Art of the Lega: Meaning and Metaphor in Central Africa - exhibition preview

African Arts, Summer, 2002 by Elisabeth L. Cameron

Lega metaphors explore standards for living--values and morals, comportment, social and familial relationships, and legal, ethical, religious, and political codes. The pieces become more than mnemonic devices or visual aids; they are an integral part of the construction of meaning. Starting with initiation into the society's first level, the novice is taught how to uncover the meanings of these visual metaphors, much as literature students are taught how to interpret written metaphors. The Bwami member, over time and through many initiations, gains the exclusive knowledge (kizio) needed to understand the teaching and gain izu, the Bwami moral code (Biebuyck 1986:66).

The significance of the artworks is inaccessible to the uninitiated. The Lega say, "He who sees the large lusembe-cowrie bare [i.e., for the first time], indeed! he finds it useless" (Biebuyck 1982:64). For the outsider, the objects maintain a "deliberate vagueness, nebulosity, and ambiguity" (Biebuyck 1969:12) that help preserve their power within Bwami (Biebuyck 1981:120).

Performances involving art objects take place in cycles or "dances" throughout the days of an initiation. Because the teacher prides himself on his artistry in putting together different elements in a performance, few performances are ever repetitive (Biebuyck 1977:26). Once the initiation is complete, the owners put away the artworks until the next ceremony.

The new member of Bwami, after returning from his initiation into the lowest level, drives a wooden stake into the ground by his front door. He adds a stake for each additional grade attained so that anyone passing his house knows specifically what he has achieved (Corbisier 1968:12). While initiations are held in private, and ceremonies, artworks, and knowledge are restricted to members of that level, it is important for everyone to know who belongs to Bwami and what rank they hold.

Bwami Insignia

Bwami insignia are public proclamations of rank and status within the society. In addition to the wooden stakes, they include hats (Figs. 2, 3), belts, armbands, girdles, pendants, necklaces, rattles, stools (Fig. 4), and staffs (Biebuyck 1973:182; 1986:131; 1994:30). Some insignia, such as hats, necklaces, belts, and girdles, are worn daily (Biebuyck 1973:91). Others--baskets, stools, rattles, and staffs--are carried by members on their way to an initiation, alerting those they pass on the road that they are not to be disturbed.

[FIGURES 2-4 OMITTED]

Unless otherwise noted, all artworks illustrated in this article are from the collection of Jay T. Last and are promised gifts to the UCLA Fowler Museum of Cultural History.

Ivory spoons, kalukili or kakili, seem to emphasize continuity (Biebuyck 1973:226), perhaps through reference to feeding and growth (Fig. 5). The word kalukili also designates an heir (Biebuyck 1983:59). Older high-level members of Bwami eat their porridge with an ivory spoon, reminding all those watching of their status and value to the community. Members symbolically feed performers wearing masks (Biebuyck 1973:180), who then chew slowly and painfully. The saying "Old-Turtle is eating pounded bananas" (Biebuyck 1983:58) compares these masqueraders to the elderly Bwami member who must eat soft food because of the poor condition of his teeth.