1 00:00:08,610 --> 00:00:18,090 Welcome to the sixth and the last of my 2020 to 2023 Slate Lectures. 2 00:00:19,980 --> 00:00:30,750 As you already know, the previous lectures were presented in-person at the examination schools at the University of Oxford. 3 00:00:32,230 --> 00:00:40,990 Unfortunately, the recent strikes across the United Kingdom necessitated the risk handling of these lectures, 4 00:00:41,590 --> 00:00:50,710 and the outcome is regrettably that I am not currently on site for an in-person presentation. 5 00:00:52,670 --> 00:00:55,700 But let me express my immense gratitude. 6 00:00:58,260 --> 00:01:09,320 To Professor Jeff Button and his colleagues and staff, especially Alexander Stavrou at the Department of History of Art. 7 00:01:10,380 --> 00:01:16,740 I also thank Professor John Vickers, Warden of All Souls College, 8 00:01:17,490 --> 00:01:28,230 and especially Dame Marina Wana, also of All Souls College, to whom I dedicate these lectures. 9 00:01:30,460 --> 00:01:36,280 Today I take us to the Democratic Republic of Congo. 10 00:01:37,580 --> 00:01:43,190 In the era of Mobutu Sese Seko, when he was referred to as the Republic of Zaire. 11 00:01:44,760 --> 00:01:59,670 Who as president from 1965 to 1997 exemplified the theatrical and ostentatious big man ruler in post-colonial Africa. 12 00:02:01,270 --> 00:02:04,720 By deploying anti-communist rhetoric. 13 00:02:04,960 --> 00:02:06,340 During the Cold War, 14 00:02:06,940 --> 00:02:21,670 he secured the Western bloc's support of his spectacularly kleptocratic and repressive regime and through his anti Western authenticity program, 15 00:02:22,300 --> 00:02:26,350 created a national culture. In his own image. 16 00:02:27,820 --> 00:02:31,780 Against Mobutu's political practice and ideology. 17 00:02:32,890 --> 00:02:36,880 I read the architectural sculptures of bodies. 18 00:02:36,910 --> 00:02:47,860 He said Congolese. And they argue that the extravagant hyper modernity reflected in segments of popular arts 19 00:02:48,430 --> 00:02:55,570 constituted a distinct form of imaginative resistance to our official culture under Mobutu, 20 00:02:56,140 --> 00:03:10,930 and that they must be seen as a rhetorical refutation of Mobutu's authenticity, ideology, and his enforcement of a unitary vision of national culture. 21 00:03:13,220 --> 00:03:20,690 But first, let me acknowledge the Department of Fine and Applied Arts Class of 1990, 22 00:03:21,380 --> 00:03:31,970 a group that has served as my enduring uncle from the very moment I arrived at Sokha with no previous background in the fine arts. 23 00:03:33,330 --> 00:03:43,860 The competitive work ethos we developed during those years and the deep friendship among the entire cohort which continues to this day, 24 00:03:44,490 --> 00:03:53,520 provided me the tools with which I charted my path into and through many of my professional worlds. 25 00:03:55,100 --> 00:04:07,090 The company of my 1990 classmates serves for me as a zone of freedom and imaginative comfort, impossible in other spaces I occupied today. 26 00:04:07,100 --> 00:04:11,620 And for this, I am truly grateful. 27 00:04:14,340 --> 00:04:19,200 And with that, I now turn to the topic of today's lecture. 28 00:04:24,800 --> 00:04:39,150 In 1989. The now legendary exhibition magician, the latter organised by Jean de Mattei at the Pompidou Centre in Paris. 29 00:04:40,430 --> 00:04:51,200 The Congolese artist buddies is a Kindle is presented for architectural sculptures that brought him to international attention. 30 00:04:53,020 --> 00:04:57,010 Among them were Le Card de CEO. 31 00:04:58,390 --> 00:05:05,410 A blue highrise structure with square windows framed in yellow and black. 32 00:05:06,380 --> 00:05:22,130 On an 8.8 stop plan. The 11 floor building sits on a high olive green days on the facets of which are large yellow triangular designs with red cords. 33 00:05:23,500 --> 00:05:28,360 The space itself sits on two circular platforms. 34 00:05:28,990 --> 00:05:40,780 The first, also green, has a flat top on which we see pit tiled structures set on a square or range bases. 35 00:05:41,960 --> 00:05:55,680 With fringes. Large and small entry ways on this level are accessed by a double ramp marked with entrance and exit traffic signs. 36 00:05:57,300 --> 00:06:06,750 Atop the building, a dome shaped structure with golden stripes rest on two solid blue bases and holds 37 00:06:06,750 --> 00:06:14,910 aloft a finial that looks more like if four stained arrowhead than a cross. 38 00:06:16,780 --> 00:06:21,440 In the second work. La République Francais. 39 00:06:22,560 --> 00:06:34,980 The main building is tubular with 24 floors and multi level square bases, as well as a delicate finial structure topped by a circular. 40 00:06:36,030 --> 00:06:41,160 Display sign on which the work's title is written. 41 00:06:42,830 --> 00:06:50,270 But I want to draw attention to two design elements connecting these two elements and sculptures. 42 00:06:52,370 --> 00:06:57,560 First. Is the blue, red, yellow green colour combination in both. 43 00:06:58,310 --> 00:07:11,990 And second is the eight pointed star, which in one work is the basis of its plan and in the other the main motif painted on the finial display sign. 44 00:07:13,480 --> 00:07:26,350 I will argue that in deploying this task shape and form the blue colour and the green yellow red tricolore in these two sculptures and elsewhere, 45 00:07:26,890 --> 00:07:41,530 jingles simultaneously glorified the Mobutu regime, yet gestures to a history that not only haunted the dictator himself, but also the nation. 46 00:07:43,000 --> 00:07:53,080 And although King Charles was peerless with his inventive sculptural form and unique in his artistic vision, 47 00:07:53,860 --> 00:08:01,809 I argue that what I might call his double speak occurs in the work of his other contemporaries, 48 00:08:01,810 --> 00:08:13,420 with whom he has been identified in the scholarship and in the exhibitions of modern and contemporary art of the Congo and Africa. 49 00:08:14,950 --> 00:08:25,149 That is, I am interested in how the sculptures of King plays, as well as paintings of his compatriots, Cherie Samba. 