The African Spirit in the context of Religion.

Driving through Philly today I saw several people both middle-aged, and young folk, from all walks of life, seeking alms or money at traffic stops. Faced with the “realization” of limited resources (since one can’t help everyone) I mollified my conscience through the application of moral logic. The thinking followed the path that while it is “good (?)” to wish love, peace, and happiness to others, the “actualization” of tangible lifestyle changes is usually a personal one.  The problem with logic of course is that it doesn’t necessarily solve the problem or alleviate the plight of others. While I have not embraced any particular African religion per se I have developed an appreciation of aspects of the “African Spirit” through (what I can only describe as fascinating research on) African Tribal Art which has yielded the occasional eureka moment and helped me question and put into perspective my own religious belief system.

E1 Ogbodo Enyi (“Elephant Spirit”) mask 

I’m not seeking the “home run” on this issue, just looking for a quiet place (or vantage) where I can compare, contrast and move on with a better understanding. Consider the example of the “Elephant Spirit” mask. The Ogbodo Enyi[1] masquerade was used in the process of male socialization in the Igbo tribe. Ogbodo Enyi (“spirit elephant”) is not specifically an elephant spirit but the elephant is a “fitting model” because it’s “singular power and endurance also characterize the volatile spirit” of the adult male. It is this level of “abstraction”, modeling, and “transposition of spiritual characteristics” that I find particularly creative throughout the ethos of African Tribal Art.

If a person considers his belief in the existence of a higher being or not, this can be mapped on a one- dimensional continuum of “atheist to believer”. We can also up the level of complexity by several orders of magnitude and model the mapping as a “realization-actualization-need-choice” transitive point bound by let’s say four dimensions.

At this point it would be clear that the mechanism behind the choice of a religion is neither “right nor wrong” (as opposed to the flawed logic of an analysis which is correct/incorrect). The dichotomies of “right/wrong”, “sin/sinless”, “good/bad” are based on a collective framework of rules used to determine conformance levels, much in keeping with the needs of a society to promote rules related to standards of behavior.

In both society and religion there is also a high propensity for the common existence of a “profit motive” which is tied to sustainability and longevity. As a result one may find the need to ostracize differences in opinions and suppress or ratify changes in thinking by using processes designed to obfuscate rather than clarify. In a nutshell, it is far easier to apply punitive measures than to change rules or even make slight adjustments in keeping with different scenarios. From an external perspective it may also be necessary to protect one’s way of life by taking a combination of tactical, strategic, and prophylactic measures.

The choice of the higher power or the religion we ascribe to denigrates simply to a personal preference.  The reasoning behind the preference or “the why” is related to “personal drivers” that can be diverse, and vary in complexity from combinations of timing, exposure, environment, value and reward, need, and experience.  The irony is that our closeness to God may be more linked to our ability or lack thereof to accept religious differences in others rather than to belong to a specific religion, or to follow a certain code.

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[1] Cole, H. M. & Aiakor, C. C. (1984), Igbo Arts, Community and Cosmos. p155

[E1] Photo Credit to Material Culture (Max Garb Ethnographic Arts Auction) 2013

Size can make a Difference!!

In Swahili Kubwa Mvulana (KM) means “Big Boy”, the name I gave to my favorite Fang Bieri (Byeri) figure. In keeping with the Fang principle of “Balance of Opposites” KM seemed pretty content with his lot, but I sensed as a sculpture he had a lot more potential.

KM (middle) hanging out with pals

I found KM in November of 2012, sans belly-button and genitalia – the belly button was a due to a recent break, while there was a 2 inch drilled cavity where his manhood should have been. There was actually some deterioration within the cavity (which required filling) and ultimately led to the following pictoral “famine to feast” or “rags to riches” story.

KM – Before & After!!

It’s not surprising to find the genitalia removed from Bieri or Dengese sculpture. The problem with restoring pieces is that one tries to develop a consistency of form, age, and cutting style. This is an expensive and risky process, but when it works it is well worth the effort.

Shaping the Belly-Button

Hexagonal Approach

Operating Table

Belly-Button insertion!

Belly-Button Inserted, “Aged”, & Stained!

Plugging cavity to stop rot and to keep insects out.

Glued & Attached with pins!!

KM smiling on the inside!!

