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The people of Songye inhabit a vast territory between the Sankuru and Labilash rivers west and the Lualaba in the east, a vast group of villages can be found in present-Day East Kasai province, parts of Katanga and Kivu Province pg 96.[1]The people of songye are divided in to thirty- four conglomerate societies, each society is lead by a single chief with Judiciary council of elders and nobles (bilolo). Smaller kingdoms east of the Lomami river refer to themselves as Songye, other kingodoms 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.
The Culture of Songye and Ancestral Beliefs (fix)
[edit]Their form of art is know for being greatly diverse, the Songye developed two songye carving styles for figure sculpture and their blacksmiths.
The origin of the Songye begin with its founding fathers and ancestors Chimbale and Kongolo. Chimbale and Kongolo originated from and established the kingdom Luba. Chimbale and Kongolo played an important role in establishing the foundation of Luba's political empire.[8] After suffering from political dissention, The ancestors of Songye migrated out of the Luba empire to current day.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 the was embued to his by the cultural hero he was honoring. Blacksmithing was a another craft that was associated with their 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 Khami in Rhodesia pg 22.[3]
Influencers:
Nsapo: also patrilinear also has a secret society Bushiki responsible for maintaining social cohesion 169.[7]
make section clear what did they do for luba and who migrated out of it
who did what?
Religion and religious practitioners (add on)
[edit]The People of Songye believes that the land of the live and the land of the dead interact with each other. It is believed that natural waters such as spring, lakes and oceans connects both lands together allowing intermingling between the living and dead. Spirits such as ancestors, important chiefs and Devine creator efile mukluk influences their daily lives.
Religious practitioners are oversee the production of professional arts.The Nganga are not seen as sorcerers in Songye society, they are seen as specialists with mystical knowledge and training needed to handle the Mikishi and any malevolent influence against the community. The Nganga and Bwadi bra Kifwebe are religious practitioners that work on the same spectrum, they can work together when dealing with spiritual influence within the community however they are not associated with each other. The Nganga works as a separate entity while the Bwadi bra Kifwebe a secret society within the community. Bwadi bra Kifwebe a secret society that conducts rituals and rites such as initiation rituals, circumcisions and funerals.
Masks
[edit]The 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 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 133. [8]
The Songye gained an reputation for their unique stylization of masks. Songye masks or kifwebe, are wooden polychromed masks facial masks used by the Bwadi bra Kifwebe during initiation circumcision and funerals.These masks can be either male or female and the sex of the mask determines how it will be used for certain ceremonies. Once a dancer wears a Kifwebe masks, he takes on the attributes that the mask potrays. when the dance is wearing a male mask his 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 168.[7]
two different carving styles for masks,
Mankishi and the spirits within
[edit]Mankishi 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 Mankishi are wondering spirits, spirits who are not reborn yet are knowledgeable on their power and knowledge of partilineage founders, heroic leaders, and lineage chiefs and dignitaries becomes guardians of the lineage and provide general protection.[6] Mankishi conforms 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. Nganga or magical practitioners are responsible for commissioning these figures, they decide the dimensions of the figure, sex morphological aspects and type of wood used for the figure.
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 coiffure, beard forearm and feet are forceful and aesthetically pleasing.the horizontal shoulders arm and legs helps gives the figure a sense of energy and movement 38.[2]The Stance is meant to signify the mankishi's alertness and readiness to carries out is purpose whether is protecting is 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 hallowed along with the top of the head so that the Bijimba, a magical substance created by the Nganga, can house the sculpture and bring spiritual power to it. Female figures exist however they're not as common as male Mankishi. Female Mankishi are smaller and they are usually for personal usage. Like its male counterpart, the female Nkishi has a cavity in the abdomen and head to house the Bijimba. The figure its self usually shows signs of scarification on its face and above its face. The legs of 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 . When the Mankishi 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 38.[2] The housing of the Mankishi varies on its size, purpose and importance, larger Mankishi that are created to guard and protect a family or villiage is housed in a family shine,. Smaller more personal Mankishi are usually kept by the owner and are portable.
