Or-the-congo

Yellow-winged Bat (Lavia frons)

…a species of false vampire bat (Megadermatidae) that is native to the continent of Africa, where it is known to occur throughout the middle of Africa ranging from Senegal east to Ethiopia and south to the northern Democratic Republic of the Congo. Yellow-winged bats typically inhabit woodland and savannahs where they usually roost in acacia trees and thorn bushes near bodies of water. Unlike other Megadermatid bats, Lavia frons feeds only on insects and will not take small vertebrates. L. frons is a “sit and wait predator”, listening for prey and striking when a potential prey item flies by. 

Classification

Animalia-Chordata-Mammalia-Chiroptera-Megadermatidae-Lavia-L. frons

Image: slamjack

53 Echoes of Zaïre: Popular Painting From Lubumbashi

The Africa Centre & the Sulger-Buel Lovell gallery are pleased to announce the exhibition 53 Echoes of Zaire: Popular Painting from Lubumbashi, DRC, which will take place at the Sulger-Buel Lovell gallery, London, from May 27th.

The exhibition will be curated by Salimata Diop, Head of Programme at the Africa Centre, London. It will unveil a collection of fifty three works acquired by the late Prof. Victor Bol, all originating from the early 1970s’Lubumbashi, created by five artists from DRC: T. Kalema, C. Mutombo, B. Ilunga, Ndaie, and Tshibumba Kanda Matulu.

The latter, author of over thirty of the works featured, thought of himself as a historian as well as an artist. Born in 1947 in Lubumbashi in the very south of what was then Belgian Congo, his wish was to become a teacher, but he eventually had to find another way of teaching history to his fellow countrymen. In the mid-1960s Tshibumba Kanda Matulu started training himself to paint and practiced painting as a profession from 1969. He became the main figure of an artistic movement where artists articulated a system of shared memories. Recalling ancestral origins, colonial history, the fight for independence, post-colonial struggles for power, they created artworks for local people to be bought by local people.

The collection is notable for its consistency, quality and contribution to the history of Popular Painting in the urban and industrial Katanga region of the Democratic Republic of the Congo. It is accompanied by contemporary documentation and original photography featuring the principal artist in the collection, Tshibumba Kanda Matulu.

Many of the works have been included in significant international exhibitions – for instance : A Congo Chronicle: Patrice Lumumba in Urban Art, Museum for African Art, New-York, 1999-2009- or publications –such as: -60 ans de Peinture au Zaïre, Joseph-Aurélien Cornet, Remi De Cnodder, Ivan Dierickx, Wim Toebosch, Bruxelles: Les Editeurs d’Art Associés, 1989. source

Colonie Belge 1885–1959 - Tshibumba Kanda-Matulu

Colonie Belge II, Culture Obligatoire - Tshibumba Kanda-Matulu

La Tête historique de M’siri, Msiri fût coupé la Tête - Tshibumba Kanda-Matulu

La Mort historique de Lumumba, Mpolo et Okito - Tshibumba Kanda-Matulu

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Enongo Lumumba is the grand-daughter of Congolese national hero Patrice Lumumba. We met at the “Skiff” film festival in the Democratic Republic of Congo. She is an artist living in the United States. Her musical style is widely known as beat making. I asked her whether she was interested in politics like her late grand-father. She left the door open and suggested that maybe some day her music would take her into the political arena. She could become a politician |

Photo by @leyuwera1 #leyuwera
#EverydayAfrica #Everydayeverywhere #Lumumba #music #sammus #politic #Goma #drcongo

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Werrason - Techno Malewa Mecanique 

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Kuba Nyim (ruler) Kot a Mbweeky III photos by  Eliot Elisofon, Daniel Lainé and Angelo Turconi

His name: Kwεt áMbwε'ky René (III): aka Køt áMbwε'ky. Most full names consist of three successive personal names: the king’s own name, the name of his mother and the name of his mother’s mother connected by particles meaning “of.” Only this ruler has a Christian name. The aka names are often used.

The first image depicts Nyim Kot a Mbweeky III wearing abacost, which is the name for the male attire favored by Mobutu and promoted as part of the authenticity campaign, consisting of a short-sleeved suit worn without a tie. The word abacost is derived from the French a bas le costume, or “down with the suit.” Second image depicts depicts wives of Nyim Kot a-Mbweeky III reciting ‘Ncyeem Ingesh’, songs of the nature spirits, praising the monarchy. Third image depicts him wearing a royal dress called ‘Bwaantshy’; royal headdress known as 'Ntshuum Aniym’. The fourth image depicts him wearing a royal dress called 'labot latwool’ and royal headdress known as 'Shody’; necklace 'Lashyaash’ made of leopard teeth; sword 'Mbombaam’, lance 'Mbwoom Ambady’. Each Kuba king owns two royal dresses called ‘Bwaantshy’, one of which is always buried with him Only the king is permitted to wear them. The sword and the scepter are the marks of supreme authority and the headdresses represents the “house of the king”