ts

'uortdrrf sep Flrtdl€uBoqldsd uopuo'I 'runesnw qsBrrg aqlJo seelsn{ u-relsed! olur urrol er{]Jo uorlrr;dorddtar lueler eroru erI{V lrrtuaC 'eldoad o8uo;,1 (rsrrya) ern8g .:a.ro.o4 eql etrdsep surcurer rl puy '(saorld duetu ur pesn dTJtreue8 It'te3] erour ,^d.ou v n[-n[ -otlei eqt legt p ro3) surcruer r{Jlr{^a uorlrcqddr u?llJJty ut dq perurlddns seznr a-rn11nc uead -oJng Ielerpour ur lxeluoo slr eleJ Lue 1y 'srasn ueedo.rng -slrrl3 pur smef 'sruqsn141 urlr#17 r{rro51 auop tel 'sueed Pu€ u€frJJy uee.^$eg sr euoF ]e1 's.resn uErr{Y lf,urtsrP -orng pu? suersv 'suecueruy e^rleN '.srepuqsl rgrr€d eql dp:ntpc sll W dq dr,u. arues eqt ur pootsrepun se..v\ trJr ruor3 slcelqo relrurrs dpeorqgo {let or ppo dlrcurrsrp tueos repuo,^a pls .{etu e,la 'os ua,rg 'lq8noqr3o urelled ro llel plno.^A rl 're 'se8erur qonsJo uorlcnpo.rd eqt ur euol? -qoJo d.ro8aleo elqesruSocer e ot reJer ol rurrlr eruos p?q lou sr ecrgv u€rerryS-qns 'asrnof,JO 'tueruecrld rraql tr .{ruef,Jnf prol dgereqt Surure8 u1 'ossqaf tuter ur8prd ur lred luaunuo.rd r pedeld tou s?r{ lueurafuer{ua f,rteql uErr4v tsel[t er{l olur palnlusurrl Jalel xr11 'oJqta{ p -see stseSSns trgt derrn ? ur sl?rJeltru perruf-gnu?ru pue pe>lpr selrJcrrru esen8nl;o4 tsr5 eqJ 'Erl{V pue edorng FrnteuJo dter.re,L olor{^A r qtr.ln, perelof, srralqogo pesn uee.^ teq suorleluo{uoc d1.rea eql ur urSr.ro ue sEq .qsrleJ, sI tI rerllt1 'senqenb Ieuortttueserder rreql auuer 01 s€ os 'Jlestr ruret eql;o.{Solorudre eqi3o &zrr dq sr uonturldxe drrrr aruos ur passorp ro peqlolJ uaeg e^Er{ qslr{^a slcalqo 'ur3r;o Jo puH aruos spr€,lAol elnoJ 'elrpnre eJour 'puooas 11 go Suqpl ereq tou er? e4t ur Iernteu ro lernldpcs 'ltg ro €orues lse>lre6l ou deqr eq 'sloalqo elrlelnurnf,f,r pollel eq rq8rur ta{.^a ol 'e>ls?[V ro orrxetrAJ lse>l]?Cl due dern eures er{t etrnb ur tou dysnoroeual tsoru ererlp€ ot surees (gsrtoJ, 'eJI{1r uereqes (grdnur.rd s?,l.r eregt dq,u.:epuo.u, ot Uel fins ert e,^a gSnoqr - suol] -qns ruor; slcelqo ol eluereJer qlr.a,r padoldep -epunoJ I€f,rrolsrq q3noua ernres s€q elrgv lnslqsltoJJo eq ol s:eadd? urret eql ler{t sr d1r-rerlncad puolos y ernJef rre3 eql'aleudorddtur re.tartro11'ssaco.rd drorerold 'ea.r8rped -xo eql ur uorsslu Sursrutrlsrrq3 Jo tuerua^lo uI eqt ol pelseluof,un pu? rEepJo rurel IerruqJal E ere.^A IIJI 3urqteruos seao tqnop ou snrn?saql oglJo euol tltslleJoru s? pesn sr lr 'peepuy 'uorldr.rosep olrl€u pue dpeloqcs enll eqJ 'qrroJ os pu€ ',3urop-p.te, ',l;ercqctrarr, '.drqsro.u. -ruretleJo erg arlt ur (s1uer1c rreqtJo dueugo r?qt tqnop -11 ap, '.dr]r1opl, :oro3ag pue drntuar gtuaetauru eqt ruog ou put) e8esn esnoq uontrne Sutnurluoc dq pes.ropua 'slsrs 'petues uo Suue8url Surqsern dr.rrp.reqrogo eBeSStq ? qll^\ olrrof, -red .qsrle3, se urret ? snolnqeu pue en8e.r. os le qtog 'uDI€ dlasolc ere efl{17 tse{req tnoqe ssrnooslp -erd dlqee8pel.^aou>l asrlv\olrT are sdnorS snoua8rpurgo eqt3o dlrrrrfr8eu aql pu? (qslleJ, rurel er{lJo dlr.trle8eu saureu eqa dqdarSoqtro d:erodureJuof ot uonuane elqe eqa 'sqde.rSouotu porSolodo:qrue roIIJ?e oqlJo eruos -pueururof rltr.A perepuar ueuo ',{3o1ounu.rel elrtru pu? pue slroder .srellelerl 'e.rn1t.retq ur parelsoJ uaag a^eq t?q] 'sertrroqlne pelou uro{ suorltlonb'secuare3lar dpeloqcs suorldauad pet€Ilosst eqr putJIastI ElIgVJo uorltroldxa 3o dldoutd t &1dsrp ot sultd t? asl^.r:aqto orr san8o1 'e;eq aql;o fuolsrg eloq.^ ' egt sI euo 'ecrlrttd slqtJo 'uorteu -eter erues eql 'lsrrJ salzznd Iereles eJ€ ereqJ -e1dxe ue dltcexe louJI 'txeluol EJo r{lrres ur pe8eurun.r '(seqsrteJ, s€ peqrrrsep dlSuqre;un ore rolf,r:€ql ul?Jrar (ueeq e,req put) eq utr wqt sp.reoqdnc pcrSoloqcdsd ego srcelqg 'epercd uo sr d.relnqrrol rrrlrureJ r stuarulred eq] put I?f,IJolslq q8noue snollqo 'lqnop ou 'eie ereqJ -eC ,elrtnurrd, ro (leqr[, eqr dq pelueserd sanSopttr ',qslteJ, Jo reqrunu t uI 'sasnoq uoltrnt ssuopuol ur ecqd 8ur{el a^eg lou op 'paqdrur sr rr teq; 'sruroJ srues eql uI su?Il 3ft Salss uuJnlnr elq eql cNrJIu,4a Jo awrJ lrHJ JV

