Songye people

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The Songye people, sometimes written Songe, are an ethnic group from the central Democratic Republic of the Congo. They speak the Songe language. They inhabit Lomami, Kasai, Sankuru, and Maniema province. The people of Songye are divided into thirty-four conglomerate societies; each society is led by a single chief with a 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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Songye people
Basongye
Songye power figure, protector of the village, Nsapo region, Congo (Democratic Republic). Photo by Eliot Elisofon (1947).jpg
Total population
2,910,000
Languages
Kisonge • Luba languages • Kiswahili • French
Religion
Christianity • Islam • Bantu religion
Related ethnic groups
Baluba • Bahemba • other Luban peoples

Origins and ancestors

Kalunda Mutombo, he left Mulombi and headed west. He is the ancestor of the Baluba ba Mutombo Mukulu tribe. He discovered an unexplored region, then returned to Mulombi and managed to rally followers willing to accompany him to finally seize the free lands he had just discovered. Some of his followers were not related to him, but were his brothers' brothers. To distinguish himself, he required his descendants & relatives to whiten their teeth. From that moment on, they were known as Basonge Meno or simply Basonge. This practice also spread among the Baluba Kalanga, as with Nkongolo Mwamba. It is thanks to this teeth-filing practice that Nkongolo Mwamba and some clans of the Baluba Kalunda or Ba Mutombo Mukulu are now known as "Basonge." In the territory of Kanyama, there is no Songe ethnic group in the sense of the Basonge of Lomami.

Religion

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

Example of how the top of a typical masquerader would look. Kifwebe mask DMA.jpg
Example of how the top of a typical masquerader would look.

Bwadi bra Kifwebe is a secret society of masked men. In the community, these men were known for their use of magic (Buki or Buchi) and sorcery (Masende). Buki and Masende magic differ from witchcraft; these types of magic are inherited or obtained either by will or unconsciously. Witchcraft, in contrast, can be obtained through initiation and at the appropriate use of magical ingredients. [1] In order to become a member of the Bwadi bra Kifwebe, all applicants must undergo an initiation process. During this process, initiates must learn and identify a 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. [2] Some of the Bwadi bra Kifwebe help regulate and maintain 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

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 black raffia fibers made from the bark or roots of trees. Their arms, bodies and legs are covered with raffia netting, with goat skins fastened around their waist. The dancers are male and the complexity of their costume varies on their status within the community. [3] When the dancer 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. [4]

A male kifwebe mask, Songye tribe Brooklyn Museum 76.165 Kifwebe Mask.jpg
A male kifwebe mask, Songye tribe

Mask

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. [1] 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. [5]

Female Kifwebe mask, Songye or Luba people, West Kasai or Katanga province, Democratic Republic of the Congo, late 19th or early 20th century, wood, pigment - Brooklyn Museum - Brooklyn, NY - DSC08546.JPG

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. [4] 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. [1] 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

Songye power figure in the Indianapolis Museum of Art. Height 84 cm. Image of an African Songye Power Figure in the collection of the Indianapolis Museum of Art (2005.21).jpg
Songye power figure in the Indianapolis Museum of Art. Height 84 cm.

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. [6] 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. [1] 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. [7] 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. [3] 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. [7] 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.

Basongye during the Arab-Swahili era During the Arab-Swahili era (roughly the mid-to-late 19th century), the Songye became one of the most militarily potent and politically significant groups in the Congo Basin.

​Their power was not derived from a single ancient empire, but rather from their rapid transformation into militarized "warlord states." By adopting the weaponry, military tactics, & even the culture of the Arab-Swahili traders (such as Tippu Tip), Songye leaders evolved from traditional chiefs into powerful regional brokers who controlled the balance of power between the Zanzibar Arabs and the encroaching Belgian colonizers.

Before the arrival of Arab-Swahili traders from Zanzibar, the Songye were organized into various chieftaincies wi-th authority based on lineage & sacred power (buanga).

□ The Firearm Revolution: The arrival of traders like Tippu Tip changed the currency of power. Access to muzzle-loading muskets (& later breech-loaders) allowed ambitious leaders to bypass traditional authority.

□ The "Auxiliary" Model: Songye groups initially fell victim to slave raids, but powerful chiefs quickly adapted by becoming allies (vassals) to the Arabs. They acted as intermediaries, raiding neighbors for slaves & ivory to sell to the Swahili merchants in exchange for more guns and powder.

Rise of Songye Warlords The extent of Songye power is best illustrated by two dominant figures who commanded vast private armies and ruled over large territories.

Lumpungu: The Diplomat-Warlord ​Lumpungu (sometimes Lumpungu Kaumbu) was the chief of the Bekalebwe subgroup of the Songye. His rise to power was a masterclass in survival and opportunism.

□ Strategic Submission: Realizing he could not defeat the Arab traders, he submitted to Tippu Tip, becoming a vassal. In exchange, he received firearms and the authority to raid surrounding territories.

□ Regional Dominance: Backed by Arab firepower, he conquered neighboring Songye groups, centralizing power in a way that had never existed before. He effectively created a Songye "super-chiefdom" centered in Kabinda.

□ The Pivot: When the geopolitical tide turned in the 1890s, Lumpungu betrayed his Arab allies and sided with the Congo Free State (Belgians), preserving his power and autonomy well into the colonial period.

​Ngongo Lutete: The Military Commander ​Though his ethnic identity is often debated (described as Songye, Tetela, or Kusu), Ngongo Lutete is the central military figure of this era in the Songye region.

□ Slave-turned-General: Originally enslaved by the Arabs, he rose through the ranks to become a top lieutenant for Tippu Tip.

□ Discipline & Tactics: He commanded a highly disciplined army of "Arabised" warriors (Songye and Tetela). His forces were known for their mobility—his nickname "Leteta" means "the mobile one" or "passer-by"—and their ruthlessness.

□ Kingmaker: His army was so powerful that his def-ection from the Arabs to the Belgians in 1892 effectively decided the outcome of the Congo-Arab War. Without his support, the Belgian forces (Force Publique) likely would not have defeated the Swahili power so quickly.


See also

References

  1. 1 2 3 4 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.
  2. ↑ Hersak, Dunja (June 2012). "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.
  3. 1 2 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   978-90-6153-830-1. OCLC   551870212.
  4. 1 2 Bacquart, Jean-Baptiste. (2002). The tribal arts of Africa : surveying Africa's artistic geography. Thames & Hudson. ISBN   0500282315. OCLC   59498974.
  5. ↑ 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.
  6. ↑ 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.
  7. 1 2 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.

Further reading

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