View source for Nkisi

{{For|the parrot|N'kisi}}{{Short description|Religious statue in the Congo Basin, Africa}}

[[File:WLA metmuseum Power Figure Male Nkisi.jpg|thumb|Power Figure: Male (Nkisi). Created circa 1800-1950, DRC, The Metropolitan Museum of Art, New York, The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979]]
'''{{Lang|kg|Nkisi}}''' or '''{{Lang|kg|Nkishi}}''' (plural varies: {{Lang|kg|minkisi}}, {{Lang|kg|mikisi}}, {{Lang|kg|zinkisi}}, or {{Lang|kg|nkisi}}) are spirits or [[Fetishism|an object that a spirit inhabits]]. It is frequently applied to a variety of objects used throughout the [[Congo Basin]] in [[Central Africa]], especially in the Territory of [[Cabinda Province|Cabinda]] that are believed to contain spiritual powers or spirits. The term and its concept have passed with the [[Atlantic slave trade]] to the [[Americas]].<ref>{{cite web|url=http://palomayombe.netfirms.com/beliefs.html|title=Palo Deities|date=13 April 2008|url-status=bot: unknown|archive-url=https://web.archive.org/web/20080413072928/http://palomayombe.netfirms.com/beliefs.html|archive-date=13 April 2008}}</ref>

==Meaning==
{{Main articles|Kongo religion}}

The current meaning of the term derives from the root {{Lang|mis|*-kitį}}<!-- Proto-Njila -->, referring to a spiritual entity or material objects in which it is manifested or inhabits in Proto-Njila, an ancient subdivision of the [[Bantu language]] family.<ref>Jan Vansina, ''Paths in the Rainforest:  Toward a History of Political Tradition in Equatorial Africa'' (Madison:  University of Wisconsin Press, 1990), p. 146 and 297; but see also Vansina's corrective statements in ''How Societies Are Born:   Governance in West Central Africa Be 1600 (Charlottesville, VA and London:  University of Virginia Press, 2004), pp. 51-52.''</ref>

In its earliest attestations in [[Kikongo]] dialects in the early seventeenth century, it was transliterated as {{Lang|nl|mokissie}} in [[Dutch language|Dutch]], as the ''mu-'' prefix in this noun class was still pronounced. It was reported by Dutch visitors to [[Kingdom of Loango|Loango]], the current territory of Cabinda, in the 1668 book ''[[Description of Africa (1668 book)|Description of Africa]]'' as referring both to a material item and the spiritual entity that inhabits it.<ref>Olfert Dapper, ''[[Description of Africa (1668 book)|Naukeurige Beschrijvinge der Africa Gewesten]]'' (Amsterdam, 1668), p. 548 (see English translation in John Ogilby, ''Africa'' (London, 1670), p. 514).</ref> In the sixteenth century, when the [[Kingdom of Kongo]] was converted to [[Roman Catholic Church in Kongo|Christianity]], {{Lang|kg|ukisi}} (a substance having characteristics of {{Lang|kg|nkisi}}) was used to translate ''holy'' in the Kikongo [[Catechism]] of 1624.<ref>John Thornton, "The Development of an African Catholic Church in the Kingdom of Kongo, 1491-1750," ''Journal of African History'' 25 (1984):  156-57.</ref>{{Kongo religion sidebar}}
==Use==
Close communication with ancestors and belief in the efficacy of their powers are closely associated with minkisi in [[Kongo people|Kongo]] tradition. Among the peoples of the [[Congo Basin]], especially the [[Bakongo]] and the [[Songye]] people of Kasai, exceptional human powers are frequently believed to result from some sort of communication with the dead. People known as [[nganga|''banganga'']]<ref>The plural varies according to dialect, can also be nganga with class 2 concords or zinganga.</ref> (singular: ''[[nganga]]'') work as healers, diviners, and mediators who defend the living against black magic (witchcraft) and provide them with remedies against diseases resulting either from witchcraft or the demands of ''[[bakisi]]'' (spirits), emissaries from the land of the dead.

{{Lang|kg|Banganga}} harness the powers of {{Lang|kg|bakisi}} and the dead by making {{Lang|kg|minkisi}}. {{Lang|kg|Minkisi}} are primarily containers – ceramic vessels, gourds, animal horns, shells, bundles, or any other object that can contain spiritually charged substances. Even [[graves]] themselves, as the home of the dead and hence the home of {{Lang|kg|bakisi}}, can be considered as {{Lang|kg|minkisi}}. In fact, {{Lang|kg|minkisi}} have even been described as portable graves, and many include earth or relics from the grave of a powerful individual as a prime ingredient. The powers of the dead thus infuse the object and allow the {{Lang|kg|nganga}} to control it.<ref>Moncia Blackmun Visona, Robin Poynor, Herbert M Cole, ''A History of Art in Africa'' (New York:  Prentice-Hall, 2000.</ref> The metal objects commonly pounded into the surface of the power figures represent the {{Lang|kg|minkisi}}'s active roles during rituals or ceremonies. Each nail or metal piece represents a vow, a signed treaty, and an effort to abolish evil. Ultimately, these figures most commonly represent reflections upon socially unacceptable behaviors and efforts to correct them.<ref>{{cite web|title=The Metropolitan Museum of Art|url=http://www.metmuseum.org/Collections/search-the-collections/50013887|work=Power Figure (Nkisi N'Kondi: Mangaaka)|access-date=29 January 2013}}</ref>

