Original accompanying de Sousberghe caption reads, " Village Nioka. Masque Tundu." Translated original accompanying caption reads, "Dancer performing the mask Tundu at Nioka."
De Sousberghe photographed dancers performing the mask Tundu at a masquerade at "Nyoka-Mulenga" (Central Pende), which was misnamed "Nyoka-Kakese" during the early colonial period. Tundu and Kindombolo are masks that represent the same aesthetic expressed in the very different stylistic languages of the Central and Eastern Pende: the anti-aesthetic. Their grotesque form and behavior show to us how ludicrous we look when we disregard social conventions and think only of ourselves. Tundu has always shown a great variety of forms and is sometimes called the "chief of the dance floor" because he is always present from the beginning to the end.
Local Numbers:
LS 092
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying de Sousberghe caption reads, " Village Nioka. Masque Tundu." Translated original accompanying caption reads, "Dancer performing the mask Tundu at Nioka."
De Sousberghe photographed dancers performing the mask Tundu at a masquerade at "Nioka-Mulenga" (Central Pende), which was misnamed "Nioka-Kakese" during the early colonial period. Tundu and Kindombolo are masks that represent the same aesthetic expressed in the very different stylistic languages of the Central and Eastern Pende: the anti-aesthetic. Their grotesque form and behavior show to us how ludicrous we look when we disregard social conventions and think only of ourselves. Tundu has always shown a great variety of forms and is sometimes called the "chief of the dance floor" because he is always present from the beginning to the end.
Local Numbers:
LS 094
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying de Sousberghe caption reads, " Danse masque Tundu à Nioka." Translated original accompanying caption reads, " Dancer performing the mask Tundu at Nioka."
De Sousberghe photographed dancers performing the mask Tundu at a masquerade at "Nyoka-Mulenga" (Central Pende), which was misnamed "Nyoka-Kakese" during the early colonial period. Tundu and Kindombolo are masks that represent the same aesthetic expressed in the very different stylistic languages of the Central and Eastern Pende: the anti-aesthetic. Their grotesque form and behavior show to us how ludicrous we look when we disregard social conventions and think only of ourselves. Tundu has always shown a great variety of forms and is sometimes called the "chief of the dance floor" because he is always present from the beginning to the end.
Local Numbers:
LS 206
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying de Sousberghe caption reads, " Danse masque Tundu à Nioka. Kifuza." Translated original accompanying caption reads, " Dancer performing the mask Tundu at Nioka. Kifuza."
De Sousberghe photographed dancers performing the mask Tundu at a masquerade at "Nyoka-Mulenga" (Central Pende), which was misnamed "Nioka-Kakese" during the early colonial period. Tundu and Kindombolo are masks that represent the same aesthetic expressed in the very different stylistic languages of the Central and Eastern Pende: the anti-aesthetic. Their grotesque form and behavior show to us how ludicrous we look when we disregard social conventions and think only of ourselves. Tundu has always shown a great variety of forms and is sometimes called the "chief of the dance floor" because he is always present from the beginning to the end.
Local Numbers:
LS 205
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying de Sousberghe caption reads, " Village Nioka. Masque Pumbu." Translated original accompanying caption reads, " Dancer performing the mask Pumbu at the village of Nioka."
De Sousberghe photographed a dancer performing the mask Pumbu at a masquerade at "Nyoka-Mulenga" (Central Pende), which was misnamed "Nyoka-Kakese" during the early colonial period, ca 1955-57. The Pumbu headpieces of the Central and Eastern Pende bear few physical resemblance to each other. Yet the core of their dance is identical and the two forms of the headpieces convey the same aesthetic of fear. Pumbu, as conceived by the Central Pende, has been domesticated into a character of folkore, the chief's executioner who is on the prowl, looking for a victim to protect the chief's ritual house. For the Eastern Pende, the mask represents something more. They have transformed Pumbu into a counterpart of Kipoko. Whereas any chief may own Kipoko, Pumbu is a mask reserved for a few of the most powerful chiefs. It dances only when special problems occur.
Local Numbers:
LS 093
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying de Sousberghe caption reads, " Village Nioka. Masque Pumbu." Translated original accompanying caption reads, " Dancer performing the mask Pumbu at the village of Nioka."
