This collection documents the work of a community-based partnership between the Antislavery Usable Past project and Yole!Africa in Goma and Lubumbashi. The project is based on an archive of photography produced by the British missionary Alice Seeley Harris during her time in the Congo Free State in the late nineteenth and early twentieth century. The project has used the visual archive as a basis for working with young people to explore the history and legacies of colonialism during the time at which the Congo Free State was under the personal ownership of King Leopold II of Belgium.

This collection documents the work of a community-based partnership between the Antislavery Usable Past project and Yole!Africa in Goma and Lubumbashi. The project is based on an archive of photography produced by the British missionary Alice Seeley Harris during her time in the Congo Free State in the late nineteenth and early twentieth century. The project has used the visual archive as a basis for working with young people to explore the history and legacies of colonialism during the time at which the Congo Free State was under the personal ownership of King Leopold II of Belgium.

This collection documents the work of a community-based partnership between the Antislavery Usable Past project and Yole!Africa in Goma and Lubumbashi. The project is based on an archive of photography produced by the British missionary Alice Seeley Harris during her time in the Congo Free State in the late nineteenth and early twentieth century. The project has used the visual archive as a basis for working with young people to explore the history and legacies of colonialism during the time at which the Congo Free State was under the personal ownership of King Leopold II of Belgium.

This collection documents the work of a community-based partnership between the Antislavery Usable Past project and Yole!Africa in Goma and Lubumbashi. The project is based on an archive of photography produced by the British missionary Alice Seeley Harris during her time in the Congo Free State in the late nineteenth and early twentieth century. The project has used the visual archive as a basis for working with young people to explore the history and legacies of colonialism during the time at which the Congo Free State was under the personal ownership of King Leopold II of Belgium.

This collection documents the work of a community-based partnership between the Antislavery Usable Past project and Yole!Africa in Goma and Lubumbashi. The project is based on an archive of photography produced by the British missionary Alice Seeley Harris during her time in the Congo Free State in the late nineteenth and early twentieth century. The project has used the visual archive as a basis for working with young people to explore the history and legacies of colonialism during the time at which the Congo Free State was under the personal ownership of King Leopold II of Belgium.

This collection documents the work of a community-based partnership between the Antislavery Usable Past project and Yole!Africa in Goma and Lubumbashi. The project is based on an archive of photography produced by the British missionary Alice Seeley Harris during her time in the Congo Free State in the late nineteenth and early twentieth century. The project has used the visual archive as a basis for working with young people to explore the history and legacies of colonialism during the time at which the Congo Free State was under the personal ownership of King Leopold II of Belgium.

This collection documents the work of a community-based partnership between the Antislavery Usable Past project and Yole!Africa in Goma and Lubumbashi. The project is based on an archive of photography produced by the British missionary Alice Seeley Harris during her time in the Congo Free State in the late nineteenth and early twentieth century. The project has used the visual archive as a basis for working with young people to explore the history and legacies of colonialism during the time at which the Congo Free State was under the personal ownership of King Leopold II of Belgium.

Founder of Save the Congo; Activist and Rhumba lover. Tampa has been advocating for peace and justice in the Democratic Republic of Congo since 2008.

Managing Director of African Support and Project Centre Mukambilwa advocates for the improvement of Congolese lives in London through educational and health events

Letitia Kamayi: You Should Know Me

Artist’s Statement Kongo: You Should Know Me was my selfish way of learning more about my past, my ancestors through the images of my kinfolk. Unfortunately, the archive institutions I approached all asked for paperwork I could not supply; money I could not pay and questions I did not understand how to answer.

Only one missionary based in Ghent; the Sisters of Charity of Jesus and Mary, opened its doors and visual records to me and through them I was able to see a small percentage of the Congolese story before me. Though happy to have this access, I was not too overjoyed by everything I saw. There was a host of missing stories not recorded, stories that my family and friends families experienced. Chapters and verses missing from the identity of the Congolese narrative. Thus Kongo: You Should Know Me evolved to Kongo Archives.

Kongo Archives is extremely personal to me not merely because I am Congolese but also because there is a lot about my country I do not know and am searching for. I believe it is also something desperately needed, especially as our country’s political structure hangs in the global balance.

It’s a necessity even!

Culture; traditions; customs; language and pretty much everything has always been passed down orally through the stories in African customs, and now too many of those who did the passing down are fast passing away, taking with them all our history and rightful heritage. Taking away my rightful heritage, my story, my future and connection to a national identity.

It is a cliché to say, however Kongo Archives gives a voice to every Congolese person, travelling further than just those within the confines of the project. The archives is the stories of the past, the present and a storage unit where future stories can be placed when they become part of our inevitable past.

It [Kongo Archives] is here to topple the power structures of the single story of Congolese identity, working to reform the world’s understanding of, and have embedded notions questioned of a people whose stories and lives were second to the arrival of their colonial history and identity killers.

