#nikisi

[kemetic-dreams]

The word goofer in goofer dust has Kongo origins and comes from the Kikongo word Kufwa which means "to die." The mojo bag in Hoodoo has Bantu-Kongo origins. Mojo bags are also called toby, which is derived from the Kikongo word tobe. The word mojo also originated from the Kikongo word mooyo, which means that natural ingredients have their own indwelling spirit that can be utilized in mojo bags to bring luck and protection. The mojo bag or conjure bag derived from the Bantu-Kongo minkisi. The nkisi singular, and minkisi plural, is when a spirit or spirits inhabit an object created by hand from an individual.

These objects can be a bag (mojo bag or conjure bag) gourds, shells, and other containers. Various items are placed inside a bag to give it a particular spirit or job to do. Mojo bags and minkisis are filled with graveyard dirt, herbs, roots, and other materials by the Nganga spiritual healer.

The spiritual priests in Central Africa became the rootworkers and Hoodoo doctors in African American communities. In the American South, conjure doctors create mojo bags similar to the Ngangas minkisi bags as both are fed offerings with whiskey. Other Bantu-Kongo origins in Hoodoo is making a cross mark (Kongo cosmogram) and stand on it and take an oath.

This practice is done in Central Africa and in the United States in African American communities. The Kongo cosmogram is also used as a powerful charm of protection when drawn on the ground, the solar emblems or circles at the end and the arrows are not drawn just the cross marks which looks like an X.

[thebeautifulobject]

Spotty and Louis hangout in my bedroom. AD REINHARDT silkscreens. Wadsworth Atheneum. Sam Wagstaff. Early 1960’s. Frieze above my bed. #interiordesign#photography#moyenpoodlesofinstagram #art#adreinhardt#nikisi https://www.instagram.com/p/BugSu4iHrbS/?utm_source=ig_tumblr_share&igshid=19rnyxbc4f5b1

[mystic-merchant]

💀🍃🤚👁💕🔮Get Your Spiritual Fix At MysticMerchant🕯📖🕯⚰🗝💰 #mysticmerchant #houstonhexes #voodoo #hoodoo #occult #aliceinwonderlandtarot #tarot #africanart #nikisi #congo #sage #crystals #mugwort #cloves #seasalt #kittytarot #kawaiitarot #houstonart #houstonpodcast #dallaswitch #houstonwitch #thirdward #fifthward (at Fifth Ward, Houston) https://www.instagram.com/p/B_wuBHBgRzG/?igshid=s8l3ve935ebg

[acrosscenturiesandgenerations]

▪Male Figure (Nkisi Nkondi).

Culture: Vili

Place of origin: Republic of the Congo, Africa

Date: 1801-1875

Medium: Wood, metal, glass, fabric, fiber, cowrie shell, bone, leather, gourd, and feather.

[imagineumaimagem-blog]

Mukuiu Aweto Mameto Dandalunda. @sonteriasongs #candomble #olinda #obrigadadeus #orixas #bencao #vida #nikisi #mukuiu #zambi (em Olinda, Brazil)

[tata7rayosawoileifaola]

Un saludo a mis Mayores, a mis Ahíjados, a mis Clientes y público General

CARACAS DD.FF

CONSULTAS Y RAYAMIENTOS

Martes 10 y Miércoles 11/05/22

Hora Consultas 10:00 am

Rayamientos 08:00 pm

( NOTA: El Martes 10/05/22 a las 09:00 am Localización de las Kriyumbas )

Lugar de Reunión

Casa de mi Ahíjado TATA Nikisi Malongo

Ángel Buitriago - Sector Lomas de Caurimare -

ASISTIR PUNTUALMENTE

Para cualquier otra información o servicios

+584246588955 +584126497602

[wajitzumagikshop]

Authentic voodoo doll with skull!

[tellytantra]

Mishti had been running around the bus stop screaming “Abiiiiiiiir” Kahan mar gaya. She stopped asking person next to her” Bhaiya ji, Champaner ki bus to nikli nai naabhi?”. “nai abhi aani hai. Aati hi hogi. Aap jana mat.” She walks around the corner. She finds him musing silently by the street vendors. “AbirAjeeb Rajvansh.. Phone band hi rakhna tha to liya hi kyu tha? Tum bina batayekahan ja rahe ho?” Heturns shocked “Mishti , tum yaha kya kar rahi ho?” “Tum5 saal ke bachche ho? School ki teacher ho? Jasmeet chachi ho? Tumhe bataya nikisi ne sawaal ka jawaab sawaal ni hota.” Abir sighs and closes his eyes. ”Mishti” “Maitumse baat karne tumhare ghar gayi to vaha Nanu ne bataya ke tum Champaner jarahe ho. Sab theek hai vaha par?” “Haansab theek hai. Time to time jata rehta hoon vaha. Sukoon ke liye.” “Apne Baba ko miss kar rahe ho”. She said more as a statement than a fact. Non answer from Abir was answer itself. "Par mai tumhe jaane ni de sakti.” "Agar tum ye kehne vali ho ke mere ghar valo ka kya hoga to unko aadat hai iski. He grabs his backpack to enter the bus. Or mera kya Abir. Mai kya karun. Abirwas exasperated. He didn’t want her here. Not now. “Tumhara kya?” Mai tumhe mere liye rokne aayi hun Abir because I love you. I’ve been for a while. Abir was stunned. Mai is time sab sahi karna chahti thi Abir. Mai tumhe hurt ni kar sakti hun. Main hamari friendship nai kho sakti thi. Muje time chahiye tha Abir ki jo bhi mai feel kar rahi hu , kya vo kafi hoga. Mai tumhari aankho me apne liye nafrat ni dekh sakti thi. Then Mishti goes down on her knees. “Life ka bharosa nai Abir. Mai ni jaanti kal kya hoga. Mai ye bhi ni jaanti ki hum saath khush honge ke nai. Par mai life ka ek or minute waste nai karna chahti. I want to love you for the rest of life if you’ll let me.” Abir drops the backpack and crosses the distance between them and answers her with a kiss. He breaks it to reply her with a grin. “Angry chorni, mai tumhe chod ke jana bhi ni chahta.”

