1 00:00:00,150 --> 00:00:08,460 What I'm about to present is based mostly based on data that I've collected last year with a short stint of fieldwork in Congo, in Zambia, 2 00:00:08,460 --> 00:00:19,860 and I'm about to go on a second stint to fieldwork, some very much value any thoughts or feedback that you might have at the end of the presentation. 3 00:00:19,860 --> 00:00:23,640 I'll talk about some of the popular art forms which developed in the mining region 4 00:00:23,640 --> 00:00:29,790 of the Kuiper Belt since the last large scale copper industry started there. 5 00:00:29,790 --> 00:00:36,960 And the Copperbelt is a bit of a exceptional case in Africa in that we have 6 00:00:36,960 --> 00:00:41,520 two neighbouring mining centres only a few kilometres away from each other, 7 00:00:41,520 --> 00:00:46,590 and yet they belong to different spheres of influence, 8 00:00:46,590 --> 00:00:55,200 both in the colonial period end of post-colonial period and the two forms two to 9 00:00:55,200 --> 00:00:59,890 fulfil two forms of popular art for which the Zambian Copper Belt and Katanga, 10 00:00:59,890 --> 00:01:03,210 the mining region of Congo, are known for. 11 00:01:03,210 --> 00:01:14,640 First, we have some rock, which is a blend of Central African sound and psychedelic rock from the 1960s and 70s, 12 00:01:14,640 --> 00:01:17,730 and that developed into Zambian mining found in the 70s. 13 00:01:17,730 --> 00:01:28,650 There's been a bit of a resurgence recently, mostly because some independent label had reissued some of the some of their albums. 14 00:01:28,650 --> 00:01:36,780 So it's quite well known in the world of music enthusiasts, but to my knowledge, it has not received any academic attention. 15 00:01:36,780 --> 00:01:46,530 Then on the Kentucky side, we have what is perhaps one of the most famous form of popular arts who have developed in the mining centre, 16 00:01:46,530 --> 00:01:58,140 which is a type of painting which uses bright colours in a cartoony style to depict scenes of urban life and Congolese history. 17 00:01:58,140 --> 00:01:59,970 And this is really well known, 18 00:01:59,970 --> 00:02:08,030 mostly because it has because of a number of academics who were based in Katanga at the time at the University of Louisville, 19 00:02:08,030 --> 00:02:15,690 but she took an interest in in it and to and produced a lot of scholarship on it. 20 00:02:15,690 --> 00:02:24,420 And that includes polygamy. Jose Ritchie, Yohannes, Fabian and his, I think, wife Ilona Nelson by 2013. 21 00:02:24,420 --> 00:02:35,190 Yes. And they they first took an interest in Detroit because of the seemingly political content, 22 00:02:35,190 --> 00:02:46,740 because of the social commentary that they provide on urban life and the window that it provided to mining societies collective consciousness. 23 00:02:46,740 --> 00:02:53,610 And in fact, some samples of these paintings have even been part of a High-Profile exhibition, 24 00:02:53,610 --> 00:03:00,360 for example, at this exhibition, which was held a day from the from Cathy in Paris in 2015. 25 00:03:00,360 --> 00:03:10,050 But while I would argue that while it is great that some of these popular arts forms are getting the attention that they deserve, 26 00:03:10,050 --> 00:03:18,150 there's also a danger of overlooking the actual diversity of popular art forms that is likely to prevail over time. 27 00:03:18,150 --> 00:03:21,630 So first of all, there is a tendency to localise it a little bit too much. 28 00:03:21,630 --> 00:03:26,490 We talk of Sambrook has been Zambia. Popular painting has been the tango. 29 00:03:26,490 --> 00:03:32,940 And yet we know that this is a border over which that people crossed a lot over time. 30 00:03:32,940 --> 00:03:39,300 And then there's also the fact that they are surprising differences between the two mining centres. 31 00:03:39,300 --> 00:03:48,930 For example, if a lively community of painters developed in Katanga in the 60s, this was not at all the case in Zambia. 32 00:03:48,930 --> 00:04:01,080 And yet the practise of locating, which is widely thought to have inspired folklore painting it Katanga exists in Zambia as well. 33 00:04:01,080 --> 00:04:06,200 So why is there a discrepancy? 