This mightily impressive male power figure of the Songye, from Southeast Congo, is carved from hard, light-coloured wood and dyed black and brown. It features a large antelope horn filled with ‘magic material’ on top of its head.
The face is entirely covered in red, shiny copper sheet metal and small copper nails, and decorated with embossed dot-line motifs and thirty-six copper nails of larger size. The upper section of the ‘hairstyle’ consists of two rows of (fourteen) inserted copper stripes. The deep-set eyes have two large, conical copper nails as pupils. The open mouth, with two rows of teeth carved out from the same piece and dyed black, features the Songye’s typical ‘gap between the teeth’ in the centre of the upper row.
The figure’s ears are carved out. The back of the head is covered in thin leather attached by means of small copper nails. The neck displays three rings carved in relief and a necklace made of old blue glass pearls attached to a leather band. The back is straight, with a grooved backbone. The iron blade of a hoe is stuck in the chest (such objects were also used as ‘primitive money’ among the Songye). Both long arms are bent and hang free along the sides. The hands, with sketched finger nails, rest on either side of the bulging abdomen, which shows a round arched recess for ‘magic material’ in the middle of the navel. The sculpture wears a skirt made of old leather and stands on short, slightly angled legs and large, flat feet (partly eroded and broken off as a result of age-related weathering!).

The present sculpture is not one of the Songye’s ‘normal’ power figures, called ‘Nkisi’. Rather, it is something special! The current owner of the present figure, a renowned expert of the cultures of Central Africa, provided the following detailed explanation:
“The traditional name of these statues is ‘Nyam ntambwe’. Around the year 1930, an important chief, or king, called Ntambwe Ngoy, reigned over the Songye. At that time, the women and girls at Ntambwe Ngoy’s court appeared to have very few children or to be sterile. The younger generation was at risk. It was for this reason that the king commissioned a carver and ‘healer’ to manufacture a figure that would ‘cure’ his women. According to the king’s instructions, such figure was to contain the following materials in order to develop ‘magical powers’: the horn of an antelope (on the head), the skin of a big cat (at the back of the head and as a skirt), plenty of shiny copper (as a symbol for the sun) and iron (symbol of the moon), here in the guise of an iron blade that has the additional meaning of ensuring the fertility of the fields. This first ‘Nyam ntambwe figure’ brought the ‘Songye king’ Ntambwe Ngoy the success he had longed for and numerous offspring. As soon as other chiefs heard of this and saw the tangible effects of the power figure, they ordered similar ‘Nyam ntambwe statues’ for themselves, too. I believe my ‘Nyam ntambwe’ to be one of these follow-up sculptures, executed between 1935 and 1945.”
Thus writes the current owner about this ‘Nyam ntambwe figure’. It displays partly shiny patina and some age-related damage in keeping with its estimated age, (one tear to the right side of the head, small tears to the body, traces of heavy weathering, erosion and some losses to the feet).
Overall, this extraordinary, large sculpture is in a very good condition that matches its age.
Between c. 1935 and 1945. H: 118 cm.

Provenance: From the Collection of Dr. Mohamed Isahakia, politician, collector and former director of the National Museum in Nairobi, Kenya; currently: Private Collection, Brussels. (ME)

Lit.: Stylistic variants of ‘Ntambwe figures’ in ‘Songye’ by Francois Neyt, fig. 124–141; 'The Tribal Arts of Africa' by Jean-Baptiste Bacquart, fig. p. 171.

additional picture:
Comparable item: ‘Ntambwe-Figur’
From the book ‘Songye’ by Francois Neyt, fig. 124.