scholarly journals Clay D. “David vs Goliath”: The Congo Free State Propaganda War, 1890-1909 // The International History Review. 2020. Vol. 43. № 3. P. 457-474: Opinion Paper

Manuscript ◽  
2021 ◽  
pp. 1771-1772
Author(s):  
Dmitry Konstantinovich Zarubin ◽  
Keyword(s):  
Free State ◽  
International History ◽  
Congo Free State

Competing Visions

2020 ◽  
Vol 46 (3) ◽  
pp. 101-121
Author(s):  
Matthew G. Stanard
Keyword(s):  
Visual Culture ◽  
Fin De Siecle ◽  
Free State ◽  
Public Monuments ◽  
Fin De Siècle ◽  
Congo Free State

Studies of the visual culture of the Congo Free State (CFS) have focused overwhelmingly yet narrowly on the “atrocity” photograph used to criticize Leopold II’s colonial misrule. This article presents a new picture of the visual culture of Leopold II’s Congo Free State by examining a broader, more heterogeneous range of fin de siècle images of varied provenance that comprised the visual culture of the CFS. These include architecture, paintings, African artwork, and public monuments, many of which were positive, pro-Leopoldian images emphasizing a favorable view of colonialism. The visual culture of the CFS was imbued with recurring themes of violence, European heroism, and anti-Arab sentiment, and emerged from a unique, transnational, back-and-forth process whereby Leopold and his critics instrumentalized images to counter each other and achieve their goals.

De zaak van Rechter Grootaert en de strijd om het Nederlands in Belgisch-Congo. Een symbooldossier uit de jaren vijftig

2008 ◽  
Vol 67 (1) ◽  
pp. 7-46
Author(s):  
Bert Govaerts
Keyword(s):  
Private Property ◽  
Local Level ◽  
Free State ◽  
Court Cases ◽  
In De Praktijk ◽  
French Speaking ◽  
Congo Free State ◽  
The Right ◽  
Belgian Congo

In 1908 verwierf België de souvereiniteit over de voormalige Congo Vrijstaat, die particulier bezit van koning Leopold II was geweest. De nieuwe kolonie kreeg een soort grondwet, het Koloniale Charter. Artikel 3 daarvan bepaalde dat er in Belgisch-Congo taalvrijheid heerste, maar ook dat de Belgen er dezelfde taalrechten en -bescherming zouden genieten als in het moederland. Uiterlijk tegen 1913 moesten speciale decreten de taalregeling in rechtszaken en in de administratie vastleggen. Die afspraak werd niet gehonoreerd. De decreten kwamen er niet en de kolonie werd in de praktijk exclusief Franstalig. Een klein aantal Vlaamse koloniale ambtenaren verzette zich daar tegen en boekte ook beperkte successen, op plaatselijk niveau. Een doorbraak kwam er pas in de nadagen van de kolonie, toen een Vlaams magistraat, Jozef Grootaert, het recht opeiste om in het Nederlands te vonnissen. Pas na een lang en bitter gevecht, uitgevochten tot op regeringsniveau en mee gekleurd door allerlei persoonlijke motieven, werd uiteindelijk in 1956, meer dan veertig jaar later dan afgesproken, een decreet over het gebruik van de talen bij het koloniale gerecht goedgekeurd. Over een decreet i.v.m. bestuurzaken raakte men het niet meer eens voor de onafhankelijkheid van de kolonie in 1960. In het onafhankelijke Congo was er voor het Nederlands geen (officiële) plaats.________The Case of Judge Grootaert and the struggle for Dutch in the Belgian CongoIn 1908 Belgium acquired the sovereignty over the former Congo Free State, which had been the private property of king Leopold II. The new colony was granted a kind of constitution, the Colonial Charter. Article 3 of this charter provided not only that there would be freedom of language in the Belgian Congo, but also that the Belgians in that country would enjoy the same rights and protection of their language as they had in their motherland. The language regulation for court cases and the administration was to be laid down in special decrees by 1913 at the latest. That agreement was not honoured. The decrees failed to be drawn up and in practice the colony became exclusively French speaking. A small number of Flemish colonial officials resisted against this situation and in fact obtained some limited successes on a local level. A breakthrough finally occurred in the latter years of the colony, when a Flemish magistrate, Jozef Grootaert claimed the right to pronounce judgement in Dutch. Only after a long and bitter struggle that was fought out until the bitter end on a governmental level and that was also characterized by all kinds of personal motives, a decree about the use of languages at the colonial court was finally approved in 1956, more than forty years after it had been agreed. It proved to be no longer possible to reach agreement about a decree concerning administrative matters before the independence of the colony in 1960. In the independent Congo Republic no (official) role was reserved for Dutch.

scholarly journals Lumumba’s Bike

2014 ◽  
Vol 6 (1) ◽  
pp. 28
Author(s):  
Piet Defraeye
Keyword(s):  
19Th Century ◽  
Prime Minister ◽  
Free State ◽  
Street Art ◽  
Site Specific ◽  
Visual Artist ◽  
Congo Free State ◽  
The 19Th Century ◽  
The City ◽  
Local Narratives

Sven Augustijnen is a Belgian film maker and visual artist. In 2012 he contributed a piece called AWB 082-3317 7922 to the Track exhibition in the city of Gent (Belgium). Track invited artists to provide art installations that were site-specific, and engaged with local narratives, history, and situations. Augustijnen had an old bike chain-locked against a park tree, with a bunch of charcoal on its baggage rack; it stood in the vicinity of the so-called “Moorken” monument, a memorial for the heroic adventures of the brothers Van de Velde in Congo Free State, erected in Gent’s prominent Citadelpark at the end of the 19th century. The idea of AWB 082-3317 7922 came about during the shooting of his film Spectres (2011), in which Augustijnen goes in search for the location of Patrice Lumumba’s assassination in Katanga, Congo, in January 1961. While the theme of the bike installation is the (only partially resolved) murder of Patrice Lumumba, first Prime Minister of the newly independent Congo, the piece spawns a spatial and historical cartography of events and developments within the park landscape as well as the greater urban, and global scope. It is the kind of street art that needs its environment for any chance of meaning, which derive from the contiguities it allows and creates.

scholarly journals Three Years' Travel in the Congo Free State

1895 ◽  
Vol 5 (5) ◽  
pp. 426 ◽  
Author(s):  
S. L. Hinde
Keyword(s):  
Free State ◽  
Congo Free State
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