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621:), which when assembled, will become the home of a spirit. Often these materials include a carved human figure into which the other bilongo are placed. The nganga then either becomes possessed with the spirit or places the finished nkondi in a graveyard or other place where spirits frequent. Once it is charged, the nkondi can then be handed over to the client. According to Kongo testimony of the early twentieth century, people drive nails into the figures as part of a petition for help, healing, or witness-particularly of contracts and pledges. The purpose of the nailing is to "awaken" and sometimes to "enrage" the nkisi to the task in hand.
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519:", a term derived from the same root is widely associated with witchcraft, or effecting curses against others, but in fact refers to any action intended to enlist spirits to harm others. If exercised privately for selfish reasons, the use of this power is condemned as witchcraft, but if the power is used publicly by a village, tribe, political leaders, or as a protective measure by innocent people, however, it is not considered witchcraft.
577:, a piece that was the subject of a contemporary painting and is presently in the Royal Geographical Institute in London. Another early description and illustration of a nailed nkondi (named Mabiala mu ndemba, and described as a "thief-finder") is found in the notes of the German expedition to Loango of 1873-76, so by that time the specific practice of nailing was well established.
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hidden sources of evil and illness. White stripes were painted on the participants. Often, the nganga was dressed similar to his nkondi. Banganga generally dressed in outfits that were vastly different than normal people. They wore ornate jewelry and often incorporated knots in their clothing. The knots were associated with a way of closing up or sealing of spiritual forces.
700:" first exhibited in 1988 is perhaps the most famous of these, a life sized statue cast from Stout's own body with the glass eye features and a few nails reminiscent of nkondi. Stout's work was the subject of a major exhibit at the Smithsonian Institution's Museum of African Art, featuring her various nkisi pieces with commentary by anthropologist Wyatt MacGaffey.
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occurred in both the human body and the village. When composing the minkisi, the nganga is often isolated in a hidden camp, away from the rest of the village. After the nkisi was built and the nganga had learned its proper use and the corresponding songs, he returned to the village covered in paint and behaving in a strange manner.
636:; often translated as "medicine"), usually hidden by resin-fixed mirrors. Nkondi in the form of wooden figures were often carved with open cavities in their bodies for these substances. The most common place for storage was the belly, though such packs are also frequently placed on the head or in pouches surrounding the neck.
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The creation and use of nkondi figures was also a very important aspect to their success. Banganga often composed the nkondi figures at the edge of the village. The village was thought of as being similar to the human body. The idea that the edge and entrances needed to be protected from evil spirits
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Because they are aggressive, many nkondi with human figures are carved with their hands raised, sometimes bearing weapons. The earliest representation of an nkisi in this pose can be seen in the coat of arms of the
Kingdom of Kongo, designed around 1512 and illustrated between 1528 and 1541, where a
853:
Fromont, CĂ©cile. "From
Catholic Kingdom to the Heart of Darkness" in The Art of Conversion: Christian Visual Culture in the Kingdom of Kongo. Chapel Hill: Published for the Omohundro Institute of Early American History and Culture, Williamsburg, Virginia, by the University of North Carolina Press,
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American artist Justin Par adapted the aesthetic and philosophy of Nkisi Nkondi into three sculptures entitled 'Nkondi A', 'Nkondi B', and 'Nkondi C', using nails salvaged from utility poles, to create miniature architectural landscapes, in a solo exhibition entitled "Reliquum", at the Center for
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In most nkondi figures the eyes and medicine pack covers were reflective glass or mirrors, used for divination. The reflective surface enabled the nkisi to see in the spirit world in order to spy out its prey. Some nkondi figures were adorned with feathers. This goes along with the concept of the
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return to the land of the living. Prior to using the nkondi, the nganga recited specific invocations to awaken the nkondi and activate its powers. During their performances, banganga often painted themselves. White circles around the eyes allowed them to see beyond the physical world and see the
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to the peoples of
Central Africa, and these experts believe that this iconography maybe have influenced nkisi tradition. MacGaffey, for his part, speaks against this interpretation, arguing that the concept of nailing is tied up with too many other concepts to be a simple misunderstanding of
502:
The vocabulary of nkondi has connections with Kongo conceptions of witchcraft which are anchored in the belief that it is possible for humans to enroll spiritual forces to inflict harm on others through cursing them or causing them to have misfortune, accidents, or sickness. A frequently used
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The primary function of a nkondi is to be the home of a spirit which can travel out from its base, hunt down and harm other people. Many nkondi were publicly held and were used to affirm oaths, or to protect villages and other locations from witches or evildoers. This is achieved by enlisting
689:, a German trader and diplomat also collected a great many examples for German museums, particularly in Berlin and Stuttgart. Many were purchased, others confiscated or removed by colonial authorities, and often found their way to museums, but many also remain in private hands.