Five Things One Should Know about the Ijele Headdress

 

In his analysis of the Igbo concept of their cosmos, M. A. Onwuejeogwu (1972) observes that their universe is divided into four major departments ‘uwa’ refers to the world of man; ‘mmo’ refers to the ancestors; ‘alusi’ includes forces such as the river force ‘Idemile’; and ‘Okike’ is God. These four divisions are conceptually united on the Ijele headdress.

Igbo Ijele mask

The size ranges from over four to as much as six meters in height, with a diameter of about three meters. Ijele is by far the most monumental of all Igbo masks, and makes an appearance once every 25 years. The structure is an open cone framework at the top supporting attached figures, and a cylindrical base. There may be some connection to the architectural forms used by the Northern Igbo, and hence by extension the community relation between all facets of family and society.

Ijele Community forms and symbols.

The symbols at the top of the mask represent important aspects of community life, and fall into three categories ;

• man and his activities,
• the Spirit world,
• the animals and the forest.

Ijele “uli” symbols

Panels of patterned velvet hang from the bottom of the frame. In body painting, these designs are called ‘uli’ patterns, named after the juice or indigo used as the painting medium.

Ijele is also a leading spirit (mmuo). As a rule, Igbo masks do not represent specific spirits but rather dramatize particular attributes of humans, animals, spirits and ancestors. However, since some Igbo masks dramatize the close parallels between the living and the dead, as does the maiden-spirit mask ensemble, which Ijele resembles in terms of style and artistic tradition, one may infer that the leading mask Ijele incarnates those venerated ancestors to whom a supra-sensible power had revealed the land and how to prosper on it (Davidson 1969).

“The Ijele mask broadens our understanding of the mask in African societies. The cone-cylinder form and the headdress construction relate to the Igbo environment in their architectural referents, and its tableau provides a social narrative of Igbo life. Its vivid colors and elaborate ornamentation reflect the resources of Igbo wall painting and door carving. Ijele as a mask is ultimately an artistic projection of the Igbo ideal of achievement, authority, and status associated with the founding fathers/ancestors, the channel through which flows the ideological strength of the Igbo universe.”[1]

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[1] The Igbo Ijele Mask Author(s): Chike C. Aniakor

Reviewed work(s): Source: African Arts, Vol. 11, No. 4 (Jul., 1978), pp. 42-47+95 Published by: UCLA James S. Coleman African Studies Center Stable URL: http://www.jstor.org/stable/3335343 .

Goodwill Hunting & Slam Dunks

I stumbled upon an extraordinary explosion of generosity, charity, and volunteerism this weekend. It happened at the Rockaway Community Center (aka Action Center) in support of Hurricane Sandy relief efforts. The event was organized by Tyson Chandler and his wife Kimberly (Rebound 4 Rockaway), who were ably assisted by their crew (eg. Ashley Barnett & Will), members of their church, Officers at the community center, local volunteers (eg. Sam), and vounteer groups (including New York Cares, Save the Children, and the Red Cross).

Relief Site Layout

The site was organized in the gym, having approximately 12 stations, starting with Bleach and cleaning products on the right, Clifbuilders protein products, through blankets, hot meals (at the center), and warm clothing, sweaters, water, Nestle baby products, and pampers at the left. At the exit participants could also select a “cleaning kit” containing a mop and cleaning supplies, and a “relief box” containing food stuff and dried goods.

Kimberly Chandler with Ashley Burnett

Kimberly did a great job of keeping things moving, her experience at prior New Orleans (Katrina), efforts coming in handy. The volume of supplies was simply incredible and everyone, ladies included played a huge role in offloading the relief boxes from the trailer and stocking them inside the center. The atmosphere was incredible and the pace frenetic at times but we all did the best we could.

Tyson Chandler manning the Exit station!!

There are a lot of positives and takeaways, but the Knicks played the Wizards on Friday night, with a midday game at the Garden on Sunday, and Tyson found time on Saturday evening to show up and assist. It’s a hard way to build a brand, requiring sacrifices from family, and friends, but it’s the best way. Maybe it’s a sad testament to our society, when sportsmen step up and are readily embraced as role models, but his arrival sent a lift throughout the center, among the volunteers, and rippled to the hundreds of people seeking relief supplies, some of whom had waited in line for FL-voting like  hours. It was simply a fantastic day!!

Bonsai, Feng Shui, and African Tribal Art

As far as interior decorating goes I’ve taken a couple ideas from Feng Shui. The first is avoiding clutter, and the second is the higher concept of facilitating a “flow” of some sort, much as there are different ways of telling a story to one’s own liking. These ideas have come out on the losing end with my love for bright Caribbean colors and my thinking that “Collecting too much African Tribal Art is not enough African Tribal Art”.

