An Important OLD Songye Male Power Figure, Kalebwe Style Fetish Statue
Antique African Art - Tribal Sculpture - Democratic Republic of Congo Zaire
Collected from the: Kalebwe (Bekalebwe) Songye (Basongye) peoples of the Democratic Republic of Congo (Zaire) region of Central Africa
Material: Carved wood, animal horn, skin oil, custom wood stand
Period: Later 19th to earliest 20th century
Dimensions: 9.5" height, 2.25" width, 2.5" depth; weight is 7.6 ounces or 10.8 on 2.75" x 3" base
Condition: Exceptional. A splendid specimen from the Bob Banks collection, Washington, DC. Exquisite signs of age and wear proclaim authentic tribal use, exposed wood exhibits significant patination. Surface condition and tool signatures appear appropriate for the period ~ adze marks, anticipated minute accumulated debris of a long life, beautifully burnished skin oil patina of extensive handling and ritual rubbing. Make special note of the superior surface condition, fine granular encrustation and worn animal horn surmounting the head ~ a superb example of early Songye art !
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Songye Fetish Figure Scultpure Carving Traditions and Use:
Songye sculpture conforms to certain magico-social standards and is fashioned under the direction of a ritual specialist, the Nganga. For small-scale sculptures, the Nganga solicits the sculpture and imposes criteria on the creation of the work such as dimensions, sex, morphological aspect, and type of wood. Only the Nganga himself or the future user of a work can commission a piece to be made. Sculptors shelter themselves from the scrutiny of other villagers and protect themselves from evil spirits during all parts of the process. The felling of a tree for a large fetish is accompanied by onsite chants, dances and sacrifices. Completed sculptures are sprinkled with the blood of animals sacrificed for that purpose before the work is given over to the Nganga who then empowers the object by adding magical-symbolic ingredients such as metal accessories, claws, raffia cloth, skin, horns, seeds, beads, feathers, and hair according to the prescribed function of the work – be it offensive or defensive. Most Songye sculptures are male figures, statues of females, especially pregnant ones, are extremely rare. Statues of power have many different forms and functions: cult collectives use the large statues; individual cults and private owners may use medium-sized statues; and individuals also use amulets for protection, healing, warding off sorcerers and evil spirits, and assisting in fertility and material prosperity. Statues with brass tacks would have been considered useful against skin irritations and the smallpox epidemics that raged within Songye territory in relatively recent times. The statues are guarded within the owner’s houses and are well cared for. Their care may involve ritual rubbings with oils, sometimes mixed with the red tukula powder on the appearance of the new moon to renew the figure’s power and maintain harmonious relations with the ancestors.
History of the Sognye Tribe of Democratic Republic of Congo Zaire
“During the 16th century, the Songye migrated from the Shaba area, now the southern part of the Democratic Republic of Congo (formerly Zaire), and settled on the left bank of the Lualaba River, on a savannah and forest-covered plateau. Divided into numerous sub-groups, the 150,000 Songye people are governed by a central chief, the Yakitenge, whose role demands that he obey special restrictive laws such as not showing grief, not drinking in public, and not shaking hands with men. In addition, local rulers, the Sultani Ya Muti, distribute plots of land to their villagers and an influential secret society, Bwadi Bwa Kifwebe, counterbalances their power. A patriarchal society heavily dependant on agriculture, the Songye are most recognized for their masks, fetishes statues, and weapons. Kifwebes (meaning masks in the Songye tongue) represent magic spirits or supernatural forces and are used by the important Bwadi Bwa Kifwebe Society to protect and heal their tribal members and villages. The Kifwebe spirits were of such great importance to the Songye that the Kifwebe Society used representations of their masks on other objects of power, such as shields adorned with a central mask. Songye masks were primarily used during death or funeral rites, initiation ceremonies, and circumcision rituals, where initiated male dancers performed the ceremonies and rituals. Male masks were danced to display aggressive and uncontrolled behavior with the aim of encouraging social conformity while female masks displayed the more gentle and controlled movements associated with reproduction.”
Recommended reading: Maurer: Spirits Embodied: Art of the Congo, Felix: 100 Peoples of Zaire and Their Sculpture and Beauty and the Beasts, and Bacquart: The Tribal Arts of Africa.
Cat. # african figures songye fetish 3
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