Origins and ancestors
The origin of the Songye begins when its founding ancestors Tshimbale and Kongolo (king) established theReligion
The people of Songye believe in a supreme being Ele-ife, however, he is not praised as much as ancestral spirits. Ancestral worship is very prevalent within Songye culture, it is believed that the spirit of their ancestors is more accessible to them due to their shared experience of being alive. As a result of this, these spirits have a connection to both the land of the living and the dead and are able to enact their will on the community.Secret Society: Bwadi bra Kifwebe
Masquerades
The Bwadi bra Kifwebe maintain balance within the community by conducting masquerades.Dancers
The overall appearance of a masquerader varies on the dancer, the type of ceremony they're performing in, and spirit being evoked. Normally Masqueraders have a wooden mask and are covered head to toe in flowing blackMask
Cosmology of a mask
There are two different types of kifwebe masks. The kifwebe masks come 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.Male and Female kifwebe masks
Male Kifwebe masks were mainly used for initiation ceremonies, circumcision, and the enthronement and funerals of the supreme chief. The face of a typical Kifwebe masks is covered with linear incisions, a square protruding mouth and a linear nose set between globular pierced eyes. Male masks typical have a centered crest on the top of the masks and its size varies on the status of the dancer wearing it, elder dances within the Bwadi bra Kifwebe have larger centered crest compared to others. Female Kifwebe masks was typically used for public ceremonies and reproduction rituals. Women within the Songye community were viewed as the bearer of children and good fortune. To them, women represent continuation of life and cultural tradition. The features of the female kifwebe mask was meant to portray these ideas. Typically they share similar characteristics as the male mask however it facial features are more gentle and rounded evoking the tenderness of a mother as well as the power to protect and support her children. The structure of the face is longed, the mask itself is covered in white paint or Kaolin.Mankishi and the spirits within
Mankishi (singular: ''Nkishi'') 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 Nkishi are wandering spirits, spirits who are not reborn yet are knowledgeable on their power and knowledge of patrilineage founders, heroic leaders, and lineage chiefs and dignitaries become guardians of the lineage and provide general protection. Mankishi conform 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 (magical practitioners) are responsible for commissioning these figures, they decide the dimensions, sex morphological aspects, and the 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 hair, 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. The Stance is meant to signify the Mankishi's alertness and readiness to carry out his purpose whether it is protecting its 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 hollowed along with the top of the head so that the Bijimba, a magical substance created by the Nganga, can be housed in the sculpture and bring spiritual power to it. Female Mankishi exist, but they are smaller, less common, and they are usually for personal usage. Like its male counterpart, a female Nkishi has a cavity in the abdomen and head to house the Bijimba. The figure itself 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 a Nkishi 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. The housing of the Mankishi varies on its size, purpose and importance, larger Mankishi that are created to guard and protect a family or village is housed in a family shine. Smaller more personal Mankishi are usually kept by the owner and are portable.See also
* Zappo ZapReferences
Further reading
* Merriam, Alan P. 1974. ''An African World: The Basongye Village of Lupupa Ngye.'' Indiana University Press. * Phillips, T. (ed.). 1996. ''Africa: Art of a Continent.'' Prestel. * Alain-Michel Boyer, « Les Songyés » in ''Les Arts d'Afrique'', Hazan, Paris, 2008, p. 364-365 . * François Neyt, ''Songye : la redoutable statuaire songye d'Afrique centrale'', Fonds Mercator ; 5 continents, 2004, 398 p. . * Hughes Dubois, Viviane Baeke et Anne-Marie Bouttiaux, ''Le sensible et la force : photographies de Hughes Dubois et sculptures songye'', Musée royal de l'Afrique centrale, Tervuren (Belgique), 2004, 88 p. . * Jean-Marie Lusuna Kazadi, ''Les Songye de la RDC : hommage à un héros : Ya'Gérard Lusuna'', Éditions Aux Petits génies, 2003, 75p. * Allen Wardwell, ''Three African traditions : the art of the Dogon, Fang and Songye'', Bruce Museum of arts and science, Greenwich (Conn.), 1999, 47 p. . * Thomas Turner, Batetela, Baluba, Basonge : ethnogenesis in Zaire, Cahiers d'études africaines. 33 (4) no. 132, 1993, pages 587-612. Paris * Hildegard Klein (Ed), Leo Frobenius (1873–1938), Bassonge (Songye), ''Ethnographische Notizen aus den Jahren 1905 und 1906'', vol. 4 s titled:Kenyok, Luba, Songye, Tetela, Songo, Meno/Nkutu, Stuttgart : Franz Steiner Verlag Wiesbaden, 1990, p. 87-161 * Marta HeloÃsa Leuba Salum, Consideraçoes sobre as madeiras que os Basonge escolheram para esculpir algumas de suas estátuas, ''Dédalo'', 28, 1990, p. 207-226, São Paulo * Marta HeloÃsa (Lisy) Leuba Salum, ''A grande estatuária songe do Zaire'', ão Paulo: Universidade de São Paulo, fivereiro de 1990, 2 v., x, 326 p., ill., maps, 28 cm. Thesis (M.A.) Universidade de São Paulo, 1990. * Muepu Mibanga, ''Songye : livre des proverbes'', Éditions Bouwa, 1988, 277 p. * Muepu Mibanga, Jean Sohier et Johan M. Pauwels, ''Songye : le recueil de jurisprudence de l'Etat indépendant du Congo jusqu'à 1967'', Renapi, 1987, 128 p. * Dunja Hersak, ''Songye masks and figure sculpture'', Ethnographica, Londres, 1985, 189 p. * Jean Willy Mestach, ''Études songye : formes et symbolique : essai d'analyse/Songye Studien : Formen und Symbolik : ein analytischer Essay/Songye studies : form and symbolism : an analytical essay'', Galerie Jahn, 1985, 183 p. * Viktor Kabamba Nkamany A Baleme, ''Art et culture songye : Initiation aux aspects de la culture Songye'', Nkamanyland, 1983, 112 p. * Alan P. Merriam (1923–1980), Kifwebe and other masked and unmasked societies among the Basongye, ''Africa-Tervuren'', 24 (3) 1978, p. 57-73 t24 (4) 1978, p. 89-101, Tervuren * Roger Dechamps (+1995), L'identification anatomique des bois utilisés pour des sculptures en Afrique. V, La sculpture Songye, ''Africa-Tervuren'', 21 (1-2) 1975, p. 27-33, Tervuren. * Alan P. Merriam (1923–1980), Change in religion and the arts in a Zairian village, ''African arts'', 7 (4), summer 1974, p. 46-53, 95, Los Angeles * Alan P. Merriam (1923–1980), ''An African world: the Basongye village of Lupupa Ngye'', Bloomington : Indiana University Press,External links