50 00:08:25,150 --> 00:08:35,950 And she boomed back in Denmark to look. Who have come to us primarily as leading figures in the so-called School of Popular Painting. 51 00:08:36,790 --> 00:08:44,470 Despite openly exalting or avoiding direct criticism or negative commentary 52 00:08:44,650 --> 00:08:52,030 about a ruler who from the onset demonstrated a propensity for exterminating 53 00:08:52,030 --> 00:08:59,800 any and all opposition and dissident managed to convey fears and perhaps even 54 00:09:00,040 --> 00:09:05,800 surreptitious critique and rejection of Mobutu's politics and ideologies. 55 00:09:08,690 --> 00:09:18,740 To be sure, the choice of Mobutu Sese Seko as the fifth African deep man in these late lectures is far from surprising, 56 00:09:19,400 --> 00:09:25,580 given that he was more than the others we have encountered. 57 00:09:26,270 --> 00:09:35,630 The exemplary, brutal, kleptocratic, colourful, decadent dictator and creature of the Cold War era. 58 00:09:36,940 --> 00:09:45,030 At once, much hated. And all but worshipped by segments of the Congolese population. 59 00:09:46,980 --> 00:09:51,420 And although Tingle's might seem ill fitted for this present inquiry, 60 00:09:52,110 --> 00:09:59,540 I am convinced that his cultures allow us to reckon with Mobutu's uses of buildings, 61 00:10:00,360 --> 00:10:12,810 public structures and his many palaces to express his magnificent like royalty, ancient and modern, but also to appreciate the less studied ways. 62 00:10:13,080 --> 00:10:18,660 King alleged this work, despite its formal specificity and uniqueness, 63 00:10:19,170 --> 00:10:26,399 participated in a widespread visual and expressive culture that drew on the power of 64 00:10:26,400 --> 00:10:33,360 popular art and discourse to challenge hegemonic and progressive governmentality. 65 00:10:35,890 --> 00:10:45,400 In probing these questions, I begin first with an overview of Mobutu's role in shaping the politics of post-independence Congo, 66 00:10:46,330 --> 00:10:55,209 his political ideology and its attendant visual rhetoric, and how these provide the context for reading some of the work. 67 00:10:55,210 --> 00:11:07,030 Congolese and the masters of Congolese popular painting as forms of political speech for and against a repressive dictatorship. 68 00:11:11,660 --> 00:11:20,090 On June 13, 1960, the day the Democratic Republic of Congo gained its independence from Belgium. 69 00:11:20,960 --> 00:11:26,780 Patrice Lumumba, as new prime minister, gave a fiery speech. 70 00:11:27,970 --> 00:11:33,880 That propelled him to the status of a living legend, but also sealed his fate. 71 00:11:34,240 --> 00:11:39,770 As a political matter. With the Belgian king by his side. 72 00:11:41,380 --> 00:11:51,640 Lumumba denounced the decades long exploitation, violation and repression of the people of Congo by the colonial regime. 73 00:11:51,640 --> 00:12:00,670 Noting that, and I quote, No Congolese will ever forget that independence was one. 74 00:12:02,750 --> 00:12:06,680 It persevering and its power struggle carried on. 75 00:12:07,770 --> 00:12:13,560 From day to day, a struggle in which we were undaunted by privation. 76 00:12:14,860 --> 00:12:18,880 Or suffering and stilted needs strained blood. 77 00:12:19,420 --> 00:12:22,840 It was filled with tears, fire and blood. 78 00:12:23,740 --> 00:12:37,390 We are deeply proud of our struggle because it was justice and noble and indispensable in putting an end to the humiliating bondage forced upon us, 79 00:12:37,720 --> 00:12:46,850 unquote. Legend has it that in a speech broadcast on radio through Belgium, 80 00:12:46,850 --> 00:12:58,970 residents of the Congo who had hoped to continue administering the independent nation state into panic, forcing them to return home en masse. 81 00:13:00,870 --> 00:13:11,639 But while his no holds barred speech endeared him to the anti-colonial and anti-imperial world, Malcolm X, 82 00:13:11,640 --> 00:13:19,230 on account of it declared Lumumba the greatest black man who ever walked the African continent. 83 00:13:20,250 --> 00:13:26,430 Authorities in France, Belgium and the United States saw instead a troublemaker. 84 00:13:27,690 --> 00:13:34,980 That is better dead than alive, in charge of one of the world's most resource rich nations. 85 00:13:37,210 --> 00:13:48,160 Three months later, foreign and local anti Lumumba interests converged around the journalist turned army officer. 86 00:13:51,100 --> 00:13:54,130 Just have Desiree the Mobutu. 87 00:13:56,680 --> 00:14:02,720 Who rallied his troops. Dismiss the government. 88 00:14:04,530 --> 00:14:12,960 Paralysed by power struggle between prime minister and president and in December arrested. 89 00:14:14,440 --> 00:14:19,940 Patrice Lumumba. In January 1961. 90 00:14:21,100 --> 00:14:27,669 Mobutu handed the prime minister to rebel forces in the Katanga region, who, 91 00:14:27,670 --> 00:14:35,050 with the help of Belgian missionaries, assassinated Lumumba and his associates. 92 00:14:35,620 --> 00:14:38,830 Their bodies apparently melted with acid. 93 00:14:39,850 --> 00:14:44,560 To avoid the possibility of his grave becoming a pilgrimage site. 94 00:14:45,990 --> 00:14:58,350 Regardless, he became a political matter, celebrated among the non-aligned and decolonising world, as well as among Soviet bloc countries. 95 00:15:00,460 --> 00:15:09,240 In a few years. Mobutu establishes credentials among Western powers as an economic and political ally 96 00:15:09,240 --> 00:15:17,670 in the Congo and as a bulwark against any Soviet interests in the region and Africa. 97 00:15:20,580 --> 00:15:32,220 He went on further military training in Israel and the UK and in 1963 was feted by US President John F Kennedy at the White House. 98 00:15:33,370 --> 00:15:46,930 By 1965, Mobutu was the most powerful force in the country with the president kasavubu all but entirely dependent on him for protection. 99 00:15:48,440 --> 00:15:59,660 On November 24. Six days after the President announced and promoted Mobutu to the peerless rank of Major General, 100 00:16:00,560 --> 00:16:10,850 Mobutu returned the favour by seizing power, executing four members of the President's Cabinet in front of a crowd of 50,000. 