The circular body is extensively decorated with finely incised geometric designs. Cross-hatched and triangular fields radiate around a central star-like composition, creating a particularly effective graphic contrast with the deep brown surface of the wood. Small surviving fibre elements near the upper section further enrich its material character.

Among Kongo peoples, carved wooden bells known as dibu — plural madibu — could form part of the equipment of a nganga, a ritual specialist associated with practices involving nkisi. The Metropolitan Museum describes such bells as mystical percussion instruments whose sound evoked heightened perception of the spiritual realm. The AfricaMuseum further notes that larger ritual examples are distinguished by carved handles and elaborate geometric decoration.

The seated female figure makes this an especially sculptural interpretation of the type, bringing together sound, ritual symbolism and Kongo figurative art within a single object.

Displayed on its custom-made metal stand.

Both a musical instrument and a sculptural work in its own right, this Chokwe mukupela drum is remarkable for the exceptional richness of its decoration. Carved from wood, the body narrows dramatically at the centre, where projecting handles create a strong architectural rhythm and a distinctive silhouette.

Both sections are extensively covered with deeply incised geometric ornament: concentric arcs, interlocking chevrons, grids, spirals and radiating compositions follow one another across the surface. Such elaborate carving reflects the importance given by Chokwe artists to decorated musical instruments. The membranes are stretched over both ends and secured by pegs passing through reinforcing strips of hide, a construction specifically documented for mukupela drums.

Of particular interest is the circular opening in the narrow central section. Ethnomusicological descriptions of the mukupela record a hole in the neck of the instrument associated with an additional vibrating membrane system designed to enrich its sound.

Within Chokwe musical ensembles, mikupela drums were commonly used in pairs. Research by Marie-Louise Bastin records their earlier association with important chiefs as well as their later use as dance instruments. The two heads produced contrasting registers, the deeper end known as shina and the higher-pitched end as songo. Mukupela drums could also participate in ensembles connected with ceremonies surrounding mukanda initiation.

Beyond its musical function, this example has considerable visual presence. The changing geometric registers, deeply carved surfaces and balanced volumes transform the entire body of the drum into a sophisticated sculptural composition.

Among the Batabwa (or Tabwa), a people of Katanga and Tanganyika, the likembe is much more than an instrument: it accompanies funeral rites, initiations, healings, and epic tales.

Carved from precious wood and fitted with metal tines made from recycled materials, each Tabwa thumb piano often bears geometric patterns and cosmological symbols characteristic of the ethnic group's tribal art.

The body of the drum is made from a calabash, a dried gourd, and is covered with a stretched membrane, likely animal skin. The upper edge is decorated with colorful beads and cowrie shells, typical of ritual and ceremonial instruments.

These drums are often used in ritual, ceremonial, or festive contexts. They can accompany dances, songs, and serve in rites of passage or other significant social events.

Calabash drums decorated in this manner are common among several ethnic groups such as the Yoruba, Bamiléké, and other peoples of West and Central Africa.