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308:) are spirits of the dead that can influence the world of men. These spirits can be malevolent spirits causing infertility, bad harvests and sickness or benevolent spirits bringing good health and prosperity in the hunt and field. The Songye believe that spirits can be reborn; benevolent spirits are believed to be reborn by creating a mamkishi power figure, while malevolent spirits (bikudi) are not reborn and are forced to roam the earth for eternity. Not all spirits who are unable to be reborn as a Nkishi are wandering spirits, spirits who are not reborn yet are knowledgeable on their power and knowledge of patrilineage founders, heroic leaders, and lineage chiefs and dignitaries become guardians of the lineage and provide general protection. Mankishi conform to a certain magico-social standard within the Songye community. Songye figures serves as a protectors of the community, encourages fertility and protects families from evil spirits and practitioners.
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178:. Tshimbale and Kongolo played an important role in establishing the foundation of Luba's political empire. After suffering from political dissension, the ancestors of Songye migrated out of the Luba Empire. The Songye honor their ancestors and cultural heroes through a series of different practices and occasions. In Songye culture, it is believed that the chiefs are sacred heirs of their ancestors and of the founding cultural hero. Hunting was an occupation associated with cultural heroes: Chiefs would organize hunting of animals to showcase the power that was imbued in him by the cultural hero he was honoring. Blacksmithing was another craft that was associated with their heroes. Their smiths were reputed for their production of arms; their axes were used by Luba, and some were found in the ruins of
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centered crest on the top of the masks and its size varies on the status of the dancer wearing it, elder dances within the Bwadi bra
Kifwebe have larger centered crest compared to others. Female Kifwebe masks was typically used for public ceremonies and reproduction rituals. women within the songye community viewed woman as the bearer of children and good fortune. To them, women represent continuation of life and cultural tradition. The features of the female kifwebe mask was meant to portray these ideas. Typically they share similar characteristics as the male mask however it facial features are more gentle and rounded evoking the tenderness of a mother as well as the power to protect and support her children. The structure of the face is longed, the mask itself is covered in white paint or Kaolin.
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contrast, can be obtained through initiation and at the appropriate use of magical ingredients. In order to become a member of the Bwadi bra
Kifwebe, all applicants must undergo an initiation process. During this process, initiates must learn and identify a secret esoteric language. They must undergo a radical and violent experience in order to become less fearful of the unknown and learn their roles within the subject to Bwadi bra Kifwebe. Some of the Bwadi bra Kifwebe help regulate and maintain political order and balance between the chief and his communities. The Bwadi bra Kifwebe maintain balance within the community by conducting masquerades, rituals and rites such as initiation rituals, circumcisions and funerals.
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shoulders arm and legs helps gives the figure a sense of energy and movement. The Stance is meant to signify the
Mankishi's alertness and readiness to carry out his purpose whether it is protecting its owner from evil spirits or witches and sorcerers. Its head is usually elongated with sharp facial feature such as the eyes, chin, and rectangular nose. Its torso is also elongated yet the center of abdomen is hollowed along with the top of the head so that the Bijimba, a magical substance created by the Nganga, can be housed in the sculpture and bring spiritual power to it.
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symbolized these aspects in a certain way. the intertwining of the rhythmic colors of red, black and white was meant to symbolize the struggle between good (white) and evil (black and red), the combination of these colors embody the positive and dangerous force held with in the mask. The ruggedness of the mask itself symbolizes the underworld and the spirits escape from it.
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The people of Songye believe in a supreme being Ele-ife, however, he is not praised as much as ancestral spirits. Ancestral worship is very prevalent within Songye culture, it is believed that the spirit of their ancestors is more accessible to them due to their shared experience of being alive. As a
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Female
Mankishi exist, but they are smaller, less common, and they are usually for personal usage. Like its male counterpart, a female Nkishi has a cavity in the abdomen and head to house the Bijimba. The figure itself usually shows signs of scarification on its face and above its face. The legs of
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refer to themselves as Songye, other kingdoms in the west, refer to themselves as
Kalebwe, Eki, Ilande, Bala, Chofwe, Sanga and Tempa. As a society, the people of Songye are mainly known as a farming community; they do, however, take part in hunting and trading with other neighboring communities.
