An Nkisi Nkisi (plural Minkisi, Minkisi, also also Nkishi/Minkishi Nkishi/Minkishi), ), literally translates translates as "sacred "sacred medicine". The term Nkisi is the general name for a variety of o!ects used throughout the ongo #asin in entral Africa thought to contain spiritual po$ers or spirits (called "mpungo")%&'. n the siteenth century, $hen the *ingdom of *ongo $as converted to hristianity, ukisi (an adverial form of the noun) $as used to translate "holy". lose communication $ith the dead and elief in the efficacy of their po$ers are closely associated $ith Minkisi in the *ongo ritual. Among the peoples of the ongo #asin, especially the #akongo and the +ongye people of *asai, all eceptional human po$ers are elieved to result from some sort of communication $ith the dead. eople kno$n as anganga (singular- nganga) $ork as healers, diviners, and mediators $ho defend the living against $itchcraft and provide them $ith remedies against diseases resulting either from $itchcraft or the demands of akisi (spirits), emissaries from the land of the dead. note- #akisi is the plural of Nkisi. Nkisi on one hand, does translate to types of spiritual medicine, ut also refers to "elevated spirits". Nkisi usually refers to the container of spiritual medicines. Another $ay of stating an "levated (ie, not a spirit of the dead, ut a spirit from *ici (the po$er of N0ami (1od)) is to say Nkinda. A society of Nganga is sometimes referred to as a #akinda. Nkisi are po$ered y elevated spirits, $hereas Minkisi are po$ered y spirits of the dead.#anganga harness the po$ers of akisi and the dead y making minkisi. Minkisi are primarily containers ceramic vessels, gourds, animal horns, shells, undles, or any other o!ect that can contain spirituallycharged sustances. ven graves themselves, as the home of the dead and hence the home of akisi, can e considered as minkisi. n fact, minkisi have even een descried as portale graves, and many include earth or relics from the grave of a po$erful individual as a prime ingredient. The po$ers of the dead thus infuse the o!ect and allo$ the nganga to control it.%2' Minerals $ere collected from various places associated $ith the dead, such as earth collected from graves and rivereds. 3hite clay $as also very important in the composition of minkisi due to the symolic relationship of the color $hite and the physical aspects of dead skin as $ell as their moral rightness. 3hite contrasted $ith lack, the color of negative ideas and concepts. +ome minkisi use red ochre as a coloring agent. The use of red is symolic of the mediation of the po$ers of the dead. 4ften the contents of minkisi $ere not chosen for any sort of practical pharmaceutical use, ut instead ecause their names sounded similar to the specific goals of the nkisi and illustrated a play on $ords. Among the many common materials used in the minkisi $ere fruit ("luyala" in *ikongo $hich is similar to "yaala," $hich means "that it may rule"), charcoal ("kala0ima" in *ikongo $hich is similar to "0ima," $hich means "that it may strike or etinguish"), and mushrooms ("tondo" in *ikongo $hich is similar to "tond$a,"
$hich means "that it may e desired"). Minkisi serve many purposes. +ome are used in divination practices. Many are used for healing, $hile others provide success in hunting, trade, or se. mportant minkisi are often credited $ith po$ers in multiple domains. Most famously, minkisi may also take the form of anthropomorphic or 0oomorphic $ooden carvings, and it is these that have principally interested art historians. Minkisi and the afflictions associated $ith them are generally classified into t$o types. +ome are "of the aove," and some are "of the elo$." The "aove" minkisi are associated $ith the sky, rain and thunderstorms. Those "of the elo$" are associated $ith earth and $aters on land. The minkisi "of aove" $ere considered masculine and $ere closely tied to violence and violent forces. They seemed to hold a higher importance5 at least according to the masculine memers of the culture $ho $rote on the su!ect. #irds of prey, lightning, $eapons, and fire are all common themes among the minkisi of the aove. They also affected the upper ody. 6ead, neck, and chest pains $ere said to e caused y these nkisi figures. +ome figures $ere in the form of animals. Most often these $ere dogs, referred to as *o0o. 7ogs are closely tied to the spiritual $orld in *ongo theology. They live in t$o separate $orlds, the village of