Five Congolese-made robots are now regulating traffic in Kinshasa. Other pictures. Traffic robots in action and interview of Thérèse Izay Kirongozi, robot creator, engineer and leader of Wotech (Women's Technology Association). [more inside]
Richard Mosse's photography from the Democratic Republic of the Congo. [Previously] [more inside]
The other day I happened to come upon a music video that is just so grooving, so human and so real, that, well, it moved me, darling. Just check it out. After watching the clip, I learned that these guys are mostly disabled by polio (that's why several of them are in those rather unusual wheelchairs) and that they were living on the grounds of the Kinshasa zoo, which is where the clip was filmed. Then I learned that last year they were seeking to bring a lawsuit against the UN. Then I found some other clips. And now I am a major fan of Staff Benda Bilili. [more inside]
To be a Sapeur in Kinshasa is to treat every trash-strewn alley or muddy street as a fashion catwalk. Inspired by Congolese rumba star Papa Wemba* and his Société des Ambianceurs et Persons Élégants* (le Sape), urban peacocks cheerfully adopted "Religion Kitembo”, literally the worship of clothes. "The Pope of the Sapes" himself appears to have undergone a conversion since his recent legal troubles. Photo gallery by Héctor Mediavilla. *sound
Congotronics! Mawangu Mingiedi, 72, a musician and truck driver from Kinshasa, was simply trying to allow the music of his street band, Konono No. 1, be heard over the traffic and street noise, but when he fashioned home-made amplifiers out of junkyard parts he created something raw and distorted with a sound all its own (quicktime). (via MonkeySARS, where an MP3 awaits you)
Konono No. 1 "This band is one of the main exponents of a spectacular style of music which has developed in the suburbs of Kinshasa (DR Congo). The Congolese call it "tradi-modern", in other words: electrified traditional music. These are musicians who left the bush to settle in the capital and who, in order to go on keep fulfilling their social role and make themselves heard by the ancestors (and, more concretely, by their fellow citizens) despite the high level of urban noise, have had to resort to DIY amplification of their instruments, and to megaphones (conical speakers). This makeshift electrification has provoked a radical mutation of their sound, as it has introduced distortions which they have integrated to their style. [...] The band's line-up includes three electric likembés [thumb pianos] (bass, medium and treble), equipped with hand-made microphones built from magnets salvaged from old car parts, and plugged into amplifiers." Via womanonfire.