101 00:16:11,810 --> 00:16:16,010 To the apparent consternation of his Western allies. 102 00:16:18,220 --> 00:16:28,720 When in an interview, a European journalist noted that the West does not favour the execution of politicians in democracies. 103 00:16:28,780 --> 00:16:34,600 Mobutu retorted with a quote, Me remind you, my dear friend. 104 00:16:35,910 --> 00:16:39,150 We are not Europeans, we are Bantustans. 105 00:16:40,170 --> 00:16:43,550 Just because we were colonised by Europeans. 106 00:16:44,430 --> 00:16:49,710 We have not become Westerners. We are still Bantustans. 107 00:16:50,770 --> 00:16:55,290 Put. Moreover, he argued that. 108 00:16:56,230 --> 00:16:59,770 Even if democracy were to be applied in Africa, 109 00:17:00,190 --> 00:17:06,700 it had to be nuanced in a way that invested the president or head of state with powers 110 00:17:06,700 --> 00:17:14,470 associated with what he described as the African chief whose authority was absolute. 111 00:17:16,110 --> 00:17:22,240 For us over here, said Mobutu. The respect giving to a chief is sacred. 112 00:17:22,570 --> 00:17:28,300 You can mess about with a chief. His decision is final. 113 00:17:31,780 --> 00:17:39,690 Contemporary photographs of him on a later. Like European colonial officers and potentates of old. 114 00:17:41,150 --> 00:17:54,260 Reveal how serious he was once on the national stage about performing his self arrogated chiefly or more appropriately, his big man status. 115 00:17:55,740 --> 00:18:02,639 Thus began the long process of Mobutu's takeover from embattled trade. 116 00:18:02,640 --> 00:18:07,860 Military head of state. Trained in the ways of war and politics in the West. 117 00:18:08,310 --> 00:18:13,080 And fully immersed in European political thought and modernist ideologies. 118 00:18:13,620 --> 00:18:24,689 To a band to Chief King big man fired by a phenomenal desire to transform himself into the deity of a state. 119 00:18:24,690 --> 00:18:30,490 Religion. With the entire citizenry as his adoring worshippers. 120 00:18:32,150 --> 00:18:41,180 His first act of political rehabilitation was to appropriate the legacies of his nemesis, Lumumba. 121 00:18:42,720 --> 00:18:55,230 So in 1966. He declared the same Lumumba whose assassination he helped orchestrate five years before in National Hero, 122 00:18:56,160 --> 00:19:08,160 named the main boulevard in the capital city after him and organised an epic pageantry during which crowds flew banners with the two portraits 123 00:19:09,300 --> 00:19:19,140 with the portraits of the two men amid songs and dances celebrating their cousin really glorious deeds in the service of the new nation. 124 00:19:20,840 --> 00:19:29,130 Then. Mobutu declared himself the second national hero with Lumumba as the first. 125 00:19:30,300 --> 00:19:36,070 And to permanently mark. There's elevation in the landscape. 126 00:19:36,700 --> 00:19:41,680 He ordered the construction of the mighty monument to national heroes. 127 00:19:42,670 --> 00:19:53,350 On the road interchange at limit industrial area connecting the Mumbai Boulevard to the capital cities on the main roads. 128 00:19:54,950 --> 00:20:00,230 Designed by the French Tunisian architect Olivier Clément Kaku, 129 00:20:01,190 --> 00:20:12,650 a favourite of Mobutu and other African dictators like who who fled one year of Cote d'Ivoire and Amadou Ahi joe of Cameroon. 130 00:20:13,520 --> 00:20:27,470 The monument consists of a 210 metre high brutalist tower with a three tier viewing platform and a huge spire clad in copper. 131 00:20:28,460 --> 00:20:40,370 And it is meant for a national museum. Where the foundation laid ceremony chaired by the then Tanzanian president, Julius Nyerere, in 1967. 132 00:20:41,090 --> 00:20:47,930 Construction began in 1969, but stopped in 1974 after the economy bottomed out. 133 00:20:49,470 --> 00:20:52,170 But that was only the beginning of these bizarre. 134 00:20:53,110 --> 00:21:02,560 Costly, systematic and pervasive effort to not only capture the state, but also to turn it into his own image. 135 00:21:02,920 --> 00:21:13,030 And in this, he sought inspiration from a great variety of historical and contemporary potentates, from Napoleon to Chairman Mao. 136 00:21:14,630 --> 00:21:25,100 Just as he is told himself, the second national hero, he found it necessary to mock his rhetorical rejection of Western culture, 137 00:21:25,100 --> 00:21:37,760 an assertion of his and his country's delinking from the sordid European colonial past by reinventing the South's land, nation and citizenry. 138 00:21:38,060 --> 00:21:42,290 So this simple and highly symbolic act of renaming. 139 00:21:43,720 --> 00:21:49,270 So Joseph distributor became Mobutu Sese Seko. 140 00:21:49,810 --> 00:22:01,170 Mwenda was a banker. Which means the warrior who knows no defeat because of his endurance and inflexible 141 00:22:01,170 --> 00:22:09,120 will and is all powerful living fire in his wake as he goes from conquests to outcast. 142 00:22:12,290 --> 00:22:21,440 River Congo. The country and its currency were giving a singular, supposedly African name Zaire. 143 00:22:23,370 --> 00:22:30,900 Never mind that the Congo rephrase the ancient kingdom of Congo and the Zaire. 144 00:22:31,560 --> 00:22:41,430 In fact, the corruption. By the Portuguese of the kingdom's mighty river inside Zara. 145 00:22:41,430 --> 00:22:44,520 The river that swallowed all rivers. 146 00:22:46,360 --> 00:22:49,750 It seems, though, that in naming the country after the river, 147 00:22:50,320 --> 00:22:59,920 he meant to disconnect the modern nation from the rich and as a member of the tiny minority ethnic group from the far north. 148 00:23:00,400 --> 00:23:05,890 Oppressive legacies of the kingdom with which he had no ancestral claims. 149 00:23:07,210 --> 00:23:17,980 In any case, he established his own political party, the Popular Movement of the Revolution, MPR banning every other. 150 00:23:18,400 --> 00:23:27,790 And in 1967 published his political manifesto, in which he articulated his ideology of authenticity. 