Bringing light to the stories which humanise the “so-called beasts from the dark continent” which continues till this day to suffer from decades of war and conflict whilst also being the wealthiest in natural minerals; culture and fight for peace one day.

Being Congolese I see our hidden presence in the “strangest” places, though this should not be a “strange” sight, this is the importance which representation brings! Change to people’s (and my own) opinions and views of those they are not well informed about. Kongo Archives will bring light to the multilayers of the Congolese people both residing in and out of The Motherland. It is important to have this representation to solidify the very absent Congolese presence outside of the Democratic Republic of Congo, in places such as London; Paris and Belgium as a positive display of unity; positive contribution and patriotism.

Kongo Archives aims to bring the Congolese heritage full circle through exposing the parts of our (Congolese) past and current state the world has and continues to fail to reveal. Breaking down the stereotypes of the poorest; “most dangerous place on earth to be a woman” to a country with a vast potential of peace; unconditional source of love and fight given the chance for change within its power structures.

S.S. Mundeke, Kingston Upon Thames, UK 1st Generation British Born Congolese/Angolan, London.

Letitia Kamayi: You Should Know Me

Artist’s Statement Kongo: You Should Know Me was my selfish way of learning more about my past, my ancestors through the images of my kinfolk. Unfortunately, the archive institutions I approached all asked for paperwork I could not supply; money I could not pay and questions I did not understand how to answer.

Only one missionary based in Ghent; the Sisters of Charity of Jesus and Mary, opened its doors and visual records to me and through them I was able to see a small percentage of the Congolese story before me. Though happy to have this access, I was not too overjoyed by everything I saw. There was a host of missing stories not recorded, stories that my family and friends families experienced. Chapters and verses missing from the identity of the Congolese narrative. Thus Kongo: You Should Know Me evolved to Kongo Archives.

Kongo Archives is extremely personal to me not merely because I am Congolese but also because there is a lot about my country I do not know and am searching for. I believe it is also something desperately needed, especially as our country’s political structure hangs in the global balance.

It’s a necessity even!

Culture; traditions; customs; language and pretty much everything has always been passed down orally through the stories in African customs, and now too many of those who did the passing down are fast passing away, taking with them all our history and rightful heritage. Taking away my rightful heritage, my story, my future and connection to a national identity.

It is a cliché to say, however Kongo Archives gives a voice to every Congolese person, travelling further than just those within the confines of the project. The archives is the stories of the past, the present and a storage unit where future stories can be placed when they become part of our inevitable past.

It [Kongo Archives] is here to topple the power structures of the single story of Congolese identity, working to reform the world’s understanding of, and have embedded notions questioned of a people whose stories and lives were second to the arrival of their colonial history and identity killers.

Bringing light to the stories which humanise the “so-called beasts from the dark continent” which continues till this day to suffer from decades of war and conflict whilst also being the wealthiest in natural minerals; culture and fight for peace one day.

Being Congolese I see our hidden presence in the “strangest” places, though this should not be a “strange” sight, this is the importance which representation brings! Change to people’s (and my own) opinions and views of those they are not well informed about. Kongo Archives will bring light to the multilayers of the Congolese people both residing in and out of The Motherland. It is important to have this representation to solidify the very absent Congolese presence outside of the Democratic Republic of Congo, in places such as London; Paris and Belgium as a positive display of unity; positive contribution and patriotism.

Kongo Archives aims to bring the Congolese heritage full circle through exposing the parts of our (Congolese) past and current state the world has and continues to fail to reveal. Breaking down the stereotypes of the poorest; “most dangerous place on earth to be a woman” to a country with a vast potential of peace; unconditional source of love and fight given the chance for change within its power structures.

Okapi, Congolese and African Cuisine

O.M. Kitenge, D.R. Congo. 2nd Generation Congolese, London.

Featuring artefacts, navigational equipment, maps, photographs, personal letters and diaries, Navigating the Congo is an exhibition which explored the history of non-conformist involvement in the Congo River regions during the 19th and 20th century.

By looking at the collections held in The Angus Library and Archive, the exhibition sought to bring to light some of the challenges faced in navigating this history and the relationships that developed between Baptist missionaries and the Kongo people during the period of European colonialism.

N. Diansunzuka-Nfuki Kingston Upon Thames, UK 1st Generation British born Congolese, London

Title translates to Musengwa at Political Bureau Meeting Possible attendees: President Mobutu Sese Seko; Major company CEOs; Generals; Secret Services; Home Secretaries; Department Heads.

Letitia Kamayi: You Should Know Me

Artist’s Statement Kongo: You Should Know Me was my selfish way of learning more about my past, my ancestors through the images of my kinfolk. Unfortunately, the archive institutions I approached all asked for paperwork I could not supply; money I could not pay and questions I did not understand how to answer.

