Biljana Jurukovski | An Exclusive Interview

Journey to the Past: A Glimpse into the Forgotten Kuba Kingdom of DR Congo

An Exclusive Interview With
Biljana Jurukovski
BY ARIEL SU

WITHIN THE FOUR CORNERS OF A PHOTOGRAPH, I HAVE BEEN ABLE TO CAPTURE THE RAW INTENSITY OF PEOPLE, TRIBES, AND CULTURES THAT HAVE MANAGED TO MAINTAIN THEIR CONNECTION WITH THEIR ANCESTRY. A DIGITAL TIME CAPSULE, IF YOU WILL.”
-Biljana Jurukovski

Biljana Jurukovski is a Macedonian Australian acclaimed photographer whose artistic journey has taken her to different corners of the world, capturing the essence of humanity and shedding light on rarely visited communities. As a woman in the photography field, Biljana fearlessly breaks barriers and ventures into territories traditionally dominated by men. Her determination to push the boundaries of her craft has earned her global recognition and numerous awards. Biljana’s photographs have been showcased in galleries and festivals across the United Arab Emirates, Paris, New York, Berlin, Barcelona, and her homeland, Macedonia. Her impactful work has also found its place in renowned photo books, further establishing her as a prominent figure in the world of photography. Her captivating images have graced the pages of esteemed magazines and newspapers worldwide and made an indelible mark on the global art scene through various exhibitions. Through her lens, she unveils the shared humanity that binds us all, inspiring countless individuals to view the world with greater empathy and understanding. Biljana’s talent, dedication, and commitment to shining a light on often-overlooked communities have left an enduring legacy in the world of photography and beyond. Her work serves as a testament to the power of art in bridging cultural gaps and fostering a more interconnected global community.

Journey to the Past: A Glimpse into the Forgotten Kuba Kingdom of DR Congo

In the heart of the Democratic Republic of Congo lies the magnificent and enigmatic Kuba Kingdom. It has breathtaking landscapes, rich cultural heritage, and untamed wilderness. I embarked on a journey to this mythical place, seeking an adventure that would test my limits and leave an indelible mark on my soul.
With a team of intrepid explorers, we set off on a perilous expedition, armed with 4×4 jeeps and sturdy motorbikes. Our destination seemed so close, yet the path to the Kuba Kingdom proved to be an arduous one. Days turned into nights, nights into days, as we traversed treacherous terrains, battling against nature’s unpredictable whims.
The first obstacle we encountered was the lack of well-defined roads. We found ourselves forging paths through dense jungles, pushing aside thick vegetation.
Our vehicles groaned under the strain, bogged down in the mire of adversity. But we pressed on, motivated by the allure of the unknown and the promise of an extraordinary encounter with the Kuba Kingdom.
The challenges did not end with the unforgiving terrain.

“We live in an era galvanized by fast-paced pressure and the homogenization of cultures. Naturally, this threatens customs and traditions inherited by successive generations, with many already having dissolved in a similar manner to those of the past.”
-Biljana Jurukovski

Mechanical failures plagued our vehicles, testing our resourcefulness and determination. Flat tires became a daily occurrence, and we became adept at swift repairs, patching, and inflating our tires with practiced efficiency.

Days blurred into nights, and the landscape transformed into an ethereal tapestry of breathtaking vistas. The Kuba Kingdom seemed to be perpetually just beyond our reach, an ephemeral mirage teasing us from afar. Doubt began to creep into our minds, whispering the possibility of turning back. But our determination prevailed. We pressed on, fueling our spirits with the tales of ancient legends and the knowledge that we were on the cusp of something extraordinary.
The Kuba Kingdom emerged in the 17th century in what is now the central region of the Democratic Republic of Congo. This flourishing society boasted a complex political structure, exceptional craftsmanship, and a vibrant culture. Renowned for their agricultural expertise and extensive trade networks, the Kuba people established a well-organized monarchy that thrived for centuries.
One of the most notable aspects of the Kuba Kingdom was its extraordinary artistic traditions. Gifted craftsmen produced exquisite textiles, pottery, masks, and jewelry, showcasing the richness of the kingdom’s culture. The renowned raffia cloth, intricately woven from palm leaf fibers, featured elaborate geometric patterns and symbols representing ancestral wisdom and social status.
In addition to textiles, Kuba artisans created remarkable wooden sculptures and elaborate ceremonial objects.
Ruled by a line of powerful kings, the Kuba Kingdom reached its pinnacle during the reign of King Shyaam a-Mbul a Ngoong. King Shyaam’s diplomatic finesse, military might, and support of the arts led the kingdom to a golden era of unmatched power and influence. However, as time passed and external pressures mounted, the Kingdom of Kuba gradually faded from prominence. Its power weakened, and the kingdom became a relic of the past.