De Sousberghe photographed a dancer performing the mask Pumbu at a masquerade at "Nyoka-Mulenga" (Central Pende), which was misnamed "Nyoka-Kakese" during the early colonial period, ca 1955-57. The Pumbu headpieces of the Central and Eastern Pende bear few physical resemblance to each other. Yet the core of their dance is identical and the two forms of the headpieces convey the same aesthetic of fear. Pumbu, as conceived by the Central Pende, has been domesticated into a character of folklore, the chief's executioner who is on the prowl, looking for a victim to protect the chief's ritual house. For the Eastern Pende, the mask represent something more. They have transformed Pumbu into a counterpart of Kipoko. Whereas any chief may own Kipoko, Pumbu is a mask reserved for a few of the most powerful chiefs. It dances only when special problems occur.
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying de Sousberghe caption reads, " Danse masque Pumbu à Nioka." Translated original accompanying caption reads, " Dancer performing the mask Pumbu at Nioka."
De Sousberghe photographed a dancer performing the mask Pumbu at a masquerade at "Nyoka-Mulenga" (Central Pende), which was misnamed "Nyoka-Kakese" during the early colonial period, ca 1955-57. The Pumbu headpieces of the Central and Eastern Pende bear few physical resemblance to each other. Yet the core of their dance is identical and the two forms of the headpieces convey the same aesthetic of fear. Pumbu, as conceived by the Central Pende, has been domestiated into a character of folklore, the chief's executioner who is on the prowl, looking for a victim to protect the chief's ritual house. For the Eastern Pende, the mask represent something more. They have transformed Pumbu into a counterpart of Kipoko. Whereas any chief may own Kipoko, Pumbu is a mask reserved for a few of the most powerful chiefs. It dances only when special problems occur.
Local Numbers:
LS 203
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying de Sousberghe caption reads, " Village Nioka. Masque Mbungu." Translated original accompanying caption reads, " Dancers performing the mask Mbungu at Nioka."
In the 1910-30s, a series of older men among the Central Pende of the Democratic Republic of Congo invented and sold concessions to a revolutionary category of masks: "Mbuya jia Mafuzo". In serious decline by the 1950s, the "Mafuzo" masks have all but disappeared since independence in 1960. De Sousberghe photographed a series of "Mafuzo" masks at "Nyoka-Mulenga", which was misnamed "Nyoka-Kakese" during the early colonial period. Although of considerable documentary importance, these transparencies testify to the decline that the "Mbuya jia Mafuzo" had suffered by the 1950s. Performers agreed to show Pagasa, Mbungu, Kolombolo, and others all at the same masquerade, in full sunshine for better photography, and were not always careful to keep the crowd at a proper distance. The "Mbuya jia Mafuzo" mask Mbungu, also refer to as Gihundundu in the north, carries the theme of menace and sorcery. The dancers of Mbungu, which is composed of two larged stuffed figures representing a man and a woman, would use thin strings to make wave and move their arms in a naturalistic fashion.
Local Numbers:
LS 095
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying de Sousberghe caption reads, " Village Nioka. Masque Mbungu." Translated original accompanying caption reads, " Dancers performing the mask Mbungu at Nioka."
In the 1910-30s, a series of older men among the Central Pende of the Democratic Republic of Congo invented and sold concessions to a revolutionary category of masks: "Mbuya jia Mafuzo". In serious decline by the 1950s, the "Mafuzo" masks have all but disappeared since independence in 1960. De Sousberghe photographed a series of "Mafuzo" masks at "Nyoka-Mulenga", which was misnamed "Nyoka-Kakese" during the early colonial period, ca 1955-57. Although of considerable documentary importance, these transparencies testify to the decline that the "Mbuya jia Mafuzo" had suffered by the 1950s. Performers agreed to show Pagasa, Mbungu, Kolombolo, and others all at the same masquerade, in full sunshine for better photography, and were not always careful to keep the crowd at a proper distance. The "Mbuya jia Mafuzo" mask Mbungu, also refer to as Gihundundu in the north, carries the theme of menace and sorcery. The dancers of Mbungu, which is composed of two larged stuffed figures representing a man and a woman, would use thin strings to make wave and move their arms in a naturalistic fashion.
Local Numbers:
LS 096
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying de Sousberghe caption reads, " Village Nioka. Masque Mbungu." Translated original accompanying caption reads, "Dancers performing the mask Mbungu at Nioka."