34 00:04:06,200 --> 00:04:17,150 So what I would like to try and do in my research is perhaps to reverse the approach that Joseph Ritchie and Fabian have used, and that is to say, 35 00:04:17,150 --> 00:04:25,460 rather than looking at the odds for what it can tell us about the social context, I would like to look at how the economic, 36 00:04:25,460 --> 00:04:33,470 political and social context give space for artistic expression and also shaped it to an extent. 37 00:04:33,470 --> 00:04:37,130 So I would not be able to cover everything today. 38 00:04:37,130 --> 00:04:45,710 I would only points at certain points of intersection to certain patterns of production and consumption, 39 00:04:45,710 --> 00:04:52,820 and most mostly focus on music and visual arts. And first, 40 00:04:52,820 --> 00:04:59,060 I'd like to start with some of the hypotheses that my informants have pointed out to explain the 41 00:04:59,060 --> 00:05:04,970 differences between the two countries when it comes to the development of art and the vast majority. 42 00:05:04,970 --> 00:05:12,740 And in fact, everybody pointed to the differences in the Francophone and Anglophone approaches during the colonial times. 43 00:05:12,740 --> 00:05:22,190 So the Francophone countries we have from the 1920s African Art Institute to be quite highly considered, even a bit avant garde. 44 00:05:22,190 --> 00:05:28,520 And in fact, Congo already has a reputation for its for its mask, 45 00:05:28,520 --> 00:05:36,930 for its traditional and statues and wooden work, et cetera, who are seen in Anglophone Africa. 46 00:05:36,930 --> 00:05:46,520 It looks like the arts in the colonies, where it was mostly treated as something to be put in the museum, not necessarily as modern art. 47 00:05:46,520 --> 00:05:50,450 And so what we see is that in Katanga, in the late forties, early fifties, 48 00:05:50,450 --> 00:05:57,920 there were a series of schools that opened and this is one of them the boys out in Lubumbashi, 49 00:05:57,920 --> 00:06:09,000 which was opened by a Belgian professor for the specific purpose of promoting the arts in the colony. 50 00:06:09,000 --> 00:06:19,400 And there was absolutely nothing of this going on the Zambian side, not before, not before the independent period. 51 00:06:19,400 --> 00:06:22,100 Another possible another discrepancy, 52 00:06:22,100 --> 00:06:32,210 another difference between the two countries is that the type of emissions that existed on both sides were different, so it was mostly predestined. 53 00:06:32,210 --> 00:06:43,160 In Zambia, it was mostly Catholics in in in Congo and theatre and music and things that religious schools in mission really emphasise. 54 00:06:43,160 --> 00:06:53,120 This is one of this is one of the choirs which was attached to a secondary school bashing, and it became very famous, even even outside of Congo. 55 00:06:53,120 --> 00:07:04,970 And in fact, every single musician of the older generation that I've talked to in Katanga has been part of the choir of this type. 56 00:07:04,970 --> 00:07:09,980 Then there's also the fact that Zambia was for a long time. 57 00:07:09,980 --> 00:07:21,620 Part of a wider entity, which also included Malawi and Zimbabwe, and the heart of this entity was in Salisbury or Harare as its as it's know now. 58 00:07:21,620 --> 00:07:25,760 So this is where there was an art school and this is where there was a gallery. 59 00:07:25,760 --> 00:07:34,670 And even there, it wasn't particularly popular because it was quite a segregated country. 60 00:07:34,670 --> 00:07:44,450 And so the second only has a gallery in the 1980s, and the thought about never had any enemies at all. 61 00:07:44,450 --> 00:07:52,400 And then finally, there are differences to the ways that the mining companies were set up. 62 00:07:52,400 --> 00:07:55,790 So both sides have seen the rise of state. 