This unusual figure represents a tribal ancestor (ifikolwe) of the Hemba tribe. The tall, slender figure has an elongated trapezoid face, with large round closed eyes, an open mouth revealing a set of sharp teeth, and a short beard signifying the age and the seniority of the ancestor. It is clear that this figure incorporates elements of a non-human nature; animals such as lions, antelope and birds are referenced in its design. The figure wears a distinctive headdress that crops closely to the skull. The figure also has a large distended belly, which emphasizes the umbilical connection between present and past, and the role of the ancestors as metaphorical mothers and fathers of the tribe. But this unique piece is no ordinary ancestor figure (singiti); in place of legs, the figure has a gong, a wooden instrument played by striking it.

Experimentation has shown that, by striking the gong in different places and with different force, a range of notes can be played. It is possible that this action mimicked the voice of the deceased ancestor, bringing them to life in a ritual setting. The dead (bafu) are central figures in Hemba society, and are often thought to bring about illness. A number of semi-secret societies existed among the Hemba specifically for healing these maladies, notably the baubwilo-dancers. It is possible that this gong was designed for use in their rituals. Similarly, at the end of Hemba funerals, a song and dance called a musuusa was performed, which marked the end of mourning for the deceased. Instruments in the form of ancestors would seem to fit with this practice. Figural gongs are known from other areas of Africa, notably from the Nayamwezi of Tanzania, though these gongs usually consist only of a head, rather than a full torso as in this example.

We can only speculate as to the ritual and social uses of this gong. Music and dance are important social activities in many African tribes, cementing the bonds of community and aiding intra-tribal communication. Music was a central feature of religious ceremonies, which often involved invoking the ancestors. Perhaps this gong was to give the ancestors’ reply, or perhaps the music was thought to summon the ancestors from the spirit world and their eternal slumber.