151 00:23:29,040 --> 00:23:36,270 If as a concept partly based on the Negritude philosophy of reanimating and celebrating 152 00:23:36,780 --> 00:23:44,190 blackness in response to centuries of denigration by Western thought and racist propaganda. 153 00:23:46,390 --> 00:23:52,030 But where Negritude was a literary argument for affirmative racial subjectivity, 154 00:23:52,690 --> 00:24:04,090 Mobutu's authenticity was an unvarnished political program that relied on systematic propaganda and state enforcement of its shifting tenets, 155 00:24:04,540 --> 00:24:09,640 all driven by the fantasies of the megalomaniac, leader and guide. 156 00:24:11,250 --> 00:24:23,250 Just as he rephrased in 1965 what he claimed to be the Africans view of the chief as an authoritarian wielder of unchallenged power. 157 00:24:24,030 --> 00:24:31,710 He defended the one party state in the modern nation as a derivative of African political system. 158 00:24:32,520 --> 00:24:37,660 For as he claimed. A community does not have two chiefs. 159 00:24:40,180 --> 00:24:44,500 Mobutu also embarked on a colonial iconoclasm. 160 00:24:45,520 --> 00:24:49,780 Taking down the monumental statue of King Leopold, the second, 161 00:24:50,410 --> 00:24:59,020 the terrible Belgian who turned the paradoxically named Congo free state into his modern day fiefdom, 162 00:24:59,920 --> 00:25:05,860 removed the statue of Henry Morton Stanley Leopold's inaugural imperial agent, 163 00:25:06,550 --> 00:25:12,790 as well as the railway monument with its racist depiction of Congolese labourers. 164 00:25:14,540 --> 00:25:21,010 And in addition to building for himself several palaces, including the modernist bamboo. 165 00:25:22,400 --> 00:25:26,820 Pallas, a.k.a. The Backside of the Jungle. 166 00:25:27,830 --> 00:25:38,900 Designed by his beloved architect Kaku, in Mobutu's ancestral village in Batali and the Chinese themed palace at Sella. 167 00:25:39,470 --> 00:25:54,080 Where in 1974. Muhammad Ali stayed during the now legendary Rumble in the Jungle boxing match with George Foreman. 168 00:25:55,950 --> 00:26:05,100 That event for which the boxers were reportedly paid an unprecedented sum of 10 million. 169 00:26:05,340 --> 00:26:10,850 Each was for Mobutu. A propaganda coup. 170 00:26:12,180 --> 00:26:23,750 Billboards near the stadium proudly announced that a fight between two blacks in a black nation organised by blacks and seen by the whole world. 171 00:26:24,960 --> 00:26:35,250 Is indeed a victory of Buddhism. Liberties in being the next stage when the sole objective of the state's authenticity 172 00:26:35,250 --> 00:26:44,490 program congealed into a cult like worship of Mobutu as father of the nation Zaire. 173 00:26:45,810 --> 00:26:50,700 Guide of the Revolution Helmsman Founder. 174 00:26:51,870 --> 00:26:55,640 Saviour of the people. And supreme combatant. 175 00:26:57,980 --> 00:27:07,760 One important change made by Mobutu in 1971, a year before he unsuccessfully tried to name himself president for life, 176 00:27:08,630 --> 00:27:12,140 was the radical change of the country's flag. 177 00:27:13,120 --> 00:27:23,769 From previous designs that consisted of some combination of yellow star and diagonal arrange fringed red band against a blue 178 00:27:23,770 --> 00:27:36,610 background to a decidedly green flag with a central yellow circle in which is drawn a brown hand holding a touch with red flames. 179 00:27:37,880 --> 00:27:49,160 It has been suggested that this illustrative symbol reframes the part of Mobutu's name, identifying him as a fiery warrior conqueror. 180 00:27:50,520 --> 00:27:55,500 In other words, the flag unify the man and the nation. 181 00:27:56,770 --> 00:28:01,260 He was not just the father of the nation. The nation was him. 182 00:28:03,820 --> 00:28:10,390 This flag would feature prominently in the works of King Charles and some of his contemporaries. 183 00:28:11,320 --> 00:28:16,240 And because of its close relationship with Mobutu and his nation, 184 00:28:16,780 --> 00:28:27,970 I argue that the manner of its deployment in the art reveals the artist's shifting allegiances or faith in Mobutu Zaire. 185 00:28:31,560 --> 00:28:42,000 Jean-Baptiste King Charles was born in 1948 in Kimberley in Hunger, a farming village hundreds of miles southeast of Kinshasa. 186 00:28:43,480 --> 00:28:48,820 After attending a Catholic high school run by Belgian missionaries. 187 00:28:49,540 --> 00:28:52,690 He moved to Kinshasa in about 1970. 188 00:28:53,200 --> 00:29:03,970 Just as much, his program of unifying the diverse nation under the banner of his MPR Party and his political ideology was revving up. 189 00:29:06,650 --> 00:29:14,210 King must have. Changed his name to buddies king allies at this time. 190 00:29:16,020 --> 00:29:19,079 Kinshasa, formerly called Leopold, 191 00:29:19,080 --> 00:29:28,320 feel like the rest of the country experienced tremendous economic growth in the early seventies due to the high price of copper. 192 00:29:28,680 --> 00:29:31,500 Zaire's main export commodity. 193 00:29:32,760 --> 00:29:43,440 Those Congolese arrived in an already booming city with magnificent colonial era buildings like the National Museum and Astoria Hotel. 194 00:29:44,900 --> 00:29:48,260 And the new construction is reshaping the urban landscape. 195 00:29:50,200 --> 00:29:53,440 He worked first as a secondary school teacher. 196 00:29:54,610 --> 00:29:59,380 And in the mid 1970s began making paper architectural sculptures, 197 00:30:00,100 --> 00:30:05,530 the earliest of which earned him a job at the National Museum of Zaire Institute 198 00:30:06,190 --> 00:30:12,430 as a restorer of traditional Congo and African art objects in the collection. 199 00:30:15,120 --> 00:30:19,200 The story of King Leslie's beginnings as an artist is a bit murky, 200 00:30:20,160 --> 00:30:29,130 in part because of the discrepancies in the accounts of early writers and the artist's own not always reliable, 201 00:30:29,140 --> 00:30:33,540 sometimes hyperbolic autobiographic writings. 