In Ekonda, Nkundu and related communities, jewelry served as both a stylish accessory and an indicator of status and wealth. Due to their weight, shape and material, these massive adornments verify their owner had the means to avoid physical labor. To create these hefty forms, the artist poured molten metal directly into a cast in the ground, called a puddle mold. As the metal cooled, it was formed into a circular shape and often fitted directly to the wearer's body. The outside surface was then burnished and polished.
C-shaped anklet with rough interior and exterior with parallel incised lines.
Allen C. Davis, Alexandria, Virginia, acquired Côte d'Ivoire, 1960 to 2002
African Mosaic: Selections from the Permanent Collection, National Museum of African Art, Smithsonian Institution, Washington, D.C., November 19, 2013-ongoing
African Mosaic: Celebrating a Decade of Collecting, National Museum of African Art, Smithsonian Institution, Washington, D.C., November 19, 2010-November 13, 2013