Linda Maroy, 20, enjoys a quiet moment on Lake Kivu in the periodically beseiged city of Bukavu on the 60th anniversary of DRC’s independence from Belgium. Public celebrations were canceled as they were for the 50th anniversary with the populace being encouraged to mark the day “in meditation”.
Artists and the flourishing Congo cultural scene emerge in our time as a vital front in the struggle to create a more just nation free of war. While there is ebb and flow in organizing political protest and resistance in the context of the government’s and ruling elite’s surveillance and harsh repression, Congolese artists continue to depict the brutal inequality of the nation’s current political economy and their vision of social change and a new order. A few non-Congolese artists of international renown have in recent years shown solidarity with Congolese “culture warriors” and sought to create a global platform for contemporary Congolese art.
The recent project of the British-Canadian photographer Finbar O’Reilly has succeeded in drawing attention to the work of a dozen Congolese photographers, half of whom are women. In an article for the Guardian newspaper, O’Reilly wrote, ”Dismantling the systems that have traditionally excluded African photographers from global conversations about their countries requires those of us in positions of privilege to understand that structural advantages have kept us in control”.
People gather to fill containers from a water truck in Kanyaruchinya on the outskirts of Goma, also highly subject to warlords’ attacks, in the capital of eastern DRC’s North Kivu province, in 2017. Three quarters of the nation’s population lack access to safe drinking water. (Photograph by Ley Uwera for Fondation Carmignac)Members of the pro-democracy and civil society movement Filimbi carry out a public educational campaign about coronavirus in a market in DRC’s capital, Kinshasa. Health and sanitation education by civil society and churches has contributed significantly to the fight against COVID. Congo has recorded only 300 deaths in the population of 90 million.
Awarded a sizable stipend by the French Carmignac Foundation to carry out a project of photographing Congo in 2020, when COVID closed borders O’Reilly and the Foundation agreed on an alternative plan. Congolese photographers were named and funded to create a portfolio focusing on selected themes of Congolese life. In the same article referenced above, O’Reilly described the selected themes:
“Raissa Karama Rwizibuka examined environmental issues in Virunga national park, and fashion and self-confidence in a post-colonial context. Arlette Bashizi captured the realities of confinement in a country with unreliable electricity. Moses Sawasawa looked at politics and insecurity caused by the ongoing conflicts, along with Dieudonné Dirole. Ley Uwera photographed Ramadan under lockdown, and the challenges of living through a pandemic where access to water is severely limited. When the Black Lives Matter movement turned the world’s attention toward global anti-racism protests, Pamela Tulizo examined aspects of our collective post-colonial psychology, but also ideas about African women and beauty.”
The International Criminal Court collaborated with O’Reilly and the Fondation Carmignac on Congo in Conversation. One of the Court’s judges explained their involvement, “Listening, learning and engaging with victims and other survivors is the first step to access to justice.”
In the photo gallery that follows photos from the project are featured along with the names of the Congolese photographers. They are all taken from the article written by Finbarr O’Reilly and Matt Fidler in The Guardian dated November 23, 2020.
After being exhibited in Paris and Antwerp, the photographs will be on public display at the Bronx Documentary Center in New York City from Sept. 8 -Oct. 12.
The Fondation Carmignac funded publication of two books of photographs that are now available for order at around $50 each:
Congo in Conversation and
Congo:Une Lutte Sublime Congo photographs by Finbarr O’Reilly
In a recent painting by a Congolese artist, the figures of Lumumba and his primary rival Kasavubu, in white, loom large
Following my last blog I have been reminded that there are people I respect and love who lived in Congo at the time of independence and hold a vastly different view of Patrice Lumumba. When I read a former Congolese missionary’s recollection of Lumumba’s “frantic and emotional ravings on the radio” I feel I owe him and you a direct response.
It would take a novel to reconstruct the atmosphere of fear and panic among nearly all whites in Congo in 1960 especially after Lumumba’s speech at the independence celebration on June 30. That the Belgians present were so offended by the “truth telling” of Lumumba’s critique of Belgian colonialism indicates how unprepared the former rulers were for Congolese self rule. The depth of Belgian loathing of Patrice Lumumba emerges clearly from the numbingly detailed and thorough account of The Assassination of Lumumba by Ludo De Witte.
Published in 2001, this book leaves no doubt that the Belgian government called for the elected Prime Minister’s torture and death at the hands of security officers and government officials of Belgium and the secessionist provinces of Katanga and South Kasai. More telling though is the book’s evidence of the utter disdain and fear of the nationalist Lumumba among the Belgians. Following his death, a leftist Belgian newspaper commented, “The press probably did not treat Hitler with as much rage and virulence as they did Patrice Lumumba”.
The De Witte book also notes the U.S. backing, support and even plotting of the definitive elimination of the Congolese nationalist.