The Songye people, sometimes written Songe, are a Bantu ethnic group from the central Democratic Republic of the Congo.They inhabit a vast territory between the Sankuru and Labilash rivers west and the Lualaba in the east, a vast group of villages can be found in present-Day East Kasai province, parts of Katanga and Kivu Province pg 96.[9]The people of songye are divided in to thirty- four conglomerate societies, each society is led by a single chief with Judiciary council of elders and nobles (bilolo). Smaller kingdoms east of the Lomami river 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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Origins and Ancestors
[edit]The origin of the Songye begin with its founding fathers and ancestors Chimbale and Kongolo. Chimbale and Kongolo originated from and established the kingdom Luba. Chimbale and Kongolo played an important role in establishing the foundation of Luba's political empire.[10] After suffering from political dissention, The ancestors of Songye migrated out of the Luba empire to current day.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 the was embued to his by the cultural hero he was honoring. Blacksmithing was a another craft that was associated with their 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 Khami in Rhodesia pg 22.[11]
Religion
[edit]The People of Songye believes that the land of the live and the land of the dead intermingle with each other. It is believed that natural waters such as spring, lakes and oceans connects both Spirits such as ancestors, important chiefs and Devine creator efile mukluk influences their daily lives.
Secret Society: Bwadi bra Kifwebe
[edit]Bwadi bra Kifwebe is a secret society of mask men. In the community, these men were known for their use of magic ( Buki or Buchi) and sorcery (Masende). Buki and Masende magic differs from witchcraft, these types of magic are inherited and or obtained either by will or unconsciously. Witchcraft in contrast can be obtained through initiation and at the appropriate use of magical ingredients.[12] In order to be come a member of the Bwadi bra Kifwebe, all applicants must under an initiation process. During this process, initiates must learn and identify 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.[13] Some of the responsible of the Bwadi bra Kifwebe are regulating and maintaining 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.
Masquerades
[edit]The Bwadi bra Kifwebe maintain balance within the community by conducting masquerades, rituals and rites such as initiation rituals, circumcisions and funerals. Once a dancer wears a Kifwebe masks, he takes on the attributes that the mask potrays. when the dance is wearing a male mask his 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 168.[14]
Mask
[edit]The kifwebe masks comes 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 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 133. [10]
Male kifwebe mask
[edit]Male Kifwebe masks
Female kifwebe masks
[edit]
Mankishi and the spirits within
[edit].jpg)
Mankishi 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 Mankishi are wondering spirits, spirits who are not reborn yet are knowledgeable on their power and knowledge of partilineage founders, heroic leaders, and lineage chiefs and dignitaries becomes guardians of the lineage and provide general protection.[12] Mankishi conforms 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. Nganga or magical practitioners are responsible for commissioning these figures, they decide the dimensions of the figure, sex morphological aspects and type of wood used for the figure.
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 coiffure, beard forearm and feet are forceful and aesthetically pleasing. The horizontal shoulders arm and legs helps gives the figure a sense of energy and movement 38.[15]The Stance is meant to signify the mankishi's alertness and readiness to carries out is purpose whether is protecting is 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 hallowed along with the top of the head so that the Bijimba, a magical substance created by the Nganga, can house the sculpture and bring spiritual power to it. Female figures exist however they're not as common as male Mankishi. Female Mankishi are smaller and they are usually for personal usage. Like its male counterpart, the female Nkishi has a cavity in the abdomen and head to house the Bijimba. The figure its self usually shows signs of scarification on its face and above its face. The legs of 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 . When the Mankishi 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 38.[15] The housing of the Mankishi varies on its size, purpose and importance, larger Mankishi that are created to guard and protect a family or villiage is housed in a family shine,. Smaller more personal Mankishi are usually kept by the owner and are portable.