the living, and the forest of the dead. *o0o figures $ere often portrayed as having t$o heads. This $as symolic of their aility to see oth $orlds. The purpose of the minkisi of the aove $as largely civil in nature. They $ere used to maintain order and seal treaties. erhaps the most common use $as the locating and punishing of criminals. These figures, kno$n as nkondi (plural Minkondi) figures, $ere used primarily to hunt out $rongdoers and to avenge their crimes. Nkondi figures $ere minkisi of the aove that ranged in si0e from small to life si0e, and contained medicines, usually hidden y resin fied mirrors. These figures $ere usually in the form of $ooden figures $ith open cavities in their odies for medicines. The most common place for storage $as the elly. The *i*ongo $ord for elly is "mooyo," $hich also means "life," and is most likely the reasoning ehind the placement of the medicines. 4ther common places for medicines included the head and in pouches surrounding the neck. A nkisi figure $ithout medicine is useless and serves no purpose. t is simply a container that gains its po$er from the medicine. n most nkondi figures the eyes and medicine pack covers $ere reflective glass or mirrors, used for divination. The nganga could use the mirrors to look into the $orld of the ancestors. +ome nkondi figures $ere adorned $ith feathers. This goes along $ith the concept of the figures as eing "of the aove," and associates them $ith irds of prey. Minkondi often have their right arm etended
$ith a sharp lade grasped tightly. Nails and other its of metals are often driven into the nkondi figures. Many of the eplorers of the late &8th and early 29th centuries referred to minkondi as "nailfetishes." Their lack of understanding caused them to completely ignore the real intentions and uses of the minkondi. The patrons of the nganga drove these nails into the figure to "a$aken" the nkondi. The creation and use of nkondi figures $as also a very important aspect to their success. #anganga often composed the nkondi figures at the edge of the village. The village $as thought of as eing similar to the human ody. The idea that the edge and entrances needed to e protected from evil spirits occurred in oth the human ody and the village. 3hen composing the minkisi the nganga is often isolated in a hidden camp, a$ay from the rest of the village. After the nkisi $as uilt and the nganga had learned its proper use and the corresponding songs, he returned to the village covered in paint and ehaving in a strange manner. The unusual ehavior $as to illustrate the ngangas return to the land of the living. rior to using the nkondi, the nganga recited specific invocations to a$aken the nkondi and activate its po$ers. 7uring their performances, anganga often painted themselves. 3hite circles around the eyes allo$ed them to see eyond the physical $orld and see the hidden sources of evil and illness. 3hite stripes $ere painted on the participants. 4ften the nganga $as dressed similar to his nkondi. #anganga generally dressed in outfits that $ere vastly different than normal people. They $ore ornate !e$elry and often incorporated knots in their clothing. The knots $ere associated $ith a $ay of closing up or sealing of spiritual forces. Nkisi :amo a !ugar nkisi nkisi vamo a !ugar
n +panish the $ord alo means stick. The title alero or alera literally means stick man or stick $oman. This implies one that $orks $ith sticks or is an epert on using sticks. nitiates are often called aleros or aleras depending on gender. The alero or alera practices a form of sympathetic magic. t is elieved that everything is alive and the initiate is one $ith nature and those things around him;her. The initiate no$ has a tie to all these plants (nkandia) and sticks (Nkunia), to the arth (ntoto) and its elements. alo, in some $ays can e considered medicine that is made from sticks. ach stick has a magical or medicinal purpose, and their uses are $ell kno$n to the alero. The ongos employed the use of sticks from sacred trees and placed them in their Nkisi. Nkisi can e translated as an o!ect often descried as a "fetish," an o!ect that is elieved to have magical or spiritual po$ers. t
