This piece is a distinct example of the
Kota art tradition, which includes a
long, oval-shaped face with large,
circular eyes and a triangular nose. The
surface also sometimes includes
decorative striations or geometric
patterns, which can be seen on this
piece.
Almost all Kota pieces are rare as
many traditional practices – including
masquerades and the reliquary system –
have been either suppressed or have gone
out of fashion. To compound matters,
many older items were intentionally
destroyed in the 1940s to 1960s by the
“Culte de Demoiselles”, who went out of
their way to destroy traditional culture
in an attempt to mimic western
lifestyles.
The Kota live in Eastern Gabon, and
are comprised of various subunits
including Ndambomo, Mahongwe, Ikota-la-
hua, Sake, Menzambi and Bougom, some of
which can also be differentiated
artistically. Their society is largely
egalitarian and gerontocratic, their
economy based upon hunting and
agriculture. Their relaxed social
structure reflects their previous
mobility – they moved into the area from
the North during the 18th century –
which is also perhaps the cause behind
their unusual mortuary rituals in which
they were basically able to take their
ancestors with them wherever they went.
The Kota originally exposed their
dead, but started to bury them following
influence from neighbouring groups. The
remains (especially skulls) of prominent
personages were then exhumed and placed
into baskets (Bwete), which were
defended by carved figures decorated
with metal plates or wire. A figure such
as this one would sit on top of the
reliquary as a means of protection.
These figures diversified according to
the geographical distribution of the
subgroups—together they are among the
most famous and recognizable symbols of
African art. Their radical
deconstruction of the human form is
fascinating to historians of African art
and had an enormous influence on the
20th century development of Western art
styles.