References
[edit]- ^ a b Petridis, Constantine. (2008). Art and power in the Central African Savanna : Luba, Songye, Chokwe, Luluwa ; [to accompany "Art and Power in the Central African Savanna: Luba, Songye, Chokwe, Luluwa", an exhibition ... to be held at the Menil Collection, Houston, 26 September 2008-4 January 2009 ; the Cleveland Museum of Art, 1 March - 7 June 2009, and the de Young Museum, Fine Arts Museums of San Francisco, 27 June - 11 October 2009]. Mercatorfonds. ISBN 9061538300. OCLC 551870212.
- ^ a b c Fine Arts Museums of San Francisco. (1988). Forms and forces : dynamics of African figurative sculpture. Fine Arts Museums of San Francisco. ISBN 0884010570. OCLC 18488158.
- ^ a b Walker Art Center. (1967). Art of the Congo; objects from the collection of the Koninklijk Museum voor Midden-Afrika/Musée Royal de l'Afrique Centrale, Tervuren, Belgium. OCLC 228887.
- ^ Volper, Julien. Autour des Songye = Under the influence of the Songye. ISBN 9782353401390. OCLC 828408112.
- ^ Sidoff, Phillip G. (1974). Art of the Congo : [function and form in masks and figures]. Milwaukee Public Museum. OCLC 600895141.
- ^ a b Pemberton, John. ([2011]). Crosscurrents : art of the southeastern Congo ; [publ. to accompany the exhibition at Smith College Museum of Art, Northampton, Mass., September 30, 2011 - - January 8, 2012]. Smith College Museum of Art. ISBN 9780873910682. OCLC 914569310.
{{cite book}}: Check date values in:|date=(help) - ^ a b c Bacquart, Jean-Baptiste. (2002). The tribal arts of Africa : surveying Africa's artistic geography. Thames & Hudson. ISBN 0500282315. OCLC 59498974.
- ^ a b Maurer, Evan M. (1999). Spirits embodied : Art of the Congo, selections from the Helmut F. Stern Collection. Minneapolis Institute of Arts. ISBN 0912964790. OCLC 505024432.
- ^ Petridis, Constantine. (2008). Art and power in the Central African Savanna : Luba, Songye, Chokwe, Luluwa ; [to accompany "Art and Power in the Central African Savanna: Luba, Songye, Chokwe, Luluwa", an exhibition ... to be held at the Menil Collection, Houston, 26 September 2008-4 January 2009 ; the Cleveland Museum of Art, 1 March - 7 June 2009, and the de Young Museum, Fine Arts Museums of San Francisco, 27 June - 11 October 2009]. Mercatorfonds. ISBN 90-6153-830-0. OCLC 551870212.
- ^ a b Maurer, Evan M. (1999). Spirits embodied : Art of the Congo, selections from the Helmut F. Stern Collection. Minneapolis Institute of Arts. ISBN 0912964790. OCLC 505024432.
- ^ Walker Art Center. (1967). Art of the Congo; objects from the collection of the Koninklijk Museum voor Midden-Afrika/Musée Royal de l'Afrique Centrale, Tervuren, Belgium. OCLC 228887.
- ^ a b Pemberton, John. (2011). Crosscurrents : art of the southeastern Congo ; [publ. to accompany the exhibition at Smith College Museum of Art, Northampton, Mass., September 30, 2011 - - January 8, 2012]. Smith College Museum of Art. ISBN 9780873910682. OCLC 914569310.
- ^ Hersak, Dunja (2012-06). "On the Concept of Prototype in Songye Masquerades". African Arts. 45 (2): 12–23. doi:10.1162/afar.2012.45.2.12. ISSN 0001-9933.
{{cite journal}}: Check date values in:|date=(help) - ^ Bacquart, Jean-Baptiste. (2002). The tribal arts of Africa : surveying Africa's artistic geography. Thames & Hudson. ISBN 0500282315. OCLC 59498974.
- ^ a b Fine Arts Museums of San Francisco. (1988). Forms and forces : dynamics of African figurative sculpture. Fine Arts Museums of San Francisco. ISBN 0884010570. OCLC 18488158.
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