In the belief system of the Kongo peoples of the Congo region of Central Africa, nkisi is loosely translated as a “spirit”. In its more common usage, the term refers to a vessel created to house such a spiritual entity.

In this way, the term nkisi nkondi refers to an aggressive and vengeful subclass of nkisi, with the word nkondi deriving from the verb “to hunt”. A nkisi nkondi is therefore a “hunter” of the Kongo spiritual realm, being called upon to hunt down and attack wrong-doers, enemies, witches, and perpetrators of black magic.

Nkisi nkondi power figures can thus be thought of as the home of such hunter spirits, with the mystical statuettes being traditionally made by a spiritual healer or expert in Kongo religious belief, known as a nganga. By employing chants, prayers, and, most importantly, sacred substances, the nganga is able to summon a nkisi into the physical world so as to house them within their specially made vessel.

Typically, nkisi nkondi vessels are wooden figures carved into the form of a human or an animal such as a dog. Given the hunting function of the nkisi nkondi, the figures are often depicted with an arm raised, holding a spear or other similar weapon. Above all, these power figures are most easily identified by the nails, blades and other sharp objects which are ritualistically pounded into their surface so as to activate the avenging spirit within. Prior to insertion, the blades or nails are licked, with the saliva forming a vow or seal between the nkisi nkondi and the person requesting their assistance. At this moment of bonding, the nkisi nkondi will be asked to perform a specific function, most commonly to defend against an attacker, or even hunt down and deliver vengeance.

In the example cared for by the museum, the power figure’s specially prepared, activating sacred substance (called bilongo) can be seen in the belly of the statuette behind a piece of glass. Bilongo ingredients may include fruit, seeds, soil, and – depending upon the intention of the nganga at the time of the nkisi nkondi’s activation – even blood. The use of glass here is said to represent the divide between the material and spiritual realms, with the nkisi nkondi thought to look out from the other side, waiting to catch sight of potential enemies to hunt down.