63 00:07:55,790 --> 00:08:02,390 Like mining companies in Katanga, we have the Union Mineral Katzenjammer, which later became she came in. 64 00:08:02,390 --> 00:08:11,210 And in Zambia, we have the Anglo American Corporation and the selection trust to mines, which were later merged into one. 65 00:08:11,210 --> 00:08:20,120 The Zambia Consolidated Copper Mines. We struggle to say it's a first. 66 00:08:20,120 --> 00:08:29,150 This mine has had difficulties finding the labour that they needed because they were in competition with all the other mining centres in the area, 67 00:08:29,150 --> 00:08:37,310 and this is to give an idea of the direction of movement they would have and the amount of movement that would have existed at the time. 68 00:08:37,310 --> 00:08:43,860 This is a map that has borrowed from someone, and they forgot to put an arrow between Katanga and Zambia. 69 00:08:43,860 --> 00:08:52,520 There was a lot of movement across across these two mining centres as well. 70 00:08:52,520 --> 00:09:02,780 Because of that, both mining companies in Zambia and in Congo quite quickly turned to a policy of stabilisation of the workforce, 71 00:09:02,780 --> 00:09:10,070 and for this purpose, they developed recreation facilities. They were quite similar on on both sides of the border. 72 00:09:10,070 --> 00:09:14,930 They were called. There was the leisure centres in Katanga. 73 00:09:14,930 --> 00:09:20,270 This is an example of a leisure centre in Lubumbashi. 74 00:09:20,270 --> 00:09:26,240 They're a bit worse for wear nowadays. They they tend to be neglected in the last few decades. 75 00:09:26,240 --> 00:09:38,000 This is what it looks like on the inside and in Zambia, they were called welfare halls or recreation halls. 76 00:09:38,000 --> 00:09:50,390 And this is an example from kit with. And this is important because they provided a space for people to get together and start playing music. 77 00:09:50,390 --> 00:09:53,840 And in fact, the depicted the welfare centre, 78 00:09:53,840 --> 00:10:02,670 which I've just shown is where the copper belt's most famous band, which got together in the first place. 79 00:10:02,670 --> 00:10:16,950 But generally, the Zambian mines appear to have put more of an emphasis on sport and cinemas, and tribal tribal dancing was in Katanga. 80 00:10:16,950 --> 00:10:23,160 It looks like both the mines and the mines, the mines and the government. 81 00:10:23,160 --> 00:10:28,950 The provincial government tried a lot harder to control the mine, the mine, 82 00:10:28,950 --> 00:10:37,770 the the work force by the means of cultural activities such as theatre, dancing and etc. 83 00:10:37,770 --> 00:10:45,630 And unfortunately, do not have the time to go into this, but it's very, very interesting. 84 00:10:45,630 --> 00:10:52,110 So example to the logic. I mean, had many, many, many choirs and brass bands and the like. 85 00:10:52,110 --> 00:10:56,970 And this was not only logic, I mean, there was also or the other or all the other companies. 86 00:10:56,970 --> 00:11:07,770 The electricity company, the railway company and and even the police had its own its own facilities and its own bands. 87 00:11:07,770 --> 00:11:14,430 But it's important to remember that on either side of the border, 88 00:11:14,430 --> 00:11:24,330 the mines and the government only invested in in in cultural policy only in as much as it was as if to help them to keep public order. 89 00:11:24,330 --> 00:11:34,590 And all, most of the art forms that that that emerged during this period did not grow within within. 90 00:11:34,590 --> 00:11:40,880 Because of this, it just provided a framework that day to day. 91 00:11:40,880 --> 00:11:49,900 That framework was repurposing original ways by the people who live within it and not always in the ways that the mines is intended. 92 00:11:49,900 --> 00:11:55,390 OK. This is a group of musicians and dancers that was sponsored by Dirty Dancing. 93 00:11:55,390 --> 00:12:11,770 Unfortunately, not have much time to talk about it. So music is one of the areas where this interaction can be seen. 94 00:12:11,770 --> 00:12:15,010 The Copperbelt is known for a specific way of playing the guitar, 95 00:12:15,010 --> 00:12:24,460 which developed in the 1950s on both sides of the border, and it has been understood to have been slightly different. 