This masterfully tiered Botolo hat, acquired in Kinshasa in the early 1970s from a young prince of a venerable Congolese lineage, exemplifies the highest aesthetic and cultural traditions of the Ekonda people of the Democratic Republic of the Congo. Worn exclusively by the Nkumu (chief), the Botolo is a headdress of authority, lineage, and ancestral continuity.

Composed of multiple concentric brims, each meticulously handwoven from natural forest fibers and coiled to form a pagoda-like silhouette, this ceremonial hat presents a visual architecture of social hierarchy. Rising in elegant, undulating tiers, the form speaks to the stratified knowledge and power held by the wearer. Fronting the base of the structure is a large, patinated brass medallion—symbol of affluence, leadership, and divine favor.

The deep hues of this example result from historical ritual application of camwood powder and palm oil, traditional substances that yield a lustrous crimson tone—now darkened into a richly smoke-hued patina from years of protected storage in a ceremonial hut. Its surface bears the tactile marks of time and veneration, with the brass disk showing natural oxidation and wear, enhancing its authenticity and historical gravitas.

Botolo hats are part of a sacred cycle of succession; traditionally preserved and passed from chief to heir, they function as spiritual repositories and living testaments to communal heritage. As recorded by Daniel P. Biebuyck and Nelly Van Den Abbeele in The Power of Headdresses (1984), such headdresses serve not only as symbols of political might, but also as cosmological devices—uniting the earthly realm with ancestral spirits.

A unique object of status and identity, this Botolo hat offers collectors, designers, and museums an extraordinary opportunity to engage with the enduring power and artistry of central African material culture.