202 00:30:34,990 --> 00:30:40,810 This College on trust once argued that Kingsley's is. 203 00:30:43,000 --> 00:30:54,440 Rather King Kingsley's. Constant. His constant contact with the old stuff he was restoring prompted him to create his own powerful, modern work. 204 00:30:56,420 --> 00:31:06,650 The implication here is that Fingal, as its status as a modern Congolese artist, was mediated by the experience of restoring traditional artefacts. 205 00:31:07,130 --> 00:31:14,600 In other words, that by immersing himself in the ancestral waters of authenticity. 206 00:31:15,860 --> 00:31:21,470 By the act of mending the old. He found his voice as a maker of new art. 207 00:31:23,400 --> 00:31:29,010 King Charles. However, it was clear that traditional art had no place in his art. 208 00:31:30,440 --> 00:31:38,960 He was, in a way, willing to jettison his Western or Christian name as the father of the nation ordered. 209 00:31:39,740 --> 00:31:48,200 But on the matter of his art, he had no interest in going native or on some routes finding trip. 210 00:31:49,300 --> 00:31:56,410 Moreover, he saw his tenure at the museum as a mad job rather than a formative experience, 211 00:31:56,590 --> 00:32:04,060 and thus pushed back against any perception of him as a mimic of the European modernists, 212 00:32:04,480 --> 00:32:12,100 whose work was famously inspired by the encounters with the art of King as his ancestors. 213 00:32:14,110 --> 00:32:23,590 What is not in doubt is that in his early years, which coincided with the first stages of political turbulence and economic crisis in Zaire, 214 00:32:24,310 --> 00:32:30,010 King Charles joined his compatriots to extol Mobutu's greatness. 215 00:32:32,110 --> 00:32:44,680 While I do not know if single ladies participated in the usually mandatory pageants orchestrated by NPR and broadcast on national media. 216 00:32:45,630 --> 00:32:56,450 In one of his surviving works. November 24 City of African Authenticity for Zaire Museums of 1979. 217 00:32:56,900 --> 00:33:00,500 He, I would argue, did just that. 218 00:33:02,240 --> 00:33:15,530 Created as an imaginary and imaginative proposal for a new museum for Zaire that was to have, as its mandate, the promulgation of Mobutu's ideology. 219 00:33:16,250 --> 00:33:20,930 This sprawling campus is stunning for its complexity and ambition. 220 00:33:22,520 --> 00:33:30,120 Though, now in disrespect. At the museum, its original colours much faded. 221 00:33:30,810 --> 00:33:41,100 It is the very act of naming this museum after the November 24, 1965 military coup that brought Mobutu to power. 222 00:33:41,460 --> 00:33:42,890 That is about the address to me. 223 00:33:44,760 --> 00:33:56,940 Nationally celebrated as the Revolutionary Day, November 24, all but eclipsed the June 30th Independence Day in both official and popular discourse. 224 00:33:58,390 --> 00:34:01,400 Given that. I suppose. 225 00:34:02,690 --> 00:34:08,540 King Charles had not intended or imagined this as a real architectural project, 226 00:34:09,410 --> 00:34:18,650 though he clearly identified himself here and elsewhere as an architect who made what he called maquettes or extreme maquettes. 227 00:34:19,640 --> 00:34:27,710 It is safe to say that he envisaged his work as an expressive and architectonic statement of his compliance to, 228 00:34:28,340 --> 00:34:35,240 if not belief in the use of his artistic voice in praise of Mobutu and his Zaire. 229 00:34:37,590 --> 00:34:40,590 This much is evident from the inclusion. 230 00:34:46,810 --> 00:35:01,380 Empires torch in. The portrait of Mobutu himself pasted on a circular display board alongside his party's logo. 231 00:35:03,140 --> 00:35:10,400 Although this might be the only time King has included liberties portrayed in his compositions. 232 00:35:11,500 --> 00:35:23,540 I argue that his subsequent works. Show him step back from this unfiltered glorification of the Dear Leader, who by then. 233 00:35:24,790 --> 00:35:35,980 And despite his still formidable propaganda infrastructure, faced increasing political headwinds and a collapsing economy. 234 00:35:37,740 --> 00:35:45,060 Four. By 1979, Mobutu had seemed to coups in 1975 and 1978. 235 00:35:46,020 --> 00:35:50,280 The latter, leading to the passage of more than 200 officers. 236 00:35:51,270 --> 00:36:03,690 And although he would promote himself to field marshal in 1983, by the late 1980s, he had become so paranoid about coup plots that he. 237 00:36:04,690 --> 00:36:14,860 Recruited military officers to whom he delegated enormous power almost exclusively from among his small bandy ethnic group. 238 00:36:17,380 --> 00:36:25,350 But what form did the critical adjustment I am suggesting here for jingles? 239 00:36:26,350 --> 00:36:39,350 Take. I earlier noted in my reading of the works of Kindle as shown at the 1989 Majesty and the latter exhibition, 240 00:36:40,130 --> 00:36:46,910 that by simultaneously evoking the colours of the Empire Flag and the star form. 241 00:36:47,830 --> 00:36:53,350 Which belonged to. Mobutu is pretty authenticity era. 242 00:36:54,300 --> 00:36:57,660 He might have been engaging in double speak. 243 00:36:58,440 --> 00:37:06,990 That is a less than clear endorsement of an affiliation with the political status quo. 244 00:37:09,320 --> 00:37:19,250 I also noted that Jingles was not alone among his contemporaries in using his work as a space of and for political discourse. 245 00:37:21,130 --> 00:37:28,270 Consider, for instance, the painter Monson will catch what would be better known as Mulcair, 246 00:37:28,990 --> 00:37:37,959 a leading figure in what the scholarship identified as the Xavier School of popular or genre painting that is, 247 00:37:37,960 --> 00:37:45,730 artists whose work was made for the urban working class and circulated outside of the formal 248 00:37:45,730 --> 00:37:54,490 and elite circuits in which we find the academy trained fine artists such as La Jolla, 249 00:37:54,490 --> 00:37:59,020 Linda Wanga and Damsel Sekou Pozzo. 250 00:38:00,160 --> 00:38:07,420 Whose commissions for Mobutu's palaces exemplified the country's official art. 251 00:38:09,420 --> 00:38:18,329 A self-described painted journalist, Mulcair is best known for his scenes of an outdoor revellers. 