96 00:12:24,460 --> 00:12:31,390 So Katanga, the guitar playing in Katanga, has been understood to be a bit more cosmopolitan in nature, 97 00:12:31,390 --> 00:12:36,130 which means that meaning that you are more likely to borrow stones from further afield and more 98 00:12:36,130 --> 00:12:43,090 likely to use international languages like Swahili rather than the local language and on guitar. 99 00:12:43,090 --> 00:12:51,460 Playing on the Zambian side has usually been seen as falling fully on one side or the other. 100 00:12:51,460 --> 00:12:56,980 So either completely the cosmopolis inside usually boring stuff directly from South Africa and Coachella, 101 00:12:56,980 --> 00:13:05,170 particularly, which is a Dutch does or fully on the local side. 102 00:13:05,170 --> 00:13:10,030 But it looks like it wasn't quite as simple as that. 103 00:13:10,030 --> 00:13:12,940 From my limited, my limited musical expertise, 104 00:13:12,940 --> 00:13:20,410 it looks like most artists could and did choose to borrow elements from several cosmopolitan sources and several local sources, 105 00:13:20,410 --> 00:13:25,870 and mix all of these elements together as this whole fits for a particular song. 106 00:13:25,870 --> 00:13:39,100 So, for example, Jambo School, one doc who is largely seen as the father of guitar playing in Katanga, became a very big star in the 50s. 107 00:13:39,100 --> 00:13:39,940 He has several song. 108 00:13:39,940 --> 00:13:52,390 One of the most danga is there's a structural resemblance to the Cuban hit home stereo, which was very popular in Congo at the time. 109 00:13:52,390 --> 00:13:57,250 But one of his other song, one is sung in Sanga. 110 00:13:57,250 --> 00:14:06,520 It uses a local rhythm played on a bottle, so that's that's supposed to be a localised characteristic. 111 00:14:06,520 --> 00:14:11,950 And also it uses a harmonic progression and you're right from South African quella. 112 00:14:11,950 --> 00:14:18,250 So this shows that the Congolese enzyme in copperbelt, we're connected to musical flows, 113 00:14:18,250 --> 00:14:28,320 which run all the way to Johannesburg on one side and all the way to Kinshasa and Yaoundé in Abidjan on the other. 114 00:14:28,320 --> 00:14:37,830 It's also representative of the way that all these influences were put on an equal footing in people's minds is this painting by Danny Chiesto, 115 00:14:37,830 --> 00:14:48,480 who is a painter I met in Dola and when I met him, he was about to send this picture to stack up one exhibition, which was entitled Our Culture. 116 00:14:48,480 --> 00:14:58,590 And so this is what he produced a patchwork of the music styles, which he thought were particularly significant in the musical history of the country. 117 00:14:58,590 --> 00:15:04,200 And so we see you have you had the Rolling Stones, you have Jimi Hendrix, you had the Beatles. 118 00:15:04,200 --> 00:15:08,280 Those were bands which we heard on on simian radios a lot. 119 00:15:08,280 --> 00:15:17,940 In fact, there was even a band called the Lusaka Beatles and then used to have several wars and rock band which constitute five revolutions, 120 00:15:17,940 --> 00:15:26,340 for example, and the family black foot. You have calendula, which is a more traditional type style of guitar playing, 121 00:15:26,340 --> 00:15:39,920 and you have rumba as well, which is a Kinshasa then style dance music from Kinshasa. 122 00:15:39,920 --> 00:15:47,870 So how how do we how does Roomba, how did Roomba end up on this painting? 123 00:15:47,870 --> 00:15:56,630 Well, it coalesced in Kinshasa in the old 60s and cheap records where pressed during that time and from desperate poor to a very, 124 00:15:56,630 --> 00:16:03,110 very wide area of Africa, including Zambia and including also Katanga. 125 00:16:03,110 --> 00:16:10,820 And in fact, it completely intended Katanga to the extent that it suffocated local local music styles, 126 00:16:10,820 --> 00:16:19,640 and this was further entrench during a brutal period because he co-opted some of its biggest players, such as Franco. 127 00:16:19,640 --> 00:16:26,120 And so as a result, its iconic musician had to face a choice either either they could adapt. 