{r€w uqof €rlJJY l€rlue] ur sern8rJ lr8ew 6ft%' The Myth of the Fetish forms encouraged by acquaintance with what was in- terpreted locally as an equivalent European pracrice. All of this suggests, then, that 'the fetish' is firmly an- Several possible links have been canvassed. As chored in the space between cultures, one of the most long ago as rgoT it was suggested by the ethnographer potent zones of mutual misunderstanding. The most Peschuel-Loesche that nail Gtishes were related to cruci- characteristic of the objects referred to as 'fetish' come fixes.2 It is in fact the case that images of Christ on the from Central Africa. Indeed there is a complex of magical Cross entered Kongo culture in part as an insignia of objects and practices which involves masquerade, and the chiefly oflice rather than in specifically evangelising con- use ofvarious devices for healing and other purposes texts. Locally cast brass crucifixes are a familiar part of the rvhich, with local variation, is common to peoples from iconography of more recent Kongo art. Whether the the Atlantic Coast right across Central Africa and into same inspiration lies behind the creation of nailed figures Zallnbia and beyond. The term nkisi ts the shared Bantu among the Kongo is very far from certain. Despite a con- *'ord for aspects of this complex and is found in use in siderable attention to archival sources on the history of very widely distant parts of the region. Thus in terms of missionary activity in the Lower Congo area, no solid most of the objects illustrated here, and found in the support for this speculation has emerged. African section of the exhibition which the volume ac- A second link is the possible connection with a companies, nkisi refers both to the nailed images from the practice of sticking pins into images, which in Europe is Kongo on the continent's western shores, and to the best known as a means of inflicting injury on others.3 magical figures of the Songye deep into centalZaire. Again, there is no supporting evidence of any association. The most familiar of so-called 'fetishes', however, Yet some expectation based on vague notions of the come from the peoples clustered round the mouth of functioning of European witchcraft has been a significant s-hat was then the River Congo (and is now the River part of the impression cultivated about the use of nail Zaire).It is important to recall that here there is a history figures in Central Africa. All the negativify of the term of contact with Europe that extends back over 5oo years. 'fetish' has seemed appropriate to these 'ferocious', The first Portuguese ships arrived offthe coast in 1482. 'frankly obscene','indecent''scarecrows'.a 'Within a decade the sparse Portuguese settlements were In the end, the perception of these objects as 'fetish' reinforced by a significant group of new settlers from is an entirely spurious external view which classifies Europe including representatives of a variety of Catholic objects regardless of indigenous understanding. Indeed it Orders. And by Easter r49r the first baptism of a local has been in situations where an alternative system of Kongo chief had taken place. By May the Kongo king understanding, that based on Christian doctrine, was and several local aristocrats had followed suit; and byJuly making significant inroads among the Kongo that they that same year the first church was already approaching completion.l The first catechism was written down in the local Kikongo dialect in r556, and a dictionary had been prepared by 1652. We do not know for sure the origin of the fetish figures of the Kongo, nor indeed is it at all likely that there could be a single knowable source. Various of these objects were destroyed with the conversion to Christian- in of the famous Kongo king Alfonso I, and so certainly predated the late fifteenth-century encounter of Kongo rvith the Portuguese. Yet it has been suggested that at least one form of so-called fetish figure, that which incor- porates nails, is in fact related to certain nailed images as thev appear in'Western culture. The Kongo objects in quesrion are carved and usually figurative. In addition to nails. r'arious other bits of hardware have often been driven into them. They are discussed in more detail be- Power figure los-. If of Christian or, more generally, European inspira- Songye people, Central Africa rion. such images would represent an evolution of local Trustees of the British Museum, London