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dressed in a special suit made to resemble a nailed nkondi, and then, after remaining still for some hours, went around looking for those who had broken promises. She performed this piece also at the exhibit "Transfigured Worlds" (28 January-11 April 2010) at the
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displayed "Doing for Self", a nkondi interpretation of the
American flag. To Clark, this piece promotes reconciliation between the drifting spirituality and tradition of African diaspora and the injustice experienced in African American history.
549:, noted that in his day, nganga sometimes banged minkisi together, perhaps a method of activating them, and nails, which MacGaffey contends were first being made at the time eventually replaced the metaphor. Other scholars believe that the
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revolves around a life-sized Nkondi figure. In the film the nails represent promises made by those who hammered them into the figure, and the object comes to life at night to punish those who break the promises.
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European art collectors were interested in nkondi, especially the nailed ones, when they were reported back in the publications of the German Loango
Expedition, which brought a good number of them back to Europe.
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disposed of the human figure of the nkondi but included the nails and the replaced the mirror with a video screen showing a 3-minute presentation, in an exhibition entitled "Voodoo Show: Kongo
Criollo" in 1997.
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Nkondi figures could be made in many forms, including pots or cauldrons, which were described and sometimes illustrated in early twentieth century
Kikongo texts. Those that used human images (
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broken "idol" is shown with this gesture at the base of the shield. Nailed minkisi are not described in the literature left by missionaries or others in the sixteenth to nineteenth centuries.
757:'s multi-media sculptures, "Techno-Kisi I" and "Techno-Kisi II" both based on a nkondi with rounded nails but she included elements of modern communications technology such as slide shows or
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featured two nkondi figures in her silhouette piece "Endless
Conundrum, an African Anonymous Adventure" in 2001, and frequently re-exhibited. In her self-curated show at the
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628:) were most often nailed, and thus attracted collectors' attention and are better known today. Human figures ranged in size from small to life-size, and contained
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676:, an American art historian has been particularly diligent, and influential in identifying Kongo influences in the African descended population of the Americas.
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exhibited “ivory sculptures referring to Nkondi sculptures as well as the catastrophic aftermath of war," in the exhibition, "Contested
Terrain" at the
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More recently, artists have worked with the concept and visual imagery of nkondi to produce new works inspired by nkondi. African
American artist
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928:(1998). "'Magic, or as we usually say 'Art': A Framework for Comparing African and European Art," in Enid Schildkrout and Curtis Keim, eds.
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presented a nkondi figure in modern form and drew attention to the potential Christian origins in the Kingdom of Kongo of the form.
1068:"Under the sign of the cross in the kingdom of Kongo: Religious conversion and visual correlation in early modern Central Africa"
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in 2006, Walker also used an nkisi, probably nkondi as a central motif for the show "Kara Walker at the Met: After the Deluge."
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In the catechism of 1624, which probably reflects Christian language dating back to the now lost catechism of 1557, the verb
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474:, meaning "to hunt" and thus nkondi means "hunter" because they can hunt down and attack wrong-doers, witches, or enemies.
762:
697:
1314:
2012:
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1056:(Lisbon, 1624) Modern edition with French translation, ed. François Bontinck and D. Ndembi Nsasi (Brussels, 1978).
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to replace the traditionally mirrored eyes and belly. Her work was originally commissioned by the
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1325:"Kara Walker: My Complement, My Enemy, My Oppressor, My Love" Walker Art Center, Gallery Guide,
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1338:
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MacGaffey, Wyatt (1988). "Complexity, Astonishment and Power: The Visual Vocabulary of Kongo
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100:
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Vanhee, Hein (2000). "Agents of Order and Disorder: Kongo Minkisi," in Karel Arnaut, ed.
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exhibited an African featured toy doll as a nkondi, with bullets serving as nails, at the
8:
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2002:
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Paths in the Rainforests: Toward a History of Political Tradition in Equatorial Africa
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2017:
1962:
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1393:"The Innovation Issue (13.3): Andrew Lamprecht In Conversation With Kendell Geers"
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Nkondi with nails were made at least as early as 1864, when the British Commodore
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http://blog.sfmoma.org/2010/02/techno-kisi-interview-with-artist-karen-seneferu/
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In her mixed media composition "Intertexuality Vol. 1", African American artist
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Kongo spirituality, concepts, and religious traditions made their way to Black
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http://mysbfiles.stonybrook.edu/~sdinkins/Stephanie%20Dinkins/IntertextV1.html
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Nkondi, like other minkisi, are constructed by religious specialists, called
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1947:
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Revisions: New Perspectives on African Collections of the Horniman Museum.
