Kingdom of Kongo

Kingdom of Kongo: Culture

• The Kingdom of Kongo's cultural history reflects the reach of traditional culture across post-classical Africa.

• In the Kingdom of Kongo, culture was a rich mix of local traditions and beliefs which accompanied the Christian missionaries. The traditional

• In contradiction to other missionary efforts in North and South America, the missionaries did not push for immediate and complete desertion of traditional beliefs. This enabled a conversion effort that did not cause immediate pushback from the people of the Kingdom of Kongo.

Kingdom of Kongo: Social History

• Before Portuguese missionaries arrived in the Kingdom of Kongo, the nation had a rich and developed society. The people existed in tribes but were not independent entities; these villages comprised a social hierarchy.

• Both free people and those who had been captured and were used as slaves comprised these villages. In these villages were appointed headmen or district leaders, and these leaders directed the day-to-day life.

As an independent nation, the Kingdom of Kongo operated with a system of councils and a hierarchy of public officials. Often these positions were lifetime appointments that increased their power exponentially; however, the population center's proximity to the king enabled the government to stay centralized. Over time the temptation for local headsmen to bypass royal decrees to trade illegally with Portuguese merchants undermined the authority of the manikongo.

As a Vassal of Portugal

The Kingdom of Kongo ceased to be a unified nation after the civil war had driven the King of Kongo to request Portuguese military support to regain control of his subjects. Pedro V gave up rights to his lands to the Portuguese in trade for military assistance. After the Kingdom of Kongo became a vassal of Portugal, the government hierarchy answered to the Portuguese King. The Portuguese provided protection, trading on a large scale, and stronger ties to other European powers.

Kingdom of Kongo: Ethnic Linkage

The term ethnic linkage refers to the shared links between people regardless of the national borders. This is a central theme in Africa due to the migratory nature of some African peoples and the close economic and social ties. National borders do not determine cultural practices within post-classical Africa.

Ethnic Linkage with Surrounding Kingdoms: Loango, Ndongo and Matamba

• The language of the Kingdom of Kongo, kikongo, was the basis for dialects across central and West Africa. The language connected the kingdoms decisively and enabled a rich exchange of goods and knowledge between the two.

• The political systems of these neighboring nations mirrored the Kingdom of Kongo; at the local level, headsmen led the villagers in a patriarchal society based on a matrilineal line of power.

• The religious practices of the surrounding nations shared a common belief in divine intervention and sacred medicines. These shared beliefs are evident in the resemblance of their religious art across borders.

Ethnic Linkage between Kingdom of Kongo Demographics: Bantu, Beembe, Bwende, Yombe

Bantu tribes spread across Post-classical Africa, and as a result, the kingdoms comprising post-classical Africa shared demographic traits. The different ethnic groups all shared a basis in the kikongo language, but another link was the similarities in religion. The nkisi is used throughout the Kingdom of Kongo, and each tribe has incorporated its style of the nkisi.

Beembe nkisi figures share traits with the Kongolese nkisi but have their individuality. The Beembe nkisi figures use geometric patterns created to depict ancestral figures in an idealized form.

Fig. 2 Beembe Figure

The Bwende were known for their funerary mannequins, carefully preserved and wrapped corpses. These shared features are shown in the nkisi figures in their facial features.

Fig 3. Bwende funeral mannequin

Yombe nkisi statues shared many traits with other post-classical African art and were used in tribal justice and governing.

Fig 4. Yombe Power Figure

Kingdom of Kongo: Sculptures

Materials used in sculptures in the Kingdom of Kongo included ivory, wood, and other decorative elements. Ivory was a prized material and local chiefs or the reigning monarch closely controlled the distribution of ivory. Art was a reflection of the cultural and religious beliefs of the artist.

These sculptures were forms of a nkisi; a nkisi is a container for sacred medicine. Different sacred medicines were explicitly used for their related condition or issue; these sacred medicines are encased within the artworks and became both art and religious talismans.

Power Figure

A power figure is a collaborative effort between a ritual expert and an artist. These held great religious, cultural, and social significance. The ritual expert, or nganga, would begin work when the artist completed their design. These designs involved metalwork, nails, ceramic and other materials related to specific mystic properties. They are also in the form of people relaying their intent to intervene in human issues; these human-shaped power statues are nkisi nkondi.

The sacred medicine is usually located in the work's head or stomach. The sacred substances will be covered with a piece of reflective material, and the reflective piece represents the nkisi's ability to see into the spirit world. The most prominent feature of a nkisi nkindi is the numerous nails or pieces of metal, glass, or ceramic driven into the figure.

Fig. 5 Power Figure from the Kingdom of Kongo, nkisi nkondi

Religious Art

Art took on a new motivation when the Kingdom of Kongo became tied to the Catholic Church. While Christian Iconography was the central inspiration, the local artistic style became a part of the country's religious art. Figures would have African traits in appearance and resemble the Power Figures' human features.

Fig. 6 A piece of Christian art used in worship depicting the inclusion of local artistic style.

Fig. 7 Detail on cross depicting Kongolese features.

Fig. 8 The features and expression on the face of the Christ figure on the cross closely resemble the human features used in Power Figures.

The success of the Christian conversion in the Kingdom of Kongo relied upon the inclusion of traditional art and beliefs.

Kingdom of Kongo: Summary

An important part to recognize about post-classical African history is that the records are almost exclusively from European sources; the perception of culture from outsiders can only be accurate and unbiased to a limited extent. While the missionaries or explorers who wrote about Post-Classical Africa might not have intended to be biased in their records, it is inaccurate to assume their inner bias did not affect their perception.