128 00:16:26,120 --> 00:16:30,290 That is to say they could play rumba, they could play music. 129 00:16:30,290 --> 00:16:40,930 That phrase the president, they could play traditional music that was also acceptable or they had to leave, and a lot of them did so. 130 00:16:40,930 --> 00:16:46,880 So throughout the 1960s and 70s, getting these musicians across the border into Zambia. 131 00:16:46,880 --> 00:16:47,750 And this is a quote, 132 00:16:47,750 --> 00:16:56,390 one of many coups that I've received on the topic by a former museum curator who says there was a lot of Congolese influence here. 133 00:16:56,390 --> 00:16:58,400 It was very, very big in the beginning. 134 00:16:58,400 --> 00:17:04,820 Most artists who were professional came from the Kuiper Belt and which itself was very much influenced by Congo. 135 00:17:04,820 --> 00:17:11,480 I do not think there was any way in Zambia where there was no Congolese music. Even in Livingston, Zambian bands copied it a lot. 136 00:17:11,480 --> 00:17:23,420 Rhythms were borrowed. And this was to the extent that it has been suggested to me that on numerous occasions that one of the reasons the call-back 137 00:17:23,420 --> 00:17:31,460 was the first president of Zambia announced in 1975 that 90 percent of music played on Zambian radio should be the engine. 138 00:17:31,460 --> 00:17:44,360 Music was because of rumba and because of the fact that they were too many Congolese musicians around in Zambia. 139 00:17:44,360 --> 00:17:56,270 And indeed, from that point on, many Congolese musicians started moving on, probably to other Swahili for countries such as Tanzania and in Kenya. 140 00:17:56,270 --> 00:18:03,170 But in another case, they sort of disappeared from the map. 141 00:18:03,170 --> 00:18:14,510 And though also it also importantly, though, I only know of one Zambian musician who ever went to Congo. 142 00:18:14,510 --> 00:18:22,460 Zambian music did cross the border in the other direction as well, mostly thanks to two records that were that were pressed even this time. 143 00:18:22,460 --> 00:18:27,650 And because of truck drivers, which road is there because the radio plays this, this type of music? 144 00:18:27,650 --> 00:18:39,720 And so it is still this situation where in the 70s, where Katanga is connected to the West and to the south at the same time. 145 00:18:39,720 --> 00:18:46,740 All right, now, I'll say a few words about the visual arts and about popular painting. 146 00:18:46,740 --> 00:19:02,190 So in the in the 70s, according to Your Highness Fabian, as much as 500 paintings were sold every day in Lubumbashi. 147 00:19:02,190 --> 00:19:10,770 Why was it that this practise of hanging a picture on the wall really, really, really strongly emerged in the 60s? 148 00:19:10,770 --> 00:19:19,560 It's not entirely clear, but the academics have said has several hypotheses on this subject. 149 00:19:19,560 --> 00:19:28,650 One of them being that it might be linked to the relative economic prosperity of the time. 150 00:19:28,650 --> 00:19:32,430 And the other is that it might be a form. 151 00:19:32,430 --> 00:19:45,840 It might be that there was a form of collective consciousness which emerged in the period under the within the context of the Mobutu Iraq. 152 00:19:45,840 --> 00:20:00,780 And they have divided these three paintings into three main categories, the first one is things ancestral, so that includes the idyllic landscape, 153 00:20:00,780 --> 00:20:13,770 which is supposed to denotes a certain nostalgia for life in the village or in such an opposition between the rural areas and urban life. 154 00:20:13,770 --> 00:20:24,880 Then we have things that and this is probably the most famous, the famous style that includes images of this kind. 155 00:20:24,880 --> 00:20:29,720 This is called Colony Bench, Belgian Colony. And this is a. 156 00:20:29,720 --> 00:20:40,400 It's considered sort of the archetypical example of this Dutch painting in that this is a way of criticising oppressions of all kind. 157 00:20:40,400 --> 00:20:47,610 The idea is that most of these painters do not make a difference between oppressions under the colonial period and on the democratic regime. 