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.
Original accompanying de Sousberghe caption reads, " Village Nioka. Nganga Ngombo : femme." Translated original accompanying caption reads, " Nganga Ngombo : 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.
Local Numbers:
LS 099
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, " Participants à une danse." Translated original accompanying caption reads, " Participants to a masquerade."
De Sousberghe photographed dancers performing at a masquerade at "Nyoka-Mulenga", which was misnamed "Nyoka-Kakese" during the early colonial period, ca 1955-57.
Local Numbers:
LS 091
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 Lufushi. Masques: 1 Giwoyo + 2 Tundu." Translated original accompanying caption reads, " Masks: a Giwoyo and two Tundu."
De Sousberghe photographed dancers performing the mask Giwoyo and the masks Tundu at a masquerade at Lufushi (Central Pende). For the Central Pende, Giwoyo, also known as Kiwoyo among the Eastern Pende, is universally described as one of the very old masks, one that came from Angola. It is possible that Giwoyo might represent an archaic survival of a ritual in which the masquerade ushered the spirit of the departed out of the village. For that reason, part of Giwoyo's dance take place on his knees at the outskirts of the village. Also, Tundu is a mask that represents the notion of anti-aesthetic. His 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 022
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 Lufushi. Masque Giwoyo + 2 Tundu." Translated original accompanying caption reads, " Giwoyo mask and two Tundu masks at the village of Lufushi."
De Sousberghe photographed dancers performing the mask Giwoyo and the masks Tundu at a masquerade at Lufushi (Central Pende). For the Central Pende, Giwoyo, also known as Kiwoyo among the Eastern Pende, is universally described as one of the very old masks, one that came from Angola. It is possible that Giwoyo might represent an archaic survival of a ritual in which the masquerade ushered the spirit of the departed out of the village. For that reason, part of Giwoyo's dance take place on his knees at the outskirts of the village. Also, Tundu is a mask that represents the notion of anti-aesthetic. His 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 194
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 Lufushi. Masque Giwoyo + 2 Tundu." Translated original accompanying caption reads, " Giwoyo mask and two Tundu at the village of Lufushi."
De Sousberghe photographed dancers performing the mask Giwoyo and the masks Tundu at a masquerade at Lufushi (Central Pende). For the Central Pende, Giwoyo, also known as Kiwoyo among the Eastern Pende, is universally described as one of the very old masks, one that came from Angola. It is possible that Giwoyo might represent an archaic survival of a ritual in which the masquerade ushered the spirit of the departed out of the village. For that reason, part of Giwoyo's dance take place on his knees at the outskirts of the village. Also, Tundu is a mask that represents the notion of anti-aesthetic. His 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 195
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, " Danse du masque Kambanda." Translated original accompanying caption reads, " Dancer performing the mask Kambanda."
De Sousberghe photographed a dancer performing the mask Kambanda at a masquerade at Lufushi (Central Pende). "Mbuya jia mukhetu", the female mask, also known as Gambanda among the Central Pende or Kambanda among the Eastern Pende, represents the contemporary fashionable young woman across all Pende country. In addition, the Central Pende have developed a plethora of names for masks in this genre that reflect the different dances that the mask may perform: Galuhenge, Gagilembelembe, Gatambi a Imbuanda, Gakholo, Gabugu, Odoma, Elisa Solo and Gahunga a Sshishi.
Local Numbers:
LS 082
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, " Masque Lufushi - Fumu." Translated original accompanying caption reads, " Lufushi - Fumu mask."
De Sousberghe photographed dancers performing the mask Fumu at a masquerade at Lufushi (Central Pende). Fumu is a mask that represents the chief. He is very widespread among the Central Pende but is unknown among the Eastern Pende.
Local Numbers:
LS 204
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, " Masque Lufushi - Fumu et 2 Tundu." Translated original accompanying caption reads, " Lufushi - Fumu and 2 Tundu masks."
De Sousberghe photographed dancers performing the mask Fumu and the masks Tundu at a masquerade at Lufushi (Central Pende). Fumu is a mask that represents the chief. He is very widespread among the Central Pende but is unknown among the Eastern Pende. Also, Tundu is a mask that represents the notion of anti-aesthetic. His 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 207
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, " Masque Lufushi - Fumu et 2 Tundu." Translated original accompanying caption reads, " Lufushi - Fumu and 2 Tundu masks." Dancers performing the mask Fumu and the masks Tundu at the village of Lufushi.
De Sousberghe photographed dancers performing the mask Fumu and the masks Tundu at a masquerade at Lufushi (Central Pende). Fumu is a mask that represents the chief. He is very widespread among the Central Pende but is unknown among the Eastern Pende. Also, Tundu is a mask that represents the notion of anti-aesthetic. His 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 208
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, " Masque Lufushi." Translated original accompanying caption reads, " Lufushi mask."