Bonsai with Congo Fetish, and Fang Byeri

I put together a quick Bonsai (I know right, Bonsai masters somewhere are cringing) layout that actually took several years of planning, A few years ago I came across a sturdy little azalea that wouldn’t die, despite the occasional nip with the bushwhacker. On replanting I trimmed the roots, restricted their downward growth (using a layer of gravel), then hoped for the best. The following is a brief “step by step” walkthrough of the bonsai potting exercise.

Bonsai pot with guaze and anchor wires

The bonsai pot is fitted with gauze and wire anchors. There is very little science to this.

Bonsai pot with wire anchors – Bottom view

Add some gravel to facilitate drainage.

Bonsai drainage layer

Keep bonsai specimen safe (somewhere)!

Bonsai (Azalea) – note shallow root ball.

Anchor root ball and/or trunk as necessary, add filler dirt as required, water, and position between African Art.

Bonsai with African Tribal Art – Fang, Bwa, Bambara, Kota, Kongo, Kurumba, Igbo, Songye, and Yombe.

Kick back, pop a can, and enjoy the fruits of your labor!!

Bacchanalism, Christianity, the Confusist, and Carnival

Unlike Confucianism which promotes humanism[1], the Confusist has no such restrictions. His role is simply to ask and unmask in equal portion. On the rare occasion however when the Confusist plays the Devil’s Advocate for the Christian right there should be some measure of concern.

That the Christian right in Trinidad & Tobago failed to promote the slightest material opposition to the firestorm of “Bacchanal” which swept the Carnival 2012 celebrations is telling. Where are the defenders of the faith, and more importantly “what exactly do they stand to lose” by specifically speaking out against the concept of a “Bacchanalian” carnival, and educating the partying public to the line that separates a unique cultural festival from borderline hedonism and idolatry. (note: given that Easter celebrations may be similarly linked to the worship of Eostre, a goddess of Germanic paganism, the reluctance may be understandable).

The Catechism of the Catholic Church states: “Idolatry not only refers to false pagan worship…Man commits idolatry whenever he honors and reveres a creature in place of God, whether this be gods or demons (for example satanism), power, pleasure, race, ancestors, the state, money etc.” [2]

 

The song “Bacchanalist” explicitly refers to the freedoms associated with T&T carnivals, as in the catchy lyric, “this foot is mine.., and you can’t tell me what to do”; it  also promotes the 3D concept of Dancing, Drinking, and Debauchery. This is typical of most years, but the difference this year is that the term “Bacchanal” has roots to the Roman God Bacchus…. also known as the Liberator,

“whose wine, music and ecstatic dance frees his followers from self-conscious fear and care, and subverts the oppressive restraints of the powerful.”[3]

Without reaching across the pulpit, one may argue that Trinidadians understand the difference between substance and form. Yet there exist standards, and benchmarks that are sometimes unclear. A hedonist for example does not differentiate between deriving one’s pleasure from serving God or mammon, arguing that “pleasure is the only intrinsic good.”[4]

In times past there was a clear line of demarcation between Christmas, Carnival, and Lent.  While the celebrations have retained historical borders, the spirit and substance of Carnival has infused the Christmas celebrations, and threaten the Lenten season as well. One can ask the question, for example, who is the true alcoholic?

a) One who loves to drink, but is seldom seen drunk in public,

b) One who drinks occasionally but when he does usually ends up drunk,

c) The teetotaler who sacrifices life and limb for the occasional drink (think abstaining from antibiotics during Carnival week).

Point being that there are many flavors of celebration and one should always question the alignment with one’s philosophy, (given that one does indeed have a philosophy (Epicurean, Hedonistic, Christian etc,,) to begin with).

2012 Carnival Revellers/"Bacchanalists"

The problem in a nutshell is that someone needs to take a stance, albeit balanced. The Catholic Church and Christian community doesn’t get to take a “pass on this one”, or defer arguments to the post-Carnival period. Society always needs balance, and guidance. For all the beauty of carnival there are stories of excessive drinking, juvenile stabbings, car accidents, and economic opportunity costs. What one may view as collateral damage is not necessarily the norm. Carnival is not for everyone!

In true Confusist fashion one need not necessarily pay heed to an argument…. one simply requires that the argument be articulated, and that all proponents have their day in the sun…. some people need perspective.

