When talking about the Balot sculpture, Strother explains that the significance of the artwork lies both in the way Balot is portrayed and the reasons for creating this sculpture. According to her study, the wide-open eyes are interpreted as an expression of anger by the Pende, who were also customary to create sculptures for family members, ancestors or important individuals. Balot was neither a family member nor a member of the Pende community, therefore this object goes behind tradition.
Strother co-authored “Art with Fight in It: Discovering That a Statue of a Colonial Officer Is a Power Object from the 1931 Pende Revolt” (2016), published in African Arts, with professor Herbert Weiss and curator Richard Woodward, the founding curator of the African Art collection at the VMFA. In the third section, “The man, the statue”, she explains how the Balot sculpture is a remarkable embodiment of both portraiture and power. The sculpture defies easy categorization and provides a unique perspective on the role of the arts during the Belgian colonization of the Congo.
“The sculpture was hidden. When the Belgians came, they ransacked the whole place.”
- Zoë Strother
Maximilien Balot himself had a diverse background, serving in both military and civilian capacities in the Congo. He enlisted in the Belgian army as a youth and later joined the Force Publique, participating in campaigns against the Germans in East Africa. After his military service, Balot worked at the Labor Exchange in Katanga, where he received positive evaluations for his conduct and potential.
According to the findings of Strother et al., the sculpture of Balot, created by the Pende, shows the combination of military and civilian roles through the eyes of the Pende. Depicting Balot as a soldier standing at attention, Strother says the figure captures the essence of authority and power. Pende tradition associates individuals trained in European military style as “ngunza”, or killers, ready to take lives on command.
As a result, the sculpture reflects this notion, with a long and narrow face, pronounced upper body, and deeply carved forehead. The eyes are accentuated by raised almond-shaped frames, and the gaze, though deflected, holds a certain intensity known as "dangerous eyes." What makes the Balot figure even more intriguing is its resemblance to Maximilien Balot himself. Historically, the Pende restricted naturalistic representations in sculptures, particularly for high-ranking chiefs. However, a photograph of Balot taken during his lifetime shows striking similarities with the sculpture. His long, narrow face, bony chin, pronounced core, and large eyes with abundant white are mirrored in the artwork. It seems that the character of an “ngunza” was indelibly marked on Balot's face, capturing his identity and persona.
What Strother finds interesting is that the Balot sculpture goes beyond being a mere representation; it is a power object—a container charged with life's energy or the spirit of the deceased. Among the Pende, such statues served as a warning to visitors that they had entered a dangerous territory. The accumulation of diverse materials, as seen in other power figures like the njinda, adds to the sense of astonishment and awe.
In addition to being a power object, the sculpture also serves the purpose of commemorating a historical event. Created shortly after Balot's death, when the Pende people believed they had driven out the foreign invaders, the artwork encapsulates the spirit of the moment before the troops arrived. Through physical analysis, it was revealed that the sculpture was pierced through by a metal rod. According to the article, this physical trait finds its roots in the circumstances of Balot's death. According to Sh'a Gindungu, who confessed to have killed Balot, arrows were shot at him, and he eventually fell. The sculpture becomes a testament to the complex history and power dynamics of the colonial period.
This unique and powerful work of art blurs the boundaries between portraiture and power objects. Its representation of Balot and the symbolism associated with an “ngunza” provide a captivating exploration of identity, violence, and colonial authority. The sculpture's ability to capture the essence of Balot's appearance and commemorate a historical event makes it a remarkable artifact that offers insights into the cultural and artistic landscape of the time, Strother et al conclude.
About Zoë Strother
Zoë Strother is a scholar specialized in African art history. She is recognized for her expertise in the arts of Central Africa, particularly the Democratic Republic of the Congo and Cameroon. Strother has a Ph.D. in African and African American Studies from Harvard University and has held academic positions at Columbia University and the University of California, Santa Cruz. Her research explores various aspects of African art, including its social, political, and historical contexts. Strother's work encompasses themes such as visual culture, museum studies, and the impact of colonialism on artistic production. She has contributed to numerous publications and curated exhibitions that shed light on African art's rich cultural significance. Through her scholarship, Strother has made significant contributions to the field of African art history and has deepened our understanding of the diverse artistic traditions found on the African continent.
Sources
The text on this page draws from the following source:
Zoë S. Strother, “Part III: The man, the statue” in “Art with Fight in It: Discovering That a Statue of a Colonial Officer Is a Power Object from the 1931 Pende Revolt”, African Arts, vol. 49, no. 1, 2016, pp. 63-67.
Further reading
Z. S. Strother, Chapter 6: “By Congolese, for Congolese (1910s-40s)” in Humor and Violence: Seeing Europeans in Central African Art, Indiana University Press, 2016.
Plantations and Museums
“Part 2: The Sculpture” is part of the series Plantations and Museums (2021), written and directed by CATPC, Renzo Martens and Jos de Putter. Narration and interviews by Matthieu Kasiama and Ced’art Tamasala. The series is a co-production of Pieter van Huystee Film and VPRO, in collaboration with CATPC and Human Activities, supported by the NPO-fund.