De Sousberghe photographed dancers performing at a masquerade at Lufushi (Central Pende).
Local Numbers:
LS 209
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, " Masque Lufushi." Translated original accompanying caption reads, " Lufushi mask."
De Sousberghe photographed dancers performing at a masquerade at Lufushi (Central Pende).
Local Numbers:
LS 210
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, " Masque Lufushi." Translated original accompanying caption reads, " Lufushi mask."
De Sousberghe photographed dancers performing at a masquerade at Lufushi (Central Pende).
Local Numbers:
LS 211
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 de Ngimbu. Danse masquée. Ngimbu, près de Njinji. Giphogo et Phota." Translated original accompanying caption reads, " Masquerade. Village of Ngimbu, near Njinji. Giphogo and Phota."
Pota's dance is difficult to isolate among the Eastern Pende because it shares so much with that of Kipoko. In fact, the mask has evolved into becoming something of an adjunct for Kipoko. De Sousberghe photographed Pota aiding Kipoko in healing by dancing over the ill in 1952 at Ngimbu (Eastern Pende). Kipoko, Pota and Gambanda, the "female mask" following the two, were the three masks performing at that ritual masquerade.
Local Numbers:
LS 054
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, " Ngimbu, près de Njinji. Giphogo et Phota." Translated original accompanying caption reads, " Village of Ngimbu, near Njinji. Giphogo and Phota."
Pota's dance is difficult to isolate among the Eastern Pende because it shares so much with that of Kipoko. In fact, the mask has evolved into becoming something of an adjunct for Kipoko. De Sousberghe photographed Pota aiding Kipoko in healing by dancing over the ill in 1952 at Ngimbu (Eastern Pende). Kipoko, Pota and Gambanda, the "female mask" following the two, were the three masks performing at that ritual masquerade.
Local Numbers:
LS 063
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, " Danse masquée. Ngimbu, près de Njinji. Giphogo et Phota." Translated original accompanying caption reads, " Masquerade. Village of Ngimbu, near Njinji. Giphogo and Phota."
Pota's dance is difficult to isolate among the Eastern Pende because it shares so much with that of Kipoko. In fact, the mask has evolved into becoming something of an adjunct for Kipoko. De Sousberghe photographed Pota aiding Kipoko in healing by dancing over the ill in 1952 at Ngimbu (Eastern Pende). Kipoko, Pota and Gambanda, the "female mask" following the two, were the three masks performing at that ritual masquerade.
Local Numbers:
LS 055
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, " Ngimbu, près de Njinji. Giphogo et Phota." Translated original accompanying caption reads, " Village of Ngimbu, near Njinji. Giphogo and Phota." Dancers performing the masks Giphogo and Phota at the village of Ngimbu, near Njinji.
Pota's dance is difficult to isolate among the Eastern Pende because it shares so much with that of Kipoko. In fact, the mask has evolved into becoming something of an adjunct for Kipoko. De Sousberghe photographed Pota aiding Kipoko in healing by dancing over the ill in 1952 at Ngimbu (Eastern Pende). Kipoko, Pota and Gambanda, the "female mask" following the two, were the three masks performing at that ritual masquerade.
Local Numbers:
LS 062
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, " Danse masquée. Ngimbu, près de Njinji. Giphogo et Phota." Translated original accompanying caption reads, " Masquerade. Village of Ngimbu, near Njinji. Giphogo and Phota."
Pota's dance is difficult to isolate among the Eastern Pende because it shares so much with that of Kipoko. In fact, the mask has evolved into becoming something of an adjunct for Kipoko. De Sousberghe photographed Pota aiding Kipoko in healing by dancing over the ill in 1952 at Ngimbu (Eastern Pende). Kipoko, Pota and Gambanda, the "female mask" following the two, were the three masks performing at that ritual masquerade.
Local Numbers:
LS 056
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, " Ngimbu, près de Njinji. Giphogo et Phota." Translated original accompanying caption reads, " Village of Ngimbu, near Njinji. Giphogo and Phota."
Pota's dance is difficult to isolate among the Eastern Pende because it shares so much with that of Kipoko. In fact, the mask has evolved into becoming something of an adjunct for Kipoko. De Sousberghe photographed Pota aiding Kipoko in healing by dancing over the ill in 1952 at Ngimbu (Eastern Pende). Kipoko, Pota and Gambanda, the "female mask" following the two, were the three masks performing at that ritual masquerade.
Local Numbers:
LS 058
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.