Among the many ceremonies that grace the Kuba Kingdom, the preparation of Prince Pongo Kwete stands as a rare and mesmerizing spectacle that weaves the threads of history, tradition, and mystique into a remarkable tapestry.
The Kuba Kingdom has always placed great importance on its ceremonies, and none more so than the rite of preparing Prince Pongo Kwete for a momentous occasion. The meticulous preparation of Prince Pongo Kwete is a process that unfolds over several hours, marked by a symphony of intricate rituals and the harmonious cooperation of his loyal chiefs, each assigned a unique role in the transformation. These chiefs play a vital part in ensuring that the prince embodies the essence of his ancestors and carries the weight of their legacy.
One of the key roles is that of the royal dresser. This esteemed chief is responsible for adorning Prince Pongo Kwete with meticulously crafted royal garments, each thread telling a story of the Kuba Kingdom’s history. Every piece of attire, from the intricately designed capes to the regal headdresses, is carefully chosen to reflect the prince’s lineage and the importance of the occasion.
Central to this ceremony are the masks, which hold a profound significance in Kuba culture. These masks are not merely decorative artifacts but revered symbols that encapsulate the essence of the kingdom’s creation story. Each mask has its own tale to tell, woven into the collective memory of the Kuba people.
According to their oral tradition, the Kuba traces its origins back to the mythical creator god, Mbombo.
The world began as a dark and watery expanse, with Mbombo alone in its depths. In a moment of divine intervention, he fell ill and vomited forth the sun, bringing light and causing the waters to evaporate, giving birth to the Earth itself.
Mbombo’s sickness continued, and with each retch, he brought into existence new celestial wonders—the moon, stars, and planets. He divided the day into 12 hours of light and 12 hours of night, setting the rhythm for life on Earth. As Mbombo’s vomits continued, he created various aspects of the world until, at last, he fashioned Woot, a supernatural being who would become the first human and a bringer of civilization to the land.
The Kuba people, often referred to as “the sons of Woot,” hold a profound reverence for this legendary figure. They believe that their kings are the reincarnations of Woot himself, carrying on his legacy as leaders of the kingdom. The Kuba Kingdom’s ceremonies feature three major masks, each telling a vital part of this captivating creation myth.
The first of these masks is Mwaash aMbooy, symbolizing the royal power of Woot. This mask represents the mythical first king and founder of the Kuba people, embodying his spirit and authority. Only the king’s appointees can wear the mask because Woot is a mythical descendant of the first king.

The mask is in the shape of an elephant because the elephant is a royal emblem. The two beaded bands represent the teeth. The raffia fur represents the wisdom a ruler gains with age and experience. The mask is decorated with cowrie shells (which were once used as currency), leather, and beads. Red beads indicate happiness, blue ones indicate high rank, and white ones symbolize purity and fidelity.
Then there is Ngaady aMwaash, also known as the “pawn woman” of Mwaash aMbooy, believed to be Woot’s first wife and sister, from whom all Kuba royalty descends. However, their incestuous relationship resulted in illness and disunity, leading Woot to flee from his wife. This cautionary tale against incest serves to separate Woot from the realm of mortals.

The third mask, Bwoom, represents the non-royal elements of the Kuba Kingdom. In the myth, Bwoom is an outsider, often associated with foreign origins or even being a pygmy. Bwoom’s presence in ceremonial dances alongside Mwaash aMbooy symbolizes a mock rivalry for the affections of Ngaady aMwaash. While Mwaash aMbooy’s dance is characterized by grace and dignity, Bwoom exudes pride and aggression. Regardless of its role, Bwoom is always considered a spirit. This multifaceted character symbolizes the common people and embodies rebellion and challenge against the throne.

My journey to the Kuba Kingdom allowed me to witness the remnants of this ancient realm and capture its captivating essence through my lens. By sharing the enduring culture of the Kuba Kingdom and exploring the significance of their intricate masks, I hope to shed light on this forgotten piece of history and inspire others to appreciate the beauty and richness of our world’s diverse heritage. Preserving the memory of the Kingdom of Kuba is crucial for the people of the DRC and humanity as a whole. It serves as a reminder of Africa’s rich and diverse heritage, challenging misconceptions and stereotypes often associated with the continent. We acknowledge the intellectual, artistic, and cultural contributions that have shaped our world by appreciating and celebrating the lost kingdom’s achievements.

An Exclusive Interview With
Biljana Jurukovski
BY ARIEL SU

Ariel SU: Thank you for this interview, Biljana.
Last October 2022, we had the pleasure of featuring your work in an article dedicated to the Mursi tribe, beautiful portraits of a hidden culture. In this article, we are charmed by your latest unique project dedicated to the Kuba Kingdom, also known as the Kingdom of the Bakuba or Bushongo. This is very impressive! A woman photographer who crosses continents to reach the hidden cultures and portray them. Can you tell us a little bit about your background? How did this impressive photography journey start?