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MacGaffey, Wyatt, and John Janzen (1974). "Nkisi Figures of the BaKongo,"
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1932:
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668:; many African diasporic religions in the Afro Americas, Lucumi, notably
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figures as being "of the above", and associates them with birds of prey.
574:
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59:
1427:
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507:" (to attach or hammer in a curse) derives from two ancient Bantu roots
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1967:
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791:, Cape Town (13 December 2014 - 17 January 2015), South African artist
327:
1381:
http://www.tate.org.uk/modern/exhibitions/contestedterrains/room2.shtm
1208:(Frankfurt-am-Main, 2011) entry of 1 April 1875, illustrated in Abb 8.
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that are considered aggressive. The name nkondi derives from the verb
2274:
1613:
1249:
Flash of the Spirit: African & Afro-American Art & Philosophy
1110:
Kongo Political Culture': The Conceptual Challenge of the particular
932:
Cambridge and New York: Cambridge University Press, pp. 217–235.
750:(Newark, NJ) in 2006-2007 in the three person show "But I Was Cool".
661:
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spiritual power through getting them to inhabit minkisi like nkondi.
126:
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This site and its related links has many pictures and bibliography.
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Religion and Society in Central Africa: The BaKongo of Lower Zaire
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In a 2017 exhibit "The Prophet’s Library", African American artist
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52:
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Astonishment & Power, The Eyes of Understanding: Kongo Minkisi
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2198:
1927:
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Wyatt MacGaffey, "Commodore Wilmont Encounters Kongo Art 1865,"
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Washington, DC: Smithsonian Institution Press, pp. 21–103.
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828:(1977). "Kongo Nail Fetishes from the Chiloango River Area,"
719:) (first performed in Cuba and the US, 1998–99), Cuban artist
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http://www.studio-international.co.uk/reports/kara_walker.asp
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En/Gendered Power: A nkisi from the Rockefeller Collection
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Art and Healing of the Bakongo Commented Upon by Themselves
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368:
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Death and the Invisible Powers: The World of Kongo Belief
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chez le Kongo d'après le troisième volume de K. Laman,"
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In his 2014 solo exhibition, 'AniMystikAktivist,' at the
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Nkisi Nkondi, from the collection of the Brooklyn Museum.
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expression for hammering in the nails into a nkondi is "
1292:(Washington, DC: Smithsonian Institution Press, 1993).
1272:
Thompson, Robert Farris; Cornet, Joseph (1981-08-30).
1224:
1204:
Eduard Peuchël-Loesche, Tagbücher von der Loango Küste
885:
MacGaffey, Wyatt (1977). "Fetishism Revisted: Kongo
868:
4 volumes, Uppsala: Studia Ethnografica Uppsaliensia.
1112:(Bloomington: Indiana University Press, 2000), p. 99
914:
MacGaffey, Wyatt. "The Eyes of Understanding: Kongo
1275:
The Four Moments of the Sun: Kongo Art in Two Worlds
842:
Dupré, Marie-Claude (1975). "Les système des forces
511:
which includes hammering in its semantic field, and
269:
1327:http://media.walkerart.org/pdf/KWgallery_guide.pdf
541:, citing the work of the late seventeenth century
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1128:Birmingham Museum of Art:Guide to the Collection
2072:
1466:Nkondi at the Fowler Museum, UCLA, Los Angeles.
982:"Bakongo Nkondi Nail Fetish - RAND AFRICAN ART"
1279:Washington, DC: National Gallery of Art, 1981.
2058:
1893:
1508:
679:
424:
1430:. 10 February 2006 – via www.imdb.com.
1032:. Indiana University Press. pp. 40–66.
959:(1972). "Nkisi Figures of the Lower Congo"
672:, incorporates such traditions and customs.
1162:Zdenka Volavka, "The Nkisi of Lower Zaire,"
911:Bloomington, IN: Indiana University Press.
647:The unusual behavior was to illustrate the
2065:
2051:
1900:
1886:
1515:
1501:
918:," in Wyatt MacGaffey and M. Harris, eds,
907:MacGaffey, Wyatt, ed. and transl. (1991),
861:Lawrence, KS: University of Kansas Press.