158 00:20:47,610 --> 00:20:52,770 So this is a way of coalescing everything. 159 00:20:52,770 --> 00:20:56,090 And the last things present. 160 00:20:56,090 --> 00:21:07,190 And that includes commercial paintings, images of modern cities and also very prominently the mermaid umami water, as she's known in most of Africa. 161 00:21:07,190 --> 00:21:10,220 And this represent the pitfalls of modernity. 162 00:21:10,220 --> 00:21:21,020 This is the idea that when a man has a personal relationship with the Miami water, he will become successful, but he will have to pay a price for it. 163 00:21:21,020 --> 00:21:31,370 He will have to sacrifice something for it. And there were hundreds of pages that didn't get done. 164 00:21:31,370 --> 00:21:37,460 At what point in time? Yet today, but you you'll be hard pressed to find a single what, maybe one or two. 165 00:21:37,460 --> 00:21:41,870 But most of them have disappeared off the map. So what happened to you then? 166 00:21:41,870 --> 00:21:52,820 Why did they go? Well, for a lot of them, the answer appears to be once again to them, 167 00:21:52,820 --> 00:22:01,160 much as was the case with Congolese musician little communities of Congolese artists and in cities, 168 00:22:01,160 --> 00:22:08,180 and produced paintings that borrowed elements from Katanga things and codes. 169 00:22:08,180 --> 00:22:14,750 And this is a painting. This is a picture taken by my colleague Battista, who took this in when you donga. 170 00:22:14,750 --> 00:22:18,860 This is a region in northern in northern Zambia, 171 00:22:18,860 --> 00:22:31,760 which really shows that this is the painting's full found their way to people's personal homes as far afield as that. 172 00:22:31,760 --> 00:22:38,930 So it sets in certain certain themes were not particularly easy to reuse in this emerging context. 173 00:22:38,930 --> 00:22:43,370 So you do not see anything like common embedded in it in Zambia. 174 00:22:43,370 --> 00:22:49,240 But what you do see is a lot of examples of the idyllic landscape, all of the manmade. 175 00:22:49,240 --> 00:23:02,270 But because this is something that will appeal to attend an audience and could even be appreciated by tourists, to my perspective. 176 00:23:02,270 --> 00:23:13,370 Also, crucially, the first generation of Zambian artists who are now in the four places specifically for now in their 60s and 70s all over, 177 00:23:13,370 --> 00:23:23,390 overwhelmingly cite the integration of Congolese artists as the starting point of the practise of canvas painting in Zambia. 178 00:23:23,390 --> 00:23:27,320 Most of these orders have enough to screw up all at one point in the copperbelt, 179 00:23:27,320 --> 00:23:33,230 where they first encountered these popular painters and they spread to other places from there. 180 00:23:33,230 --> 00:23:38,210 And this is Lawrence young boy born in 56. 181 00:23:38,210 --> 00:23:41,150 This is relevant Um, 182 00:23:41,150 --> 00:23:52,820 who is one of the one of the painters or taught me the most prominently cited Congolese painters as his inspiration to to start painting. 183 00:23:52,820 --> 00:23:56,540 He specifically mentioned one person, one person called Mozambique, 184 00:23:56,540 --> 00:24:07,420 from whom he learnt his first pointers and techniques in and painting another example another. 185 00:24:07,420 --> 00:24:16,880 Another painter who I've met in kicked away, pointed out that at the time that the Congolese musician Congolese painters cross into Zambia, 186 00:24:16,880 --> 00:24:22,070 there were already a handful of Zambians who were making a name for themselves in the painting scene, 187 00:24:22,070 --> 00:24:32,600 but they vote in much higher spheres and therefore they were not really very much in touch with any, any, any more popular painters. 188 00:24:32,600 --> 00:24:37,580 And so therefore the Congolese were completely dominated the field. 189 00:24:37,580 --> 00:24:42,500 The artwork could be seen everywhere, and it could be seen in all the bars and in. 190 00:24:42,500 --> 00:24:54,470 Mudenda told me that as was sort of forced to reproduce these themes, because that's also what the bars asked him for this sort of thing. 