White Faced Nail/Spike Fetish Figure

Origin: Bakongo Tribe, D.R. Congo
Composition: wood, pigment and paint, glass eyes, encased glass 'bilongo' stomach box, rusted nails, natural materials

This piece was brought by air from the Congo in November, 2006 and was purchased directly from the tribe. Typically, when a ritual object such as this figure is damaged it must be destroyed, used for another purpose, or sold to a collector or tourist. From information provided at the time of purchase, this piece is thought to be late-20th century in age, but it is not a reproduction from Cameroon or Ivory Coast, the source of most new nail fetish reproductions.

This small, powerful Bakongo Nkisi nail fetish has a white face. The glass eyes are encased in a pigment based mud/clay compound, as is the ovular box being held by the statue directly in front of its stomach. There is evidence of repeated local restoration around the right ear, around the hands/glass box, and at or near the base. This attempt to preserve the piece locally, whether for use or sale, is always a good indicator of value which adds a positive dimension to any piece.

Traditionally, within BaKongo society fetishes have served the tribe and community in many ways. “In order to stimulate and obtain a particular spirit’s protection, BaKongo tribesmen hammer nails and metal shards into the spirits wooden representation. Historically, Nkisis served as doctor, judge, and priest for the tribe. They can also be used as medicine—for healing, curing illness and plague, and resolving strife personally or communally. The sculptor carved this figure to capture the power of spirits that were necessary for one of these specific purposes. The ritual expert, usually a priest, then filled the figures with bilongo, or powerful magical substances, such as dirt from a grave. When two parties in a dispute came to an agreement, they would swear an oath before the Nkisi and drive nails into it to seal the oath. The Nkisi's supernatural powers would be called upon later to empower those who maintained the oath” (Bacquart, Tribal Arts of Africa).