431:
417:
1471:Nkondi and the Metropolitan Museum of Art
1230:
857:Janzen, John and Wyatt MacGaffey (1974).
655:
1245:
609:). The nganga gathers materials, called
579:
515:which involves witchcraft and cursing. "
489:
481:
1456:Brooklyn Museum: Standing Nkisi Figure
1065:
998:
930:The Scramble for Art in Central Africa.
835:Doutreloux, A. (1961). "Magie Yombe,"
584:Female Nkisi Nkonde figure held at the
2580:
1379:Tate Description, "Contested Terrain"
1246:Thompson, Robert Farris (1984-08-12).
1052:Marcos Jorge, ed. Mateus Cardoso, ed.
1025:
939:Chicago: University of Chicago Press.
784:Visual Arts, in Greensboro, NC, 2012.
458:) are mystical statuettes made by the
2046:
1881:
1496:
1461:Nkisi at the Art Institute of Chicago
1206:(Zentral-Afrika) (24.2.1875-5.5.1876)
1131:. London, UK: GILES. pp. 72–73.
748:Aljira, a Center for Contemporary Art
16:Religious statue in the Congo, Africa
1907:
1367:Interview with Karen Senefuru, 2010
1288:Wyatt MacGaffey and M. Harris, eds,
1252:. Knopf Doubleday Publishing Group.
946:London and Coimbra, pp. 89–106.
526:was used to translate "to crucify."
1411:Wesley Clark: The Prophet's Library
902:Journal of Southern African Studies
557:nailed to the cross and the martyr
13:
1522:
763:California African American Museum
573:(Soyo) piracy at the mouth of the
486:Nkisi Nkondi, Congo, c. 1880-1920.
14:
2649:
1438:
1235:. National Museum of African Art.
806:
2562:
2561:
2029:
2028:
2013:Sixth and Seventh Books of Moses
1981:
1862:
1861:
1558:
1476:Nkondi at the Pitt-Rivers Museum
1072:RES: Anthropology and Aesthetics
400:
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41:
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1395:. April 9, 2015. Archived from
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569:acquired one while suppressing
553:missionaries brought images of
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1059:
1046:
1019:
992:
974:
889:in Sociological Perspective."
859:An Anthology of Kongo Religion
1:
967:
953:Brussels: DescleÄ— de Brouwer.
873:FĂ©tiches Ă clou a Bas-Zaire.
477:
7:
2073:Bantu religion and folklore
780:, London, in August, 2011.
753:In African American artist
466:. Nkondi are a subclass of
10:
2654:
2461:African diaspora religions
2008:Moses, Man of the Mountain
1998:African American folktales
1478:Also contains useful text.
1445:Bakongo Nkondi Nail Fetish
1337:Review by Cindi di Marzo,
1074:. 59–60 (59/60): 109–123.
949:Van Wing, Joseph (1959).
935:MacGaffey, Wyatt (2000).
737:Metropolitan Museum of Art
680:Nkondi in contemporary art
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1231:MacGaffey, Wyatt (1993).
744:Dread Scott (Scott Tyler)
711:In her performance piece
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273:
1409:Burd, Sara Lee (2017). "
1313:Neuberger Museum of Art
1219:Kongo Political Culture,
1123:Birmingham Museum of Art
1080:10.1086/RESvn1ms23647785
1066:Fromont, CĂ©cile (2011).
871:Lehuard, Raoul. (1980).
864:Laman, Karl (1953–68).
767:Skirball Cultural Center
742:African American artist
731:African American artist
586:Birmingham Museum of Art
1415:Nashville Arts Magazine
1290:Astonishment and Power,
1177:Kongo Political Culture
1005:. Currey. p. 299.
726:Neuberger Museum of Art
1192:(Summer, 2010): 52-54.
1026:Bockie, Simon (1993).
986:www.randafricanart.com
920:Astonishment and Power
765:and shown also at the
674:Robert Farris Thompson
656:Nkondi in the diaspora
589:
495:
487:
2618:Hoodoo (spirituality)
2018:Sukey and The Mermaid
1201:Beatrix Heintze, ed.
999:Vansina, Jan (1990).
772:South African Artist
583:
567:A. P. Eardley Wilmont
562:missionary teaching.
