Nkisi are empowered objects; not always “human” in form. They are complex and often have multiple uses, so the “meaning” of one is meant to be ambiguous, mysterious and obscure. In general, they are thought to be portable graves containing spirits of the dead whose purpose is to serve as messenger between the worlds of the living and the dead. Their appearance is meant to be visually powerful, disturbing and anxiety producing; potentially dangerous objects. Once completed they are considered to be unique with individual personalities, preferences, strengths and names. Their purposes are varied and include protection from evil, healing, harming enemies, protecting pregnancy and communication with ancestors.

There are two main processes to making an nkisi: The construction of the object and the empowerment. Usually these are carried out by different specialists. The sculptural elements can include: staring eyes meant to frighten; an open mouth to speak the truth; a jutting jaw; an aggressive stance to ward off enemies, sometimes with arms akimbo, sometimes with one arm raised clutching a knife or a spear; an extended tongue to lick the penetrating pegs, spikes and blades; and corpse-like static body positions indicating that are the empowered dead.

The knives are used to cast blame on people. The pegs, spikes and blades are driven into the nkisi to awaken or activate it. They are licked to indicate the specific person for whom the nkisi is being summoned to help. Sometimes tokens are attached to the nails to further specify the figure’s task. The stomach is the bearer of emotions and the chest is the locus of life. Piercing the figure, penetrating its body, is filled with danger and makes the nkisi awesome and powerful.

Slavery is considered to be a form of witchcraft. Rings, bracelets, chains signify powerful ideas of imprisonment, impoverishment, despair and death. Cords tied around the stomach representing capture and containment signify the heat of anger. Leg irons, however, hold one’s enemies at a safe distance or ensnare advantages for oneself.

Certain parts of the body are especially important for both the sculptor and the empowerer (the nganga): the abdomen and particularly the navel are frequently emphasized. The hands are commonly placed over the navel protecting the entrance in the interior of the body. Often the sculptor leaves a cavity in the abdomen in which the nganga places objects, special herbs, or significant animal parts. These medicines, along with appropriate incantations, make the nkisi unique and give it its special powers. This medicine cavity is sealed up with a mixture of materials and is sometimes covered with cowrie shells or mirrors. The mirrors are the object’s “eyes” for finding its way; a kind of other worldly compass. Medicine packs are also seen on top of the heads and on the chin, resembling caps or beards. Mirrors and cowries may be found on these as well.

The head and face are other areas of empowerment: the horizontal eye slits can represent sleep or death. These nkisi have a mysterious ability to communicate between the living and the dead and can guard the client even when he is asleep. It is not uncommon to find vertical lines under the eyes which refer to the tears and grief surrounding death. Bald heads are common; the shaved head being identified with periods of transition, i.e. the situation of the nkisi moving between the living world and the supernatural one.

Sculptures with deformities such as withered or missing arms and legs or those having two heads, faces, or bodies, are meant to induce tension and fear.

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