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These drawings and a 19th century photograph show ngulu execution swords at various executions. The back side of the blade was used as a machete for cutting. The tensioned tree with rope assured the victims head would be flung far away into the forest at the moment of decapitation. They believed a person remained "aware" for some time after decapitation. As a result, the deceased final sensual experience was flying through the air to meet his or her ancestors.

Werner Fisher & Manfred A. Zirngibl wrote in their book Afrikanische Waffen;

This design was selected for cult and execution knives. A knife was created which symbolized the inexorableness on the judgment and execution. This execution knife became a symbol of power and, in a few variations became a ceremonial knife for tribal chieftains. At executions, the condemned man was tied to the ground with ropes and poles. His head was fastened with leather straps to a bent tree branch. In this way it was ensured that the man’s neck would remain stretched. After the decapitation, the head would be automatically catapulted far away.”

Executions were not judicial events meant for murders or criminals. They were events carried out for ceremonial purposes and the chosen were invariably slaves.

Both the Ngombe and Doko used the ngulu during the 20th century. The knife had transformed itself into a ceremonial dance blade. The reason for this was that by 1900 the Belgium's had forbidden executions, as well as cannibalism, equally widespread.

Regardless, the Ngombe continued to use the cult knife in their "Likbeti" dance, which often lasted two days. At the end of the dance a goat was sacrificed for the feast, with a single stroke from the back side of the blade. This goat was consumed, just as the limbs and torso of victims were in former times.

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Our sword - knife was rediscovered in Australia during the early 90's.. It was most likely traveled there on a steamship during the first part of the 20th century. By this time, ngulu had become powerful status symbols and as such, important authorative objects. Both the weight and power of the blades function had decreased, while the art form enhanced with the addition of small projections.

 

 

The use of  ngulu blades became more and more widespread, intended for headmen and chiefs.

 

Above; a Mongo chief in full regalia, holding a ngulu, closely resembling ours. 

 

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Our knife has two sections of wirework in the mid portion. This type of knife was originally used as a weapon of war and also as an agricultural implement, but later developed into luxury item and a symbol of status.

These images show late 19 C drawings of Munza, the king of the Mangbetu. Seated on his thrown, he holds a similar knife as a symbol of power and authority.

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A heavily decorated example with brass tacks.

Kundu - Mongo - Konda Sword as worn or displayed in the late 19th Century

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This is an old Luba sword with white and red pigment, most likely added by a diviner.  It is said that Luba sculpture is the most graceful in Africa. The same harmony and elegance characterizes their weapons.

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For the most part blades were carved from wood or forged by an ironsmith. This example has a wooden blade, was once part of the Southern African Heinz Papen Collection and most likely dates to 1900 -1920.

The wooden blades underside has the initials MD carved into a backdrop of a larger "D". The object may have been offered at a presentation to an important official.

Traditional African body paint and scarification.

These images were taken in the early 1990's while a mwali ceremony was in progress, north west of Kabompo.

 
Girls of Chokwe, Ila, Luchazi, Mbunda and Luvale origins celebrate the coming of age at the mwali ceremony in nkunka huts. The event is as widespread as the boys mukanda, but conducted almost exclusively on an individual basis at the beginning at first menstruation. A teacher organizes the girls scarification, the stretching of her labia and applies body paints, all intended to fashion the perfect woman. The scarification is applied to her abdomen to add to and emphasize her role in childbearing.

The writer has often seen Katemokavamwali danced at the boys Mukanda .

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