493:
485:
2096:Proto-Bantu language
1674:Ancestral veneration
1581:Chicamassi-chinuinji
1428:"The Promise Keeper"
666:Atlantic Slave trade
547:Luca da Caltanisetta
189:Ancestral veneration
94:Chicamassi-chinuinji
2402:Legendary creatures
2593:African witchcraft
2542:John the Conqueror
2003:John the Conqueror
1916:Magic and concepts
1483:The Promise Keeper
1315:Transformed Worlds
1301:Stephanie Dinkins
813:The Promise Keeper
590:
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2603:Animism in Africa
2588:African sculpture
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1550:Kongo Catholicism
1259:978-0-394-72369-3
1166:5 (1972): 52-89.
1138:978-1-904832-77-5
1108:Wyatt MacGaffey,
1039:978-0-253-31564-9
1012:978-0-85255-074-8
957:Volavkova, Zdenka
705:Stephanie Dinkins
441:
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70:Kongo Catholicism
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1141:. Archived from
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1054:Doutrina CristĂŁa
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926:MacGaffey, Wyatt
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774:Michael MacGarry
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2471:Candomblé Bantu
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2316:Kongo cosmogram
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2134:Dini Ya Msambwa
2105:
2101:Bantu languages
2091:Bantu expansion
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2041:
2036:
2034:Gullah category
2022:
1986:
1977:
1953:Kongo cosmogram
1943:Hot foot powder
1911:
1906:
1876:
1871:
1851:
1796:
1777:Hot foot powder
1741:
1713:
1684:Kongo cosmogram
1660:
1563:
1554:
1526:
1521:
1441:
1436:
1435:
1426:
1425:
1421:
1408:
1404:
1391:
1390:
1386:
1378:
1374:
1366:
1362:
1349:
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1324:
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1312:
1308:
1300:
1296:
1287:
1283:
1271:
1267:
1260:
1244:
1240:
1229:
1225:
1216:
1212:
1200:
1196:
1187:
1183:
1174:
1170:
1161:
1157:
1148:
1146:
1139:
1120:
1116:
1107:
1103:
1064:
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1051:
1047:
1040:
1024:
1020:
1013:
997:
993:
980:
979:
975:
970:
822:
809:
789:Goodman Gallery
682:
658:
595:
559:Saint Sebastian
539:Wyatt MacGaffey
532:
480:
446:(plural varies
437:
394:
393:
392:
387:
332:
313:Hot foot powder
288:Candomblé Bantu
267:
259:
258:
239:
229:
228:
199:Kongo cosmogram
184:
174:
173:
85:
75:
74:
55:
32:
17:
12:
11:
5:
2651:
2641:
2640:
2635:
2633:Kongo religion
2630:
2625:
2620:
2615:
2613:Bantu religion
2610:
2605:
2600:
2595:
2590:
2573:
2572:
2560:
2557:
2556:
2553:
2552:
2550:
2549:
2544:
2539:
2534:
2529:
2523:
2521:
2517:
2516:
2514:
2513:
2508:
2503:
2498:
2493:
2483:
2478:
2468:
2466:Black cat bone
2463:
2457:
2455:
2448:
2447:Bantu diaspora
2444:
2443:
2440:
2439:
2437:
2436:
2431:
2426:
2421:
2416:
2411:
2405:
2403:
2399:
2398:
2396:
2395:
2390:
2388:Nyongo society
2385:
2380:
2375:
2370:
2364:
2362:
2355:
2351:
2350:
2347:
2346:
2344:
2343:
2338:
2333:
2328:
2323:
2318:
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2307:
2305:
2301:
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2298:
2297:
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2259:
2257:
2256:
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2236:
2231:
2226:
2221:
2216:
2211:
2206:
2201:
2196:
2191:
2185:
2183:
2179:
2178:
2176:
2175:
2170:
2156:
2146:
2144:Kongo religion
2141:
2131:
2126:
2124:Bantu religion
2120:
2118:
2111:
2107:
2106:
2104:
2103:
2098:
2093:
2088:
2082:
2080:
2076:
2075:
2070:
2069:
2062:
2055:
2047:
2038:
2037:
2027:
2024:
2023:
2021:
2020:
2015:
2010:
2005:
2000:
1994:
1992:
1988:
1987:
1980:
1978:
1976:
1975:
1970:
1965:
1960:
1955:
1950:
1945:
1940:
1935:
1930:
1925:
1923:Black cat bone
1919:
1917:
1913:
1912:
1905:
1904:
1897:
1890:
1882:
1873:
1872:
1860:
1857:
1856:
1853:
1852:
1850:
1849:
1844:
1830:
1825:
1820:
1815:
1804:
1802:
1798:
1797:
1795:
1794:
1789:
1784:
1779:
1774:
1769:
1764:
1762:Black cat bone
1758:
1756:
1747:
1743:
1742:
1740:
1739:
1734:
1729:
1723:
1721:
1715:
1714:
1712:
1711:
1706:
1701:
1696:
1694:Nature spirits
1691:
1686:
1681:
1676:
1670:
1668:
1662:
1661:
1659:
1658:
1653:
1650:
1647:
1642:
1637:
1634:
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1628:
1625:
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1611:
1608:
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1602:
1599:
1596:
1593:
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1585:
1582:
1579:
1573:
1571:
1565:
1564:
1557:
1555:
1553:
1552:
1547:
1542:
1536:
1534:
1528:
1527:
1524:Kongo religion
1520:
1519:
1512:
1505:
1497:
1491:
1490:
1479:
1473:
1468:
1463:
1458:
1453:
1448:
1440:
1439:External links
1437:
1434:
1433:
1419:
1402:
1399:on 2015-04-17.
