Toh

History and Background
The Toh Dance (also spelled Toh, Tɔh, or Tɔ) is one of the traditional royal dances of the Wimbum people, primarily found in the Donga-Mantung Division of Cameroon. Historically, it is a regal and ceremonial dance performed during:

• Royal enthronements
• Visits from high dignitaries
• Major cultural festivals
• Funerals of chiefs or prominent figures

The dance is traditionally associated with the palace (Ntoh) and reflects honor, respect, unity, and ancestral pride. It is typically performed in a circle, symbolizing community harmony and continuity.

Cultural Significance

The Toh Dance carries deep cultural and social meaning:

Element Significance
Royalty Performed during chieftaincy events, affirming loyalty to the Fon (chief) and traditional authority.
Ancestry Honors ancestors and preserves spiritual links with the past.
Unity Danced in a circle, symbolizing togetherness and the interconnectedness of the community.
Identity A strong expression of Wimbum identity, pride, and cultural heritage.
Message Used to announce the presence of royalty or sacred rites; dancers communicate symbolic messages through posture and rhythm.

Instruments Used in Toh Dance
The Toh Dance ensemble is made up of traditional Wimbum instruments that provide rhythm, tone, and ceremonial atmosphere.

A. Tɔh Drum (Main Royal Drum)
Type: Membranophone

Description: A large, low-toned drum made of carved wood and animal skin. Often ornately decorated and considered sacred.

Function: Provides the foundational rhythm of the dance. It is only played by trained drummers under palace permission.

Cultural Role: The voice of the Fon. No Toh Dance begins without it.

B. Ntub (Small Hand Drum)
Type: Membranophone

Description: Smaller drum with a tighter skin, producing sharper tones.

Function: Echoes or counters the Toh drum, adding rhythm variation and energy.

Cultural Role: Played by supporting drummers, sometimes young palace initiates.

C. Ngong (Iron Gong or Bell)
Type: Idiophone

Description: A forged metal bell, struck with a stick to produce a piercing, sustained sound.

Function: Keeps timing, signals transitions, or calls the dancers to attention.

Cultural Role: Traditionally used to communicate royal messages or announce sacred proceedings.

D. Flute (Nchibi or Mbili)
Type: Aerophone

Description: A bamboo or cane flute, sometimes made from horn or wood.

Function: Adds melody and spiritual mood, evoking ancestral presence.

Cultural Role: Often played by elders or spiritual custodians during sacred Toh dances.

Rarely used in every performance, but symbolic when included.

E. Hand Clapping
Type: Body Percussion

Description: Performed in unison by dancers or observers.

Function: Enhances rhythm and fosters community involvement.

Cultural Role: Represents unity, participation, and blessing of the dance.

Summary Table of Instruments
Instrument Type Function in Toh Dance Special Notes
Toh Drum Membranophone Primary rhythm, ceremonial authority Sacred; palace-owned
Ntub Membranophone Supporting beats and tempo variation Played by assistants or youth
Ngong (Gong) Idiophone Timekeeping and signaling Also used in public royal messages
Flute (Nchibi) Aerophone Adds melody and spiritual ambiance Optional; deeply symbolic
Hand Clapping Body Percussion Participation, communal rhythm Done by dancers and audience alike

Dress and Setting
Dancers: Usually wear traditional attire: raffia skirts, beads, ankle rattles, and chieftaincy symbols.

Location: Often performed in the palace court (Ntoh) or a central village square during public events.

Formation: Danced in circles or lines, depending on the occasion.

Conclusion
The Toh Dance is not just performance, it is a living ritual, a cultural archive, and a symbol of Wimbum continuity. Through its majestic rhythm and traditional instruments, it connects the present generation with ancestral spirits, royal authority, and communal unity.