Often, people would seek aid through {{Lang|kg|minkisi}}. In order to do so, an individual would have to seek the guidance of a nganga. The nganga would proceed using their ability to intervene with minkisi on behalf of the person seeking aid.<ref>{{Cite journal |last=Cole |first=Thomas B. |date=2016-01-26 |title=Nkisi Nkondi (Nail Figure): Congolese, Republic of the Congo |url=http://jama.jamanetwork.com/article.aspx?doi=10.1001/jama.2015.14073 |journal=JAMA |language=en |volume=315 |issue=4 |pages=330–331 |doi=10.1001/jama.2015.14073 |pmid=26813193 |issn=0098-7484|url-access=subscription }}</ref>

The substances chosen for inclusion in {{Lang|kg|minkisi}} are frequently called {{Lang|kg|bilongo}} or {{Lang|kg|milongo}} (singular {{Lang|kg|nlongo}}), a word often translated as 'medicine'. However, their operation is not primarily pharmaceutical, as they are not applied to or ingested by those who are sick, and perhaps {{Lang|kg|bilongo}} is more accurately translated as 'therapeutic substances'. Rather they are frequently chosen for metaphoric reasons, for example, bird claws in order to catch wrongdoers or because their names resemble characteristics of spirits in question.

Among the many common materials used in the {{Lang|kg|minkisi}} were [[fruit]] ({{Lang|kg|luyala}} in [[Kikongo]]), [[charcoal]] ({{Lang|kg|kalazima}}), and [[mushrooms]] ({{Lang|kg|tondo}}).<ref>Wyatt MacGaffey, "Complexity, Astonishment and Power:  The Visual Vocabulary of Kongo ''Minkisi''" ''Journal of Southern African Studies''14:  188-204</ref> [[Minerals]] were collected from various places associated with the dead, such as earth collected from graves and riverbeds. White clay was also very important in the composition of {{Lang|kg|minkisi}} due to the symbolic relationship of the color white and the physical aspects of dead skin as well as their moral rightness and spiritual positivity. White contrasted with black, the color of negativity. Some {{Lang|kg|minkisi}} use red ochre as a coloring agent. The use of red is symbolic of the mediation of the powers of the dead.

{{Lang|kg|Minkisi}} serve many purposes. Some are used in [[divination]] practices, rituals to eradicate evil or punish wrong-doers, and ceremonies for protective installments. Many are also used for healing, while others provide success in hunting or trade, among other things. Important {{Lang|kg|minkisi}} are often credited with powers in multiple domains. Most famously, {{Lang|kg|minkisi}} may also take the form of [[anthropomorphic]] or [[zoomorphic]] wooden carvings.

==Types==
[[File:Mangaaka.jpg|thumb|Nkisi Mangaaka power figure in [[Manchester Museum]]]]

{{Lang|kg|Minkisi}} and the afflictions associated with them are generally classified into two types; the "of the above" and the "of the below". The above {{Lang|kg|minkisi}} are associated with the [[sky]], [[rain]], and [[thunderstorms]]. The below {{Lang|kg|minkisi}} are associated with the [[earth]] and [[body of water|waters]] on land. The above {{Lang|kg|minkisi}} were considered masculine and were closely tied to violence and violent forces.<ref>Marie-Claude Dupré,"Les système des forces ''nkisi'' chez le Kongo d'après le troisième volume de K. Laman,"  ''Africa'' 45 (1975): 12-28</ref> The {{Lang|kg|minkisi}} of the above were largely used to maintain order, serve justice, and seal treaties.

[[Birds of prey]], [[lightning]], [[weapons]], and [[fire]] are all common themes among the {{Lang|kg|minkisi}} of the above. They also affected the upper body. Head, neck, and chest pains were said to be caused by these {{Lang|kg|nkisi}} figures. Some figures were in the form of animals. Most often these were dogs ({{Lang|kg|kozo}}). Dogs are closely tied to the spiritual world in Kongo mythology. They live in two separate worlds; the village of the living, and the forest of the dead. {{Lang|kg|Kozo}} figures were often portrayed as having two heads – this was symbolic of their ability to see both worlds.

