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Julien Gauthier


The Yaka people are an African ethnic group found in SouthWestern Democratic Republic of the Congo, with Angola border to their west. Their oral tradition states that they migrated northwest into their current location from the Lunda plateau region, in the 16th century. King Kasongo led the exodus, the most organized expedition towards the conquest of the Kwango region in the kingdom of Kongo. These Conquerors were endowed with three major qualities: diplomacy, sociability and the organization, which enabled them to found the Yaka kingdom in the seventeenth century, harmoniously integrating the pre-established Kongo nations. Other sources suggest there was an earlier Yaka Kingdom which was defeated and subdued by expansion of the Lunda Empire in the 1730s.  The Lunda  foreigners, which Nothing resisted on their passage, capable of catching bullets and arrows, were also called "Iluwa" (foreigners) or Bayaka The word "Jaga" is said to be a corruption of the Kongo word "Yaka." Yaka was a title of honor given to warriors in the Kingdom of Kongo. This word can be found in the following Kongo phrase from the descendants of M'panzu: "Beto, mayaka mbata; mayaka mpunza, mayaka mbele" (trans: "we catch the blows, the arrows, and the swords"). The verb ku - yaka in Kikongo means "to catch in flight", hence the title.

The Lunda, who had an interest in integrating into their political organization the local tribes who had not fled the invasion or who did not want to fight, had in turn adopted the identity "Yaka" which, in addition to conferring on them a title of nobility of the "invincible", integrated them better within their new country. 

The Yaka society believes in Nzambi, the creator of good and evil. It is organized into a strong lineage group headed by elders and patrilineal lineage headmen. The chief of the lineage had the power of life and death over lineage members. He was in charge of the cult of the ancestors and judiciary authority, and it was compulsory that they had a large number of descendants. Chiefs, including dependent village chiefs, regional overlords, and paramount chiefs, are believed to have extra-human abilities, ruling the underworld or spiritual realm as well as the ordinary world. The Kwango River área, on the southwest and Western of the Democratic Republic of the Congo, with some of the ethnicity spilling into Angola, is the home of some 300,000 Yaka people. 

The sheath not only shows an extraordinary preservation degree of leather over wood but its iron plates, and the complete twisted leather carrying lanyard, which are a very seldom feature, undoubtedly point to an assignment from a noble individual or a relevant chieftain.

The sword is made of iron and has two parallel lines of decoration on the blade. The hilt is wrapped in twisted copper alloy wire. The sheath is made from wood covered in hide and sewn up with sinew, which also forms a loop. The double-edged rounded tip steel blade has finely incised dot decorations along its center. Wood hilt wrapped in leather with two strengthening iron plates. Both the pommel's iron spike and the sheath overall preservation are one of the most slender, technically accomplished, and outstanding I ever came across as a collector, respectively: specially the pommel's forged round cage, unmistakable on those weapons, which is particularly rich. It's composed of a plethora of twisted stems instead of the more usual (lesser number) plain bars.

The sheath is an elongated oblong with a uniquely bulbous outlined flat throat. It's about a full duty fight sword: its original function is thus not as limited as other parade regalia or ceremonial role weapons, the combat use was the primary focus. However, they too signaled the social status and power of the wearer and like so many African offensive weapons, they were also highly valuable status items which were therefore  especially valued if used in barter.

The leather covered wooden scabbard accompanies the sword with scuff marks throughout and some minimal age-related shrinkage contraction. Almost non-noticeable (2 millimeter wide) losses near the scabbard's locket. Iron plate strip reinforcement on the sheath's mouth is almost identical to the Yaka Sword from the Mansfield Collection (Pittsburgh). It shows a dot-hammered Divine geometric design. Minimal loss to the hide coating at the grip's lower anvers side of the guard (underlying wooden structure visible). Very light to minimal staining from previous areas of (older) rust are scattered on the blade's surface.  Old blackish forge grooves and marks from traditional grinding. It still retains most part of the original sharpening. Blade's edge perimeter with impact dents to the upper (7) and lower (2) edge, respectively. The sword still sheathes and draws tightly. Its preservation grade is perfectly comparable to most museum specimens.

Overall Length/ Sheathed: 64'4cm. Sword's length: 44'6 cm. Blade's tot. length: 40'3 cm. Blade's widest point: 3'4 cm. Grip: 18 cm. Sheath's length: 35 cm. Yaka or Suku People in Southwestern Congo. Congo- Kasaï, Belgian Congo or Northwestern Portuguese Angola, circa 1900.


With provenance;

This weapon belonged to a number of other fine 19th century Central- and northeast African swords and daggers in the same section. From the property of a known/ publicly relevant European collector. Obtained in situ. Specifics to be disclosed to the final bidder.



Literature:

Adelman, Kenneth Lee. “The Art of the Yaka.” African Arts. Vol. 9:1, 1975, pp. 41-43.

Geary, Christraud M, and Stephanie Xatart. Material Journeys: Collecting African Art and Oceanic Art. Boston: Museum of Fine Arts Boston, 2007.

“Beauté Fatale; Armes d’ Afrique Centrale”. Page 246 – 253, Cat 501. 1992.

Ockelford Oldman, William. “Illustrated Catalogue of Ethnographic Specimens” (between 1902 and 1914).

Spring, Christopher. 1993. “African Arms and Armor”. Page 64

Farris Thompson, Robert & Cornet, Joseph-Aurélien, “The four moments of the sun : Kongo art in two worlds”.  Published National Gallery of Art. Washington, 1981.

“In the presence of spirits : African art from the National Museum of Ethnology” Lisbon. Selections from Western, Central, and Southern Africa. Contributions by Frederick Lamp, Elze Bruyninx, Frank Herreman, Mary Nooter Roberts, William Dewey. Catalogue Museum for African Art, New York, 2000.

BOURGEOIS, P. Arthur. “Art of the Yaka and Suku”. Alain et Françoise Chaffin éditeurs, Meudon, 1984.

BOURGEOIS, P. Arthur. “ The Yaka and Suku; Iconography of religions VII”. Leiden E. J. Brill Institute of Religious Iconography State University Groningen, 1985.

Van Noten, Francis, "Beauté Fatale; Armes d'Afrique Centrale". Galerie du Crédit Communal. Crédit Communal, Brussels, 1992.

excelente estado - Ferro, madeira, cobre, pele de animal e tendões.

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