frame$ork of the alero it is a representation of the universe $hich is usually housed in an iron or clay cauldron made of sticks, dirt and ones. The nkisi also came to e kno$n as prendas $hich in +panish means !e$el (according to =ydia arera, uan Anthrolopogist, this name $as given to them y the ortuguese), other names $ere Nganga (the term Nganga that had originally een used to descried a priest or "shaman" $as lost, this term no$ descried the Nkisi itself), ga!o, $anga, #ouma, +aku+aku, :illuma and Makuto. No other >uote etter descries an Nkisi than the follo$ing"n my country there is an nkisi called Na *ongo, a $ater nkisi $ith po$er to afflict and to heal5 other minkisi have these po$ers also. They receive these po$ers y composition, con!uring, and consecration. They are composed of earth, ashes, hers, and leaves, and of relics of the dead. They are composed in order to relieve and enefit people, and to make a profit. They are composed to visit conse>uences upon thieves, $itches, those $ho steal y sorcery, and those $ho haror $itchcraft po$ers. Also to oppress people. These are the properties of minkisi, to cause sickness in a man, and also to remove it. To destroy, to kill, to enefit. To impose taoo on things and to remove them. To look after their o$ners and to visit retriution upon them. The $ay of every nkisi is this- $hen you have composed it, oserve its rules lest it e annoyed and punish you. t kno$s no mercy." (*avuna +imon) The items used as containers that inhait the o!ect;microcosm that is $orshipped may vary from a sac to a seashell to some sort of cauldron. The sac $as kno$n as the ouma or +aku+aku that $as hang from a ceiling and contained all ingredients. To ring do$n the sac $as a ceremonial custom. 4ne person $ould s$eep the area $here the sac $ould land $hile they sang"#are #are, are asuras, #are, are, are, asura, simico?" 4nce this area $as perfectly clean they $ould dra$ the fima, patipema (magical dra$ing) $here it $ould land and sing"patti patti patti mpema simico? patti patti patti mpema simico?" "omo adre te mando Aa!o minganga #a!alo, a!o mi mam #a!alo como adre te manda... #a!alo, a!alo Mama Trailo, trailo minganga trai nganga como paso ligue@a." 4nce it $as on the ground the head of the temple $ould say-
"Mame? Mame? 7io osa uena ta< lo mundo?" Traditional minkisi in Africa $hich are more availale to the general pulic for vie$ing almost al$ays take form in statues (although this is not the only $ay they are composed even in Africa) $hich can e seen elo$.
The nkisi is the o!ect $hich is ritually $orshipped. t is the central of all ceremonies in alo. very nkisi encapsulates an mpungo. Mpungo is a ongo deity, it is like a "+aint", an Nkita. The pantheon of mpungo, kimpungulu (plural), finds its origin in Africa. *impungulu are classified as deities that serve a purpose and are associated $ith an aspect of nature (thunder, land, $ind etc.). #ecause of the development of alo practices in ua and ecause of its anti>uity it is difficult if not impossile to find the eact names of these deities in Africa although one can find mpungo of similar purpose and characteristics. 3hile mpungos are numered in the hundreds only the most popular are heard of pulicly today yet there are still many others that fe$ kno$ aout ecause there has een little or no pulished information on rare nkisi from ua. Typical uan Nkisi also take different forms, as mentioned previously they are usually housed in cauldrons and clay vessels such as the ones seen elo$-
#eliefs surrounding alo Mayome etend eyond the $orship of Mpungo. alo can e classified as a henotheistic religion that elieves in a +upreme #eing call Nsami. Nsami, +amia, Nsamiampungo, ungun +amia, +amia =iri, +amia +urukuru, +ami #ilongo5 the high 1od, made the heavens, the stars, the sun, the moon, and the arth. 6e created nature and their forces. After a time of $atching the storms, li00ards, and heat, 6e decided to create the animals. 6e created man and $oman. After creating man and $omen, 6e taught them ho$ to survive in 6is $orld, and 6e taught them ho$ to $ork $ith the forces of nature and their spirits. 6e taught them of the nkisi, the Makutos, Ngangas and ho$ to uild them. Although very transcendent and removed from the activities of humans in comparison $ith other Nkisi, he is still venerated $ith prayer, songs, and chants efore attempting to venerate any minister or nkisi. ou $ill often hear such phrases among aleros-