_i+ ss

lou er€ deqtg 'ren 'pa-reeddesrp seq uort?redo rragl 'esJnoseJ e^rlseSSns e pe old pepunorrns eJuo leqt pntrr eqt pue depol peqsrururrp seq osp srg 'Dlesung rr) n€r)-nJ 'roletueruruoc o3uo14 sleelqo qlnsJo asn eqI 'F,^Ao^esrpJo stfe qfnsJo llnser e dq uamr.rr'r pue 696r ruor3 Surtrp legdrurd iloqs y llerrp e ueuo sr erag,l osla pur edornggo surnesntu eql E'perelorsrper dpuece.r pur d-rnluac eql3o ured d1;re aqr ur dtpol pa,L.rese.rd a.rr deqt tc€J er{J 'sreprstno reqlo lo ur pepJoJeJ slcalqo Jql ]noq? slxel elrleuJo uorl€urrurxa serJ?uorssrur ol psodsrp .rreql 'elet due 1r ,-ro - uorlf,nJlsep 'seSeurgo -er € urog peurr8 ueeq seq qrnw les xelduror .rraqr perydur slrelqo qrnsJo doecrge eqt urJerTeq IIeJo dpnuessa ue 8ur1e.tr:un ur pe^on{le ueeq dpre.rp seq p,^.o^Esrc 'qsneJJo lse^rrr{ Jqt pelelared s€.^A slnosJo l?q.^a uo uorlf,eEer ? eJe suorlenresqo Sur.LrolloJ eqJ lse^r?q eqt :uorsre^uor u?rlsrlqSJo^q uortrpuof elq?tl^eur '.qslteJ, I?rtuesselurnb eql 'lsee1 te uortdeored crlqnd ur aql s? pa.^aofioJ ]rE txeu eqa 'Surueeru crloquds luereg 'umue; o] peurlsep e.re daql 'uortrterdrature; dq penlser -grp e elrnb seSrrur esegt ol etnqrr]]r ot pe8r.rnocue ere \

urlrag'ePun>lra]Ig^ r.Tu runesnlAl pBnl:o4 E)r{V lertuaC '(qr1) aldoed o8uo) 'Brqruro3 ep epeprsrJ^run 'orr8olodo.rluy nesnw op eletor1qrg ( rsrryi;) a.rnB g,ra.r,r,o6 elr{V I€rluoC 'eldoed o8uo;1 (rsl;7r) a:n8g:a.r,ro4