1384:
1372:
1360:
1342:
1330:
1318:
1306:
1294:
1281:
1265:
1258:
1238:
1223:
1210:
1194:
1181:
1168:
1155:
1137:
1114:
1101:
1058:
1045:
1038:
1018:
1011:
991:
972:
971:
969:
966:
965:
964:
954:
951:Etudes Bakongo
947:
940:
933:
923:
912:
905:
894:
883:
876:
869:
862:
855:
851:
840:
833:
821:
818:
811:The 2006 film
808:
807:Nkondi in film
805:
755:Karen Seneferu
721:Tania Bruguera
681:
678:
657:
654:
594:
591:
531:
528:
479:
476:
439:
438:
436:
435:
428:
421:
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410:
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396:
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389:
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366:
361:
356:
351:
340:
338:
334:
333:
331:
330:
325:
320:
315:
310:
300:
295:
285:
283:Black cat bone
279:
277:
268:
265:
264:
261:
260:
257:
256:
251:
246:
240:
235:
234:
231:
230:
227:
226:
221:
216:
211:
209:Nature spirits
206:
201:
196:
191:
185:
180:
179:
176:
175:
172:
171:
166:
163:
160:
155:
150:
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129:
124:
121:
118:
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112:
109:
106:
103:
98:
95:
92:
86:
81:
80:
77:
76:
73:
72:
67:
62:
56:
51:
50:
47:
46:
38:
37:
28:
27:
15:
9:
6:
4:
3:
2:
2650:
2639:
2636:
2634:
2631:
2629:
2628:Kongo culture
2626:
2624:
2621:
2619:
2616:
2614:
2611:
2609:
2606:
2604:
2601:
2599:
2596:
2594:
2591:
2589:
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2585:
2583:
2570:
2569:
2558:
2548:
2545:
2543:
2540:
2538:
2535:
2533:
2530:
2528:
2525:
2524:
2522:
2518:
2512:
2509:
2507:
2504:
2502:
2499:
2497:
2494:
2491:
2487:
2484:
2482:
2479:
2476:
2472:
2469:
2467:
2464:
2462:
2459:
2458:
2456:
2452:
2449:
2445:
2435:
2432:
2430:
2429:Mokele-mbembe
2427:
2425:
2422:
2420:
2417:
2415:
2412:
2410:
2407:
2406:
2404:
2400:
2394:
2393:Sudika-mbambi
2391:
2389:
2386:
2384:
2381:
2379:
2376:
2374:
2371:
2369:
2366:
2365:
2363:
2359:
2356:
2352:
2342:
2339:
2337:
2334:
2332:
2329:
2327:
2324:
2322:
2319:
2317:
2314:
2312:
2309:
2308:
2306:
2302:
2296:
2293:
2291:
2288:
2286:
2283:
2281:
2278:
2276:
2273:
2271:
2268:
2267:
2265:
2261:
2255:
2252:
2250:
2247:
2245:
2244:Nzambi Mpungu
2242:
2240:
2237:
2235:
2232:
2230:
2227:
2225:
2222:
2220:
2217:
2215:
2212:
2210:
2207:
2205:
2202:
2200:
2197:
2195:
2192:
2190:
2187:
2186:
2184:
2180:
2174:
2173:Zulu religion
2171:
2168:
2164:
2160:
2157:
2154:
2150:
2147:
2145:
2142:
2139:
2135:
2132:
2130:
2127:
2125:
2122:
2121:
2119:
2115:
2112:
2108:
2102:
2099:
2097:
2094:
2092:
2089:
2087:
2086:Bantu peoples
2084:
2083:
2081:
2077:
2068:
2063:
2061:
2056:
2054:
2049:
2048:
2045:
2035:
2025:
2019:
2016:
2014:
2011:
2009:
2006:
2004:
2001:
1999:
1996:
1995:
1993:
1989:
1984:
1974:
1971:
1969:
1966:
1964:
1963:Rabbit's foot
1961:
1959:
1956:
1954:
1951:
1949:
1946:
1944:
1941:
1939:
1936:
1934:
1931:
1929:
1926:
1924:
1921:
1920:
1918:
1914:
1910:
1903:
1898:
1896:
1891:
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1884:
1883:
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1738:
1735:
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1685:
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1677:
1675:
1672:
1671:
1669:
1667:
1663:
1657:
1654:
1651:
1648:
1646:
1643:
1641:
1640:Nzambi Mpungu
1638:
1635:
1632:
1629:
1626:
1623:
1620:
1617:
1615:
1612:
1609:
1606:
1603:
1600:
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1589:
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1575:
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1551:
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1543:
1541:
1538:
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1535:
1533:
1529:
1525:
1518:
1513:
1511:
1506:
1504:
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1498:
1495:
1489:
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1484:
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1477:
1474:
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1469:
1467:
1464:
1462:
1459:
1457:
1454:
1452:
1449:
1446:
1443:
1442:
1429:
1423:
1416:
1412:
1406:
1398:
1394:
1388:
1382:
1376:
1370:
1364:
1356:
1352:
1346:
1340:
1334:
1328:
1322:
1316:
1310:
1304:
1298:
1291:
1285:
1278:
1276:
1269:
1261:
1255:
1251:
1250:
1242:
1234:
1227:
1220:
1214:
1207:
1205:
1198:
1191:
1185:
1178:
1172:
1165:
1159:
1145:on 2011-09-10
1144:
1140:
1134:
1130:
1129:
1124:
1118:
1111:
1105:
1097:
1093:
1089:
1085:
1081:
1077:
1073:
1069:
1062:
1055:
1049:
1041:
1035:
1031:
1030:
1022:
1014:
1008:
1004:
1003:
995:
987:
983:
977:
973:
962:
958:
955:
952:
948:
945:
941:
938:
934:
931:
927:
924:
921:
917:
913:
910:
906:
904:14: 188-204.
903:
899:
895:
892:
888:
884:
881:
877:
874:
870:
867:
863:
860:
856:
852:
849:
845:
841:
838:
834:
831:
827:
826:Bassani, Ezio
824:
823:
817:
814:
804:
801:
796:
794:
790:
785:
781:
779:
775:
770:
768:
764:
760:
756:
751:
749:
745:
740:
738:
734:
729:
727:
722:
718:
714:
709:
706:
701:
699:
695:
690:
688:
687:Robert Visser
677:
675:
671:
667:
663:
653:
650:
645:
641:
637:
635:
631:
627:
622:
620:
616:
612:
608:
604:
600:
587:
582:
578:
576:
572:
568:
563:
560:
556:
552:
548:
544:
540:
536:
527:
525:
520:
518:
514:
510:
506:
500:
492:
484:
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469:
465:
461:
457:
453:
449:
445:
434:
429:
427:
422:
420:
415:
414:
412:
411:
408:
407:
398:
397:
384:
381:
378:
374:
370:
367:
365:
362:
360:
357:
355:
352:
349:
345:
342:
341:
339:
335:
329:
326:
324:
321:
319:
316:
314:
311:
308:
304:
301:
299:
296:
293:
289:
286:
284:
281:
280:
278:
276:
272:
263:
262:
255:
252:
250:
247:
245:
242:
241:
238:
233:
232:
225:
222:
220:
217:
215:
212:
210:
207:
205:
202:
200:
197:
195:
192:
190:
187:
186:
183:
178:
177:
170:
167:
164:
161:
159:
156:
154:
153:Nzambi Mpungu
151:
148:
145:
142:
139:
136:
133:
130:
128:
125:
122:
119:
116:
113:
110:
107:
104:
102:
99:
96:
93:
91:
88:
87:
84:
79:
78:
71:
68:
66:
63:
61:
58:
57:
54:
49:
48:
44:
40:
39:
36:
30:
29:
25:
21:
20:
2566:
2532:Congo Square
2325:
2311:Kalûnga Line
2284:
1948:Kalunga line
1866:
1847:Maria Lionza
1731:
1679:Kalunga line
1482:
1422:
1414:
1405:
1397:the original
1387:
1375:
1363:
1354:
1345:
1333:
1321:
1309:
1297:
1289:
1284:
1273:
1268:
1248:
1241:
1232:
1226:
1221:pp. 100-101.