252 00:38:18,330 --> 00:38:27,310 An ordinary life in the streets of Kinshasa. His political reportage frequently chronicled Mobutu's events. 253 00:38:28,020 --> 00:38:32,670 Whether doling out gifts to women party loyalists. 254 00:38:33,650 --> 00:38:38,960 Or. On a solo parade through the city or visiting. 255 00:38:41,820 --> 00:38:51,510 With visiting famous people like President Mitterrand of France, whose 1984. 256 00:38:53,940 --> 00:38:57,730 They said it became a recurring subject for Mulcaire. 257 00:38:58,630 --> 00:39:10,150 And other artists. It is impossible, I think, to not see in both the recorded events and the ubiquity of the NPR flags, 258 00:39:10,780 --> 00:39:18,670 the artists celebration of the political animations that defined public life in Mobutu Zaire. 259 00:39:21,200 --> 00:39:28,710 In these works. There is no ostensible troubling of signs and symbols of the regime, 260 00:39:29,580 --> 00:39:38,580 nor an overt critique of the performative and theatrical display of the dictator's big manhood. 261 00:39:40,610 --> 00:39:47,120 On the other hand, the paintings of Cherie Samba, undoubtedly the most renowned artist, 262 00:39:47,120 --> 00:39:54,500 not only of the popular genre, but arguably of contemporary Congolese art. 263 00:39:57,610 --> 00:40:02,940 His work. It's full of social commentary. 264 00:40:04,320 --> 00:40:10,020 Laden with erotic or modern humour. 265 00:40:11,500 --> 00:40:14,620 And generally sidestep direct critique of the regime. 266 00:40:17,760 --> 00:40:22,320 Yet. Some of his work, I argue, was made to do just that. 267 00:40:23,430 --> 00:40:36,540 The clandestinely. I'm thinking here, for instance, of two important paintings from the early 1990s, such as the Tricolour Flag. 268 00:40:38,510 --> 00:40:41,930 And Zai memorial both created. 269 00:40:43,020 --> 00:40:49,020 At a time when Mobutu his grip on power crumbled with the end of the Cold War. 270 00:40:50,030 --> 00:40:52,910 As frequent students and workers strikes. 271 00:40:53,600 --> 00:41:03,380 And the re-emergence of this great rival, Etienne Tshisekedi, on the national scene signalled widespread desire for political change. 272 00:41:06,820 --> 00:41:12,880 The Tricolour Flag features a small group of four adults. 273 00:41:14,230 --> 00:41:24,460 And two schoolchildren outside the house watching a burly man hoist the NPR so-called Tricolore flag. 274 00:41:26,170 --> 00:41:30,940 Perhaps to indicate that this might be a local party office. 275 00:41:31,690 --> 00:41:38,560 Three bands of red, yellow and green run vertically along the front corner of the house. 276 00:41:40,380 --> 00:41:49,290 Three of the adults are apparently singing the Syrian national anthem in which the tricolour flag is severally mentioned. 277 00:41:50,940 --> 00:41:56,880 However, the children rather than joined the chorus instead. 278 00:41:58,300 --> 00:42:06,400 Point to the mis naming of the flag that clearly has more than three colours on it. 279 00:42:07,570 --> 00:42:15,880 While the man in the foreground has enlightened by the children's critique refuses to sing the anthem. 280 00:42:18,370 --> 00:42:31,060 Here. Then it seems somebody recognises the role of the youth in unmaking, the Buddhist ideological edifice represented by the party and its flag, 281 00:42:31,630 --> 00:42:44,980 and shows how awareness of the senselessness of the symbols of state money can serve as the catalyst for political dissidents and change. 282 00:42:47,460 --> 00:43:02,100 But if this painting insinuates the need to dismantle the falsehoods that funded Mobutu's political ideology and oppressive regime Zaire memorial. 283 00:43:03,490 --> 00:43:11,139 Presents a damning view of Congo's political history from colonial to post-independence eras, 284 00:43:11,140 --> 00:43:17,410 including Mobutu's as one of unrelenting tyranny and savagery. 285 00:43:19,760 --> 00:43:24,020 While the four men to the left, Duterte, are not united. 286 00:43:25,170 --> 00:43:32,940 Or at least appear to be in preventing the national wheel from falling off the precipice. 287 00:43:33,810 --> 00:43:45,450 I draw attention to the scene in the circles Mobutu period quadrant in which two emaciated couples 288 00:43:46,020 --> 00:43:55,020 engage in a wretched dance in front of a fax and PR big man identified by his leopard skin cap. 289 00:43:57,900 --> 00:44:11,430 For some seems to imagine that era as one in which the big men delighted in the mandatory performance of mass happiness by beleaguered, 290 00:44:12,000 --> 00:44:15,150 sickly and exploited citizenry. 291 00:44:17,420 --> 00:44:21,570 The question that. This might raise. 292 00:44:25,840 --> 00:44:36,850 And that is the questions around my reading these paintings as critical statements under the Mobutu regime. 293 00:44:38,130 --> 00:44:46,209 Is Why did samba. As it were, veiled his critique in this manner, 294 00:44:46,210 --> 00:44:55,180 especially since some scholars have argued that clarity of communication is one of the characteristics of popular art. 295 00:44:57,320 --> 00:45:01,430 To that, I would suggest or rather offer. 296 00:45:02,530 --> 00:45:07,930 I still remember a study of what he called the aesthetic of vulgarity in the post colony, 297 00:45:08,590 --> 00:45:18,520 in which he showed how in Cameroon the ordinary folk deployed double speak, idiomatic and proverbial expressions. 298 00:45:19,470 --> 00:45:34,050 And forms of humour in popular discourse meant to counter and deflect the otherwise scorching power of the ruler's actions as signifying gestures. 299 00:45:36,250 --> 00:45:40,830 Samba seems to have. Avoided. 300 00:45:42,540 --> 00:45:46,900 Frontal critique of power. Out of fear. 301 00:45:47,890 --> 00:45:52,270 Of repression. In fact, he signalled this. 302 00:45:54,120 --> 00:46:00,680 In his painting. I'm a rebel. In which and which. 303 00:46:02,100 --> 00:46:12,160 He refers. To his decision years back against overtly political themes following threats. 