In the 1910-30s, a series of older men among the Central Pende of the Democratic Republic of Congo invented and sold concessions to a revolutionary category of masks: "Mbuya jia Mafuzo". In serious decline by the 1950s, the "Mafuzo" masks have all but disappeared since independence in 1960. De Sousberghe photographed a series of "Mafuzo" masks at "Nyoka-Mulenga", which was misnamed "Nyoka-Kakese" during in the early colonial period, ca 1955-57. Although of considerable documentary importance, these transparencies testify to the decline that the "Mbuya jia Mafuzo" had suffered by the 1950s. Performers agreed to show Pagasa, Mbungu, Kolombolo, and others all at the same masquerade, in full sunshine for better photography, and were not always careful to keep the crowd at a proper distance. The "Mbuya jia Mafuzo" mask Mbungu, also refer to as Gihundundu in the north, carries the theme of menace and sorcery. The dancers of Mbungu, which is composed of two larged stuffed figures representing a man and a woman, would use thin strings to make them wave and move their arms in a naturalistic fashion.
Local Numbers:
LS 097
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying de Sousberghe caption reads, " Village Nioka. Mbungu." Translated original accompanying caption reads, "Dancers performing the mask Mbungu at Nioka."
In the 1910-30s, a series of older men among the Central Pende of the Democratic Republic of Congo invented and sold concessions to a revolutionary category of masks: "Mbuya jia Mafuzo". In serious decline by the 1950s, the "Mafuzo" masks have all but disappeared since independence in 1960. De Sousberghe photographed a series of "Mafuzo" masks at "Nyoka-Mulenga", which was misnamed "Nyoka-Kakese" during the early colonial period, ca 1955-57. Although of considerable documentary importance, these transparencies testify to the decline that the "Mbuya jia Mafuzo" had suffered by the 1950s. Performers agreed to show Pagasa, Mbungu, Kolombolo, and others all at the same masquerade, in full sunshine for better photography, and were not always careful to keep the crowd at a proper distance. The "Mbuya jia Mafuzo" mask Mbungu, also refer to as Gihundundu in the north, carries the theme of menace and sorcery. The dancers of Mbungu, which is composed of two larged stuffed figures representing a man and a woman, would use thin strings to make them wave and move their arms in a naturalistic fashion.
Local Numbers:
LS 080
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying Léon de Sousberghe caption reads, " Village Nioka. Masque Pakasa." Translated original accompanying caption reads, " Dancer performing the mask Pakasa at Nioka."
In the 1910-30s, a series of older men among the Central Pende of the Democratic Republic of Congo invented and sold concessions to a revolutionary category of masks: "Mbuya jia Mafuzo". In serious decline by the 1950s, the "Mafuzo" masks have all but disappeared since independence in 1960. De Sousberghe photographed a series of "Mafuzo" masks at "Nyoka-Mulenga", which was misnamed "Nyoka-Kakese" during the early colonial period, ca 1955-57. Although of considerable documentary importance, these transparencies testify to the decline that the "Mbuya jia Mafuzo" had suffered by the 1950s. Performers agreed to show Pagasa, Mbungu, Kolombolo, and others all at the same masquerade, in full sunshine for better photography, and were not always careful to keep the crowd at a proper distance. The largest subset of the "Mbuya jia Mafuzo" depict dangerous animals of the bush: the Cape buffalo, the leopard, the lion, the crocodile, the snake, the elephant. The Central Pende mask Pagasa has no direct link with the men's fraternity in contrast with the mask depicting the Cape buffalo among the Eastern Pende.
Local Numbers:
LS 083
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying Léon de Sousberghe caption reads, " Village Nioka. Masque Pakasa." Translated original accompanying caption reads, " Dancer performing the mask Pakasa at Nioka."
In the 1910-30s, a series of older men among the Central Pende of the Democratic Republic of Congo invented and sold concessions to a revolutionary category of masks: "Mbuya jia Mafuzo". In serious decline by the 1950s, the "Mafuzo" masks have all but disappeared since independence in 1960. De Sousberghe photographed a series of "Mafuzo" masks at "Nyoka-Mulenga", which was misnamed "Nyoka-Kakese" during the early colonial period, ca 1955-57. Although of considerable documentary importance, these transparencies testify to the decline that the "Mbuya jia Mafuzo" had suffered by the 1950s. Performers agreed to show Pagasa, Mbungu, Kolombolo, and others all at the same masquerade, in full sunshine for better photography, and were not always careful to keep the crowd at a proper distance. The largest subset of the "Mbuya jia Mafuzo" depict dangerous animals of the bush: the Cape buffalo, the leopard, the lion, the crocodile, the snake, the elephant. The Central Pende mask Pagasa has no direct link with the men's fraternity in contrast with the mask depicting the Cape buffalo among the Eastern Pende.
