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Amy Wassing

The Lega of Congo (also "Rega", "BaRega" or "WaRega") are a politically headless ethnic group that ignores centralized power and forms a stateless society, with no hereditary chief. They number about 225,000, and live in a forest area in Kivu, a region in the Eastern part of the Democratic Republic of Congo. After their exodus from Uganda in the 17th century, the Lega settled on the west bank of the Lualaba River in the Democratic Republic of theCongo. At the heart of Lega society, the Bwami brotherhood or association, which welcomed both men and women, governed social and political life. Their society was largely based on this Bwami multi-leveled system. Open to all, there are different levels for men and women that are ascended through a series of initiations, payments, and instruction. The bwami serves to establish a set of societal morals, norms, and ethical principles. To ascend in level is to achieve a higher moral and societal status.

All Lega art stems from the Bwami association in some way. This complex structure comprised up to seven levels of initiation (not the five commonly accepted), each symbolized by distinct emblems. At its head is the Kindi (chief), a role assigned to the oldest member of the clan, who, by virtue of his status, must be the highest in the ranking scale. Social recognition and authority must be earned on the ground, through personal actions. The choice of chief is based on the individual's inner worth: his mutima (heart), his moral virtue, his wisdom, and his irreproachable conduct. The function of the Bwami, which is open to both men and women, is to regulate the social and political life of the Lega. Progression through the seven male and four female grades is made possible by the giving of presents and by the participation initiations. These simple but expressive masks were the property of a man initiated to tone of the several degrees within the bwami association among the Lega, up to the "lutumbo lwa kindi"  circle and rank; the highest moral grade of bwami: for the initiates positioned within this supreme rank were meant the smallest in size, but richest in material quality: the Lukungu maskettes, carved mostly in ivory (in bone less frequently), being the exclusive prerogative of "lutumbo lwa kindi" initiates.

The Lega believed that the Bwami association built the bridge between the living and the departed. Lega masks were substitutes for deceased ancestors and enabled the latter to participate in bwami rituals. However, Lega masks did not represent specific individuals but rather idealized ancestors. Lega masks were not worn on the face but rather attached to different parts of the body, piled in stacks, hung on fences, displayed, dragged on the ground, and occasionally worn on the forehead with the beard draping over the face of the wearer (figs. 9.1-9.5; Biebuyck 1973, 167-68; 1994,42) or even attached to some sort of ritual panels. The rules were then explained to the candidates for initiation masks, during initiation ceremonies, were placed in a row on a barrier in front of future initiates. These masks were surrounded by smaller primary masks all of which were sacred ethnic objects, like this mask with its powerful yet restrained expression and complex surface, refer not only to wisdom and morality, but also to an individual's progress toward a higher form of understanding and responsibility, characteristic of each rank.  Lega mask category groups were extremely rich and complex. Lega masks are iconic  in their own right; they are one of the most beloved African art collecting visual items, with its delicate proportions, the overall head with smoothly heart-shaped facial planes. 

This one specimen belongs to the biggest size group; the Idimu masks. There is still a good amount of kaolin encrusted and quartered all over the mask. The weathered white surface crust is a lime (clay) grounding called “mpèmba”. Sometimes the grounding can be bicoloured, as is the case with this specimen, which shows bitonal white & grey pigment coating. A longer zig-zag crack roams the face’s left zygomatic area, throughout the orbital Surface, and the supraorbital notch up to the higher frontal bone (ie: from the cheekbone, through the midst of the upper eyelid and the eyebrow up to the the forehead). The crack shows an indigenous repair work. It was fixed in all its length with iron wire stitches (with a total of six). This latter detail and attribute clearly points to a proper cherishing of the object and a continued over-time use: clearly an "experienced" or "danced" mask). The mask has its raffia-fringe beard perfectly preserved. Parched thick bicoloured flaking patina. Overall reasonable age related weathering. 


Weathered upper back rim.  Light deciduous wood, white and grey pigment (lime paint) patched remnants, natural raffia palm fiber, plant fiber cord, iron wire. Height (excluding beard): 32,5 cm. Total height (with raffia beard): 80,5 cm. Wide: 19,5 cm. Deep: 9 cm. Sold without socket.  

From a private Northern German collection. Further specifics to the winning bidder.



Literature


Biebuyck, Daniel: "Lega Culture: Art, Initiation, and Moral Philosophy among a Central African People", Berkeley, University of California Press, 1973.

Biebuyck, Daniel: "The Art of Zaire, vol. II. Eastern Zaire", Berkeley, University of California Press, 1986.

McKesson, John: "La Collection de Robert Rubin", Arts d'Afrique Noire, no. 71, Autumn 1989.

Warren M. Robbins and Nancy I. Nooter: "African Art in American Collections", New York, 1989, p. 376, fig. 963

Herbert M. Cole, Icons : "Ideals and power in the art of Africa, Washington, 1989, p. 151, no. 177.

Biebuyck, Daniel: "La Sculpture des Lega, Paris ; New York, Galerie Hélène et Philippe Leloup, 1994.

Mary H. Nooter, Secrecy: African Art that Conceals and Reveals, New York, 1993, p. 62, cat. 26

Herreman, Frank: "Material differences: Art and Identity in Africa", Ed. Frank Herreman Museum for African Art, New York, 2003.

Teretstchenko, Ivan and Murphy, Robert : "Les Paradis Secrets d'Yves Saint Laurent et de Pierre Bergé". Albin Michel. Paris, 2009. 

Baeke, Vivianne et Rousseau, Benôit ; 	"Joyaux Lega d' ivoire, d'os et de bois de la collection Benoît Rousseau". BRUNEAF, Bruxelles, 2013.

Neutres, Jacques Doucet: "Yves Saint Laurent. Vivre pour l'Art" (Fondation Pierre Bergé - Yves Saint Laurent). Paris : Flammarion, 2015.





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