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An idol from the Congo with nails and knives driven into it

An idol from the Congo with nails and knives driven into it


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An idol from the Congo with nails and knives driven into it

An idol from the Congo with knives and nails driven in to it. The wooden idol, from the region north of the Lower Congo (Chiloango River), is from the British Museum and is covered in knives and nails knocked into it by worshippers. Known as Mangaka, its aid was sought by men who had suffered from theft, accident, sickness, or misfortune. The victim, on payment of a fee, was permitted to drive a nail or knife blade into the figure to call the attention of the supernatural power, which the figure represents. Figure featured in a double page spread in The Illustrated London News comparing this practice to similar actions upon German statues during the First World War, particularly that of Hindenburg in Berlin. German people paid to knock nails into his effigy and other popular heroes. Date: 1915

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Media ID 14340122

© Illustrated London News Ltd/Mary Evans

Congo Custom Effigy Idol Knife Knives Knocked Nail Nails Practice


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> Europe > United Kingdom > England > London > Museums > British Museum

> Europe > United Kingdom > England > London > Sights > British Museum


EDITORS COMMENTS
An intriguing and thought-provoking image of an idol from the Congo, now housed in the British Museum, showcases an unusual yet deeply significant aspect of its historical context. The wooden figure, originating from the region north of the Lower Congo (Chiloango River), is known as Mangaka. This idol held great importance for men seeking aid in times of hardship, be it theft, accident, sickness, or misfortune. The practice surrounding this figure involved a fee being paid, granting the sufferer permission to drive a nail or knife blade into the figure. This act was believed to call the attention of the supernatural power the figure represented, offering a form of spiritual relief and healing. This double-page spread from The Illustrated London News, published in 1915, draws parallels between this custom and a seemingly contrasting practice from Europe during the First World War. The image of Hindenburg in Berlin, a German military and political leader, became the target of public anger and frustration. People paid to knock nails into his effigy, and other popular heroes, as a means of expressing their discontent and seeking solace in the face of war. The juxtaposition of these two seemingly disparate practices invites us to reflect on the human need for connection, healing, and the expression of emotions, even in the most challenging of circumstances. This image serves as a poignant reminder of the complexities and commonalities that exist across cultures and historical periods.

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