2022) . These art forms involve painting, drawing, photography, music, poetry, fine art, decorative arts and fashion. They, actually aid in the preservation of cultural values at different era. In this section, we present a collection of symbols in fashion, embodied as motifs on toghu cloth. Some of these symbols originate from the nation museums and others are from different countries (Tables 1-7). Amongst the numerous symbols, are designs of the calabash representing rural and home utensils; fish for knowledge, transformation, creativity, eternity and femininity; full moon stands for wonder, shadow, renewal, and mystery; while the spider denotes creativity, and is the weaver of the fabric for life (Table 1). The Fish bone or spine design is commonly associated with water element and represents stability, balance, acceptance and tranquillity; snakes for healing and re-birth; lizards for conservation and self-protection, spiritual growth, opportunity for new beginning and the shedding of old habits or behaviours that no longer served you.

The other form of lizard represents twins in the ancestral society (Table 5). The bad luck removal symbolizes good fortune and sanctity (Table 5 and Figure 12); and cup for spiritual truth, unity among families and all villages in the grasslands (Table 2). The peace plant indicates peace between families and neighbouring villages; chain for unity and prosperity; Keli-eye for the mask, which is used for rituals; and the heart design is recognized across other cultures and different countries as a symbol for love, charity and joy. Also, it stands for compassion, unity, cohesion, sensuality, femininity attraction and mentoring/reflection. It is used in rituals, with the goal to strengthen relationships and human feelings (Table 3).

Kola is common and widely recognized cultural symbol in Africa. It is a fruit of the kola tree. It means earth, peace and togetherness in North West region of Cameroon as well as in other African cultures. The double gong denotes palace authorities transmitting information to the public; house and palaces of the nobles expresses the class, authority and power. Also, it is a sitting room where nobles in the North West region sit and take decision on matters happening in their communities (Table 4). Diamond stands for reflection, strength, fortitude and courage; palm tree for wealth, self-sufficiency and resourcefulness. Many diverse products such as wine, oil, brooms and so on emanates from the palm tree (Table 6). The likened heart illustrates understanding and agreement in most African cultures (Table 7). More information on the symbols and their significance considered in this studies could be seen in Tables 1-7.

A motif is an idea used many times in a piece of writing. The concept of African motifs on textiles “in a society is use to convey spiritual values and beliefs from their ancestors which is not only to please the eyes and views, but is used as a medium” of communication (Dereje et al., 2013) . What is evident here, are the resilient artefacts in the continent, that carry the history and memories of ethnic groups, nations and individuals; subsequently, these motifs communicate the thoughts, beliefs and values of the peoples’ culture, thus, revealing the peculiarities and diversity of the rich African tradition. African symbols specifically from West Africa called “Adinkra are motifs that conveys traditional wisdom, and aspects of the environment” (Mawuna, 2013) . As concerns toghu, the lizard (Figures 7-9), represents twins in the ancestral society. It is found on Ndop wear, and is used at the entrances of the houses and places of the main wives of the king and nobles (Njumah, 2017) . This explains the social traits, by which premises of the aforementioned are identified and is regarded as a core of knowledge and reality, together with the information it conveys. The full moon design signifies wonder, shadow, renewal, and mystery; while half-moon stands for birth cycles and fertility in womanhood, female power, transition, creativity and growth, waning and waxing (Figure 1, Figure 2 and Figure 10). The heart depicts love and unity, while snake denotes healing and re-birth (Figures 1-4 and Figure 7); and stars stands for good knowledge and truth (Figure 6). The sun is one of the oldest motifs used by man for decoration. Humans believe in the mysterious power of the sun and use it as sources of light, and energy. Sun is also associated with fire, which is related to light source, when enshrined on the toghu regalia (Figure 10). The elephant design depicts the God of worries. It also stands for royalty, proving an inner strength and wealth. In India, it is seen as the mount devastator weapon of war (Figure 11). The lozenge symbolizes bounty and its shape mimics that of a field sown with crops (Figure 6 and Figure 12). The linked heart motif represents understanding and agreement, in most cultures in Africa (Figure 4). However, the motifs on toghu clothes, are a collection of well-crafted symbols, that play key role in passing traditional knowledge about the grassland cultural heritage of art from one generation to another.

