With its steep, angular ascent and assertive architectural rhythm, this exceptional Botolo hat stands as a visual embodiment of rank and ritual among the Ekonda of the Democratic Republic of the Congo. The spiraling contour evokes the upward journey of a leader whose wisdom and power were believed to connect the terrestrial world with the ancestral domain. Collected in Kinshasa during the early 1970s from a young prince of a noble Ekonda house, this headdress is a museum-grade example of cultural patrimony and sculptural elegance.

Hand-coiled from pliable forest fiber, each of the sharply angled brims contributes to a kinetic silhouette—more aggressive in form than the previous example—perhaps reflecting the commanding presence of the original nkumu (chief) who wore it during public ceremonies, conflict resolutions, or succession rites. Affixed prominently at the base is a commanding, timeworn brass disk, its circular form punctuated with a raised center pin, reminiscent of a warrior’s shield or emblem of divine protection.

Ritually prepared with a mixture of camwood powder and palm oil, the headdress retains traces of its original crimson undertone beneath a velvety smoke patina—evidence of prolonged storage in a sacred hut, in accordance with tradition. The patinated brass disc shows dramatic tonal variation, with etching marks and oxidation that attest to its ceremonial use and the passage of time.

According to scholar Judith Perani (African Arts, 1997), such headdresses serve not only to assert social identity but also to activate the ancestral presence in political or spiritual gatherings. This piece, with its dynamic profile and shield-like emblem, offers a rare convergence of status symbol, spiritual medium, and design object.