Biljana Jurukovski: Thank you, Ariel and Lens Magazine, for giving me the opportunity to show my work and share with your esteemed readers the story of the Kuba Kingdom from DR Congo. I must indicate that the Kuba Kingdom, often forgotten in the annals of history, holds a profound significance for humanity.
Its enduring legacy is rooted in the remarkable craftsmanship and rich cultural diversity it embraced. This kingdom, with its exceptional artistic achievements, has inspired many prominent artists throughout history.
As humanity, it is our duty to acknowledge and appreciate the Kuba Kingdom’s profound contributions to art and culture. By doing so, we honor their legacy and gain valuable insights into the depth and diversity of human creativity throughout history.

My photography journey began in 2014, and it has been an incredibly transformative and rewarding experience. At that time, I was working as an Executive Manager in the Aged Care industry, which was a fulfilling career,
but I always had a passion for photography that was bubbling beneath the surface.
The catalyst for my journey was a profound fascination with indigenous cultures and their traditions. I found myself drawn to the stories and histories of the last indigenous communities that had managed to preserve their rich heritage amidst the ever-evolving modern world. These communities held onto traditions that spanned generations, and I was captivated by the depth of their cultural preservation.

So, armed with my camera, I embarked on a dual path – maintaining my demanding role as an Executive Manager and immersing myself in the world of photography during my free time. This juggling act allowed me to slowly develop my photography skills, but I yearned for more.
In 2021, I faced a pivotal moment in my life. I realized that my true calling lay in photography, and I needed to take a leap of faith. Leaving behind my professional career and the comfort of a stable job as an Executive Manager was a daunting decision, but it was also a decision fueled by passion and a deep desire for creative fulfillment.

Taking that leap was challenging, but it allowed me to fully commit to my photography. I devoted myself entirely to capturing these indigenous communities’ essence, stories, and traditions. This newfound focus enabled me to immerse myself more deeply in the world of photography, refine my skills, and truly connect with the communities I documented.

Ariel SU: I believe that many of our readers will agree with me when I say that a lot of courage is needed for these journeys. To reach remote places not connected to civilization and to communicate with a tribe with which communication has not been established. How does the decision to travel come? Do you travel alone? Where does the courage come from?

Biljana Jurukovski: The decision to travel to remote areas in Africa and communicate with tribes with which no prior communication has been established is a complex and deeply personal one. It’s rooted in a combination of passion, purpose, and careful planning. Before embarking on any journey, I conduct extensive research as much as I can; however, I usually travel with a small group of other photographers due to safety and to share the cost, as those trips are very expensive. Traveling to remote areas often involves various risks, including health, safety, and logistical challenges. There is always a risk and uncertainty; however, it is always a calculated risk.
Once we are in the tribal areas, we also heavily rely on our local guides and fixers to establish the initial relationship with the elders of the tribes and to deal with the negotiations. These individuals often serve as a bridge between me and the tribe I wish to document. Their knowledge of the local culture and customs is invaluable in establishing trust and ensuring a respectful approach. Courage is an essential element of this journey. It comes from a deep understanding of the importance of my work and the stories I aim to tell. It’s also fueled by my trust and respect for the communities I engage with. Knowing that my photography can help raise awareness and foster understanding motivates me to overcome any fears.
I approach each journey strongly committed to ethical photography and responsible storytelling.
This includes obtaining informed consent from the people I photograph, respecting their culture and privacy, and ensuring that my work benefits the communities I document. Flexibility and adaptability are essential traits when traveling to remote areas. Things often don’t go as planned, and adapting to changing circumstances is crucial for a successful and safe trip.

Ariel SU: Through the years, you have taken photos of many tribes, including the Poket, Mursi, the Mundari, Mongolian eagle hunters, and the Lopit people, among many others. Do you spend most of the year traveling? To which of the tribes have you felt the strongest connection?

Biljana Jurukovski: I usually try to go to Africa twice a year, as I cannot afford more than that as all my trips are self-financed, and I also need to put time once a year to return to my country, Macedonia. I have visited and worked with many tribes, but I feel the strongest connection with the Siri people from Ethiopia. I keep returning to visit them as much as possible and will continue doing the same.

Ariel SU: What things attract you most to African culture and these tribes in particular? Are these the customs and traditions? The unique aesthetics or the interpersonal connections created during the visit?

Biljana Jurukovski: This combines their customs and traditions, unique aesthetics, and the interpersonal connections formed during my visits.
As a photographer with a deep appreciation for the values of indigenous communities and a passion for promoting diversity and inclusion, African tribes offer a rich tapestry of experiences and stories to capture and share with the world. Their customs and traditions have been passed down through generations. These customs often embody the essence of community, spirituality, and resilience. It’s truly captivating to witness how these traditions shape their daily lives, from rituals and ceremonies to daily routines. Documenting these practices allows me to shed light on these communities’ cultural richness and significance in the modern world.

