Breaking News: LSE, La Liberté Arts Group move to legally protect Atoghu

What has long been worn with pride in ceremonies across the Grassfields is now heading into a different kind of space, one ruled not by tradition alone, but by law, policy, and global intellectual property debates.

Atoghu, also known as Toghu, the richly embroidered ceremonial cloth from the Grassfields of Cameroon is now the subject of an international protection drive aimed at stopping its uncontrolled reproduction and commercial misuse.

The push is being led by La Liberté Arts Group (LALIG) in partnership with the London School of Economics and Political Science (London School of Economics and Political Science) Law School, in what stakeholders describe as a landmark attempt to secure legal recognition for a traditional cultural expression that has increasingly been copied without permission or benefit to its originators.

For years, Atoghu designs have circulated far beyond the artisan workshops of Bamenda, appearing in fashion markets and retail spaces with little or no attribution. For local embroiderers, the issue is not just cultural dilution but economic exclusion.

Now, a legal and research team from LSE, led by Prof. Tatiana Flessas, Dr. Luke McDonagh, Barr. Caroline Mbinker, and Dr. Roxana Willis, is working alongside LALIG to build a structured protection framework. The goal is to move Atogho from informal cultural recognition into enforceable policy protection.

Akumbu L. Jones Bubuh, Director of LALIG

Akumbu L. Jones Bubuh, Director of LALIG, says the partnership marks a turning point.

“This partnership puts Bamenda artisans at the centre and positions Atogho protection internationally. We thank everyone who has supported this campaign up to this moment, and we are now moving to the next stage.”

The roadmap is already set. A detailed LSE research report is expected by March 2027, followed by a policy brief targeted at the North West Regional Assembly and the Ministry of Arts and Culture. A parallel engagement in London will focus on World Intellectual Property Organization (WIPO) strategies for protecting traditional cultural expressions.

Local bodies including the North West Fashion and Designers Association (NOFADA) and the Cultural Embroiderers and Handicraft Development Association (CEMAHD) are expected to anchor community participation and ensure the process does not drift away from the artisans it claims to protect.

The journey of the Toghu reflects a wider African reality where traditional textiles are increasingly entering global fashion spaces without legal shields or fair economic return. What is happening is therefore a test case on whether heritage can be protected in a system that was not originally designed for it.

By Bakah Derick for Hilltopvoices Web

Tel: +237 694 71 85 77