''Na monanga'' are associated with a powerful person, with great reasoning, bringing happiness and fortune. They often were created carefully, have a tranquil expression, and are covered in decorations consisting of different substances.<ref name=":1">{{Cite journal |last=Volavkova |first=Zdenka |date=1972 |title=Nkisi Figures of the Lower Congo |url=https://www.jstor.org/stable/3334675 |journal=African Arts |volume=5 |issue=2 |pages=52–84 |doi=10.2307/3334675|jstor=3334675 |url-access=subscription }}</ref>

''Npezo'' figures are crafted to look menacing and are believed to have their powers weakened by laughter. <ref name=":1" />

There is also a difference between personal, and community nkisi. Personal nkisi figures were much more anonymous. They often were kept within a private domicile. While community ''mankishi'' on the other hand were much less anonymous, often times overlooking the village in a way to intentionally be visible to many in the village. They were meant to be visible, but often times were kept inside their own personal enclosure during the daytime.<ref name=":0">{{Cite journal |last=Hersak |first=Dunja |date=2010 |title=Reviewing Power, Process, and Statement: The Case of Songye Figures |url=https://www.jstor.org/stable/20744842 |journal=African Arts |volume=43 |issue=2 |pages=38–51 |doi=10.1162/afar.2010.43.2.38 |jstor=20744842 |issn=0001-9933|url-access=subscription }}</ref>

==Nkondi==
{{Main|Nkondi}}

[[Nkondi]] (plural forms {{Lang|kg|minkondi}}, {{Lang|kg|zinkondi}}) are a subclass of minkisi that are considered aggressive. Because many of the {{Lang|kg|nkondi}} collected in the nineteenth century were activated by having nails driven into them, they were often called "nail fetishes" in travel writing, museum catalogs, and art history literature. Many {{Lang|kg|nkondi}} also feature reflective surfaces, such as mirrors, on their stomach areas or the eyes, which are held to be the means of vision in the spirit world. They are often decorated with tubes of various substances. The most common of which being gunpowder. The idea behind this is for it to be used for killing ''ndoki'', who is associated with the powers of a witch. <ref name=":1" />Although they can be made in many forms, the ones featuring a human statue with nails are the best described in anthropological and scholarly literature.

{{Lang|kg|Nkondi}} are invoked to search out wrongdoing, enforce oaths, and cause or cure sicknesses. Perhaps the most common use was the locating and punishing of criminals, by hunting down wrongdoers and to avenging their crimes.  An oath taker may declare him or herself vulnerable to the disease caused by an {{Lang|kg|nkondi}} should he or she violate the oath. People who fall sick with diseases known to be associated with a particular {{Lang|kg|nkondi}} may need to consult the {{Lang|kg|nganga}} responsible for mediating with that spirit to determine how to be cured.

Although {{Lang|kg|nkisi nkondi}} have probably been made since at least the sixteenth century, the specifically nailed figures, which have been the object of collection in Western museums, nailed {{Lang|kg|nkondi}} were probably made primarily in the northern part of the Kongo cultural zone in the nineteenth and early twentieth centuries.

==Modern impact==

The {{Lang|kg|nkisi}} figures acquired by the Europeans in the nineteenth century caused great interest in stimulating emerging trends in modern art and Bantu themes previously considered primitive or gruesome were now viewed as aesthetically interesting. The pieces became influential in art circles and many were acquired by art museums. The intentions of the {{Lang|kg|banganga}} who created {{Lang|kg|minkisi}} were practical; that is, their characteristics were dictated by the need of the object to do the work it was required to do. Hence the nails that caused a sensation were never seen as decorative items but as a requirement of awakening the spirit or the gestures were part of a substantial metaphor of gestures found in Kongo culture.<ref>Wyatt MacGaffey, "'Magic, or as we usually say 'Art': A Framework for Comparing African and European Art," in Enid Schildkrout and Curtis Keim, eds. ''The Scramble for Art in Central Africa,'' (Cambridge and New York:  Cambridge University Press, 1998) pp. 217-235.</ref>

Recently some modern artists have also been interested in creating {{Lang|kg|nkisi}} of their own, most notably [[Renee Stout]], whose exhibition "Astonishment and Power" at the Smithsonian Institution coupled her own versions of {{Lang|kg|nkisi}} with a commentary by noted anthropologist Wyatt MacGaffey.<ref>Michael Harris and Wyatt MacGaffey. eds. ''Astonishment and Power'' (London and Washington, DC:  Smithsonian Institution Press, 1993)</ref>

The [[Republic of the Congo]] artist Trigo Piula painted several items in a "New Fetish" series, due to the rebuffing of traditional fetishes by people. It "is a way of engaging with my community and a way of denouncing things that I believe are impacting us, like television for example",<ref>{{Cite web|url=https://www.sothebys.com/en/articles/an-interview-with-contemporary-congolese-artist-frederic-trigo-piula|title=An Interview with Contemporary Congolese Artist Fréderic Trigo Piula|last=La Lime|first=Adriana|date=2019-03-29|website=sothebys.com}}</ref> he said.

