Religious and social functions of Congolese art
Congolese art has a religious or social function that can only be understood within the framework of a given culture. It is very rarely "art for art's sake". Works of art are often used in a magical or religious context, or to represent the attributes of power. Masks and statues are invisible messengers. They are extraordinarily rich in form, as are other everyday objects. These numerous objects are crafted from a variety of materials, including wood, raffia, fabric, ivory and stone. They possess an important cultural force that ensures the cohesion of many groups attached to age-old traditions through these "living" objects, which are made not for enjoyment but for a certain functionality.
Fetishes and "charged objects
When Africa and the Congo opened up to the world, traditional African art was treated by the West as a "fetish", i.e. accused of making idols. Many of these objects were destroyed to facilitate the penetration of Christianity, thus breaking the attachment of these communities to age-old traditions. Even today, the term "fetish" is regularly misused to designate any religious figure, when in fact it refers only to "charged" objects, i.e. those accompanied by a load of magical substances, making them effective for supernatural work, most frequently the search for or neutralization of sorcerers.
Congolese statuary
Large fetishes are among the most impressive sculptures in Congolese statuary, in particular the famous nail fetishes of the Kongo people, which are activated by driving a nail into it, or the community nkisi of the Songye (northern Katanga), surrounded by charges wrapped in varan skin and which, too dangerous to be handled with bare hands, are lifted by iron or wooden rods. But many other groups have fetishes of smaller dimensions and often more delicate workmanship than these great expressionist figures, for example the Teke and Bembe of Stanley-Pool, or the Yaka and Suku of Bandundu.
Initiation masks
The mask is a highly characteristic expression of African art. Many masks are used for educational purposes, linked to the initiation of young people. This is called mukanda by the populations of Bandundu who practice it: Tshokwe, Yaka, Pende, Suku... This initiation lasts a year or two, and the children are separated from their families in a bush camp where they learn the history, founding myths and social rules of their group. They also learn the secrets of masks. These embody spirits. Uninitiated women and children are often unable to see the masks, or the masks are meant to frighten them.
Attributes of power
Another series of traditional works serves to designate the chief or king, to symbolize his power and justify his authority. Many populations are familiar with carved scepters, canes or command sticks, right up to Marshal Mobutu, who wore a carved cane as a sign of "authentic" leadership. The same is true of headdresses, seats and other attributes (combs, amulets...), often richly decorated, reserved for those in power. In addition to the country's museums, where they can be admired, these works - like the objects mentioned above (masks, fetishes, statues...) - can sometimes be found, to varying degrees of success, for sale in antique shops, by private individuals or on craft markets. But watch out for talented forgers!
The Kinshasa Stock Market
Kinshasa's quintessential arts-and-crafts marketplace, one of the city's must-sees, in the Royal district. It's a souk atmosphere, where you'll find yourself harpooned and solicited from all sides, and where you'll chat and negotiate hard, all in good spirits. And for a price that's often well worth the effort. A few street vendors and artisans also set up stalls or display their work in hotels, at events or even on the street. Fans of old objects will be delighted, with some great finds: medals, coins, jewelry, fetishes, masks, cult objects...
Authenticity
Beware of so-called antiques and antique works, which are always difficult to authenticate. Today's pieces are artificially aged, and can be misleading... Even if good opportunities arise, remember that a piece claimed to be exceptional on the street in town, and for an unbeatable price, is unlikely to be authentic. And that the likelihood of buying an authentic work in these circumstances is the same as finding a Leonardo drawing at a Milan flea market... But that's not (always) the point.
Negotiation and bargaining
Whatever the context, there are few scams to be reported in terms of the quality of the items sold, apart from prices that can be halved, or even tripled or quadrupled, depending on the mood of the vendor, who adapts them to the customer's head... It's all part of the game. In Kinshasa, prices are often more attractive, with a wide margin for negotiation, and for a variety of products unequalled by any other city in the country. Experience has shown that the best prices are often obtained at the end of the day, when the craftsman, in a hurry to get home, wants to make one last sale to bring home a little money. However, be careful not to show disrespect by trying to negotiate too low, and remember the enormous economic difficulties faced by most Congolese in their daily survival.
Supervision of craftsmen
Although handicrafts occupy an important place in the Congo, most artisans still operate informally and on a very limited market, from which they earn too little income. Based on the observation that craftsmen know their trade but, lacking the means to do so, produce only to order and exhibit little, a number of structures are supervising groups of craftsmen in Kinshasa and other major cities. The aim is to enable them to make a decent living from their art and know-how, by promoting their works and productions to a wider public.
