Who Are the Songye?
The Songye (Songe) are a Bantu ethnic group of the southeastern Democratic Republic of Congo, numbering approximately 1-1.5 million. They speak Songye, a Bantu language closely related to Luba. The Songye inhabit the region between the Lomami and Lubilash rivers in the Maniema and Katanga provinces. Historically, they were organized into numerous chiefdoms without a centralized state. The Songye are internationally famous for their powerful nkisi (power figure) sculptures—among the most striking in African art—and their kifwebe masks with distinctive geometric patterns of grooves and striations.
Nkisi Power Figures
Songye nkisi (power figures) are among African art's most iconic objects. These standing figures—often large, with protruding bellies and distinctive facial features—are charged with magical substances inserted into the abdomen, head, or other cavities. A nganga (ritual specialist) creates and activates the nkisi, which then serves protective or aggressive purposes for individuals or communities. Horn, metal, and other additions accumulate on powerful figures over time. The dramatic appearance of nkisi—with their fierce expressions and accumulated power objects—captivated early European collectors. These figures represent the Songye belief in manipulable spiritual forces that can be directed through proper ritual means.
Kifwebe Masks
The kifwebe mask tradition, shared with the neighboring Luba, produces some of Africa's most distinctive masks. Carved from wood with patterns of parallel grooves covering the face, kifwebe feature dramatic crests, protruding eyes, and geometric striations painted in white, black, and red. Male masks (kilume) are aggressive, with prominent crests; female masks (kikashi) are more rounded and gentle. Kifwebe perform during funerals, initiations, and moonlit dances, representing spiritual forces. The bwadi bwa kifwebe society controls the masks and their performances. These masks influenced 20th-century European art and remain highly valued in international markets.
Contemporary Songye
Modern Songye face the challenges affecting eastern DRC: ongoing conflict, displacement, and limited development. The region has experienced violence from various armed groups. Traditional chieftaincy structures persist amid disruption. Agricultural production—cassava, maize, palm products—provides subsistence where security permits. Artisans continue producing masks and sculptures, some for traditional use and others for commercial sale. Many Songye have migrated to urban areas. Christianity has spread widely, though traditional beliefs in magical forces persist. The intersection of traditional spiritual practices with modern contexts raises complex questions. How the Songye maintain cultural traditions while navigating DRC's instability shapes this artistically significant people's future.
References
- Hersak, D. (1986). Songye Masks and Figure Sculpture
- Merriam, A. P. (1974). An African World: The Basongye Village of Lupupa Ngye
- Cameron, E. L. (1998). Art of the Lega