Museological singularities of a board with sculptures in dialogue: from the alambamento to marriage in Cabinda (Angola)

Abstract

In Cabinda (north-west of Angola), a region of the kingdom of Congo, there was an ancient graphical tradition observed in quotidian artifacts or rituals, about which several studies in multidisciplinary areas have been released. Not knowing other similar specimens, this article refers to one of the possible reflections around a high relief carved board and it is part of a collection gathered by the Missionários do Espírito Santo currently at the deposit of Science Museum (Coimbra University, Portugal). It was not the aesthetic value that seduced us, but understand its meaning, provocation that found response in José Martins Vaz’ book, No mundo dos Cabinda, only support found to date, which discloses the graphic interpretation of the piece and decodes the sculptural motifs. This object reflects a marriage agreement and embodies ideas expressed by sculpted forms and symbols, holders of traditional knowledge intrinsically associated with the rich collection of material culture, including one nkobe-bingu box, the family protective divinity. Carrying a singular meaning, this wedding board expresses the difficulty of the agreement between the bride and the groom families on the alambamento (dowry) to negotiate and it seals the Cabinda´s traditional marriage contract, being this people related to the Kongo ethnicity. Not being possible to compare with other interpretation, this study will led to a better understanding of Cabinda´s spiritual universe, reflected in their artistic creations. Broadening horizons of research, the artifact provided a museological exercise for understanding the social reality of its genesis and of marriage rituals of other populations in distinct time-frames.