Storytelling in the context of war is complex yet crucial for the reporting of harmed civilians and the writing of history. This has been the call of Hugh KINSELLA CUNNINGHAM now living in Democratic Republic of Congo for the past 5 years where he documents the genocide happening in East Congo, where multiple armed forces and national troops are fighting over territory. Stuck in the middle are civilians dealing with ongoing threats oftentimes having to pay the ultimate price. The photojournalist has accepted to share more about his journey into documenting conflicts zones and while presenting his work in “Nord Kivu : Dans l’Étau d’un Conflit” at Galerie Angalia partnering with NGO Première Urgence International which has been on site now since 2002. 

Interview by : Ngalula MAFWATA

MAYI ARTS : What had been your journey towards photojournalism in Congo : 

Hugh KINSELLA CUNNINGHAM : When I first came to Congo in 2019, I initially visited Kinshasa several times but then there was an Ebola outbreak happening East and lived in Beni for three months to cover it. Meeting many families who had sick loved ones or who had lost loved ones to the outbreak was an emotional and critical moment. Seeing. It became really important to me to show what life is like for civilians who have not had the chance to define nor to write their own family history.

Shifting realities  

HKC: Here we can see pictures taken from the M23 conflict in North Kivu where we see a few of families running away. This is often how this happens. In this case, at around 4 am, a huge detonation could be heard, and everyone had just minutes to collect their belongings, a few clothes, and possessions, pack up their lives, grab their children, and move to safety in these huge displacement camps. Even there, safety is not guaranteed.

MA: Some subjects are more delicate, for exemple when it comes to sexual violences and assault on women :

HKC: Statistics keep evolving almost every month. At some point, a hundred women were being raped daily in displacement camps. Because of rebels and militia groups are very close to these camps, people are often assaulted when going to the outskirts to collect firewood or food when there's not enough in the camp. These are only the reported cases, as there is a huge social stigma. Merveille is a midwife, but at the moment, she is mostly providing care for sexual assault victims currently, there are more of these cases than babies being born, which is shocking. 

MA: There is some sensitivity in the portraits of theses women through the colours : 

HKC: I never like to take pictures of people suffering or dehumanised in very dark spaces. This is my personal way of trying to get across the story of someone who has been attacked in this awful way, not losing sight of humanity through the colours and lights of people. I never want to take pictures like this, especially if it invades the person's personal space for their safety and mental health after the incident. This is a way to refer to someone's humanity and the colours they have inside of them.

“For me, Congo is a colourful country. Even though I am in the context of conflict photojournalism, I take pictures that reflect this colourfulness because this is what the country is to me. The conflict is one part of my work, but it is not everything I do. I like to make sure you can see the beauty and resilience.”

MA: How do civilians cope with such events ?

HKC: This picture taken in South Kivu is very important to me. The area was once the epicentre of fighting fifteen years ago, during which rebels had killed 500 people in a single massacre in Walungu territory. You hear these things and imagine how anyone could go back to living there; the communities must have been torn apart. So for me, just a simple photo speaks to the next generation, which is able to overcome this horrific history and celebrate together. It is important to show these realities as well. 

MA : You are in part shaping the narrative of what is currently happening. How do you get the trust of people you photograph, especially survivors of sexual violence? 

HKC: This is where working with NGOs such as Première Urgence Internationale is key. They do have staff trained to identify who can safely speak and share their stories and be interviewed sensitively. These pictures, for example, aim not to show the most shocking details but to relate to the person's humanity and the injustice happening, rather than making the scene completely hopeless. These were taken in the context of sexual violence, but  throughout we do also learn about people working in the camp. 

MA: What impact do you look to convey through your work ?

HKC: As a photographer, I have seen so many stories where it is tough to imagine how things could change. When it comes to Congo, you are up against huge political forces with people stuck inside a history written for them. Advocating politicians to show the impact of their policies often feels not hopeless but sometimes a bit of a lost cause. With this exhibition, I think the idea is to show people forming their own communities and helping each other, for example, the story of Merveille, the midwife. She has learned how to treat and provide patients with better care. The pictures shown here are only two years of work, trying to invite people to engage and understand what life has become for civilians in East Congo. I do hope people will come and find it successful.

MA: Having been there for now 5 years, are there any positive change you have noticed ?

HKC: This exhibition with Première Urgence Internationale comes at a good time as we are not seeing any improvement; we are seeing the situation spiralling completely out of control. In the small piece of land between Lake Kivu and Goma, we now have armies from multiple nations and organisations fighting over territory. South African troops fight alongside the Congolese army; you have the Ugandan army supporting the M23. The last time we had different forces fighting over territory was during the Second Congo War (1998-2003) when more than five million people were killed. The situation clearly is dangerous, and in the middle of it are millions of civilians. And this is only one region. There are multiple conflicts happening right now in Congo. However, we don't want to overload people.

MA: And… have you become desensitised ?

HKC : The last two years, where we have seen the conflict escalate, have made me more committed than ever, if that even makes sense. For me, the only way to engage with a story as complicated as this is to really commit to it. And I am not the only one there. Congolese photographers are doing great work covering the conflict, being based there and putting in the time to really understand the story happening. It has been my home for a long time now, so commitment is really important to me and, I think, for everyone.

Besides covering the conflict zones, Cunningham also takes interest in the region of Great Lakes  where he covers sustainability and climate-related stories. He also puts in perspective the times we are living now and how our connectivity can add change to the situation.

“The aim is not making people not overloaded by the statistics, but learning about the region and people's stories. The world is now so connected that nothing happens in a vacuum or in a faraway place anymore.”

This is happening to real people; this is not abstract. We need to pick a few stories and bring them home. We have talked about awareness and advocacy sometimes feeling a bit hopeless, but if people don't do this, then how will we know what is happening, and will there ever be a chance of a change ? There have been numerous attacks in Congo where only two or three journalists were able to get there in time, and imagine if they hadn't. Many killings and shootings happen without being recorded and don't even make it to the news. Working with an NGO like Première Urgence Internationale also highlights their programs and activities. For exemple, a week after we took pictures in these displacement camps, they became territory to the rebels. This goes to show that all humanitarian workers take risks as well, it is important to show.

Interview coordinated with Première Urgence Internationale, Amal HUART, Nord Kivu : Dans l’Étau d’un conflit curated with NGO Première Urgence Internationale is currently shown at Galerie Angalia (Paris.) Première Urgence Internationale has been on site in East Congo since 2002, providing civilians with first aid and essential needs such as healthcare, food and water. Exhibition on show until 11th July at Galerie Angalia.

Hugh Kinsella Cunningham