Disclaimer: Carnival 2012 was a blast!!

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[1] http://en.wikipedia.org/wiki/Dionysus

[2] http://en.wikipedia.org/wiki/Hedonism

[3] http://en.wikipedia.org/wiki/Confucianism

[4] http://en.wikipedia.org/wiki/Idolatry

VNRP, NPJN, and Per Plurima Plura

Of  all the varied Cultural  Grails of  American Capitalism, none is more poignant, and consistently heartbreaking, than watching the elusive quest of “e pluribus, unum” morph into “per plurima, plura”.

Many African tribes have used initiation through “secret” societies as a cultural tool in developing a Value, Norm, Ritual, and Punishment system. This system however runs into differences due to scale, environment, wealth, and religious differences. In a nutshell therefore, after some analysis, one can only surmise that “e pluribus, unum” can only really succeed on a psychological level where the following (somewhat adjusted), popular quote holds,

“We hold this truth to be self-evident, that all men are created equal”…

Beyond this simple phrase one may easily disenfranchise atheists, homosexuals, and /or agnostics.  We may be reaching for too much, and it never worked in the fable titled “the dog and the bone”. In this story a dog with a bone in his mouth, caught a glimpse of his reflection in the water. In an attempt to get what he perceived to be the bigger bone he lost the very bone he possessed!!

But I digress…. I came across the amazing procession of the Filipino religious procession of the Black Nazarene ….. an extreme example of a culture dialed in to a VNRP system.

E1 The Black Nazarene

The Black Nazarene, known to devotees in Spanish as Nuestro Padre Jesús Nazareno (abbreviated as NPJN, Filipino: Mahal na Itim na Nazareno, English: Our Father Jesus Nazarene) is a life-sized, dark-coloured, wooden sculpture of Jesus Christ carrying the cross, believed to be miraculous by many Filipino Catholics. Originally fair or light-complexioned, it turned dark after it was exposed to fire on its arrival from Mexico. The image is currently in the Minor Basilica of the Black Nazarene in Quiapo, Manila, Philippines, where it is venerated with the weekly Friday Novena Masses and several annual processions. The most famous of these is on January 9, celebrating its transfer (Traslación) and enshrinement in the Basilica, and is attended by several million devotees.^[1]

E2 The Black Nazarene Procession 2012

 

 

[1] http://en.wikipedia.org/wiki/Black_Nazarene

E1 http://en.wikipedia.org/wiki/Black_Nazarene

E2 (AP Photo/Aaron Favila) 010912

Collector’s Log : Star Date 12/07/11 3:00am

I purchased a BandSaw in the summer of 2011; actually I purchased a couple (both used), just a day apart. The first was a neat little Delta 1/5 HP piece of delicate machinery, a woodworking dilettante as it were, which I quickly figured was simply a life-lesson in bad spend. The second (at half the price of the first) is a Sears 1HP pugilist which has proven it can go the distance, while at the same time not requiring a PHD thesis to understand. The more astute craigslist reader would recognize the implication of referring to one saw using ‘was’ versus ‘is’.

The first eureka moment was being jolted awake with the realization that I could possibly create the mounting bases which I absolutely admire, (say eight degree bevel), by using the tilt head capability on the band saw. Now, while this leap of architectural creativity may seem miniscule to some, one should keep in mind that my workaround was to have a straight edge base with a beveled top edge, (yes, I had purchased a router with attendant tips). This is where the Mangbetu came in.

Mangbetu : Off-center beveled,mount

Having received several pieces of African Tribal Art and Statuary the prior week, it seemed strange that two pieces were (disconcertingly) not centered. My first idea of course was to cut (surgical gene, using the newly “discovered” technique) the offending side of the mount, sand, repaint, and gloss. Unfortunately the piece would then lose some character. The base itself showed some age, and wear, which I preferred to retain. The next option was to move the mounting pin a half-inch to the right, a simple but effective alternative. Truth be told I would have cut the base, but there are rules when living in an apartment building, and revving up the band saw at 3:30 am is never a good idea.

Mangbetu Statue : Female

Fortunately I did spend some time looking over, and cleaning the Mangbetu. I discovered a couple filled-in spots, which were fine, not detracting from the general appearance. What was surprising was that I began to tick off a couple “art appreciation” points. To be brief, the feet, calves, and legs are thick in the cubist style, nice mature figure and stomach, broadening of the upper arms and shoulders, thick neck, contoured chin, proud uplifted heaven directed stance. The other main observation was that most of the extensive Mangbetu scarification was cut or “grooved” versus keloid “raised”, (see Dengese). From the following description this is a painful process.