Kinshasa's recuperation and audacity
Kinshasa, like a Congolese melting pot, features a wide range of techniques and styles from the country's different regions and ethnic groups. Strictly speaking, there is no such thing as a Kinshasa style. Except for the tendency to recover and recycle, resulting in works that are often original and technically inventive (jewelry made from plastic parts, objects created from metal cans, etc.). Recycling, in every sense of the word... When the Kinshasa-born artist senses a good opportunity, his audacity is matched only by his creativity. Such is the case with "Tintin", the figurines and variations in all media (paintings, sculptures...) adapted from the album Tintin in the Congo - and by extension from the other adventures of Hergé's hero - and which most visitors love.
Souvenirs made in Congo
A host of "must-have" objects made in Congo can be found at craft markets and specialized outlets (craftsmen's associations, art academies, boutiques and antique shops...). Or even on the street or with artisans and street vendors.
Kuba carpets (Kasai velvet): originating from a long tradition of the Kuba Kingdom and the Shoowa ethnic group. The fibers used to make these carpets come from the raffia palm and are dyed with vegetable colors. Embroidery and velvet techniques are reserved for women, while weaving is the exclusive preserve of men. Their manufacture, which can take several months or even a whole year, is distinguished by the finesse of the techniques used and the extreme diversity of the designs and motifs represented.
Masks and statuettes : these can be found in all ethnic groups and in all sizes, colors and models, whether old or new. Often quite beautiful, they all possess particular meanings and characteristics that strongly differentiate them, depending on their culture of origin.
Jewelry: made from wood, glass, metal, animal bones, stones and minerals (malachite, copper), shells or dried fruit... The diversity of techniques and materials used is matched only by the creativity of their makers. A timely reminder to consume responsibly and avoid ivory and other products from protected animals.
Musical instruments : likembe (a kind of local, traditional xylophone also known as "sanza" in Central Africa), drums and various percussion instruments, maracas, traditional wooden guitars...
Furniture: from seats to stools (ebonga), backrests or benches, tables, CD racks, lamps, even beds and shelves. A wide choice of models and materials. Special mention should be made of the palaver chairs, made of two interlocking wooden planks, which are both stylish and comfortable, as well as being easy to transport.
Paintings and sculptures. The DRC boasts some great names in the plastic arts, stemming from the Congolese pictorial and sculptural tradition (the great schools that presided over the creation of the Beaux-Arts academies in Kinshasa and Lubumbashi in particular), as well as among more contemporary artists. Popular Congolese painting, known as "naïve", by the artist Chéri Samba, is currently on a roll. Most of his works, now quoted on the art market, are inaccessible, but other works and artists representative of this movement are available, mainly in Kinshasa.
Decorative objects and accessories : such as candleholders, jewelry boxes, trinkets, woven baskets, bottle openers, key rings, mirrors, dishes and bowls, cushions, ceramics, pottery, paintings... which often rival each other in beauty and inventiveness.
Loincloths and made-to-measure outfits: even if they are no longer made in Congo (with the exception of the Sotexki factory in Kisangani), nor even by hand, wax cloths, these typical fabrics in bright, colorful tones and patterns, remain one of the country's flagship products. You can buy them locally (yards are the unit of measurement), or even make your own clothes by visiting one of the many local dressmakers and tailors: they have numerous models and can make your outfit in record time and for record prices.
Tintin in the Congo the great classic is to return with a small painted picture representing the cover of the famous Tintin album, which you customize by adding your name to the title " Les Aventures de... in the Congo ". But there are also a host of other variations (painted sculptures in wood, wire, etc.) representing characters or scenes from the book, or even from other albums.
Some objects are made from recycled materials (tin cans, old metal, cables, etc.). A genuine recycling process is thus underway, giving a second life to certain products, with a hefty dose of inventiveness and creativity at work among local artists and craftsmen, and an original, high-quality result (jewelry, home decor...).
Export authorization
For all purchases of large works of art or antiques, it is theoretically necessary to obtain authorization (for a fee) from the Ministry of Culture, Arts and Heritage, in order to be able to take the piece out of the country, at the risk of encountering problems when your luggage is searched by the airline, or at airport customs, or even with the customs services at the destination airport. This is especially true of large coins, which are easy to spot in luggage. Be aware that the price of the export authorization will probably have to be negotiated with your contact at the Ministry, and it's best to make arrangements in advance to obtain the document in good time. In theory, it is not necessary to do this for small, everyday handicrafts (malachite pieces, raffia, jewelry, etc.).
Ministère de la Culture, Arts et Patrimoine
154, boulevard du 30 juin, Kinshasa/Gombe
Tel: +243 818800332 or +243 844711375
Email: [email protected]
Site: https://culture.gouv.cd/
Opening hours: Monday to Friday, 8am to 4.30pm, mornings preferred.
