On the occasion of Black History Month, Cécile Lusala Lu Mvemba (2015) and Isabel Van Bos (1987) created NOW AND THEN, HERE AND THERE, consisting of three drawings and an interview which examines and unfolds traces of (post) colonial history.
Starting from the ideal UBUNTU, a philosophical term that means 'I am because WE are' in contradiction to Descartes undeniable truth 'I think therefore I am', Van Bos interviewed Nzau Leni Di Kak Ayi Numbi with the request to describe three life-changing moments that encapsulate the strength of the Congolese community. These were later transformed into drawings by her eight-year-old granddaughter Cécile, who never visited her grandmother's native country.
Cécile entitled the drawings: the diploma, the choir and the market.
As a student in Belgium, Nzau Leni Di Kak Ayi Numbi faced many challenges: seeking employment and raising children in a country where racism is systematic. Her stories are brimming with collective power as is the term UBUNTU, which belongs to the Bantu languages of South Africa, and evokes notions of humanity, collectivity and hospitality.
In the drawing “the diploma” Nzau reflects wistfully on her graduation ceremony in her native village. Dust particles swirl through the air as enthusiastic footwork and ritual dances stir them up. Today, during intimate celebrations, the community still scatters powder on the body of those who are celebrated mimicking the soil of the motherland.
“the market', depicts Nazu's shop in Brussels' neighbourhood of Matonge. The empowering aspect lies not just in ownership, but also in the importance of being geographically located in its community and its proximity: sharing moments of laughter, gossip or mourning.
Starting from the ideal UBUNTU, a philosophical term that means 'I am because WE are' in contradiction to Descartes undeniable truth 'I think therefore I am', Van Bos interviewed Nzau Leni Di Kak Ayi Numbi with the request to describe three life-changing moments that encapsulate the strength of the Congolese community. These were later transformed into drawings by her eight-year-old granddaughter Cécile, who never visited her grandmother's native country.
Cécile entitled the drawings: the diploma, the choir and the market.
As a student in Belgium, Nzau Leni Di Kak Ayi Numbi faced many challenges: seeking employment and raising children in a country where racism is systematic. Her stories are brimming with collective power as is the term UBUNTU, which belongs to the Bantu languages of South Africa, and evokes notions of humanity, collectivity and hospitality.
In the drawing “the diploma” Nzau reflects wistfully on her graduation ceremony in her native village. Dust particles swirl through the air as enthusiastic footwork and ritual dances stir them up. Today, during intimate celebrations, the community still scatters powder on the body of those who are celebrated mimicking the soil of the motherland.
“the market', depicts Nazu's shop in Brussels' neighbourhood of Matonge. The empowering aspect lies not just in ownership, but also in the importance of being geographically located in its community and its proximity: sharing moments of laughter, gossip or mourning.
Lastly, 'the choir' addresses the importance of the church as a site of collective healing and singing as a bodily manifestation of power.
The strength of the installation lies not in black assembly nor in the unique collaboration between the remarkable duo, but in the poetic details depicted in Cécil's childlike interpretation of her grandmother's stories. Traces of her colonial past are mixed with tributes to her grandmother's rituals and a more inclusive humanist outlook.
For example, "the diploma is both an ode to the swirling dust and (re) imagines her grandmother's native village with huts that evoke old and stereotypical ideas about Africa. In contrast to the drawing - the choir - where male choir members (unknowingly) wear rainbow-coloured dresses in a conservative - Protestant (colonial) setting.
Colonial traces often hidden in plain sight continue to have a conscious or unconscious effect in today’s society.
Dust as mental traces of Nzau's tough past. Huts as colonial traces in Cécile's visions. Rainbow dresses as traces of a potential inclusive future.
Cécile's insights, intended or unintended, encourage us to see the future different.
The text originates from a discussion between Isabel Van Bos and Fabrice Lusala Mvemba, father of Cécile and son of Nzau.
NOW AND THEN, HERE AND THERE_NL
The strength of the installation lies not in black assembly nor in the unique collaboration between the remarkable duo, but in the poetic details depicted in Cécil's childlike interpretation of her grandmother's stories. Traces of her colonial past are mixed with tributes to her grandmother's rituals and a more inclusive humanist outlook.
For example, "the diploma is both an ode to the swirling dust and (re) imagines her grandmother's native village with huts that evoke old and stereotypical ideas about Africa. In contrast to the drawing - the choir - where male choir members (unknowingly) wear rainbow-coloured dresses in a conservative - Protestant (colonial) setting.
Colonial traces often hidden in plain sight continue to have a conscious or unconscious effect in today’s society.
Dust as mental traces of Nzau's tough past. Huts as colonial traces in Cécile's visions. Rainbow dresses as traces of a potential inclusive future.
Cécile's insights, intended or unintended, encourage us to see the future different.
The text originates from a discussion between Isabel Van Bos and Fabrice Lusala Mvemba, father of Cécile and son of Nzau.
NOW AND THEN, HERE AND THERE_NL
© all graphics on the website
are designed by Roxanne Maillet
are designed by Roxanne Maillet