In the Bamileke country, in southern Cameroun, the artist uses three instruments: a long iron needle, a knife with a wooden handle and a curved blade, and a triangularly shaped native razor. The design is first traced lightly with the knife, then touched up with the razor or needle; the needle is inserted into the marked area of the skin to raise it, and the necessary amount of flesh is then cut away with the razor.

6:45am time to get moving.

Ethnologists, Exasperation, and Epa

While Collecting African Tribal Art one comes across the herculean exploits of the Epa masqueraders. The substructure of the mask is a grotesque form consisting of bulging eyes, and features. The superstructure conveys different motifs and can be in stark contrast to the janus type support.

In the late 1970s J. Oyo indicated that there was substantial variation in the form and function of various Yoruba masquerades. The main ones identified were as follows,

• Egungun, which could be ancestral, or entertainment based, and found among Oyo Yoruba groups.
• Agemo, Agbo, and Ekine which are found among the Ijebu,
• Gelede, found in the Egbado,
• and Epa, found mostly in the Ekiti region.[1]

During the week ending 120311 we added the first EPA mask (shown below), to the collection. The mask is approximately 50″ high, over 60lbs, and displays a dog with pup, grasping a goat, while having a hen on his back. The mask conveys fertility, and caring, while at the same time covering all the sacrificial bases normally associated with Epa related deities.

Epa Mask

The names of the headpieces, as well as the names of individual masquerades, are based on the sculptural motifs on the superstructures of the headpieces. These motifs include mothers with children which are connected with the Yoruba’s desire for plentiful issue; warrior motifs which reflect the wars waged against the Ekiti and Igbomina in the past; and motifs based on Qsanyin, the god of medicine; these emphasise another attribute of this group of masquerades as giver of physical and spiritual health, (J. Ojo 1978)

 

E1 - Epa Mother_Child motif

According to J. D. Clarke, the celebrations of the Ora people are somewhat different. In this instance of the celebration, Epa is believed to have been a great craver, who is a principal Orisha of the Ora people, and who watched over the fortunes of the community. This to some extent explains the arrav of carved and painted masks which are put on display during the festival.

E2 - Epa Oloko mask, Bamgboye, 1930

Some of the masks are four feet high and two feet broad. The principal mask is called Oloko (lit. “he who has the farm”) and represents Ekun, the Leopard, shown as an animal jumping upon the back of another animal. The mask next in importance is Agbo, the Ram, followed by Aja, the Dog. Olomoyeye, the Mother of Children, a mask representing a woman seated, surrounded by many children, and Ologun, the Warrior, a man on horseback also surrounded by children, are two other important masks. The majority of the smaller masks depict rams with long horns, or dogs with long tails.[2]

 

One distinct difference was that the festival witnessed by Clarke (1944), involved tests of manhood and strength, demonstrated by wearers of the Epa masks jumping on a mound approximately three feet high. Ojo (1978) also disputed the weights of the mask as not exceeding sixty pounds.

E3 - Epa Jagunjagun mask, Warrior motif

Yet another perspective is provided from the Opada people in Egbe, where the Epa festival is celebrated to commune with their deity.

The Epa day is preceded by a seventeen day notice to the entire community, the notice affording time to re-establish the legitimacy, and legality of the Epa festival for that year. An announcer, who is also a clan member goes about with his agogo (local bell) every evening to remind people about the great festival on the way.

    The worshippers build a statue to symbolize the Epa deity. On the day of the celebration, the image is carried by a designated member to Irele (Shrine) of the Epa. The Shrine is at the forest of Epa situated at the outskirt of the town. The Opada clan, (the custodian) of Epa is comprised of four sub-groups, each of which possesses its own statue for Epa. At the Epa forest, each presents its image to appease the deity with different animal sacrifices.

S/N	Sub-Clan Name	Name of Epa Statue	Animal Sacrifice
1	Idare	Ajigbopon	Cock
2	Abude	Somlao	Goat
3	Irokoo	Awojagbinrin	Dog
4	Oke Oba for Oba Opada	Olomoyeye	Goat

 

The author concludes that the festival provides more ample opportunities of appreciating the culture, since the value judgement of the participants for their culture is rekindled, re-orientated, and re-solidified. This is important in the face of the gradual erosion of the cultural values by westernization, actualized through education, technology, and religion (Christianity, and Islam).[3]

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[1] http://www.jstor.org/stable/2801941 The Symbolism and Significance of Epa-Type Masquerade, 1978, J.R.O. Oyo, pg.456.