==Gallery==
{{gallery
| height=100
| align=center
| File:Power Figure (Nkishi).jpg|A male nkisi of the [[Songye people|Songye]] in the collection of the [[Birmingham Museum of Art]]
| File:Brooklyn Museum 87.218.117 Figure Nkisi.jpg|Nkisi figure, from the collection of the Brooklyn Museum
| File:Brooklyn Museum 22.1455 Male Figure with Strips of Hide (Nkisi).jpg|Male Nkisi Figure with Strips of Hide, from the collection of the Brooklyn Museum
| File:Female Power Figure (Nkisi Nkonde).jpg|Female Nkisi Nkonde at the Birmingham Museum of Art
}}
==See also==
* [[Bantu mythology|Kongo mythology]]
{{portal|Traditional African religion}}

==References==
<references/>

==Bibliography==
*Bassani, Ezio (1977).  "Kongo Nail Fetishes from the Chiloango River Area," ''African Arts'' 10: 36-40
*Doutreloux, A. (1961).  "Magie Yombe," ''Zaire'' 15: 45-57.
*Dupré, Marie-Claude (1975). "Les système des forces ''nkisi'' chez le Kongo d'après le troisième volume de K. Laman,"  ''Africa'' 45: 12-28.
*Janzen, John and Wyatt MacGaffey (1974). ''An Anthology of Kongo Religion'' Lawrence, KS:  University of Kansas Press.
*Laman, Karl (1953–68).  ''The Kongo'' 4 volumes, Uppsala:  Studia Ethnografica Uppsaliensia.
*Lecomte Alain. Raoul Lehuard.  Arts, Magie te Médecine en Afrique noire. Edition A. Lecomte. 2008
*Lehuard, Raoul. (1980). ''Fétiches à clou a Bas-Zaire.'' Arnouville.
*MacGaffey, Wyatt, and John Janzen (1974).  "Nkisi Figures of the BaKongo," ''African Arts'' 7: 87-89.
*MacGaffey, Wyatt (1977).  "Fetishism Revisted:  Kongo ''nkisi'' in Sociological Perspective." ''Africa'' 47: 140-152.
*MacGaffey, Wyatt (1988).  "Complexity, Astonishment and Power:  The Visual Vocabulary of Kongo ''Minkisi''" ''Journal of Southern African Studies''14:  188-204.
*MacGaffey, Wyatt, ed. and transl. (1991), ''Art and Healing of the Bakongo Commented Upon by Themselves'' Bloomington, IN:  Indiana University Press.
*MacGaffey, Wyatt. "The Eyes of Understanding:  Kongo ''Minkisi''," in Wyatt MacGaffey and M. Harris, eds, ''Astonishment and Power''  Washington, DC:  Smithsonian Institution Press, pp.&nbsp;21–103.
*MacGaffey, Wyatt (1998). "'Magic, or as we usually say 'Art': A Framework for Comparing African and European Art," in Enid Schildkrout and Curtis Keim, eds. ''The Scramble for Art in Central Africa.'' Cambridge and New York: Cambridge University Press, pp.&nbsp;217–235.
*MacGaffey, Wyatt (2000).  ''Religion and Society in Central Africa:  The BaKongo of Lower Zaire'' Chicago:  University of Chicago Press.
*MacGaffey, Wyatt (2000).  ''Kongo Political Culture:  The Conceptual Challenge of the Particular.'' Bloomington:  Indiana University Press.
*Vanhee, Hein (2000). "Agents of Order and Disorder:  Kongo Minkisi," in Karel Arnaut, ed. ''Revisions:  New Perspectives on African Collections of the Horniman Museum.'' London and Coimbra, pp.&nbsp;89–106.
*Van Wing, Joseph (1959).  ''Etudes Bakongo'' Brussels: Descleė de Brouwer.
*Volavkova, Zdenka (1972).  "Nkisi Figures of the Lower Congo" ''African Arts'' 5:  52-89.
{{Kongo religion footer|state=autocollapse}}{{Bantu}}{{Afro-American Religions}}

[[Category:African art]]
[[Category:Afro-American religion]]
[[Category:Animism]]
[[Category:Animism in Africa]]
[[Category:Bantu religion]]
[[Category:Kongo culture]]
[[Category:Kongo religion]]
[[Category:Magic items]]
[[Category:Religious objects]]
[[Category:Traditional African medicine]]