Local Numbers:
LS 084
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying Léon de Sousberghe caption reads, " Village Nioka. Masque Pakasa." Translated original accompanying caption reads, " Dancer performing the mask Pakasa at Nioka."
In the 1910-30s, a series of older men among the Central Pende of the Democratic Republic of Congo invented and sold concessions to a revolutionary category of masks: "Mbuya jia Mafuzo". In serious decline by the 1950s, the "Mafuzo" masks have all but disappeared since independence in 1960. De Sousberghe photographed a series of "Mafuzo" masks at Nyoka-Mulenga", which was misnamed "Nyoka-Kakese" during the early colonial period, ca 1955-57. Although of considerable documentary importance, these transparencies testify to the decline that the "Mbuya jia Mafuzo" had suffered by the 1950s. Performers agreed to show Pagasa, Mbungu, Kolombolo, and others all at the same masquerade, in full sunshine for better photography, and were not always careful to keep the crowd at a proper distance. The largest subset of the "Mbuya jia Mafuzo" depict dangerous animals of the bush: the Cape buffalo, the leopard, the lion, the crocodile, the snake, the elephant. The Central Pende mask Pagasa has no direct link with the men's fraternity in contrast with the mask depicting the Cape buffalo among the Eastern Pende.
Local Numbers:
LS 087
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying Léon de Sousberghe caption reads, " Village Nioka. Masque Pakasa." Translated original accompanying caption reads, " Dancer performing the mask Pakasa at Nioka."
In the 1910-30s, a series of older men among the Central Pende of the Democratic Republic of Congo invented and sold concessions to a revolutionary category of masks: "Mbuya jia Mafuzo". In serious decline by the 1950s, the "Mafuzo" masks have all but disappeared since independence in 1960. De Sousberghe photographed a series of "Mafuzo" masks at "Nyoka-Mulenga", which was misnamed "Nyoka-Kakese" during the early colonial period, ca 1955-57. Although of considerable documentary importance, these transparencies testify to the decline that the "Mbuya jia Mafuzo" had suffered by the 1950s. Performers agreed to show Pagasa, Mbungu, Kolombolo, and others all at the same masquerade, in full sunshine for better photography, and were not always careful to keep the crowd at a proper distance. The largest subset of the "Mbuya jia Mafuzo" depict dangerous animals of the bush: the Cape buffalo, the leopard, the lion, the crocodile, the snake, the elephant. The Central Pende mask Pagasa has no direct link with the men's fraternity in contrast with the mask depicting the Cape buffalo among the Eastern Pende.
Local Numbers:
LS 088
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying Léon de Sousberghe caption reads, " Village Nioka. Masque Pakasa." Translated original accompanying caption reads, " Dancer performing the mask Pakasa at Nioka."
In the 1910-30s, a series of older men among the Central Pende of the Democratic Republic of Congo invented and sold concessions to a revolutionary category of masks: "Mbuya jia Mafuzo". In serious decline by the 1950s, the "Mafuzo" masks have all but disappeared since independence in 1960. De Sousberghe photographed a series of "Mafuzo" masks at "Nyoka-Mulenga", which was misnamed "Nyoka-Kakese" during the early colonial period, ca 1955-57. Although of considerable documentary importance, these transparencies testify to the decline that the "Mbuya jia Mafuzo" had suffered by the 1950s. Performers agreed to show Pagasa, Mbungu, Kolombolo, and others all at the same masquerade, in full sunshine for better photography, and were not always careful to keep the crowd at a proper distance. The largest subset of the "Mbuya jia Mafuzo" depict dangerous animals of the bush: the Cape buffalo, the leopard, the lion, the crocodile, the snake, the elephant. The Central Pende mask Pagasa has no direct link with the men's fraternity in contrast with the mask depicting the Cape buffalo among the Eastern Pende.
Local Numbers:
LS 089
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying Léon de Sousberghe caption reads, " Village Nioka. Masque Kolombolo." Translated original accompanying caption reads, " Dancer performing the mask Kolombolo at Nioka."