191 00:24:54,470 --> 00:24:59,030 This is the only example I could find myself. 192 00:24:59,030 --> 00:25:10,070 There are many ways in which Congolese and Zambian popular art forms are intimately linked to their historical social context, 193 00:25:10,070 --> 00:25:15,830 and there are also many parallels between the pattern of conception and exchange 194 00:25:15,830 --> 00:25:23,780 and also general historical history and the history of these both countries. 195 00:25:23,780 --> 00:25:29,250 We know, for example, that Congo had a stronger cultural infrastructure generally. 196 00:25:29,250 --> 00:25:36,570 And if you look at the popular art, well, it could emerge as a as a stronger producer for us. 197 00:25:36,570 --> 00:25:42,180 We also know that Congo subsequently went through a period of severe political and 198 00:25:42,180 --> 00:25:47,520 economic difficulties which have pushed many Congolese outside of the border. 199 00:25:47,520 --> 00:25:57,420 And this is reflected in patterns of extension of the popular art, as well as in the themes that it shows to choosing to emphasise. 200 00:25:57,420 --> 00:26:09,300 And also, it's probably relevant to well in countries such as DRC, the popular arts, the arts, 201 00:26:09,300 --> 00:26:18,670 even the popular ones cannot be detached from their political context because they came about on the edges of a. 202 00:26:18,670 --> 00:26:25,180 Of corporate but journalism and also on the mortgage prison mortgages, 203 00:26:25,180 --> 00:26:37,840 both of which use popular arts to entertain but also to manipulate them, did not follow the same political trajectory at all as Congo. 204 00:26:37,840 --> 00:26:43,180 The arts were never politically politicised in the same way. But you can all still see links. 205 00:26:43,180 --> 00:26:51,340 I mean, it's no coincidence, for example, that that painting only really took off in Zambia in the late 80s, 206 00:26:51,340 --> 00:27:00,310 because that's a period where the country went through a period of democratisation and liberalisation, 207 00:27:00,310 --> 00:27:05,170 which means all of a sudden there is many, many tourists who came and it was all of a sudden Middle-Aged lady, 208 00:27:05,170 --> 00:27:10,750 a market for gold, for paintings, particularly. 209 00:27:10,750 --> 00:27:21,850 It's also illustrative of the extent to which the existence of popular art work into two intertwined with that of the mining companies. 210 00:27:21,850 --> 00:27:29,410 So when the mining companies crashed in the late 1980s, so did most of these art forms. 211 00:27:29,410 --> 00:27:34,690 I've picked to quartz again went from a Congolese artist and one from a Zambian one. 212 00:27:34,690 --> 00:27:40,360 The first one says the death of the chicken is the root cause for the decline of culture in Katanga. 213 00:27:40,360 --> 00:27:46,330 It was never the state which supported the arts. It all comes down to the collapse of Bourgeois and SNCC. 214 00:27:46,330 --> 00:27:57,160 The synthesis of railway company and then in came and said the downfall of the system has brought about the downfall of the Kuiper Belt Downs. 215 00:27:57,160 --> 00:28:03,210 Gateway died and dollar died. It is a new set of rules to make the game now. 216 00:28:03,210 --> 00:28:10,450 So the younger generation of artists who have emerged in post-crisis Katanga out of a different kind, 217 00:28:10,450 --> 00:28:15,670 the much more connected to the global world and on both sides. 218 00:28:15,670 --> 00:28:19,030 Art has become a lot more professionalised, 219 00:28:19,030 --> 00:28:29,170 and many of these artists built Katanga and Katanga in Zambia's mining class and even built on the work of popular artists. 220 00:28:29,170 --> 00:28:38,120 The field of action has now quite firmly moved to the capital cities and to and to the West, to to Europe and to states. 221 00:28:38,120 --> 00:28:43,750 As any, the popular artist, well, for now, they've completely disappeared. 222 00:28:43,750 --> 00:28:44,609 Thank you.