Jean DEPARA (1928–1997) Nightlife in Kinshasa, photograph, circa 1970. 30 x 30 cm. Note: Jean Depara took up photography in 1951, the year of his marriage in Matadi, with the purchase of a modest 6×6 Adox camera. Having settled in Leopoldville that same year, he initially worked in various jobs (repairing bicycles and cameras, and as a scrap metal dealer) before opening his own studio, Jean Whisky Depara, at 54 Rue Kato. The capital he photographed was then buzzing with life: rumba, maringa and tango brought together a cosmopolitan population, whilst young people organised themselves into rival societies, each with its own style, bar and band. By day, Depara frequented the nganda and the La Funa sports complex, where he took portraits of bodybuilders; by night, with his flash slung over his shoulder, he scoured the fashionable dance halls, from the Afro Mogenbo to the Kongo Bar. Spotted as early as 1954 by Franco, the maestro of rumba, he became his official photographer at the age of twenty-six and remained so until the musician’s death in 1989. He abandoned the studio in 1956 in favour of the streets and nightlife, then worked from 1975 to 1989 as a photographer attached to Parliament. He passed away in Kinshasa in 1997, leaving behind more than five thousand photographs which, without prejudice or taboo, capture the carefree spirit of a capital city that the novelist Achille Ngoye nicknamed “Kin-la-joie, Kin-la-folie’. His work invites comparison with that of Malick Sidibé (1935–2016), his younger Malian counterpart: in both Bamako and Léopoldville, the same impulse to leave the studio to follow young people to their dances and clubs, and to draw from the African nights of the 1950s to the 1970s an intimate chronicle of independence and its fashions. Both were introduced to Western audiences in the 1990s through the movement to rediscover African photography spearheaded by *Revue Noire*, the *Rencontres de Bamako* and the Pigozzi Collection. Represented by Revue Noire, by agreement with the Estate of Depara, her work has been the subject of solo exhibitions in Paris, Geneva, Kinshasa and Bamako, as well as major group shows: *L’Afrique par elle-même* (Maison européenne de la photographie, 1998, an international tour running until 2001, including Tervuren), where it was displayed alongside Sidibé’s work; *African Art Now* (Pigozzi Collection, Museum of Fine Arts, Houston, 2005); *100% Africa* (Guggenheim Bilbao, 2006–2007) and *Beauté Congo, 1926–2005* (Fondation Cartier, Paris, 2015).