Nwivoen Mbzien is a very rare and renowned invaluable treasured 9-piece ancient cultural art statues collection from a small West African village known as Baligan’sin village located at the North West Region of Cameroon. The collection date back to 17 Century with an intriguing historical background and cultural heritage of the five Mangeh villages and their ancestors which have contributed to its global renowned status and recognition. Note Bafanji, Baligan si’in,Baligashu, Balikumbat, Bamunkumbit were all siblings and descendants of “Mangeh” the ruler of the ancient Mangeh kingdom who was the founding father of the Mangeh community and these artefacts are symbolic representatives of Mangeh and the other founding heroes and queen mothers of the ancient Mangeh kingdom. After the passing of their father and king “Mangeh” there was an internal struggle for leadership which eventually led to bad blood and infighting amongst the siblings for the crown which lead four of the siblings (Bafanji,Baligashu, Balikumbat and Bamunkumbit) to dissociate from the Kingdom with their followers and migrate to conquer small neighboring villages and start their own Kingdoms. Baligan si’in the first Child of Mangeh with the birthright took control of the Mangeh Kingdom, took over the kingdom which he later renamed it to his name as Baligansin Village. Nwivoen Mbzien was produced by Baligan si’in and his siblings before the separation in honor of their founding father, queen mothers and fallen heroes and this has been the main cause of internal rivalry amongst these villages after separation as each village stake an ownership claim to the collection which has led to many inter-tribal wars fought amongst them over its control as they are believed to be the deities ‘gods’ of protection and prosperity to the people in control.
This collection has a guaranteed certified authenticity with the original “Certificate Of Cultural Authenticity” issued by the German colonial experts in 1912 during the German colonial era in Cameroon. Nwivoen Mbzien lastly returned to the Baligan’sin village (their origin) where it has been till date after almost two and a half centuries wondering from tribe to tribe through numerous bloody tribal wars fought for the ownership and control over Nwivoen Mbzien.
Nwivoen Mbzien art collection has been inspected, registered and certified under the UNESCO International Cultural Heritage Database with Reg# UNESCO003426UG756-CM in 2012. It is considered the most exquisite and extraordinary artefacts from the West African region by the UNESCO International Cultural Heritage Identification and classification Program. It’s is well known and adored internationally and has attracted the attention of many Western Cultural Art Enthusiast, Cultural Heritage Groups and lovers from all over the world, who visits to witness the Baligan’sin Cultural legacy.
Nwivoen Mbzien Ancient Mythological Ritual Practices And Beliefs
In the past, Its was a well-established traditional mythology for almost the first 150 years of the collection back then, that villages associated or in possession of these artifacts practiced Human Sacrificial Rituals on Nwivoen Mbzien (ritualistic deity worships) , as ancient records shows that during ancient intertribal wars, many rival defeated captured tribe chiefs, war lords and village heads were beheaded on Nwivoen Mbzien for Sacrificial rituals as sign of victory, call for prosperity and ownership control. The Nwivoen Mbzien collection is regarded and worshipped as deities “gods” to the Baligan si’in people and their related four sibling villages who also assert ownership entitlement to this very collection which has been the cause of many intertribal wars and bad blood within these tribes for their control and ownership. Local record has numerous human rituals sacrifices being performed on these artifacts for over the first two centuries.
These objects and noble materials are strictly controlled by the kings and have a great cultural heritage on the Baligan si’in people/community. Regarding the history of these cultural relics in question; they are almost 4 centuries and has always been considered as a witness of values and legacies throughout North West Cameroon in general “Baligan si’in” people in particular where all these statues have always represented commemorating the memory of valiant warriors who died during tribal wars between clans and neighboring villages.
Extraordinary Exquisite “Nwivoen Mbzien” Art Collection Transitional History
Ownership Transitions over Span of 346 years as follows
Handcrafted by the 17 century (1680) by the Baligan si’in people in honor of their founding fathers and fallen heroes
Early 18 Century was under the Baligashu village for half a century; obtained through severe bloody tribal war over a disputed piece of land diving the two villages.
Mid 18 Century, Returned to the Baligan si’in village through negotiations and interventions from sibling villages.
End of 18 Century was under the Bafanji Village for a short period of less than 20 years; obtained through tribal war for procession of the Nwivoen Mbzien
Early 19 Century went back to Baligashu Village for less than a decade; obtained through tribal war for procession of the Nwivoen Mbzien
Early 19 Century was under the Bamunkumbit Village for almost 6 decades; obtained through and almost decade long tribal war with Bamunkumbit and Baligan si’in against Baligashu Village for procession of the Nwivoen Mbzien
End of 19 Century went back to the Baligan si’in people under Fon Gwarrlav till date through mutual negotiations and intervention of foreign (German) colonial matters.
Price Appraisal: Given its uniqueness and the profound symbolism it carries, initial appraisals and estimates from world cultural experts value this collection (all 9 pieces) at over USD7,000,000. The two “Baligansin Reliquary Heads” which are the most expensive amongst the entire collection, each is appraised at USD1.700,000 each with the remaining 7 Royal Sculptures each appraised at USD500,000 each. The collection’s historical transitions and cultural significance have contributed to its high value and global recognition. Many quality tribal African art pieces value in the hundreds of thousands to low millions at auctions but rare museum‑quality artefacts masterpieces like Nwivoen Mbzien command premium prices.