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masks were mainly used for initiation ceremonies, circumcision, and the enthronement and funerals of the supreme chief. The face of a typical
Kifwebe masks is covered with linear incisions, a square protruding mouth and a linear nose set between globular pierced eyes. Male masks typical have a
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masks. The kifwebe masks come in various designs and reference different aspects of nature, culture and cosmology. Kifwebe masks symbolized the spirits of the dead, the underworld and the struggle between good and evil (Community vs antisocial practices and witchcraft), each element of the mask
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fibers made from the bark or roots of trees. Their arms, bodies and legs are covered with raffia netting, with goat skins fastened around their waist. The dancers are male and the complexity of their costume varies on their status within the community. When the dancer is wearing a male mask his
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Bwadi bra
Kifwebe is a secret society of masked men. In the community, these men were known for their use of magic (Buki or Buchi) and sorcery (Masende). Buki and Masende magic differ from witchcraft; these types of magic are inherited or obtained either by will or unconsciously. Witchcraft, in
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When a Nkishi is being used, the Nganga places shells, horns, animal skins, nails or studs and other spiritual objects outside of the figure to enhance its power and influence. The housing of the
Mankishi varies on its size, purpose and importance, larger Mankishi that are created to guard and
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in the east. Many Songye villages can be found in present-day East Kasai province, parts of
Katanga and Kivu Province. The people of Songye are divided into thirty-four conglomerate societies; each society is led by a single chief with a Judiciary Council of elders and nobles (bilolo). Smaller
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These
Sculptures comes various forms and serves different purposes, Usually Mankishi are depicted as a large stylized sculptures of a standing on a base. In profile, the repetition of strong diagonals in the hair, beard forearm and feet are forceful and aesthetically pleasing. The horizontal
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movements are aggressive and unstable, however when a dancer wears a female mask his movements are gentle and controlled. The dances of the kifwebe dancers are meant to encourage social conformity within the community showing its people how one should behave in their society.
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The overall appearance of a masquerader varies on the dancer, the type of ceremony they're performing in, and spirit being evoked. Normally Masqueraders have a wooden mask and are covered head to toe in flowing black
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794:Études songye : formes et symbolique : essai d'analyse/Songye Studien : Formen und Symbolik : ein analytischer Essay/Songye studies : form and symbolism : an analytical essay
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the figure are posed in an unusual way and appears to be unfinished, this may suggests that it was covered by sacred objects and was not meant to be shown.
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875:, an exhibition catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on the Songye people
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749:, : Universidade de SĂŁo Paulo, fivereiro de 1990, 2 v., x, 326 p., ill., maps, 28 cm. Thesis (M.A.) Universidade de SĂŁo Paulo, 1990.
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result of this, these spirits have a connection to both the land of the living and the dead and are able to enact their will on the community.
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Art of the Congo; objects from the collection of the Koninklijk Museum voor Midden-Afrika/Musée Royal de l'Afrique Centrale, Tervuren, Belgium
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protect a family or village is housed in a family shine. Smaller more personal Mankishi are usually kept by the owner and are portable.
729:, vol. 4 Kenyok, Luba, Songye, Tetela, Songo, Meno/Nkutu, Stuttgart : Franz Steiner Verlag Wiesbaden, 1990, p. 87-161
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Roger Dechamps (+1995), L'identification anatomique des bois utilisés pour des sculptures en Afrique. V, La sculpture Songye,
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Marta HeloĂsa Leuba Salum, Consideraçoes sobre as madeiras que os Basonge escolheram para esculpir algumas de suas estátuas,
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The Bwadi bra Kifwebe maintain balance within the community by conducting masquerades.