Head of the C.I.A. Allen Dulles wrote the Kinshasa station chief Devlin on August 26, 1960, “We concluded that his (Lumumba’s) removal must be an urgent and prime objective and that under existing conditions this should be a high priority of our covert action”. These efforts to remove Lumumba from power took place with the recognition that no other Congolese politician had a
Patrice Emery Lumumba July 2, 1925 – January 17, 1961
comparable following or power to move the people. U.S. Ambassador Clare Timberlake in a 1960 memo to the State Department declared that Lumumba could enter a room of Congolese politicians as a waiter and emerge by the end of the meeting as the gathering’s elected leader. “Kasavubu will be a political zero as long as Lumumba is active” Timberlake wrote in another message.
This brings me to call attention to Lumumba’s naïve and touching trust of the U.S. In the tape made by a reporter who visited him while in prison shortly before his death, he advanced the U.S. example as a template for the task his people faced:
“I remind you here of the Declaration of Independence adopted by the Congress of the United States in 1766 (sic), which proclaimed the overthrow of the colonial regime, the united colonies’ liberation from the British yoke, and thir transformation into a free and independent state. The Congolese nationalists have thus merely followed in the footsteps of the French, Belgian, American, Russian and other nationalists. We have chosen only one weapon for our struggle: nonviolence. The only weapon that would bring victory in dignity and honor. Our watchword during the liberation campaign was always the immediate and total independence of the Congo.”
Those who would attribute the Congolese post- independence violence and mayhem to Lumumba’s words and not to the machinations of the West, must, in my view, account for the fifty plus years of war, dictatorial rule and increasing misery of the people of Congo after his death. It is that deplorable record of Congolese rule in the context of neocolonial foreign control of the country’s resources that leads me to state that Congo has lost its way. The words of their first and only democratically elected leader have been suppressed and subsequent leaders have honored him without in any substantive way attempting to realize his vision.
“Avenue Patrice Lumumba in Beira” photo by South African artist in an exhibit documenting Lumumba hommages across Africa
Over the last 50 years, Lumumba’s stature as a spokesperson for the aspirations of oppressed peoples and as the prophet of the African liberation struggle in particular has grown. As the African journalist Cameron Doudo wrote on the occasion of the 50th anniversary of Lumumba’s death, “Patrice Lumumba is, next to Nelson Mandela, the iconic figure who most readily comes to mind when Africa is discussed in relation to its struggle against imperialism and racism”.
The major difference between Lumumba and Mandela’s political careers is that Mandela saw the strengthening of his African National Congress from inside the walls of his prison. Despite Lumumba’s overwhelming grass roots support in 1960, his assassination cut woefully short his and his followers’ opportunity to organize for nation’s control of the country’s resources. That is the great tragedy of Lumumba’s life and legacy. In the midst of the multiple political parties organized on a tribal base of support, the creation of the MNC (National Congolese Movement) as a nation wide political party prior to the 1960 elections demonstrated that Lumumba’s powerful communication skills were matched by political organizing acumen.
Among the unrealized aspects of his legacy was Lumumba’s championing of the role of women in the new nation. In an early 1960 talk in Brussels he encouraged Belgian women in the audience to assist in the education of Congolese women for leadership.
“We want many Belgian girls to come to the Congo to teach and instruct our girls, and tomorrow the young ladies who are here will come to our country as welfare workers to educate our Congolese girls. Our efforts tomorrow must bring about a harmonious evolution of our peoples, and we want this evolution, the most fundamental one of all, especially that of our women, which has been somewhat neglected under the colonial regime – we want our women to have the same level of education that we men have, because when a man is educated, it is only the individual who is educated, but when a woman is educated, an entire family, an entire generation is educated. We want many Congolese girls to come to Belgium tomorrow to get an education, and we want many Belgian girls to come to the Congo to teach and instruct our girls. And it is so as to ensure equality between men and women that the Congolese movement demands the same political rights for women as for men. We have proposed that both men and women eighteen or over be allowed to participate in the coming elections. But certain reactionary circles, those that still insist on regarding women as servants are opposed to this plan and have a hand in the scheme to prevent this from happening. I am certain that when I go back to the Congo, I shall conduct a noisy campaign on behalf of Congolese women.”
In concluding this overview of the Lumumba legacy, let’s consider what U.S. based Congolese political scientist Georges Nzongola-Ntalaja wrote on the occasion of the 50th anniversary of the assassination,
“In Congo, Lumumba’s assassination is rightly viewed as the country’s original sin. Coming less than seven months after independence (on 30 June, 1960), it was a stumbling block to the ideals of national unity, economic independence and pan-African solidarity that Lumumba had championed, as well as a shattering blow to the hopes of millions of Congolese for freedom and material prosperity.”
One way to summarize the current state of the legacy would be that Lumumba’s ideal of national unity has been preserved at the cost of the nation’s economic independence and pan-African solidarity.
NOTE: To read the entire Nzongola-Ntalaja article go to:
Lokoleyacongo 