[2] http://www.jstor.org/stable/2844297  Three Yoruba Fertility Ceremonies, 1944, J. D. Clarke.Three

[3] http://www.unilorin.edu.ng/publications/balogun/Doc1.pdf  Okun Orature: The Socio-Cultural relevance of ‘Agiri’ and Epa Festivals, 2007, Jide Balogun.

E1 http://www.jstor.org/stable/40793609  A Yoruba Epa Mask, 1997, Fasiku Alaye

E2 Yoruba, Sculpture of West Africa, W. Fagg et al, pg. 21

E3 Yoruba, Sculpture of West Africa, W. Fagg et al, pg. 21

Hating on Yombe

I  have a disturbing love/hate thing going on with Yombe maternity figures, and to a lesser extent Songye fetish figures.  This probably started in 2010 when I photographed a “phemba” at the Brooklyn Museum, and in a flash I was hooked.

Yombe Maternity Figure : Brooklyn Museum, NY

Tribal African Art doesn’t get more beautiful than these pieces, and collecting really has it’s own rewards. I guess at first glance it might be hard to relate to the filed teeth and all, but there is a deep spirituality associated with the concepts of birth and death that is uniquely handled by the Yombe!

Yombe maternity groups, called phemba, were used in association with women’s cults. While little is known about the meaning of different phemba iconographies, two main variants can be identified: a cross-legged woman with a “lifeless” infant on her lap and a cross-legged, kneeling or crouching woman with a living infant.[1]

Yombe Maternity Figure: Sotheby's 05/11

The phemba shown above was in the collection of Robert Rubin (acquired in 1984), and sold at a Sotheby’s auction (05/11), in NY for $US1.87 mil.

The frustration of trying to find one (read as cheap), pretty much covers the “hate” side of the equation. Maybe it was the Red Bull, followed by a cappuccino mix, but at auction time week ending 11/11/11, I was pretty much as primed to shed some cheese as Imelda Marcos in a Louboutin sale. The phemba which I could not afford, but which I purchased anyway is shown below.

Yombe Maternity Figure

One of the fascinating aspects of the sculpture is the facial expression, and the impression of restraint, and strength, shown alongside the gentle cradling of the infant’s head. These figures possibly are connected with mpemba, a women’s cult said to have been founded by a famous midwife (circa 1770), and concerned with fertility and the treatment of infertility. They are popular among the Kongo peoples of western DRC (formerly  Zaire), especially among the Yombe.

The figure shown, illustrates a person of high rank in society, as testified by her cross-legged pose on a pedestal and her many body adornments. The chiseled teeth, the corded-firm breasts, the close fitting “mpu” hat, and especially the raised scarification marks indicate ideals of beauty and perfection. The double bracelets around her upper arms imitate protective charms called “nsunga”; made of plaited or braided raffia fibers, they are worn by religious experts and by ill people as a cure.[2]

Yombe Scarification/Cicatrisation

Meant to stimulate sexual pleasure, the scars were considered both beautiful and erotic, but they show the strength, nature, and character of the women as well.

During their ritual use, the surfaces of the figures were rubbed with a reddish mixture of oil and camwood powder, both a cosmetic and a sign of mediation. In Yombe thought the color red indicates transitional conditions such as death and birth. The fact that some mother-and-child figures hold or carry what appears to be a dead baby alludes to the close interrelationship in Kongo beliefs between the spirit world and the world of the living.[3]

Another perspective is as follows,

Mother and child figure represents the female ancestor taking care of her descendants.This commemorative figure would have been used to honor the maternal spirit who brings prosperity and fertility. Among the Kongo people, the woman is considered as the chief of the family. Thus, the female ancestor is the guarantor of the fecundity and continuity of the clan or family. Such sculptures would be kept on a family or local shrine where she would be receive sacrifices and offerings.[4]

[1] http://m.sothebys.com/en/notes.html/2010/the-robert-rubin-collection-of-african-art-n08779/catalogue/lot_159663830

[2] http://www.randafricanart.com/Yombe_maternity_figure.html

[3] http://www.randafricanart.com/Yombe_maternity_figure.html

[4] http://www.africadirect.com/productsdesc.php?ID=51182