Baraka Rumamba: supporting contemporary art in the Congolese scene
Baraka Rumamba, Image courtesy of YPC (Young Professional and Congolese)
“The moment you feel like you belong, you owe a narrative”
To some extent, one’s effort to paint Congolese art removes the dense cloud of Congo’s prejudices that many believe to be true. However, contemporary art remains reasonably new to Congo. Typically, the cultural art scene embodies dance performances; the Baluba people dance with their loketo (waist), oral poetry sung by the Ba Mongo, whilst others act in their Kuba textile. In a conversation with Horcelie Sinda, Made In Bed’s contributor, Baraka Rumamba shares his visions in supporting Congolese art.
Congolese art is traditionally theatrical and embodies many beliefs, using the body as a canvas. However, today the Contemporary art scene is changing; artists are beginning to embrace fine art and getting into the art market. One of many figures promoting the Congolese contemporary art scene is Baraka Rumamba. Rumamba is an investor passionate about fundraising in the niche segment of the Congolese Diaspora. He graduated in Accounting and Economics and currently leads the investment committee of the Sarah Bonnel foundation, for which he is a trustee. Rumamba sits on the London Community Credit Union board, East London’s most prominent financial co-operative. As an art collector and promoter, he is adamant in introducing various forms and themes of Congo. Upon this gaze, in 2018 the Congolese’s greetings ‘Mbote’ was translated at the Bonhams’ auction as “Bienvenue au Congo”. The latter sought to present a better image of the country and support it, while celebrating the remarkable work of AMADE and the Malaika Foundation, both charities dedicated to social changes. The whole event had the admirable warmth of Princess Caroline Louise Marguerite of Monaco, who is also the president of AMADE.
Over the years, the media has shared many deceptive imagery around the themes of famine, danger and poverty in Congo. Unlike the others, Baraka began deconstructing these ideals and displaying all the beautiful things in this country. For instance, there are many notable musicians such as Papa Wemba and writings by philosopher V.Y. Mudimbe. However, introducing and appreciating any kind of art in a country like Congo, which has its share of obstacles such as lack of education, is quite difficult: the main challenge to overcome are, indeed, the Congolese themselves.
The Congolese do not often embrace contemporary art or visit art galleries. Although the second-generation living in the UK is a little more open to the arts, they are not particularly exposed to the consumption of western art culture. Therefore producing art and going to exhibitions is somewhat unique to Congolese culture; it is not part of their social life. This situation makes it harder for the Congolese artists as there is not a market that needs to be satisfied. Thus, Rumamba seeks to combine visual performances by Congolese musicians such as Fally Ipupa and Baloji with contemporary art. He hopes to enhance other methods to promote Congolese fine art by including the artworks in Congolese music videos. “By using the existing context, the Congolese will identify what they already know and will most likely become drawn and influenced”. Rumamba believes this is a better technique, and as someone who has a “highly formed” identity, using such a method will help him invest in Congolese art. He claims to have “a sense of what is needed”, which allows him to own the narrative.
Bonhams ‘AMADE’ Project auction 2018
On average, life as an artist in Congo can last up to five years, claims Rumamba. They either stay in the sector or leave because of lack of finance. Some of them are parents or trying to get by. If they are not making a profit, they will quit. When working with Congolese artists, Rumamba identifies suffering from a lack of a solid market; artists often have the dream of selling to a foreign market. These are some specific patterns of a particular art style produced by many, significantly amongst those who paint. Artists copy from each other and try to replicate the same motif. According to Rumamba, it is not a terrible thing because it can create the highly desired stable local market. Remarkably in 2018, the ‘Congolese Art shines at Sotheby’s Modern and Contemporary Art Sale’ sold 12 out of 14 artworks making £1,802,270. Artists in the auction were Cheri Samba, Eddy Kamumnga, Aime Mpane, and Moke, with paintings ranging from acrylic on canvas to sculptures.
As owner of Yetu Property Investment Club, in 2018, Rumamba extended his work with the collaboration of the Congolese Ministry of Culture. The partnership sought to construct a national gallery in Kinshasa to showcase Congolese history and culture by reaching the Congolese living in Europe, America and elsewhere. One of the challenges was discovering investors who understand the model as a long term collection and permanent art. Other issues concerning the development of Congolese contemporary art are technology, lack of resources, funding and space to invest in the arts. “It would be great for the USA to see virtual exhibitions taking place in Congo by artists, but this depends on the funds from institutions and having the ability to attract the right investors”, affirms Rumamba. He continues by saying: “I am also willing to work with all Congolese art platforms to build the institutions”. According to him, development in the art sector means everyone is both an actor and a collection of consumers. Only with the participation of everyone and becoming more aware of the art market, will this develop the ecosystem and infrastructure. Besides, the determination keeps the collectors going, thus in the future it might be possible to build art fairs where people can buy art for less than £1,000, while attracting the right audience.
The Congolese art market is slowly reaching the global market. For an enthusiast like Rumamba, he believes that Congolese art will soon influence and grow into a larger business. Such changes will enable artists in Congo to begin to make a living. It will surely take time, but Rumamba has proven that it is not impossible.
National Museum of Democratic Republic of Congo
All images courtesy of Baraka Rumamba.
For more information on Baraka Rumamba’s works, check out his Instagram.
Horcelie Sinda,
Contributor, MADE IN BED