304 00:46:13,260 --> 00:46:21,240 By someone who assumed that he was the target of the artist's satirical work. 305 00:46:24,070 --> 00:46:30,490 Another leading figure of the popular painting she boomed Back Under My Tutu provides 306 00:46:30,490 --> 00:46:38,290 us the clearest example of an artist who demonstrated open support for Mobutu, 307 00:46:39,100 --> 00:46:43,030 yet harboured deep fear about the country's future. 308 00:46:44,740 --> 00:46:49,900 Based in Lubumbashi, the capital city of the mineral rich Shabab province. 309 00:46:50,620 --> 00:46:57,040 She, Moomba, came to international attention by virtue of his epic work. 310 00:47:01,180 --> 00:47:08,110 The history of Zaire consisted of 100 or 101 paintings. 311 00:47:09,190 --> 00:47:16,360 Spanning the entire history of the Congo, from the ancient kingdom through to the era of Mobutu. 312 00:47:18,380 --> 00:47:22,040 Commissioned by Johannes Fabian, the anthropologist. 313 00:47:22,730 --> 00:47:33,350 These paintings reveal the artist's keen, sometimes apocryphal, understanding of the Congo's long, 314 00:47:33,350 --> 00:47:42,410 complex and fraught history of encounter with Europe and the internecine bloodletting of the post-independence period. 315 00:47:44,350 --> 00:47:48,339 Following the party line. She? 316 00:47:48,340 --> 00:47:58,570 Mumbai frequently invoked the Mumbai as heroism matted down and the glorious co-optation of his legacy by MPR. 317 00:48:00,130 --> 00:48:12,930 And he indulged in full throated praise singing as we see it in 1974, works celebrating the big man and his one party state. 318 00:48:14,140 --> 00:48:26,380 And the same November 24 anniversary, King Elect commemorated in his City of Africa and Authenticity Project of 1979. 319 00:48:28,670 --> 00:48:32,209 But it is in. She wonders. 320 00:48:32,210 --> 00:48:40,240 Last painting for the history series. That he tactfully conveyed his frightening vision. 321 00:48:41,360 --> 00:48:44,930 Of future life under Mobutu an NPR. 322 00:48:46,700 --> 00:48:54,200 Titled The Key to the Future and described as a mysterious dream. 323 00:48:55,100 --> 00:49:03,510 It features a monumental domed structure set in the clouds festooned with NPR flags. 324 00:49:03,530 --> 00:49:16,430 Its entrance manned by two recumbent skeletons as the words hundred years for Mobutu and X tive. 325 00:49:17,570 --> 00:49:22,490 Chant often made by party foes at official events. 326 00:49:24,100 --> 00:49:35,290 These words and these expressions a hundred years from Mobutu Stream Star was like towards the building. 327 00:49:37,150 --> 00:49:44,650 About this. What she won back told Fabian that in this vision of tomorrow. 328 00:49:45,730 --> 00:49:58,060 He saw skeletons approach him. From the building as revolutionaries priest songs from Mobutu and displaced by that of. 329 00:49:59,090 --> 00:50:03,410 The famous Tacos Maestro Tabbouleh Urrutia Rule. 330 00:50:05,530 --> 00:50:10,760 And that he that is she boomed back contemplated this frightening encounter. 331 00:50:11,790 --> 00:50:18,390 He thought about the popular saying. If you go far, where will you get to? 332 00:50:20,070 --> 00:50:23,610 And here he paraphrased Tabulates lyrics. 333 00:50:25,290 --> 00:50:29,790 If you're going to meet Lumumba, what would you say? 334 00:50:32,670 --> 00:50:40,290 Recalling the dream illustrated in this painting, Shibusawa feared that he might be arrested, 335 00:50:40,980 --> 00:50:52,610 but not for anything he had done, but for daring to envision a future at odds with the fantasy land of Zaire in authenticity. 336 00:50:55,780 --> 00:51:04,959 But let me then turn to Ingles to show how he's playing with NPR's symbols and his invention of hyper 337 00:51:04,960 --> 00:51:15,130 modern architectural imaginaries must be seen both as counter-narratives of official as public discourse. 338 00:51:16,170 --> 00:51:23,190 And as assistant if clandestine identification with nonconforming. 339 00:51:24,450 --> 00:51:27,750 Subjectivities occupying the fringes. 340 00:51:29,020 --> 00:51:35,530 Of the one party state. Consider, for instance. 341 00:51:36,770 --> 00:51:42,760 His Place De La Ville. Which like choir, the seal. 342 00:51:44,580 --> 00:51:48,990 Features the colour scheme of the Empire flag. 343 00:51:50,470 --> 00:51:55,060 But like his 1979 museum project, 344 00:51:56,020 --> 00:52:10,150 that entrance signage and multiple flags mounted atop the buildings clearly identify the campus as a proposal for a hyper modern party headquarters. 345 00:52:11,790 --> 00:52:25,880 However, when perhaps taking cue from Mobutu's creation of the Vici in the jungle in his hometown, Madeleine Taylor. 346 00:52:28,440 --> 00:52:35,490 The following year, King Charles reimagined his own hometown team, Ben Bella, a hunger. 347 00:52:38,020 --> 00:52:46,720 And yet there's a remarkable absence of NPR colours and signage on any of the structures. 348 00:52:48,590 --> 00:52:55,550 Beside the fact of the radical transformation of the farming community into a dream city, 349 00:52:55,820 --> 00:53:01,910 not even in SASSA, nor any of Mobutu's palaces who compete with. 350 00:53:02,820 --> 00:53:10,850 I draw attention to the two flags. Despite the. 351 00:53:12,310 --> 00:53:17,090 Map of Africa. On one of the buildings. 352 00:53:20,510 --> 00:53:29,010 Identified. As the Zaire with NPR colours to the far left. 353 00:53:32,180 --> 00:53:36,320 The flags, blue collar and yellow star. 354 00:53:39,150 --> 00:53:45,000 On the buildings to the right. Reference pre Mobutu Congo. 355 00:53:49,550 --> 00:53:56,690 And we see that from the flag of a 1960 32626. 356 00:53:59,540 --> 00:54:05,900 In Kingsley's futuristic homeland he has scrubbed out. 357 00:54:06,970 --> 00:54:14,020 And he raised Mobutu an NPR substituting that very. 358 00:54:15,170 --> 00:54:19,790 Political subjectivity. Legacies. 359 00:54:22,100 --> 00:54:29,610 The regime violently suppressed. We notice, however, 360 00:54:29,610 --> 00:54:43,740 that in this work as almost as in almost every other single as depicts an eight pointed star rather than the six pointed star of the Congo. 361 00:54:45,850 --> 00:54:58,270 It seems to me that he invented this form as a subversive substitute for the symbol Mobutu banished from his Zaire flag, 362 00:54:58,870 --> 00:55:03,760 but which continue to signify the pre Zaire Congo of Lumumba. 