ketoya speaks (intro)

“Ketoya speaks; Dɛnyaland-Kɛnyaŋland-Kɛyakaland, a century later” forms a phase in a body of reflections, on revolts against Germany’s colonial occupation of Kamerun from 1894-1916.
In early 2016, Eyongakpa recorded soundscapes, elders, landscapes and interiors from Ketoya to Nsanakang as he traveled throughout his ancestral lands of Manyu, historical Southern Cameroons, South West, of present day Cameroon. The first phase explores what is left of the Anyang , Ossindinge revolts and the Mpawmanku wars (1904-1906), from local perspective, through audio recordings, photography and inter-media installations. The recorded material from preserved memories, oral recounts ( by chiefs, elders and towns people) forge fragmentary narratives  with fresh perspectives which also tends to question the veracity of certain historical allegations. Allegations ranging from cannibalistic practices on German soldiers to questions around the authors of rapes, supposedly by hired mercenaries. During the journey, Eyongakpa recorded a series of photographs, among which landscapes with landmarks from the revolts and communal spaces, with illegible views of elders or the artist’s apparition-like body.
“Ketoya speaks”#1 photography installation has been presented at, “The Walther Collection” space in Ulm (2017) and at “Huis Marseille” museum (2018) in the context of the exhibition, Recent Histories; contemporary African photography and video Art.

video excerpt/ process                                                                                                                               unprocessed processes/ Nsanakang-Ketoya-Baso; Ossindinge speaks…a century later

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Installation views, Recent histories, Walther Collection, Ulm, May-Nov  2017

eyongakpa walther ks_1Untitled III (Ketoya), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland;                                 a century later), 2016untitled (ketoya speaks)_2016 (1)Untitled XI (Ketoya), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland;                                 a century later), 2016eyongakpa walther ks_7aUntitled XIV (Ketoya), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland;                                 a century later), 2016
untitled, emkal 2016 (70x105)Untitled XXVI (Ketoya), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland;                                 a century later), 2016eyongakpa walther_8aUntitled IX (Baso, Eshobi road), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland;            a century later), 2016eyongakpa walther_9Untitled V (Baso, Eshobi road), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland;              a century later), 2016

installation view, the incantation of the disquieting muse,saavy contemporary, 2016 (documented by India Roper-Evans

00 THE INCANTATION OF THE DIQUIETING MUSE BY INDIA ROPER-EVANS _007 (2)

THE INCANTATION OF THE DIQUIETING MUSE BY INDIA ROPER-EVANS

About Em'kal Eyongakpa

Em'kal Eyongakpa (b1981, Mamfe, Cameroons) approaches the experienced, the unknown, as well as collective histories through a ritual use of repetition and transformation. His recent ideas increasingly draw from indigenous knowledge systems and aesthetics, ethnobotany, applied mycology and technology, in his explorations of the personal and the universal. He is also known for self organised community research spaces and autonomous art hubs, from KHaL! SHRINE in Yaounde (2007-2012), to the recent research platform/ fund Bɔ́ Bɛtɔk/ ɛfukuyu. Eyongakpa holds degrees in Plant biology and Ecology from the University of Yaounde 1 and was a resident at the Rijksakademie in Amsterdam. The artist's work has recently been exhibited at the Jakarta Biennale (2017), the 13th Sharjah biennial (2017), La Biennale de Montreal (2016), the 32nd Bienal de Sao Paulo (2016), 9th and 10th Bamako Encounters(2011,2015), 10th Dak'art biennial (2012) and several international art spaces and museums around the world.

One response to “ketoya speaks (intro)”

  1. Maury says :

    Stunning!

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