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Read through the most famous quotes by topic #congo
One of the matters that must be addressed is that Rwanda and Uganda have to leave the Democratic Republic of the Congo. We're also supporting processes to ensure that the political dialogue among the Congolese themselves takes place so that the people there can decide their future. ↗
#also #among #congo #decide #democratic
However, I think, first of all, that what's happening in Sierra Leone is going to have the great influence on those governments who will be asked to provide forces to the Congo. Second, of course, the Security Council has no professional military advice organized in any way. ↗
Shortly afterwards, it sounded as if the rocket-propelled grenades (RPGs) were landing dangerously close - so close that I immediately dropped to the floor, prompting an unflinching Congolese man in the lobby, who’d obviously endured much worse, to jokingly say, ”I see you do not enjoy the beautiful music we play here in the Congo.” It is still one of the most reassuring things anyone has ever said to me in the midst of a crisis…. ↗
We would be driving down the street in a place like Zaire, now the Democratic Republic of Congo, and started to see, my gosh, the only people that have shoes are men. Why does that woman have a baby in her belly and one on her back, and she's carrying a huge load of bananas? You start to ask these questions. ↗
Most striking about the traditional societies of the Congo was their remarkable artwork: baskets, mats, pottery, copper and ironwork, and, above all, woodcarving. It would be two decades before Europeans really noticed this art. Its discovery then had a strong influence on Braque, Matisse, and Picasso -- who subsequently kept African art objects in his studio until his death. Cubism was new only for Europeans, for it was partly inspired by specific pieces of African art, some of them from the Pende and Songye peoples, who live in the basin of the Kasai River, one of the Congo's major tributaries. It was easy to see the distinctive brilliance that so entranced Picasso and his colleagues at their first encounter with this art at an exhibit in Paris in 1907. In these central African sculptures some body parts are exaggerated, some shrunken; eyes project, cheeks sink, mouths disappear, torsos become elongated; eye sockets expand to cover almost the entire face; the human face and figure are broken apart and formed again in new ways and proportions that had previously lain beyond sight of traditional European realism. The art sprang from cultures that had, among other things, a looser sense than Islam or Christianity of the boundaries between our world and the next, as well as those between the world of humans and the world of beasts. Among the Bolia people of the Congo, for example, a king was chosen by a council of elders; by ancestors, who appeared to him in a dream; and finally by wild animals, who signaled their assent by roaring during a night when the royal candidate was left at a particular spot in the rain forest. Perhaps it was the fluidity of these boundaries that granted central Africa's artists a freedom those in Europe had not yet discovered. ↗