Further, the African tribes are known for their distinctive and visually striking aesthetics. Their clothing, body adornments, and artistic expressions are visually captivating and tell profound stories about their history and identity. Capturing the intricate details and vibrant colors of their attire and artistry is a powerful way to showcase their unique cultural expressions.
Many African tribes are known for their remarkable artistic skills, from intricate beadwork to expressive dance and music. These artistic expressions are beautiful to capture and serve as a testament to the creativity and talent within these communities. Highlighting their artistic prowess through my photography helps showcase their contributions to the world’s cultural tapestry. African tribes often maintain a profound connection with nature, relying on sustainable practices and living in harmony with their environment.

This connection is a source of inspiration and a reminder of the importance of environmental stewardship. Documenting their relationship with nature can serve as a powerful message about the need for a sustainable and interconnected world.
In essence, what attracts me to African culture and these tribes is the opportunity to use my photography as a medium to shed light on their values, traditions, and the strength of their people.

Ariel SU: How much time do you spend with the tribe’s community? Are there any special bonds created during this journey in the Kuba kingdom?

Biljana Jurukovski: When it comes to spending time in the Kuba Kingdom or any tribe community during my travels, it’s important to emphasize that the duration of my stay can vary significantly. Unlike a typical holiday where you have a set itinerary and fixed dates, these journeys are unique and often unpredictable. The length of my stay largely depends on various factors, including the purpose of the visit, the circumstances on the ground, and the relationships I build with the local community.
In the case of my recent journey to the Kuba Kingdom in Congo, we faced numerous challenges along the way that shortened our visit significantly.
Such challenges can include logistical issues, safety concerns, or unforeseen circumstances that can impact the planned duration of our stay. Therefore, remaining flexible and adaptable during these journeys is crucial, as we can never predict how long we will ultimately spend in a tribe community.

Ariel SU: For most photographers, it’s not an easy task requesting the tribe to model for portraits. Let’s talk about Prince Pongo Kwete’s portrait. It’s an imposing portrait where the prince is wearing a ceremonial dress. How did you approach the prince for this request?

Biljana Jurukovski: Photographing tribal communities for portrait sessions is indeed a unique and sensitive task.
First and foremost, I emphasize establishing a genuine and respectful relationship with the people I’m working with. I believe that the key to a successful portrait is capturing the essence of the person, which can only happen when there’s trust and mutual respect.
We must understand that these communities have their own way of life, culture, and values. So, I always approach them with an open heart and mind, willing to learn and adapt to their customs. I believe that respect is earned, not demanded, and this approach has always served me well in building bridges with the tribal members I photograph.
We must know that titles and positions we hold in our world mean nothing when we step into their world. The only title that truly matters in those moments is “BE HUMAN.”
By approaching them as fellow human beings rather than subjects or objects to be photographed, we create an environment where they feel comfortable, valued, and respected.

Prince Pongo Kwete is a very approachable and understanding person. He understood a bit of English; however, we communicated through our guide on French as the official language in DR Congo is French.

When I finally met with Prince Pongo Kwete, I approached him with complete transparency. I expressed my sincere interest in capturing his portrait to celebrate his cultural significance and the beauty of his ceremonial dress. I emphasized that my intention was not to exploit his image but to honor his heritage.
To further emphasize the portrait’s significance, I shared examples of my previous work exhibited worldwide and some photos of magazines and international publications.

Ariel SU: During the years, your work gained impressive success through international magazines and photography books, and your work has been exhibited around the globe, including at the latest event of the Xposure Festival, February 2022, in Sharjah. What does the future hold? Are there any scheduled exhibitions in the upcoming months?

Biljana Jurukovski: I am truly honored to confirm that my work has experienced remarkable success over the years, with my photography featured in prominent international magazines and photography books. Additionally, my work has been showcased at various exhibitions worldwide, including the prestigious Xposure Festival held in February 2022 in Sharjah.
One particularly remarkable milestone in my career was the inclusion of one of my photographs in the first-ever exhibition in space. This historic event featured only 200 carefully selected photos as part of the “Portraits of Humanity” project. These images were sent into space using binary coding, embarking on an infinite journey with the profound message of peace and unity.
It’s a privilege to have been part of such a meaningful endeavor, using the medium of photography to convey a message that transcends borders and reaches the farthest corners of the cosmos.
The future holds exciting possibilities for my photography work, particularly in documenting the last indigenous communities. While I am confident I will continue with this vital work, I have yet to schedule any exhibitions for the upcoming months. However, I do have plans in the pipeline for an exhibition next year.

See the full interview article in Lens Magazine Issue #108