http://jodifiction.blogspot.com/2019/08/mishbir-os-straightforward-lover-mishti.html

[arxondasbet]

Μπουντεσλίγκα προγνωστικά: Ώρα να νικήσει https://www.arxondasbet.com/mpoyntesligka-prognostika-ora-na-nikisi/?utm_source=dlvr.it&utm_medium=tumblr

[tattooed-alchemist]

PARIS — Inextricabilia, enchevêtrements magiques at La Maison Rouge is a feast for the horror vacui eye. What ties its wildly diverse elements together is a visual style of burdened entanglement that overloads the specific intentions and functions behind contemporary art, magical charms, sorcerers’ amulets, witchy spells, spiritual worldviews, psychic theories, Christian religious beliefs, African community healers, and other indigenous cultural habits.

There are a lot of outlandish things here that just won’t lie still and be art. For the most part, entangled meshes of funky fabric provide a vague visual itch, but what is interesting is that these lavish but itchy objects of surplus allow a feeling of encountering sacredly wild cryptic drives. Standouts include perplexing and eccentric pieces by Arthur Bispo do Rosario, Pierrette Bloch, Cathryn Boch, Louise Bourgeois, Jules Leclercq, Man Ray, The Philadelphia Wireman, Annette Messager, Marc Moret, Michel Nedjar, Virginie Rebetez, and Borbála Remmer. Also on display are numerous anonymous creations: a voodoo Nikisi divination statue from the Congo, an undated Nala charm from Madagascar, and multiple 18th-century French and German reliquaries. One of the most powerful entanglements is a Doton magical amulet from Togo (Lome) that was created before 1832, but nearly all the works are vivid and richly animated by this kind of compositional imbroglio.

[nofomoartworld]

Hyperallergic: Entangled Objects Through the Ages, from Sorcerers’ Amulets to Voodoo Dolls

Inextricabilia, enchevêtrements magiques, installation view of Judith Scott sculptures (image courtesy La Maison Rouge)

PARIS — Inextricabilia, enchevêtrements magiques at La Maison Rouge is a feast for the horror vacui eye. What ties its wildly diverse elements together is a visual style of burdened entanglement that overloads the specific intentions and functions behind contemporary art, magical charms, sorcerers’ amulets, witchy spells, spiritual worldviews, psychic theories, Christian religious beliefs, African community healers, and other indigenous cultural habits.

There are a lot of outlandish things here that just won’t lie still and be art. For the most part, entangled meshes of funky fabric provide a vague visual itch, but what is interesting is that these lavish but itchy objects of surplus allow a feeling of encountering sacredly wild cryptic drives. Standouts include perplexing and eccentric pieces by Arthur Bispo do Rosario, Pierrette Bloch, Cathryn Boch, Louise Bourgeois, Jules Leclercq, Man Ray, The Philadelphia Wireman, Annette Messager, Marc Moret, Michel Nedjar, Virginie Rebetez, and Borbála Remmer. Also on display are numerous anonymous creations: a voodoo Nikisi divination statue from the Congo, an undated Nala charm from Madagascar, and multiple 18th-century French and German reliquaries. One of the most powerful entanglements is a Doton magical amulet from Togo (Lome) that was created before 1832, but nearly all the works are vivid and richly animated by this kind of compositional imbroglio.

Anonymous, Doton magical amulet from Togo (Lome) (before 1832) (photograph by the author for Hyperallergic)

Anonymous, “Nala Charm from Madagascar” (undated) (image courtesy of Musée du Quai Branly, Paris)

German reliquary box (undated) (photo by the author for Hyperallergic)

Prominently featured are the mysterious string sculptures by Judith Scott, who suffered from Down syndrome. Institutionalized since 1950, Scott saw a fiber art class being conducted by visiting artist Sylvia Seventy and began making anthropomorphic and zoomorphic sculptures that resemble cocooned body parts and elongated totemic poles. She began these by recovering (sometimes stealing) all kinds of miscellaneous objects, like umbrellas and bicycle wheels, using these thief’s treasures as the hidden core of her powerful sculptures.