Only one missionary based in Ghent; the Sisters of Charity of Jesus and Mary, opened its doors and visual records to me and through them I was able to see a small percentage of the Congolese story before me. Though happy to have this access, I was not too overjoyed by everything I saw. There was a host of missing stories not recorded, stories that my family and friends families experienced. Chapters and verses missing from the identity of the Congolese narrative. Thus Kongo: You Should Know Me evolved to Kongo Archives.

Kongo Archives is extremely personal to me not merely because I am Congolese but also because there is a lot about my country I do not know and am searching for. I believe it is also something desperately needed, especially as our country’s political structure hangs in the global balance.

It’s a necessity even!

Culture; traditions; customs; language and pretty much everything has always been passed down orally through the stories in African customs, and now too many of those who did the passing down are fast passing away, taking with them all our history and rightful heritage. Taking away my rightful heritage, my story, my future and connection to a national identity.

It is a cliché to say, however Kongo Archives gives a voice to every Congolese person, travelling further than just those within the confines of the project. The archives is the stories of the past, the present and a storage unit where future stories can be placed when they become part of our inevitable past.

It [Kongo Archives] is here to topple the power structures of the single story of Congolese identity, working to reform the world’s understanding of, and have embedded notions questioned of a people whose stories and lives were second to the arrival of their colonial history and identity killers.

Bringing light to the stories which humanise the “so-called beasts from the dark continent” which continues till this day to suffer from decades of war and conflict whilst also being the wealthiest in natural minerals; culture and fight for peace one day.

Being Congolese I see our hidden presence in the “strangest” places, though this should not be a “strange” sight, this is the importance which representation brings! Change to people’s (and my own) opinions and views of those they are not well informed about. Kongo Archives will bring light to the multilayers of the Congolese people both residing in and out of The Motherland. It is important to have this representation to solidify the very absent Congolese presence outside of the Democratic Republic of Congo, in places such as London; Paris and Belgium as a positive display of unity; positive contribution and patriotism.

Kongo Archives aims to bring the Congolese heritage full circle through exposing the parts of our (Congolese) past and current state the world has and continues to fail to reveal. Breaking down the stereotypes of the poorest; “most dangerous place on earth to be a woman” to a country with a vast potential of peace; unconditional source of love and fight given the chance for change within its power structures.

Letitia Kamayi: You Should Know Me

Artist’s Statement Kongo: You Should Know Me was my selfish way of learning more about my past, my ancestors through the images of my kinfolk. Unfortunately, the archive institutions I approached all asked for paperwork I could not supply; money I could not pay and questions I did not understand how to answer.

Only one missionary based in Ghent; the Sisters of Charity of Jesus and Mary, opened its doors and visual records to me and through them I was able to see a small percentage of the Congolese story before me. Though happy to have this access, I was not too overjoyed by everything I saw. There was a host of missing stories not recorded, stories that my family and friends families experienced. Chapters and verses missing from the identity of the Congolese narrative. Thus Kongo: You Should Know Me evolved to Kongo Archives.

Kongo Archives is extremely personal to me not merely because I am Congolese but also because there is a lot about my country I do not know and am searching for. I believe it is also something desperately needed, especially as our country’s political structure hangs in the global balance.

It’s a necessity even!

Culture; traditions; customs; language and pretty much everything has always been passed down orally through the stories in African customs, and now too many of those who did the passing down are fast passing away, taking with them all our history and rightful heritage. Taking away my rightful heritage, my story, my future and connection to a national identity.

It is a cliché to say, however Kongo Archives gives a voice to every Congolese person, travelling further than just those within the confines of the project. The archives is the stories of the past, the present and a storage unit where future stories can be placed when they become part of our inevitable past.

It [Kongo Archives] is here to topple the power structures of the single story of Congolese identity, working to reform the world’s understanding of, and have embedded notions questioned of a people whose stories and lives were second to the arrival of their colonial history and identity killers.

Bringing light to the stories which humanise the “so-called beasts from the dark continent” which continues till this day to suffer from decades of war and conflict whilst also being the wealthiest in natural minerals; culture and fight for peace one day.

Being Congolese I see our hidden presence in the “strangest” places, though this should not be a “strange” sight, this is the importance which representation brings! Change to people’s (and my own) opinions and views of those they are not well informed about. Kongo Archives will bring light to the multilayers of the Congolese people both residing in and out of The Motherland. It is important to have this representation to solidify the very absent Congolese presence outside of the Democratic Republic of Congo, in places such as London; Paris and Belgium as a positive display of unity; positive contribution and patriotism.

Kongo Archives aims to bring the Congolese heritage full circle through exposing the parts of our (Congolese) past and current state the world has and continues to fail to reveal. Breaking down the stereotypes of the poorest; “most dangerous place on earth to be a woman” to a country with a vast potential of peace; unconditional source of love and fight given the chance for change within its power structures.

Mbongo Contre Mbongo, Barbers Barber name translates from Lingala/French as "Money against Money"