V]IUJV f YUIN:I] NI SgdNCI'I SICVW

,,,ii:,iit,,iu"dii&fuini,i,',u'l,iili The 0biec{ and its Function

The images themselves are in a variery of forms: the most familiar in ethnographical collections are a series of human figures carved from a solid block of wood. They display a wide variery of gestures - with one hand raised in an apparently threatening manner, hanging by the side, behind the head, or placed on the hips or the abdomen; Gmale figures sometimes have the hands supporting the breasts; there are composite images of mother and child; teeth may be bared, tongue hanging out; eyes may be of white porcelain or other material imparting a staring appearance. Sometimes the image may be of an animal, a monkey or, more especially, a dog. Frequently male figures are encrusted with nails, blades, hooks, chains or other strips of metal. Most have a pack of substances at- tached to the abdomen, often with a mirror or occasion- ally a large cowrie shell embedded in the middle. Some of these objects are of distinguishable fypes to which specific names appear to have been applied. In general, however, all such objects are referred to under the common term nkisi (or plural minkisi) and are thought of as containers.6 Thus, in addition to carved figures, natural objects or other containing devices may also be used - objects such as a large shell or gourd, or a cloth bag, a pot or a box made from bark, may also func- rion as the nkisi.'What is contained is, in a narrow physi- cal sense, a series of elements which collectively act as medicines or magically charged substances. These include chalk, white kaolin, charcoal, earth from graves, seeds, resin and so forth. 'With Without these elements the nkisi is neutralised. them, however, the object is imbued with an empower- ing spirit also known as nkisi. The object therefore 'is' nkisi in the more profound sense that nkisi is contained Power figure (nkki) rvithin it by virtue of the substances assembled on the [Crt.a] Kongo people, Central Africa as a from the object. Nkisi is conceived power emanating Trustees of the.British Museum, London unseen world of the dead, an omniscient force which is otherwise inaccessible to human perception. In being Nklsi, then, are dynamic animated objects. They persuaded into taking up residence in a particular con- function at the behest of human operators; and their tained space, however, it has somehow emerged manipu- range of activity is extensive. They may be used in lable by human agency. Those who control the object are magico-medical contexts to promote healing; and they the nganga, a class of what might be called priests, who can have a detective function in identi$'ing thieves or effect the ritual sequences in which the powers of the catching adulterers. Some have a juridical aspect and may nkisi are activated on behalf of individual clients or com- provide judgement or punishment. They link in to sys- munities as a whole. The powers, however, are not gen- tems of divination and assist in identifying the perpetra- eral but personalised and specific to individual objects tors of witchcraft. They may be consulted to enhance rvhich often bear their own name. Indeed they may onet own chances of good fortune or to curse others. acquire a reputation for their own pre-eminence. Admittedly the purposes of rrlei-si are ambiguous.

56

iriiliiiiiiliiir,,,r.,,,.r i,, t .l, LS

uapra'I'3pun>lua>llo^ loo^ Iunasnluqle{ e)r{v IErluaJ 'aldoed oSuo) deluotu eJo rxroJ eqr ur (tslrya) arn8g ra.,rro4

uopuo'I 'runesnw qsrtrrg Jr{lJo saotsnJJ e)r.rJv IertueC 'eldoad oSuo;1 [S'te3] (rr4l) a:n8g :e.r,ro4

V]IUJV'IYUIN!I3 NI SgUNCI{ ]ICYW JOHN MACK

They are a locus of ritual activiry and an animated, em- powered object. Are they, then, really to be regarded as that restricted, impulsive kind of construction which the appellation 'fetish' implies in a European context? Dis- cussion of this phenomenon in relation to African art has generally proceeded by way of a distinction berween r\rvo types of object. Thus William Fagg, for instance, in discussing Teke sculpture from the People's Republic of Congo, wrote: 'Some of these figures are ancestor figures but others are true fetishes, that is they are not made in honour of any particular spirit but are powerful in them- selves and made for a particular purpose, good or bad.'7 Generally, this contrast between positive, often person- alised ancestor sculpture, and the negative impersonal rype of image associated with magical projection is taken to be coherent with a broad distinction between the more overtly aesthetic carving of the ancestor figure and the accumulative character of the 'fetish'. In Central Africa the division is most readily justi- fied in the apparent contrast between the nkisi festooned with its accompaniment of nails, blades, fragments of cloth and mirror glass, and the smooth sublime sculpture, often shiny as if varnished, and produced, for example, by the Kuba and the Hemba deeper into Zaire. Bluntly, the one appears to be the product of an ill-considered, vaguely magical process where aesthetic factors are en- tirely secondary; the other looks to have been deliberately treated to enhance its aesthetic qualities, a result of the affectionate approach to a fabled ancestor commemorated in sculpture. Here I want to argue that in concentrating on outer appearance without asking how and why these effects have come about, we miss the point. Contrary to expec- tation, what we see on the sudace is not the essence of the object but rather the inteface between the hidden inner world of the animating spirit and the outer fragile world of the human supplicant. This is a critical relation- ship whose immediate field of operation is the suface of the object, but whose context is what happens invisible to perception within the object and that whole sequence of ritual action which surrounds the approach to the world of the spirits. In this respect they are much like the mask whose external appearance is often as important for what it hides (the masker, but also the spirit or other entity which by definition is unseeable) as for what it expresses. Power figure (nklsl) Let us examine the extremes of this distinction: the Kongo people, Central Africa Rautenstrauch-Joest-Museum fiir Volkerkunde, Kongo nail fetish and the king figures of the Kuba. The Cologne Kuba kingdom is another of the elaborate historical poli- ties of Zaire and one sharing certain artistic preoccupa-

