The photograph depicts Nyim Kot a Mbweeky III wearing royal dress 'labot latwool'; royal headdress known as 'Shody'; necklace 'Lashyaash' made of leopard teeth; sword 'Mbombaam', lance 'Mbwoom Ambady' and other items of royal adornement. [Cornet J., 1982: Art Royal Kuba, Edizioni Sipiel Milano]. During his trip to Congo (now Democratic Republic of Congo), Elisofon visited the village of Bungamba (Bongamba, Bongaam) between Mweka and Luebo, in the Kuba region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
The full name of the Kuba Nyim depicted on the photograph is Kwεt áMbwε'ky René (III): aka Køt áMbwε'ky. Most full names consist of three successive personal names: the king's own name, the name of his mother and the name of his mother's mother connected by particles meaning "of." Only this ruler has a Christian name. The aka names are often used. The names are taken from Vansina Jan, Geschiedenis van de Kuba, Tervuren 1963 (genealogy 270,- 71; kings # 17 and following p.319-28).
Local Numbers:
C 3 KBA 12.5 EE 70
General:
Citation source: Archives staff.
Title is provided by EEPA staff based on photographer's notes.
Exhibitions Note:
"The Human Form in African Art: Selections from the Collection of the Neuberger Museum of Art," The Rye Arts Center, 6 January 2002 through 16 February 2002. LL01-0076
"The World Journey: Art in African Art," held by the Speed Art Museum, Louisville, KY, beginning August, 20, 2002. LL01-0212
Local Note:
Frame value is 4.
Slide No. C 3 KBA 12.5 EE 70
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.
"In Antilopes du soleil, his 1980 survey of ci wara, Dominique Zahan classifies this corpus of works in group I, which comprises pairs that overtly emphasize the differentiation of the male and female forms. Zahan notes that the social distinctions between men and women that suffuse Bamana society are referenced in the antelope sculptures through sexual attibutes: the male's penis and the infant carried by the female. Female ci wara headdress are also generally smaller than the males. The fawn depicted on her back is invariably a miniature representation of either the adult male or female. The fundamental differences underlying the designs of the male and female headdresses in this style derive from the fact that they are modeled on different species of animal. The head, neck, ears, and horns of the male form draw upon features of the roan antelope, known as dage, and its lower part refers to the aardvark. The female form is inspired by the oryx antelope." [La Gamma A., 2002: Genesis: Ideas of Origin in African Sculpture. The Metropolitan Museum of Art, New York. Yale University Press, New Haven and London]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.
Local Numbers:
E 1 BMB 6 EE 71
General:
Citation source: Archives staff.
Title is provided by EEPA staff based on photographer's notes.
Exhibitions Note:
"The World Journey: Art in African Art," held by the Speed Art Museum, Louisville, KY, , beginning August, 20, 2002. LL01-0212.
"African Art from the Permanent Collection," exhibited by the Neuberger Museum of Art, beginning in November, 2001. LL02-0040.
Local Note:
48
Frame value is 6.
Slide No. E 1 BMB 6 EE 71
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.
"The mask called Pwo, woman, or Mwana Pwo, young girl, is the symbolic pendant to the male mask, Cihongo, and evokes the female ancestress, propitious for the fertility of the tribe. Dressed with care and charm, the dancer moves with elegance in front of the audience and teaches the spectators grace and good manners. She holds a rattle or a fly-whisk in her hand (Bastin 1982: ill.28)." [Bastin M.-L., 1993: The Akishi Spirits of the Chokwe, Face of the spirit]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.
Local Numbers:
E 3 CKW 2 EE 71
General:
Citation source: Archives staff.
Title is provided by EEPA staff based on photographer's notes.
Exhibitions Note:
"The Human Form in African Art: Selections from the Collection of the Neuberger Museum of Art," The Rye Arts Center, 6 January 2002 through 16 February 2002. LL01-0076
Local Note:
Frame value is 37.
Slide No. E 3 CKW 2 EE 71
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.