In the 1910-30s, a series of older men among the Central Pende of the Democratic Republic of Congo invented and sold concessions to a revolutionary category of masks: "Mbuya jia Mafuzo". In serious decline by the 1950s, the "Mafuzo" masks have all but disappeared since independence in 1960. De Sousberghe photographed a series of "Mafuzo" masks at "Nyoka-Mulenga", which was misnamed "Nyoka-Kakese" during the early colonial period, ca 1955-57. Although of considerable documentary importance, these transparencies testify to the decline that the "Mbuya jia Mafuzo" had suffered by the 1950s. Performers agreed to show Pagasa, Mbungu, Kolombolo, and others all at the same masquerade, in full sunshine for better photography, and were not always careful to keep the crowd at a proper distance. The "Mbuya jia Mafuzo" mask depicting Kolombolo represents a cock.
Local Numbers:
LS 085
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying Léon de Sousberghe caption reads, "Village Nioka. Masque Kolombolo." Translated original accompanying caption reads, "Dancer performing the mask Kolombolo at Nioka."
In the 1910-30s, a series of older men among the Central Pende of the Democratic Republic of Congo invented and sold concessions to a revolutionary category of masks: "Mbuya jia Mafuzo". In serious decline by the 1950s, the "Mafuzo" masks have all but disappeared since independence in 1960. De Sousberghe photographed a series of "Mafuzo" masks at "Nyoka-Mulenga", which was misnamed "Nyoka-Kakese" during the early colonial period, ca 1955-57. Although of considerable documentary importance, these transparencies testify to the decline that the "Mbuya jia Mafuzo" had suffered by the 1950s. Performers agreed to show Pagasa, Mbungu, Kolombolo, and others all at the same masquerade, in full sunshine for better photography, and were not always careful to keep the crowd at a proper distance. The "Mbuya jia Mafuzo" mask depicting Kolombolo represents a cock.
Local Numbers:
LS 086
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying de Sousberghe caption reads, " Village Nioka. Masque Kolombolo." Translated original accompanying Léon de Sousberghe caption reads, " Dancer performing the mask Kolombolo at Nioka."
In the 1910-30s, a series of older men among the Central Pende of the Democratic Republic of Congo invented and sold concessions to a revolutionary category of masks: "Mbuya jia Mafuzo". In serious decline by the 1950s, the "Mafuzo" masks have all but disappeared since independence in 1960. De Sousberghe photographed a series of "Mafuzo" masks at "Nyoka-Mulenga", which was misnamed "Nyoka-Kakese" during the early colonial period, ca 1955-57. Although of considerable documentary importance, these transparencies testify to the decline that the "Mbuya jia Mafuzo" had suffered by the 1950s. Performers agreed to show Pagasa, Mbungu, Kolombolo, and others all at the same masquerade, in full sunshine for better photography, and were not always careful to keep the crowd at a proper distance. The "Mbuya jia Mafuzo" mask depicting Kolombolo represents a cock.
Local Numbers:
LS 193
General:
Title source: Archives staff.
Note source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original accompanying de Sousberghe caption reads, " Village Nioka. Nganga Ngombo : homme et femme." Translated original accompanying caption reads, " Nganga Ngombo : man and woman."
In the 1910-30s, a series of older men among the Central Pende of the Democratic Republic of Congo invented and sold concessions to a revolutionary category of masks: "Mbuya jia Mafuzo". In serious decline by the 1950s, the "Mafuzo" masks have all but disappeared since independence in 1960. De Sousberghe photographed a series of "Mafuzo" masks at "Nyoka-Mulenga", which was misnamed "Nyoka-Kakese" during the early colonial period, ca 1955-57. Although of considerable documentary importance, these transparencies testify to the decline that the "Mbuya jia Mafuzo" had suffered by the 1950s. Performers agreed to show Pagasa, Mbungu, Kolombolo, and others all at the same masquerade, in full sunshine for better photography, and were not always careful to keep the crowd at a proper distance. The "Mbuya jia Mafuzo" enact visions of devouring power barely kept at bay on the outskirts of the village. The "Mafuzo" mask Nganga Ngombo, also called Tata Gambinda, represents the familiar theme of the diviner important to Pende life.
General:
Title source: Archives staff.
Note source: Archives staff.
Caption source: Archives staff.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.