58 6S

sr .Aao^ e trql tue^e aqt ur 'pue ryuo4u eql o1 qr€ord -de eql sesrleuosred srqf 'E^rles sdeq.red ro rreq 6r{tolr - tueruJle 8ur$rfuapr etuos peqrElte sr srqt oI 'I€u ro ep?Iq ?Jo ur Surnrrp eqt dq sr Surltttepun uE Surrurrgr ro uJAneT'trelrsre^run e>lerloqlex uorluelur pnplzrtpur ue Surxg ro Surpurg30 poqteru eqJ elrryv lrrluec 'eldoad oSuox ,,'8urryl-qlro qrns Jeqlo pue 's.uon uorlerlrur urJguof ol [62 le3] aprer (s,rFulrfz) s,lsar:4 'uorlesnffr lng8uor,u Jreql slJOSst euoeuros eJaq,AA etuel -ouurJo suollrlselle esJopue ol 'serlrunruruoo pesoddo ueo.^Ateq sertea-rl .!4e.r o1 uodn pelec a.re.(eqt qlns sy '.qslreJ, eJo uorlrtfedxe puorlueluor aqt dp.req - 8ur -purq pur enrl?lrroqtne s8urlelrepun pur sr{l?o rapuer ol sr tpul4uuu o1 qceo.rdde pdrcuud eqt 'petseSSns (uerurl pre.A pg 1-rey d.rruorssru qsrpa,^as er{lJo qrrerser aqt ruog Surllnsa.r asoql dpreru) suorlrcrpur d1.rre sr '.rane,uoq lsuorl -runj peurtuepr3o dleuen € eleq ryuo4utw'uorllg u?ql .re8ue.rls sI qln{ 'eq ol lno epeur sourrteuros sr lr e8rrur p3a8ue.t d18unlnue:un eqt t?qr IIe roJ lou sr tr tnq 'Surtep -rrrrtur arour eql dlurrlrec s ryuo4u er{l 'o,^ l oqtJo 'eJeueur Surdpapun ue sur€luof tuetxo ltgt ot qlII^A pur 'drlcedrc urrung purrou speerxa (er? qrlqrA re,nnod €Jo uortrassr ue Ie^el ouo tE 'uoql r{tog 'lcalqo u? st uorldofuol slrJo 1.red r sr lf,eds€ errrsserSSt dlerr;eqrlep e ryuo>luttu erltJo es?J agt uI 'drqs8urqgo lxetuor Iegre^ eloq,^ eqtJo tnq 'sdeqred e.rn8g 3ur1 eqt Jo eruerreddr pnsr,r oqt Jo tou lreds€ .ts - ffg1se1earq1 sl slr{J 'uorsrl tuedo^rr?Ir Ieuorldecxe ur sessessod oq,r,r Pur uoesun put euoP se^our oq,^A qrtr,^A eqr ol poue>lll uorsuelxe dq sr 3ur1 eqt treds€ srqt uI or'.euole sJunq 1€gl prurue eql, 'prrdosl er{r oi ung selrrlosse 3uq eqny aqlJo seurtu esre.rd luel.rodrur eroru eglJo euo 'oo1 'og 'lunq erueS pesrurSro ur ur lucdnrged e urql reqlr-r euolt slunq og,^ euoeruosJo ssues eqt seq qrrq,^A spu04 prol\|. eql ruo5 Surnr.rep ruJel eql ',;elunq, su€eur ryuo4u ]cql '(rpuo>1uuu 6sn sflet degegceyg p-rn1d) ryuo4u se u.Aaou>l sI 'sernl qreu dq poteurtuop sr qrnl,^a !s!>lu Jo addt eHt 'sngJ -eeJ lenldecuo3 uoruuroJ etuos eJ€qs sa8ttut qloq 'seJut -rreddr etrdsap 'leql uorlrrrpur Frtrur ouros sr erer{J '.re,ro.od pdo.rgo drerurlr8el tuopuuor er{tJo tuauryoq (eJnlrrJlrod -rue dJaA er{l peuger sr Jeglo egl - 8,se3ttul I^ep, - dselur3 pcr8augo eur8ue ur3o eldrurxe elrur -n1n eqt se dgtct;otsrq peqlnsep sI euo eqJ 's8ur1 eqny pet?es pegru8rp er{lJo sruroJ pepunor pesoduoc aqt pue sem8g peu Surllsrrq eqr ueqt esn tuer?dde pue elut -rreddr3o sturet ul pelourer rer{lrnJ eq ppor Surqlou lea 'slre rrer{tJo seldruexe lserlr?J ogl ur tuepr.ta sr sr 'sloelqo uo Suru.ralted orreruoa8Jo sertqrqrssod eqr Surnsrnd ur tsoreJur pedola,r.ep ? e ?q 'ofu?lsur ro3 'qlog 'suortdurnss€ Jrtsru?Jo tes uoruurol r pereqs e,\tq deqr teqt ts?el 1r ro '1srd turlsrp eql ur reqlo qf,?e peJuengur dlenlntu e,trq ?qn) pu€ o8uo;1 lrqt alqrssod sr t1 'o8uo; oql qtr^\ suorl

