This serene ivory sculpture is a “fetish” figure –
known as a Bishimba – made by the Songye of
what was once Zaire. It is an unusually well-
finished piece, with a fabulous golden patina. It
depicts a typically-proportioned Hemba woman
standing with hands on her breasts and her
knees slightly bent. The torso is long, the limbs
very short and the head comparatively large. The
figure stands on an integrated pedestal base with
stocky, short legs and flat feet. The buttocks are
sharp, the stomach protuberant – probably
indicating pregnancy. The abdomen is scarred
four times with a four-pellet motif, encircling
the navel. The breasts are pointed and
protuberant, and the hands rest upon them on
each side. The neck is columnar, supporting a
large, domed head with a rear-projecting
coiffure, with the characteristic decorated-
cruciform coiffure. The profile is traditional, with a
high,
domed forehead and a dished face running into a
moue with slightly parted lips. The eyes are large
and closed under arched brows, the nose
retrousse and triangular. The coiffure is
demarcated by a carefully-decorated band that
encircles the head from ear to ear.
The Songye people are based in the Democratic
Republic of Congo (formerly Zaire). They were
founded in the 16th century following an exodus
from the neighbouring Shaba area, settling near to
the Lualuba River. There are around 150,000
Songye
divided into subgroupings that are under the
governorship of a central chief known as the
Yakitenge. More local governance is in the hands of
chiefs known as Sultani Ya Muti. Their economy is
based upon agriculture and pastoralism.
The Songye are perhaps best known for their
artworks, which are both institutional and
domestic/personal in nature. Their best-known
artefacts are kifwebe masks created for members of
the Bwadi Bwa. The word kifwebe means “maskâ
€ in Songye, and describes long-faced creations
decorated with curvilinear designs. Crested
examples are male, while plain-topped ones are
female; the masquerade dancers wearing each of
these masks interact during masquerades to
demonstrate the contrasting virtues of power (male)
and familial values (female).
The most impressive figural works are wooden
sculptures that are sometimes decorated with
feathers and other organic materials, and which are
known as Bishimba. Their magical powers are
contained within the horn inserted into the top of
the head, which may contain objects such as organic
residues, grave earth and biological objects such as
feathers or claws. The navel may also be used to
situate a bilongo (packet of magical materials),
similar to the Kongo tradition. The figures are often
adorned with gifts in the form of furs, bells and
other objects that are used to dress the figure; they
also tend to receive libations, physical
manifestations of appeals made for spiritual
assistance. Exceptionally, these figures may be
made of ivory, for social elites.
This is a superb piece of African art.
Further reading:
Bacquart, J. 1998/2000. The Tribal Arts of Africa.
Thames and Hudson.
Phillips, T. (ed.) 1996. Africa: Art of a Continent.
Prestel.