363 00:55:05,860 --> 00:55:09,760 Although as far as I know, the king has never explained. 364 00:55:11,680 --> 00:55:20,710 The choice of this motif. I am convinced about its signifying function in Kinga Leslie's work. 365 00:55:23,210 --> 00:55:36,650 To emphasise this point, let us consider his arguably most ambitious work, the remarkably epic project for Kinshasa in the third millennium. 366 00:55:37,040 --> 00:55:49,370 Created in 1997, as the rebel forces of Laurent Kabila pushed their way towards Kinshasa in the successful bid to overthrow Mobutu, 367 00:55:49,550 --> 00:56:00,490 ending his three decade rule. This future Kinshasa, unlike the 1979 Authenticity City. 368 00:56:01,470 --> 00:56:07,380 Did not belong to Mobutu. Rather, it celebrates Lumumba with the. 369 00:56:08,650 --> 00:56:16,780 Fabulous stadium that in form and visual splendour trumps Mobutu's greed combined. 370 00:56:16,780 --> 00:56:20,110 Yola Stadium in Kinshasa. 371 00:56:21,970 --> 00:56:34,360 Moreover, King imagined the soon to be post Mobutu Kinshasa as what he described as, I quote, a free city. 372 00:56:35,440 --> 00:56:42,610 A peaceful city where delinquents, police and prisons do not exist. 373 00:56:43,280 --> 00:56:52,830 Unquote. And that is a place of lasting peace, justice and universal freedom that, as he said, 374 00:56:53,520 --> 00:57:01,800 will function like small, secular states with its own political structure. 375 00:57:02,610 --> 00:57:09,030 And that will have no need. A policeman or an army. 376 00:57:11,370 --> 00:57:23,070 Moreover, the clean, safe, marvellously designed and ordered metropolis is a powerful, if symbolic, rehabilitation of a city, 377 00:57:23,610 --> 00:57:35,010 nation and body politic ravaged by decades of oppressive state sanctioned disorder and official mismanagement by Mobutu. 378 00:57:37,050 --> 00:57:43,920 But let me draw attention to the politically subversive features of this work. 379 00:57:46,970 --> 00:57:54,620 Considering that it was made in what was still Mobutu Zaire by naming. 380 00:57:55,880 --> 00:58:00,590 Kinshasa's Airline, Congo Airways. 381 00:58:02,660 --> 00:58:08,840 King Charles signals once more what I call counter historical imaginary. 382 00:58:09,550 --> 00:58:17,510 Evident in his previous work. And apart from the prominent neon sign. 383 00:58:19,430 --> 00:58:24,170 On a building dedicated to the liberation of the Congo. 384 00:58:25,670 --> 00:58:28,970 We have on the airport tower. 385 00:58:29,890 --> 00:58:44,080 And unmistakeable and no doubt wilful conflation of the four and eight pointed star as signifiers of pre Congo. 386 00:58:45,690 --> 00:58:50,690 Or Presi Congo. The Congo of Lumumba. 387 00:58:53,120 --> 00:59:08,930 For his flies, not just the suggestive one star banner we saw in him, then barely a finger, but the Congolese independence blue flag with. 388 00:59:10,390 --> 00:59:14,710 Six small and one large yellow star. 389 00:59:15,950 --> 00:59:21,560 And below it, two of these ubiquitous eight pointed stars. 390 00:59:24,170 --> 00:59:34,850 Thus, if in 1974, at the height of Mobutu's power shift, Bomba was terrified by his vision of a dark future under the regime. 391 00:59:37,920 --> 00:59:52,049 By 1979, after years of equivocation and surreptitious expression of disloyalty and loss of faith in the Mobutu and Pierre ideology, 392 00:59:52,050 --> 01:00:01,590 as well as the evident loosening of the regime's hold on power, a failed economy and proliferating armed rebellion. 393 01:00:02,520 --> 01:00:14,670 King Charles finally resolved in this work the puzzle of his cunning display of right a play with or disavowal. 394 01:00:15,720 --> 01:00:25,500 Of the national imaginaries promoted by a regime to which visual and cultural symbolism meant everything. 395 01:00:28,660 --> 01:00:37,870 It seems to me finally that the formal and visual drama of kinglassie sculptures and even the paintings of cherry samba. 396 01:00:39,070 --> 01:00:44,560 The artist's supreme sense of self-importance. 397 01:00:45,840 --> 01:00:51,270 Consider, for instance. KING It's a mausoleum for himself or. 398 01:00:52,440 --> 01:01:03,160 Self-regard as Picasso's equal. And in their bold and colourful sartorial style. 399 01:01:04,480 --> 01:01:12,910 All of this constitute a form of anti-establishment politics they share with members of 400 01:01:12,910 --> 01:01:20,530 Kinshasa's cult of high fashion known as the Society of Tastemakers and Elegant People, 401 01:01:20,830 --> 01:01:32,969 or simply suppose. I see the structural and visual excess in kinglassie sculptures and the performative display of 402 01:01:32,970 --> 01:01:43,290 sartorial flamboyance by the supposed as in negation of the vaunted emphasis on a national culture, 403 01:01:43,830 --> 01:01:49,500 revivified supposedly by indigenous African traditions. 404 01:01:50,780 --> 01:01:54,020 Authorised by Mobilities Authenticity Program. 405 01:01:56,300 --> 01:02:01,460 This insistence. And refusal to. 406 01:02:02,480 --> 01:02:11,640 I would say go native. By the hyperbolic simulation of European architectural. 407 01:02:13,000 --> 01:02:22,810 And fashion codes represent, I believe, a form of symbolic resistance to official ideology and rhetoric. 408 01:02:24,370 --> 01:02:42,040 In other words. The efflorescence of subpar culture that was also promoted by rhumba music stars such as Papa Wemba and Kofi Olamide de. 409 01:02:43,210 --> 01:02:56,350 And the increasing formal complexity of Kingsley's work by the 1990s must be seen as expressive coping mechanisms. 410 01:02:57,340 --> 01:03:06,100 And evocations of alternative subjectivities and imaginaries at a time when the Mobutu regime. 411 01:03:07,130 --> 01:03:14,870 Having crashed the economy and all but abandoned by its Western allies. 412 01:03:16,010 --> 01:03:20,570 Still held on to the tatters of its authenticity ideology. 413 01:03:21,730 --> 01:03:27,400 Yet still revisiting terror and misery on the population. 414 01:03:29,070 --> 01:03:29,610 Thank you.