Anonymous Pende Artist, Deformity Mask Mbangu, D.R. Congo,
Early 20th century 

Wood, pigments, custom made metal base included
19 cm H x 12 cm W x 11 cm D
Price: £65,000 (plus any applicable taxes)
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Provenance 

Collection David Henrion, Brussels, Belgium, Duende Art Projects, Antwerp, Belgium 

One of the most recognisable of Central Pende masks is the black-and-white Mbangu. In the story of Mbangu, he is said to dance along to the lyrics of a song: “We look on, unable to help, the sorcerers have bewitched him”. Traditionally, the Pende worldview attributes almost all illness and personal misfortune to the malice of others. As such, what the story truly highlights is chronic illness and/or disability, and our responses to such conditions. 

The black-and-white division of Mbangu’s face suggests the scars of someone who fell into a fire, perhaps epilepsy triggered by the flashing light of the flames. Indeed, scientists have found that the flickering flames of nighttime campfires are common triggers for photosensitive seizures. However, the scars alluding to this accident are only one of Mbangu’s identifiable features - he also has a hunched back. If he does not carry a bow and arrows, other dancers avail themselves to make apparent his general physical weakness. 

Many sculptors depict the traces of smallpox on his black eyelid, and the face distorted by a paralysis of the facial nerve. This array of scars and symptoms indicates that Mbangu does not represent any one illness. Instead, the sculptor and performer collaborate to make Mbangu a composite sign for illness and disability, of all the misfortunes that might befall someone. 

The oppositional symbolism of the black-and-white colouration can be explored further; While white can have several meanings, the most common one comes from association with the white kaolin clay used in all healing rites. On the other hand, black is the shade of sorcery and illness - notice how most of the marks of deformation fall on the black side of the mask. In this way it could be inferred that the dual toned colour may have a secondary meaning: Mbangu is at the crossroads between healing and illness. 

Mbangu displays (according to Pende physiognomic theory) features appropriate to masculine form: assertive forehead, well-articulated cheekbones, and projecting eyes. Facing the challenge of chronic disability, Mbangu is also facing the challenge of bitterness and envy. The artist has gone far beyond the naturalistic representation of a physical complaint to comment on the toll of chronic illness on the psyche. This mask conveys an extraordinary delicacy by contrasting the gentle perfection of the features with their systematic distortion. The sculptor responds to the widespread version of Mbangu’s song: ‘Do not mock your neighbour, do not laugh at your brother. The sorcerers have bewitched him’. In other words, anyone may fall prey to misfortune. It could happen to you. 

Further reading: Strother, Zoé, “Pende”, Milan, 2008.