V]ItIJY -IVf,JNg] NI SgUNCI'I SICVW JOHN MACK broken or a guilry supplicant wrongfully protests his or her innocence, unerringly identifies the impostor. In such cases the nkondi enacts retribution. Similarly the power of the figure may also be used for forensic purposes. Thieves may be identified by driving in a nail with the remains of stolen goods attached. The driving in of the nail in the first place is conceived as activating, angering the nkki- spirit - hence the threat which underwrites its power and its appearance when unjust or fraudulent causes are brought to it. More private affairs may also be revealed to min- kondi. Thus, where someone anticipates that their own success may cause disruptive and envious response in others, the fear may be allayed by fixing it through the driving in of a nail. In such matters the nkondi affords personal moral protection. Likewise it may right wrongs. Someone unjustly accused may draw out a nail placed in Charm gown [Cat.7] Asante people, Ghana the figure on their behalf as proof of their innocence. Trustees of the British Museum, London Such an act undertaken by the guilry would have fatal results. Despite the rhetoric, the blades are often placed on the image so as to create a symmetrical effect. There is some suggestion that this arrangement coheres with Kongo notions of completeness. It has the efFect, of course, of making the task of the ritual specialist in re- membering the cause represented by each inserted blade or nail much more diffrcult than would an eccentric dis- position. Even so, such a feat of memory is required of the nganga. The method of annulling a vow or of re- versing an affatr wrongfully presented is to withdraw the appropriate nail. On the more heavily used of images this may involve a selection amongst upwards of zoo blades and their associated causes. Should the wrong one be ex- tracted the power of the nkisi-spirit thus released would recoil upon the operator to dire effect. Symmetry is also a feature of those types of nailed image which, instead of humans, portray animals. The most familiar is that of the dog, kozo. Here the medicine pack is placed in the centre of the back, and each half of the object is conceived as the image of the other resulting in a double-headed sculpture. The dog is an important category of animal in the symbolic systems of the Kongo and other Central African peoples. Its capaciry for being at home in both a domestic village context and at finding its way through the forest makes it an apt vehicle for ex- pressing relationships between the living and the dead or other spirits. Just as they can by their sense of smell track dorvn game, so they can hunt out evil-doing. And, stand- Power figure (n&lsi ) ing as they do at this conceptual divide between the Kongo people, Central Africa human and ancestral realms, it is sometimes said that they Pitt Rivers Museum, University of Oxford