Scott, as with all the other creators in this show, displays an inextricable love for the magic of visual excess that curator, art historian, and former director of the famous Art Brut Collection in Lausanne Lucienne Peiry clearly values too. That said, her curatorial method is to join right in with the globalizing ahistorical curatorial style that has been branding the Maison Rouge for years. In the interests of visual correspondence, the viewer must intellectually skate over an array of widely divergent intentions, functions, and different belief systems, thus lending the work in the show a sense of false equivalency.

It would be excessive and even erroneous to seek among the works here any universal principles that would respond to concrete paradigms. But at least the curatorial stance of mental immoderation and false equivalency has echoes within the general sense of magical workings at play here. This is a show where charmed wanderings and distributions of assemblages prevail; the artists mix psychic and erotic perspectives and points of view into a general sense of the entwining, entangling, and knotting of hemp cord, hair, strips of leather, gold threads, blades of grass, raffia, rope, and fabric.

Anonymous, “Sac magique Nkisi Ma bi ala” (Angola, Cabinda, Hoyo) (before 1933) (photo by the author for Hyperallergic)

Anonymous, “Nkisi Kula magic object from the Congo” (undated) (courtesy of Musée du Quai Branly, Paris)

Jules Leclercq, “Erotic Composition with Blue Nudes” (1950–64) (image courtesy Musée d’Art moderne, d’Art contemporain et d’Art brut de Villeneuve-d’Ascq)

Rosa Zarkikh, “Reflection” (2005) (courtesy of the Museum of Outsider Art, Bar, Monténégro)

Marvelous mishmash works of great diversity become a means of altering our ideas of what an object is expected to “do.” It is always a pleasure to encounter Man Ray’s “L’Enigme d’Isidore Ducasse” (1920, remade 1972), which consists of a sewing machine wrapped in a blanket and tied with string — a reflection on Comte de Lautréamont’s famous phrase, “beautiful as the accidental encounter, on a dissecting table, of a sewing machine and an umbrella.” But some of the most engaging pieces come from outside the art world. I was mesmerized by the old “Sac magique Nkisi Ma bi ala” from Angola (before 1933) and an anonymous Nkisi Kula magic object from the Congo. They allowed me to imagine being engaged with these makers in ritualistic activities that involve the powers of excess. They generate an extraordinary network of emotional wonder that is achieved by what I think of as the responsibility of re-appropriating our fragile capacity to visualize. Within their magical context, well-known contemporary art, like Louise Bourgeois’s floating “Arch of Hysteria” (2000) and Annette Messager “Mes vœux sous filet” (1997–99) is enriched. They seem to contain as many possibilities of interpretation as the human skull trophy from Borneo — and thus appear more supernatural. Even when we understand the art’s history and context, the associative voodoo confers on them an anti-modern canon of non-causality.

Annette Messager, “Mes vœux sous filet” (1997–99) (image courtesy of La Maison Rouge)

Michel Nedjar, “Dolls” (1998), partial view (image courtesy of La Maison Rouge)

Ending the show is Michel Nedjar’s cunning wall installation of twisted “Dolls” (1998), in which disorder and spell-like savagery jostle each other, vying to preside over an emergence of the grotesque that is typical of the private dream register. It is an adequate conclusion to this collection of hexing creations that we are unable to disentangle and fully interpret. Like magic, this wall acts upon us by extoling enchanting operational possibilities that are not always realizable in the rational world.

Inextricabilia, enchevêtrements magiques continues at La Maison Rouge (10 Boulevard de la Bastille, 12th arrondissement, Paris) through September 17.

The post Entangled Objects Through the Ages, from Sorcerers’ Amulets to Voodoo Dolls appeared first on Hyperallergic.

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[thebeautifulobject]

KONGO NIKISI NAIL AND KNIFE IRON BLADES. BACK. https://www.instagram.com/p/Bw2DCCPHtlt/?utm_source=ig_tumblr_share&igshid=1dgk04vw09gfd

[mystic-merchant]

🔮🍀🍃💀🐱More Review's! Im so appreciative! 📖🕯😍😍😍 #reviews #mysticmerchant #etsyshop #etsyreviews #etsy #etsyoclock #kawaiitarot #tarot #zodiac #nikisi #congo #fetishdoll #africanart #antiques #occultbooks #powellsbooks #occult #wicca #houstonwitch (at Our Little Red One Shop) https://www.instagram.com/p/B_lWqLCgEN2/?igshid=1jy8p7cc2oxeo

[raddlounge]

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[kemetic-dreams]

The Tabwa say that mulalambo or the Milky Way is our calendar for they are aware of the change of the galaxy's orientation through the course of weeks and months when viewed at the same hour every evening. Mulalambo lines provide a convergence of up(south by Tabwa reckoning) and down(north) with bilateral symmetry-right(east) and left(west). Through scarification of the physical body and as portrayed in the faces and torsos of minkisi ya mipasi ancestorsal figures, these essential cosmological and social dialects are embodied.

[wajitzumagikshop]

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