Aesthetic is the art of appreciation of beauty (Levy & Czepiel, 1974) . Aesthetic in clothing is a visual signifier which has a high communicative power. Its communicative power underlines value and judgement. The core of aesthetic design lies in the principle that defines a designs pleasing qualities. As such, the use of symbols in fashion and its embodiment as motifs on toghu, allows an exchange of aesthetic values of the people in the grasslands region and around the world. The cultural heritage works include visual art and aesthetic elements such as pattern, shape, colour, tone, line and so on. Therefore, it may also incorporate symbols and motifs; which also have the beauty of harmony and unity, symmetry and balance, and shade and contrast of light (Chen, 2022) . Aesthetic is deeply rooted on fundamental traditional belief systems and art is concerned with the production of aesthetic objects. It therefore entails, art is usually seen as human enterprise. The artist in the course of production of aesthetic objects could be influenced by societal norms in the environment in which he leaves. Such value is what informs a people’s arts and crafts as it affects their sense of what is beautiful. Concurrently, Chen (2022) while viewing artworks, affirms, the audience may not only obtain information, but, also bring aesthetically pleasing experiences and feelings, therefore, helping the audience to complete the dissemination of information in a relaxed and pleasant state. As concerns the present studies, the beauty of toghu regalia is not limited to the colours with shiny appearance but also involves the designs of the symbols embodied as motifs and the information it conveys to the general public. The beauty of the designed motifs enhances traditional wisdom, amongst internal and external audiences. Other attributes linked to the aesthetics of this artwork include: unity of purpose, which goes along with the grassland peoples’ identity; feelings of positivism on the creative designs and the emotion it sets; distinguishing of persons such as royalties and nobles; preservation of cultural values, that is being handed from one generation to next and preserved as well in the nations museums; and cross-cultural exchange, following the learning impact it sets in the society, amongst ethnic groups and across the borders. However, certain perceptions of aesthetics from different regions or countries would always influence designers of toghu clothes, to adopt unconventional values, leading to more creative and innovative designs to meet the societal demands.

The embodiment of symbols as motifs on toghu cloth has a long history. The symbols used as motifs are not limited to the beautification of the traditional attire, but also help to disseminate vital information such as distinguishing royalties, nobles, and persons in position of power. The continuous development of toghu cloth throughout the nation’s territory has proven to be a powerful cross-cultural exchange tool, since it defines a people’s identity and differentiates them from other people. Identification of some of the symbols embodied as motifs on toghu, in the national museums, supports its preservation as valuable assets for promoting and sharing the different ethnic cultures. Amongst the fifty identified symbols, twenty-five were from the Bafut Royal Museum, eight were from the North West Royal Museum, fifteen were from Adinkra Ghana and two were from Nigeria. Nevertheless, some of the motifs integrated into the embellished toghu cloth, had symbols originating from Ghana and Nigeria. These symbols have different meanings, thus serving as an important cross-border exchange of cultures. The identified symbols used as motifs on toghu, should exemplify the selection criteria and significance of designers’ decisions in the fabrication processes. The designers, scholars and instructors of fashion clothing and textile as well as fine arts in Cameroon should use this artwork to alleviate the constraints of symbol usage as a motif without understanding their significance. This artwork with varying symbols used as motifs, would effectively promote cultural communication at any level, including: teaching, trade fairs, open-door days, cultural festivals and other exhibitions. It will ease the interpretation of the enshrined motifs on toghu attire, while facilitating foreigners’ understanding as well on the cultural heritage art. To sum up, the findings from this research will ease the work of designers, scholars, teachers and creative industries. Also, it would assist consumers in making better choices. However, further investigation should be carried out on other symbols designed as motifs on toghu clothes in the grassland region. In addition, findings should be done on the colours, tools used for production; accessories, different types of toghu and their use in contemporary fashion.

The authors declare no conflicts of interest regarding the publication of this paper.

Ndifor, B. E., Efeze, N. D., Maiwada, S., Bako, G. W., & Rafai, S. A. (2023). Identification of Symbols Used as Motifs in Toghu Production, a Cultural Heritage of Grassland People in Cameroon. Art and Design Review, 11, 160-177. https://doi.org/10.4236/adr.2023.112013