1218:
1213:
1202:
1197:
1190:African Arts
1189:
1184:
1176:
1171:
1164:African Arts
1163:
1158:
1147:. Retrieved
1143:the original
1127:
1117:
1109:
1104:
1071:
1061:
1048:
1028:
1021:
1001:
994:
985:
976:
961:African Arts
960:
950:
943:
936:
929:
919:
915:
908:
901:
897:
893:47: 140-152.
890:
886:
880:African Arts
879:
872:
865:
858:
847:
843:
836:
830:African Arts
829:
820:Bibliography
810:
800:Wesley Clark
797:
786:
782:
778:Tate Gallery
771:
752:
741:
730:
728:(New York).
717:Displacement
716:
712:
710:
702:
698:Fetish no. 2
691:
683:
659:
646:
642:
638:
633:
629:
625:
623:
618:
614:
610:
606:
602:
596:
593:Construction
564:
537:
533:
523:
521:
516:
512:
508:
504:
501:
497:
471:
464:Congo region
460:Kongo people
455:
451:
447:
443:
442:
404:
383:Maria Lionza
248:
194:Kalunga line
2537:Gullah Jack
2481:Goofer dust
2079:Main topics
1933:Goofer dust
1823:Espiritismo
1767:Goofer dust
1652:Phulu Bunzi
1618:Mbantilanda
1614:Mamba Muntu
1540:Antonianism
1351:"Aavad.com"
1217:MacGaffey,
1175:MacGaffey,
875:Arnouville.
733:Kara Walker
694:Renee Stout
575:Congo River
545:missionary
359:Espiritismo
298:Goofer dust
165:Phulu Bunzi
131:Mbantilanda
127:Mamba Muntu
60:Antonianism
2582:Categories
2511:Ring shout
2419:Koolakamba
2368:Kimanaueze
2159:Zimbabwean
1968:Ring shout
1938:Haint blue
1792:Ring shout
1630:Moni-Mambu
1595:Kuitikuiti
1149:2011-07-18
968:References
963:5: 52-89.
850:45: 12-28.
839:15: 45-57.
632:(singular
551:Portuguese
505:koma nloka
328:Ring shout
143:Moni-Mambu
108:Kuitikuiti
2275:Mami Wata
2117:Religions
1808:Candomblé
1801:Religions
1598:Lubangala
1532:Religions
1355:aavad.com
1088:0277-1322
882:7: 87-89.
866:The Kongo
832:10: 36-40
769:in 2010.
713:Destierro
662:Americans
478:Functions
344:Candomblé
337:Religions
111:Lubangala
53:Religions
2638:Paganism
2568:Category
2506:Mojo bag
2454:Religion
2304:Concepts
2249:Nzambici
2110:Religion
1991:Folklore
1868:Category
1837:Convince
1787:Mojo bag
1746:Diaspora
1666:Elements
1645:Nzambici
1610:Ma Kiela
1584:Dinganga
1125:(2010).
1096:23647785
664:via the
613:(plural
607:banganga
603:zinganga
601:(plural
543:Capuchin
456:ninkondi
452:zinkondi
448:minkondi
406:Category
373:Convince
323:Mojo bag
266:Diaspora
182:Elements
158:Nzambici
123:Ma Kiela
97:Dinganga
35:religion
24:a series
22:Part of
2608:Amulets
2598:Animism
2527:Boo hag
2520:Culture
2501:Kumbaya
2378:Mwuetsi
2354:Culture
2290:Shetani
2263:Spirits
2199:Kalumba
2182:Deities
2163:Ndebele
1928:Boo Hag
1782:Kumbaya
1607:Makanga
1604:Lusunzi
1601:Lusiemo
1592:Kimbazi
1569:Deities
916:Minkisi
898:Minkisi
649:ngangas
630:bilongo
619:milongo
615:bilongo
571:Solongo
530:History
517:Kindoki
468:minkisi
462:of the
318:Kumbaya
120:Makanga
117:Lusunzi
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83:Deities
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2373:Mwindo
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2331:Nganga
2326:Nkondi
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1488:IMDb
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