"+amia arria, +amia aa!o, +amia por lo cuatro costados" 1od aove us, 1od elo$ us, 1od in the four corners rimero Nsami 4B rimero 7io 1od is first on licensia +amiampungo, +amia liri, +amia nsurukuru, +amia #ilongo soerano. rimero +ami y despues alo Monte en la tierra. "rimero Nsami siiriku, despues de Nsami siiriku" "Tintero, tintero, Nsami lo mas tintero." Among kno$ledgale and eperienced Tatas are firmas, patimpemas (sacred dra$ings) that are used to call upon Nsami for different given situations and he is often represented y the crucifi in alo altars. +ee elo$-
icture taken at a alo temple in ua. +ame Acutarame translates into 1od less me. =ukankanse;=ucame;*adiampeme onsidered y many to e e>uivalent to the hristian devel. +ome say he is an aspect of Nsami and does not oppose him or his $ork in the Cudeo hristian sense. There are entities $hich have a special tratados (pact) $ith this entity. These forces of nature are considered playful, tricky and dangerous for those that cannot handle their nature. ou $ill hear many aleros, descrie anything that is associated $ith =ucame as ndoki. n essence this is truly a misuse of the $ord ndoki. Ndoki is anything that has "po$er." A alero can e an Nganga Nsami and e more Ndoki than another. n contemporary ongo society anyone that is etremely good at something may e referred to as ndoki. A doctor or dancer may e ndoki. t is for this reason that there eists ndoki ueno and ndoki malo good ndoki and ad ndoki (see 7eath and the nvisile o$ers- The 3orld of *ongo #elief y +imon #ocke). The main thing aout the "ndokis" is that many "nsalan con el viento" they $ork $ith the $ind. t is for this reason that they have names such as "remolino";Temporera;mpenso Malongo ($hirl$ind;tornado). Ndoki malo does not $ork $ith hristian imagery, it does not like anything that strictly refers to any signs of enevolence or mercy. t is for this reason that you $ill find some prendas that contain no crucifi, these are often referred to as prendas !udias !e$ish prendas and are considered to e used for malefic purposes only (for
more please see oghan #allarduera, 4ficio uerta". The name =ucero derives from the +panish $ord "star." This is ecause the ongos elieved that the stars represented the spirits of the "Nkuyo", especially shooting stars.
Faraanda Faraanda, is the energy of $orking and strength. Faraanda is a very popular and prominent prenda. Faraanda is the epitome of ra$ energy eing focused into solidity.
3ith his machete (mele), Faraanda keeps man and spirits in line $ith threat of falling under the very $eapons that he provided. 6e is the ultimate in ongo $arfare. 6e is the "tronco mayor," eldest, in the #rilluma rites. 6is role in alo is indispensale, there are those that elieve that a alero is not complete until he has received Faraanda ecause Faraanda is the o$ner of the knife, the mele, mele kasuso and mele moo $hich allo$ the Tata to "$ork" y using the knife to sacrifice animals and initiate others. +iete Bayos;Mukiamamuilo;Nsasi;+aranu Nsasi +even =ightning #olts in nglish, or Nsasi in #antu, is a multifaceted prenda. 6e is the Tronco Mayor of Mayome ranches. n pure Mayome he is the only Mpungo that is $orked $ith. 6e is the action of urning in all forms, from the candle to the lightning olt. 6e is the ongo god of thunder. The royal palm found in the tropics and sutropics are sacred to him ecause they dra$ his energy to the arth y enticing lightning to strike them. +iete Bayos is propitiated $ith stones from the forest, at the foot of a Boyal alm tree, or any$here that lightning has een kno$n to strike. 3atariama;Nkuyo =ufo;+aca mpe@o;Nguatariama nfuma #ata;ao Bondo; :ence #ataya 3atariama, :ence #atalla, or +aca mpe@o is the god of the hunt and $ar, he is usually accompanied y the tools of Faraanda, $ith $hom he has a pact. 7ue to the rarity of the contents of this Nkisi $hat is usually done is Faraanda is given $ith a pact of 3atariama allo$ing the alero to have oth Mpungos in one Nkisi. 6e is s$ift !ustice. 1uruNfinda;+induala Ndundu amaka #utan +eke BMB4 74+ +MB 74+, 7+D+ 7 74+ #TT *4N14 N =A TBBA. 1uruNfinda is the nkisi of $hat the forest has to provide. 6e is the god of heral medicine. 3ithout 1uruNfinda, no potion, remedy, medicine, or magic could eist. 6e is the proverial o$ner of alo. 1uruNfinda is hung in a pouch called a makuto, or resguardo de +eke in many houses. n rare form you $ill find this Mpungo inside a cauldron. 6e can also e put in a clay dish. 1uruNfinda "completes" the Tata and giving him "licensia" to $ork $ith the sticks and plants necessary. 3hen an individual uys sticks to $ork $ith he must have a pact $ith 1uruNfinda done to sanctify the sticks. 6e is strikingly similair to $hat the =ucumi call 4sain.
