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20. Friction Oracle: Janus (Katatora)
Songye, Democratic Republic of the Congo
Wood; H. 14 cm (5 1/2 in.)
19th–20th century
Mead Art Museum, Amherst College, The Barry D. Maurer (Class of 1959) Collection of African Art, purchased with Amherst College Discretionary Funds and Funds from H. Axel Schupf (Class of 1957)
AC1999.1

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20. Friction Oracle: Janus (Katatora)

ithin Songye methods of divination, katatora (or katola) instruments of this kind acted as the physical site of interaction between diviner and client—the point of contact that initiated the diviner's analysis of an individual's particular case history. The term for this divinatory process is said to evoke the rapping noise that the implement makes when tapped against the wood surface of a headrest or stool.1 Similarly, the verb kutotola (meaning "to hit something several times to obtain a result" or "knocking on a door repeatedly to gain entrance") suggests a physical catalyst that triggers admission to privileged insight.2

To begin the consultation, the diviner and client each insert the first two fingers of one hand into the circular or rectangular opening of the friction oracle's hollow body while facing each other. They jointly hold the katatora as the diviner inquires into the cause of the client's problem, phrased as a series of "yes" or "no" questions directed to the diviner's spiritual counsel. Responses are registered through movements of the instrument: an affirmative response is usually communicated by a forceful counterclockwise, circular motion, and a negative response by an inclination of the instrument followed by a sweeping motion back and forth across the surface of a mat, stool, or the ground.3 Evidence of such extensive actions over time is reflected in the wear and abrasion apparent on the underside of such instruments. The diviner expresses gratitude for its efficacy by rubbing the instrument with chalk whenever a new moon rises—an event associated with enlightenment and renewal.4

While the object manipulated may be a gourd or metal receptacle entirely devoid of aesthetic refinement, more expensive, sculpturally elaborated artifacts such as this one were commissioned by diviners from artists.5 Such works generally take the form of a head or torso above a rectangular frame. The figurative element is frequently inspired by a dream in which the diviner visualizes his or her spiritual adviser. It has been recorded that Songye carvers gave shape to these forms out of the hard wood of the kikewebaii tree, the sap of which is commonly used as an emetic. There is thus a metaphorical connection between the nature of the material and the voluminous quantity of knowledge that is discharged over the course of a successful consultation.6

In this especially elegant example, the design is perfectly symmetrical. Two heads facing in opposing directions share a broad neck that connects them to a large open oval form below. The sense of evenly balanced forms is further reflected in the unity between the horizontal block at the base—which is used as a rubbing surface—and the flattened surface of the heads at the top. The mediating potential of such instruments is reinforced visually by the Janus representation, which suggests exceptional clairvoyance and omniscience.

1. Memory 1996, pp. 182, 183.

2. D'Orjo de Marchovolette 1954, cited in Memory 1996, p. 182.

3. Memory 1996, pp. 182, 185.

4. Ibid., p. 185.

5. Ibid., p. 182.

6. Theodore Theuws, cited in Memory 1996, p. 182.