The Songye, in the south-east of the central Congo, are known for their typical power figures, called ‘Nkisi’ (pl.: ‘Minkisi’). They are believed to protect against witchcraft, robbery and general misfortune, as well as easing childbirth for women. They are also used for divinations and soothsaying. A ‘Nkisi’ figure deploys its ‘power’ only when the ‘Nganga’ (priest, healer, soothsayer etc.) places specific ‘magic material’ in cavities in the body of the figure, in the antelope horns on the head, in the belt, etc., introduces it to its own ceremonies, and thereby ‘dedicates’ the sculpture. There are large ‘Nkisi’ sculptures protecting entire village communities and smaller figures tailored to protect individuals – as is the case with the present one.
The male ‘Nkisi’ half-figure (without legs) offered here is carved of very hard, brown wood and dyed black. The head is formed in typical Songye form. With offset hairstyle, wide, high forehead and large, slit eyes, which have inserted brass points as pupils. The ears are small and and recessed. The nose is wide and flat. The mouth displays an extremely wide ‘smile’, with turned-up corners of the mouth (frequent in the region of the Belande style), above a short, protruding and angular square chin.
The ‘Nkisi figure’ displays a small antelope horn, set onto the crown of its head (with remains of ‘magic material’), as well as an ‘empowering’ copper band with dot decoration and copper nails, transversely across the forehead and from there, vertically down the bridge of the nose.
Below the sturdy neck are two wide, angular shoulders and then short, bent arms. In both upper arms there are holes through which a belt is attached; on the front it contains magic material wrapped in snakeskin. Through these same holes two small, round, black wooden pegs are also attached; they lie on the outside. In one of the two holes, below the left upper arm, there is also a small, brown calabash, which may have originally contained ‘magic material’; in this same hole a small fragment of ivory (or bone) has been stuck in from behind. The hands of the ‘Nkisi’, with its typical, wide-spread Sonye fingers, touch its large, fat belly; on the front there was probably a cavity for ‘magic material’. This cavity is now closed by means of a decorative nail of brass. Further below, this ‘Nkisi torso’ rests on a bulging, round base.
Overall a characteristic Songye object, with minimal breakage to the head on the back, due to age, as well as to the lower edge of the base. Colour abrasion on exposed edges, as well as a fine, black shiny patina through repeated use of this power figure. There is a collection inventory number, in white letters, on the lower rim at the back.
Dimensions: 26 cm x 11 cm x 11 cm.
First third of the 20th century. (ME)

Provenance:
South African private collection.

Lit.:
‘Songye’ by Francois Neyt, ill. 4, 5, 39, 45, 224, 236, 237, 248.