6o r9

'lxeu eql srr{J 're13^\ e{q 'eln{.^a s? peJeprsuos osl? ar? srorrrw or plro,^ euo uro5 e8tsstd r?llruls E s? ueas $ qt?ep put 'Plro,^a uerunq aql r{ulqJo ssecord eql 'uorsuetxe dg 'peua1e.u,e atr 3urnr1 uo.^Aopul.^r stl 'ulqtl.^ peuleluol ytds-rsr4u el{lJo uolsr^ aqt pue tser p€ep oql 'Suluroru eqt uI seslr rI sV 'p?eP relnro Surssedruorue-W ttql Jo luaunrlsur ue aq or ploq eqiJo plror^ agt eteununlr ot sur8eg tI 'uozlror{ aql sdeq.red sr pue 'sl.ress€ rorrrur aql lpuo4utul uo pedoldeq puo-(eq stes pu? d1s eqr ssorf,? seloru uns oql s? :sua>l?.^dr 'pIJo.^ repun oqt ol ssoffe se.l.r8 .rorrnu e q8norqr Surnoru Jeqlo eqt sdaels p1.ro,lo. ouo uer{1y\ teqt r{ons sesrelrun aror{^\.ro '1uo.r3 ur sr tEq,^A uer{t reqler re.^Aer^ eqr Purqeq o-\u eql ueo,^aloq rtrrulreSo uolssoffns t sI eJeqJ 'uoISI sr l?q.,r.l. sl?eler roJrrur eqt areqa se8rrur Suronpord 'sde.m, --\lpJo euIT eqt s€ rele.^a qtI.^A se^pq o.^alJo uortrsodruoo go ,(1er-rrrr e ur sJrlsrretrerrqf aseqt qlra punorr pedeld E se esrelrun eqt aes oSuoy eqt snqJ 'prep er{tJo reql eleq seururerSord tsqreuns 'puqeq seq leq.^a Ireruor pue 8ur.l,r1 eqt;o puel eqt sepIAIp uJnl sll ur re.l.rr ltelS dleraldruoc Loqt se ourrl ourcs oql tB uror{tJo tuor3 ur sr srql 'Je rr leer8 e;o Surssorc eql s? spuel luesatd traql leq.,lA Fe^or dlelelduoo .(aqt 'raurrarn eqlgo azr8 oql >ll?q 'por8o1oursotr 'sornllnJ ur I€Arrre rraqtJo leads oSuoy aqa pu? Surlceger uI dueru ur suorllnJlsuoc prrSoloqrdru rrqliur qloq sde.,rn lenldecuoc rer{lo uI peterogele reqilnJ pue cqoqrudsJo elrlap uoururor € rueql se>l?ru sJoJJIur sr 'srolserue qlrd\ 'pEop eql q1I.4 uorl?IJossB otIJ Jo retrereq3 snonSrqrut eqa 'e;n8g aql3o (peaqeroJ eql .r'ellq,l.r Suleq seSo fq8noqf osl? er? sa.l,lesruaqt deqa dluounuoc ssel '.ro) uoruopqt aqt or lced eurcrperu slr dq 'rele-\\ rapun ro ur 8ur.tq se 1nq 'secqd I€Irnq ur dlenbrun peqr?I? rorrrur eql s lpuo4utw eqt Jo uortfnrtsuo3 oql uI 3p?ep Surprsar se3o rq8noql tou ar? 'rene.u.oq 3r{I lueurolo Fntdecuoo Pu€ Fnsr^ lueuruo.rd rerllo egJ '.peap aqiJo pur1, ',dretaureo, sueeur osp (aqwadur) e1rq.ra. 'suorlf,eJIp roJ pro,^ o8uol;1 aq;-'xst4u sat€Al1r? qllq^a alpunq qtoq w eltJ ltqt sp?oq aqt pur lrelqo eqtJo elpprur eurJrpaur eqlJo uonlsodruoc aql uI tuourele ur st dtp eqt ur aprlrp pcutaruruds eqt eJueH zr'p€ep or{tJo erlr{lA. dpoq u.,rno srq or seqddt oslt' a7uo7u aql poopul plro.^a eqt JoJ o^at pue plro.l.r slr{l roJ o.lo.t 'sede rnoJ e^eq qr_rr{\\ pur 'roefqo oqlJo ptel{ eqt uo dltdrcur.rd pelured uopuol 'runesnw r{sDrrg eql Jo soolsn{ sr qJrq^\ tueru8rd ellq,^a eql ;o 'sel.e s? pesn pue padeqs Elrr;V I€rtueC 'eldoad o8uo;'1 ellq.^a ol'satnatl tpuo>1 seunleuros sI qJrr{-/r\ urelec:od erll [t'te3] 8op pepeeq-alqnop eJo -rrrrd qlr-lt\ paltrfoss€ slceho ellrl,^a Jeqlo o1 tueql sluq ruroJ ar{t ut (ozo41s11a) a.rn5g .ra.ra.o6

