Formerly, "This is Africa/fyeahAfrica".
(Profile Photo by J.D. Okhai Ojeikere)
I do not endorse any of the products or opinions shared on this site, nor do I claim any of the work posted here to be my own - except where stated. All posts originally made by me are credited. If no credit is given then the work is either my own/written by me or reblogged from another source.
A LITTLE ABOUT ME:
Afro-curator, womanist, media studies student, pop culture enthusiast, aspiring journalist, curious amateur photographer, social media guru.
Based in Cape Town, South Africa
From Lagos, Nigeria
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(since Oct. 21st 2012)
The children standing in front of their mural.
*This is my first time coming across either of these two organizations and so far I have not found any alarming or concerning information about them. If anyone has information or any criticism about either War Child or AptART, feel free to drop it in dynamicafrica’s inbox as my quick research was probably not thorough enough.
Congolese photographer and videographer Sammy Baloji explores the “beautiful time” when the labor of hardworking Congolese built a flourishing copper mining industry in what is now the Katanga region of the Democratic Republic of the Congo. Following independence in the 1960s, this industry suffered greatly under mismanagement by corrupt governments. Baloji’s collages and photographs bring together images from the past and the present day to interrogate the meaning of memory.
The history of his country, Katanga, has influenced Sammy’s works. The latter are dedicated to the industrial culture of Congo, which is a country characterized by many mineral sources exploited by Belgian colonisers.
In 2004, he became fascinated by the phantom character of Gécamines (General Mines Society ) factories in Lubumbashi. They are the symbol of the past wealth epoch of Katanga and show a particular side of Africa - the industrial side.
These are the author’s thoughts on memories and the ruins of colonisation:
“My previous works were dedicated to colonial architecture. To some extent, my current works have a direct connection with the colonial past, which gave birth to the cities of Katanga province. These cities were built upon mines. The latter belong to Katanga’s history. The essence of my question lies in the daily life of Congolese people. They are traces of the recent past, which is also present.”
Sammy Baloji’s images are not merely glances at that reality, but photomontages that merge ancient black and white photos of mines of Union Minière du Haut Katanga with contemporary colour images of actual mines and devastated landscapes.
Sammy Baloji illustrates the history of the Congo, which has several dark sides illustrated throughout history by different governments and particularly during the colonial epoch.
He says “To superimpose past onto present reveals the will to denounce past and present abuses.”