"Yaka masks make their appearance only during the lengthy initiation ceremonies that are performed for boys. The initiation (n'khanda) prepares them for social adulthood and is designed to safeguard the continuity of human fertility. The young men return to the village at the end of the initiation period and perform masked dances. They are accompanied by the men who have supervised them during that period, who are also wearing masks. It is thought that the smaller masks worn by the new initiates are made by the young men themselves, whereas the masks worn by the leaders are made by professional sculptors. Yaka masks are notable for their polychromy. They recapitulate all the constituent features that make up the universe, i.e. heavenly bodies, plants, animals, humans and spirits." [Grootaers J.-L., Eisenburger I., 2002 : Forms of Wonderment. Vol. 2. Africa Museum, Berg en Dal]. During his trip to the Belgian Congo (now Democratic Republic of Congo), Elisofon visited the Yaka people inhabiting Popokabaka, Kenge, and Kasongo Lunda sectors of Bandundu Province of southwestern Congo and Uige Province of northern Angola. This photograph was taken when Eliot Elisofon traveled to Africa from early March 1951 to July 1951.
Local Numbers:
E 3 YKA 3 EE 51
General:
Title is provided by EEPA staff based on photographer's notes.
Exhibitions Note:
"African Art from the Permanent Collection," held by the Neuberger Museum of Art, Purchase, NY, beginning in August, 2001. LL01-0629.
Local Note:
2356
Frame value is 6.
Slide No. E 3 YKA 3 EE 51
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.
The photograph depicts drums of reign 'Pelambish' of Nyim Mbopey Mabiintsh ma-Kyeen [Mbop Mabiinc makyen, (Bope Mabinshe)]. On the right, the drum kweetngom was carved and decorated for the Nyim Kot Mabiintsh maKyeen. The two other drums on the left, mbongom, are replicas made for the Nyim Mbopey Mabiintsh ma-Kyeen by the same artist. [Cornet J., 1982: Art Royal Kuba, Edizioni Sipiel Milano]. This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from January 8, 1947 to end of June 1947.
Local Numbers:
Negative number 22923, P-6, 5.
General:
Title source: Index card based on photographer's notes.
Exhibitions Note:
"A Personal Journey: Central Africa Art from the Collection of Lawrence Gussman," held by the Neuberger Museum of Art in Purchase, New York, 2001.
Local Note:
Typed index card reads, "F 3 Kba. Kuba. Zaire, Mushenge. Nyim Mbop Mabiinc maMbeky (Bope Mabinshe) ruled 1939-d.1969. 3 of the royal drums, (pelambish) decorated with cowrie shells and studded with copper. 1/20/1947. EE. neg.no. 22923, P-6, 5. " The card was written in 1977-79 by Archives staff using source provided by photographer.
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.
"Yaka masks make their appearance only during the lengthy initiation ceremonies that are performed for boys. The initiation (n'khanda) prepares them for social adulthood and is designed to safeguard the continuity of human fertility. The young men return to the village at the end of the initiation period and perform masked dances. They are accompanied by the men who have supervised them during that period, who are also wearing masks. It is thought that the smaller masks worn by the new initiates are made by the young men themselves, whereas the masks worn by the leaders are made by professional sculptors. Yaka masks are notable for their polychromy. They recapitulate all the constituent features that make up the universe, i.e. heavenly bodies, plants, animals, humans and spirits." [Grootaers J.-L., Eisenburger I., 2002 : Forms of Wonderment. Vol. 2. Africa Museum, Berg en Dal]. During his trip to the Belgian Congo (now Democratic Republic of Congo), Elisofon visited the Yaka people inhabiting Popokabaka, Kenge, and Kasongo Lunda sectors of Bandundu Province of southwestern Congo and Uige Province of northern Angola. This photograph was taken when Eliot Elisofon traveled to Africa from early March 1951 to July 1951.
Local Numbers:
No negative number [23074, C-1, 37].
General:
Title source: Index card based on photographer's notes.
Exhibitions Note:
"A Personal Journey: Central Africa Art from the Collection of Lawrence Gussman," held by the Neuberger Museum of Art in Purchase, New York, 2001.
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.
Title source: Archives staff; not provided by photographer.
Caption source: Archives staff.
Exhibitions Note:
"A Personal Journey: Central Africa Art from the Collection of Lawrence Gussman," held by the Neuberger Museum of Art in Purchase, New York, 2001.
Local Note:
Original note on contact print reads, "Zapa - Kowuamba. Songe."
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.
Genre/Form:
Black-and-white negatives
Collection Citation:
Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution