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Thus, the use of the mirror appears, additionally, forth. Over time they acquire a deep, shiny, heavily vaF to recall elements of this cosmogram. The water that lies nished appearance. This is the result of them being oiled between the two universes may be a river, the Atlantic regularly by the royal wives in the course of use. Such Ocean, or simply a pool. ln fact, certain deep pools applications occur on two particular occasions. The first provide one point of entry into the world of the dead. is during the installation of kings when the new incum- The mirrors on minkondi appear to function as a similar bent sleeps in a room with all the figures representing his conduit. predecessors. This procedure is seen as a method of incu- Even this necessarily abbreviated account of Kongo bating in him the spirit of kingship, those extra-human ideas suggests that so complex an object as the nkondi is capacities which, among the living, kings uniquely pos- anything but the impulsive product of a self-regarding sess. The second is to ensure the continuing presence of obsession. What we see on the suface of the object, and such kingly powers even when the king himself is absent what is so absurdly misrepresented in the lingering dis- on a journey outside his capital. cussion of 'fetish', is a stage in a whole series of on-going The action of rubbing, then, is not the sentimental transactions between the living and the dead, assembled, practice of an owner in relation to a much-treasured contained in one powerful image. The driving in of the object. It is, rather, a process intended to activate the nails is not, then, a casual act of magical fantasy but a dra- object, to wake up and thus release its inherent powers. matic, presumptive and inherently dangerous act which This idea of massaging as a method of activating is found pierces the suface that lies berween the two domains. elsewhere in Kuba culture. Thus, like the Kongo, the From the reading of the various ethnographical and his- Kuba also identifiz the dog's faciliry for finding its way in torical accounts of Kongo, the nkondi emerges as a kind the forests, the domain of spirits, with a forensic ability of progressive archive of complex spiritual interactions equivalent to that spirits themselves possess. Small images played out on the suface of the object so as to give shape of dogs (among other appropriate animals) are carved and to human experience. used in divination.la The method is to rub a disc, dipped in oil or saliva (as the nails driven into minkondi ), across the back of the image. It stops once the answer being The Sharp and the Shiny sought has been identified from a list of possible solutions spoken out by the operator. Again a well-rubbed shiny suface results. -Women Suface is no less important to the treatment, and thus likewise rub a mixture of oil and powdered the understanding, of ndop, the king figures of the Kuba. red wood (which is also applied to king figures) on their They have never been thought of as in any sense fetish bodies. The exposed stomach is the most usual site, and objects. Yet there are significant areas of comparability the stomach is also often carefully incised with the pat- between what are conventionally presented as tlvo dia- terns which Kuba other-wise apply to certain types of metrically opposed rypes of African image. textile, and to carved images. To describe the action as Just as the Kongo spirits of the dead are identified one of beautification is to miss part of the point; rubbing rvith an underwater realm, so, too, the Kuba associate a with oil also encourages fecundiry. category of nature spirits, the ngesh, with marshy, watery It is notable that the Kuba, in addition to shining places, the sources of streams and deep forest pools. These up certain kinds of object, also deliberately dull others. spirits are fickle; they survey and influence affairs in the At night ceremonies intended to promote fertiliry and rillages of the living often in unexpected directions. They associated with the phases of the moon, special wooden remain unseen and inherently dangerous. But they can be versions of ceremonial swords and knives are used. No approached and consulted in divination. doubt this is in part for the very practical reason that it The king himself is regarded as such a being: an averts the possibility of accidental injury in the semi- 'Women, ngesh, a spiritual figure with the power over life and darkness. however, also cover their heads to death. King figures are carved for each successive holder avoid the moon from shining directly on them. If they of royal offlce and portray them, not in the sense of cre- were to be exposed to moonlight on these ceremonial ating a physical likeness, but by incorporating an emblem occasions they would risk infertiliry. Likewise the avoid- on the front of the sculpture which recalls some innova- ance of shiny, metal-bladed weaponry seems to have an rion rvith which the king has been associated - the intro- additional motivation, that of affording protection against ducrion of a game board, skill at metal-working, and so spiritual dangers. A general association ofreflective sur-

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