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Alan P. Merriam (1923–1980), Change in religion and the arts in a Zairian village,
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Le sensible et la force : photographies de Hughes Dubois et sculptures songye
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Spirits embodied: Art of the Congo, selections from the Helmut F. Stern Collection
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Art and power in the Central African Savanna: Luba, Songye, Chokwe, Luluwa ;
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Thomas Turner, Batetela, Baluba, Basonge : ethnogenesis in Zaire,
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Hildegard Klein (Ed), Leo Frobenius (1873–1938), Bassonge (Songye),
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Forms and forces : dynamics of African figurative sculpture
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Songye : la redoutable statuaire songye d'Afrique centrale
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856:, Bloomington, Indiana University Press, 1973, p. 250-281
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The origin of the Songye begins when its founding ancestors
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Example of how the top of a typical masquerader would look.
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Crosscurrents : art of the southeastern Congo ;
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An African World: The Basongye Village of Lupupa Ngye.
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Ethnic groups in the Democratic Republic of the Congo
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Ethnic groups in the Democratic Republic of the Congo
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An African world: the Basongye village of Lupupa Ngye
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Ethnographische Notizen aus den Jahren 1905 und 1906
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652:, Fonds Mercator ; 5 continents, 2004, 398 p.
494:"On the Concept of Prototype in Songye Masquerades"
49:. Unsourced material may be challenged and removed.
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630:Alain-Michel Boyer, « Les Songyés » in
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765:Muepu Mibanga, Jean Sohier et Johan M. Pauwels,
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719:. 33 (4) no. 132, 1993, pages 587-612. Paris
572:Fine Arts Museums of San Francisco. (1988).
144:. They inhabit a vast territory between the
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826:, 21 (1-2) 1975, p. 27-33, Tervuren.
669:, Viviane Baeke et Anne-Marie Bouttiaux,
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109:Learn how and when to remove this message
691:, Éditions Aux Petits génies, 2003, 75p.
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779:, Ethnographica, Londres, 1985, 189 p.
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576:. Fine Arts Museums of San Francisco.
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745:Marta HeloĂsa (Lisy) Leuba Salum,
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802:Viktor Kabamba Nkamany A Baleme,
777:Songye masks and figure sculpture
757:Songye : livre des proverbes
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536:Bacquart, Jean-Baptiste. (2002).
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397:. Minneapolis Institute of Arts.
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259:There are two different types of
199:Secret Society: Bwadi bra Kifwebe
790:(in German, English, and French)
138:Democratic Republic of the Congo
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463:. Smith College Museum of Art.
357:Petridis, Constantine. (2008).
288:Mankishi and the spirits within
34:needs additional citations for
759:, Éditions Bouwa, 1988, 277 p.
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842:Alan P. Merriam (1923–1980),
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275:Male and Female kifwebe masks
796:, Galerie Jahn, 1985, 183 p.
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869:from the University of Iowa
806:, Nkamanyland, 1983, 112 p.
717:Cahiers d'Ă©tudes africaines
622:Africa: Art of a Continent.
492:Hersak, Dunja (June 2012).
429:Walker Art Center. (1967).
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296:Songye power figure in the
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687:Jean-Marie Lusuna Kazadi,
620:Phillips, T. (ed.). 1996.
298:Indianapolis Museum of Art
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148:river in the west and the
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614:Indiana University Press.
511:10.1162/afar.2012.45.2.12
459:Pemberton, John. (2011).
393:Maurer, Evan M. (1999).
610:Merriam, Alan P. 1974.
540:. Thames & Hudson.
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162:Origins and ancestors
153:kingdoms east of the
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304:Mankishi (singular:
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43:improve this article
255:Cosmology of a mask
867:Songye Information
632:Les Arts d'Afrique
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361:. Mercatorfonds.
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340:References
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328:See also
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129:, are a
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