All plants and sticks that gro$ in the forest are alive and inhaited $ith a strength that is derived from the earth, the sky, $ater that falls on it for it gro$. 1urufinda is the deified representation of such pacts. Madre de Agua; *alunga; Mama *alunga; ungo *asima; Mama Dma; Muma Mama;Nkita *iamasa; Nkita *una Mama;#aluande Bules over imi or +imi Nkita spirits of the $ater that are consecrated and put into Nkisi Masa 3ater +pirits are also called Nkisi Mama as is the sacred mi of plants $ith $ater that is often consecrated and used for a variety of purposes. +pirits from the $oods Nkisi Misenga, Nkita Minseke, Minseke. Mother of the 3ater, or *alunga and #aluande in #akongo, is the energy of protective motherhood. A palero $ill call upon her to release the force of an enraged mother to visit her $rath on the child
*oayende;#acoallende;ata =laga;Tata ansua;Tata Eunde;Tata Eume;ungun Eutila;Tata *a@e@e 6e is the action of contracting and spreading disease and to many he is considered the king of the dead. ropitiated correctly, his po$er can e called upon to remove disease, or to spread it to the enemy of the ongo. 6e is descried as a distorted, cloaked figure, $hose speech is rough and raspy, pro$ling the ongo in the heat of the sun to spread his disease on enemies. 6e is the $rath of Nsami, punishing the $icked $ith torturous scas, scaies, fevers, and oils. 6is role in ceremonies is indispensile and only a Tata that kno$s the pact (tratado) $ith this Mpungu can rectify $hether or not an Nkisi has een properly seated. 6e is also an nkisi that is closely $orks $ith the dead.
Tiemla Tierra;ola;andilanga;Mama *engue Tiemla Tierra, or ola in #akongo, is the energy of fatherhood, $isdom, and !ustice. 6e is also kno$n as andilanga. There are paths of this nkisi that ecomes the messenger to Nsami. eia Ngondo or eia Ngundu is a Tiemla Tierra that has a pact $ith the eia tree $hich is considered the tree that is the house of 1od, Nkunia Munanso +amia. adre Tiempo;*aanga;Madioma;Mpungo =omoan Eula;Nsamia Munaleme, Tonde;7aday Munalendo The four $inds, this is the mpungo of divination. n some houses he is the last nkisi that is received. Beceiving this mpungo gives the Tata the rank of Tata Ngomo. 4ther +pirits Nfume Nfume refers to the spirit $hich ecomes part of the nkisi. This is usually represented y a human one $hich can e otained legally in the D.+. through hinese and ndian importations. The one does not play a fundamental role to the valid construction of the nkisi. Nfuiri Nfuiri comes from the $ord nf$a "death" and refers to spirits $hich can e
roken do$n to into #akulu, Ndundu and Nkuyo. The Nkuyo and Ndundu refer to $andering spirits, "$raths" $hile #akulu refer to ancestors.
