Inside Kinshasa’s National Museum of DR Congo

A carved wooden mask stares out from a glass case in Kinshasa’s National Museum of the Democratic Republic of Congo (NMDRC). Its wide eyes seem to follow visitors, silently telling a story of initiation rites among the Suku people. For decades, this Kakungu mask hung in Belgium’s Royal Museum for Central Africa; today it sits proudly in the museum’s first exhibition hall, loaned back to Congo by King Philippe after a restitution ceremony. The mask’s journey, from loot to national legacy, captures the essence of this new museum. It also hints at the complex diplomatic dance required to reclaim Congolese heritage from foreign museums.

The National Museum of the Democratic Republic of Congo (also called the Musée national de la République démocratique du Congo) stands at 4422 Boulevard Triomphal in the Lingwala district of Kinshasa. Officially handed over to the Congolese government by South Korea in June 2019, it opened its doors to the public on 23 November 2019. After decades of colonial looting and post‑independence neglect, the NMDRC is intended to be more than a museum; it’s a mirror for Congo’s cultural revival.

Why Kinshasa built a new museum

During the 1970s, strongman Mobutu Sese Seko used a national museum in Mount Ngaliema to promote his state ideology of Authenticité. But the building was poorly maintained, and many pieces vanished during the wars of the 1990s. Scholars call this period a second looting, as economic decline and conflict forced Congolese institutions to sell or lose artworks. In 2011, the Congolese government struck a partnership with the Korea International Cooperation Agency (KOICA) to build a new museum, digitise collections, and train staff.

At a cost of US$21 million funded by KOICA, the museum took 33 months to construct. The project used locally available materials, solar energy, and natural ventilation to reduce operating costs. South Korea’s involvement reflects what one scholar calls its “largest cultural policy investment in Central Africa.” The choice of the Lingwala district, just north of Kinshasa’s Parliament and national stadium, was strategic. Situated on a busy boulevard, the site is close to hotels, markets, and transport hubs, making it accessible to schoolchildren and international visitors. Government planners hope the museum will anchor a cultural corridor and regenerate Lingwala’s economy, which has long been dominated by government offices and informal markets.

Architecture with meaning

The museum’s design, by South Korea’s Junglim Architecture, blends modernist lines with motifs inspired by Congolese art. Three interconnected halls provide 6,000 m² of exhibition space and hold up to 12,000 objects. Solar panels and passive cooling technology mean that delicate objects, wooden statues, ivory carvings, and bronze jewellery can be preserved in a tropical climate without expensive air conditioning.

Director Henry Bunjoko describes the museum as a place that “traces our history, shows our cultural identity and the richness of our cultural diversity”ligablo.co.

Curator Batekele Mabanza José calls it “the memory of our country”, lamenting that older museums were forgotten and rarely visited. Marie Salomé Mwemena, a veteran of Congo’s Institute of National Museums, says colonisation cut Congolese off from their traditional culture and many people “have forgotten where they came from.” The NMDRC’s mission, therefore, is not only to display artifacts but to help Congolese rediscover their roots.

From loot to legacy: the long road home

The NMDRC tells a story of loss and return. Between the late nineteenth century and Congo’s independence in 1960, colonial officials and missionaries removed thousands of masks, sculptures, and regalia to European museums. Even after independence, Congolese institutions lacked funds to retrieve or care for these objects. Mobutu himself complained at the United Nations in 1973 that colonial pillaging had made Congo “poor not only economically but culturally”.

Recent years have seen a shift. In 2019, during the NMDRC’s opening, President Félix Tshisekedi called for an organised return of Congolese heritage and acknowledged that Belgian museums had preserved many objects during the post‑independence years. The push for restitution accelerated after Belgium passed a law on 30 June 2022 establishing a framework to return objects illegitimately appropriated during colonial times. A Kakungu mask (used in Suku initiation rites) was loaned to the NMDRC in 2022 as part of this process. King Philippe’s symbolic handover emphasised a new era of cultural cooperation, and he described the loan as “the beginning of cultural collaboration”. Congolese Minister of Culture Catherine Kathungu Furaha and AfricaMuseum director Bart Ouvry have been negotiating provenance research and future transfers.

The reality, however, remains complex. Belgium’s AfricaMuseum holds about 120,000 ethnographic objects and 8,000 musical instruments, roughly 80 % of which are Congolese. Most pieces lack a clear provenance. Historian Sarah Van Beurden notes that returning objects raises legal and ethical questions; building a museum may be more about national legitimacy than content. Activist Augustin Bikalé argues that restitution should begin with one symbolic object per province and involve local communities. Scholar Placide Mumbembele insists that repatriation must include two‑way exchanges, with Congolese expertise informing European exhibitions and vice versa. In 2023, the DRC established a national commission to inventory heritage abroad and coordinate returns. Yet many priceless items, ivory horns, Tshokwe masks, royal regalia, remain in European storerooms.

Galleries that tell living stories

The NMDRC is organised into three themed halls: Everyday Life and Crafts, Social Organisation, and Intangible Heritage. Visitors encounter carved ancestor figures, agricultural tools, intricately woven baskets, ceremonial masks, and musical instruments. Multi‑lingual guides explain how each object reflects a particular Congolese people, from the Pende and Luba of the south to the Mongo and Mangbetu of the north. Interactive displays and videos recreate village rituals and emphasise that art in Congo is not mere decoration but a living practice.

After five years of operation, the museum closed for renovations in late 2024 and reopened in March 2025. Improvements include rehabilitated exhibition halls, beautified gardens, a digital registration system, and performance indicators. Admission fees were adjusted to 5,000 Congolese francs (about US$2) for nationals and US$10 for foreigners; children receive discounts. The museum currently exhibits 423 objects from its collection of over 12,000, reflecting ongoing conservation work. To protect fragile objects, the museum forbids events such as weddings or concerts

Museum as development engine: tourism and the local economy

Kinshasa’s national museum is also an economic catalyst. In 2020, the museum received around 35,000 visitors, most of whom were schoolchildren and adolescents. By mid‑2021, it had already welcomed 20,000 visitors. Professor Bakua Lufu, director of Congo’s Institute of National Museums, acknowledges that museum culture is still new in Congo but aims for 100,000 visitors in the coming years. Those numbers matter. Visitors pay admission, hire local guides, and purchase handmade souvenirs from nearby markets. Hotels such as the Fleuve Congo and Memling now include the museum in cultural tour packages.

Taxi drivers and craftspeople benefit from the influx of tourists, while restaurants in Lingwala serve traditional dishes to visitors exploring the museum and the adjacent Central Stadium.

Private initiatives are also expanding the museum’s reach. In 2024, the NMDRC partnered with oVRworldwide to create a 360‑degree virtual tour. The project allows global audiences to explore its collections remotely, making Congolese heritage accessible to the diaspora and international researchers. The company describes the tour as an immersive voyage that brings Congolese culture to life, enabling people to explore and learn “at their own pace”. This digital promotion complements on‑site visits and positions the museum within global cultural tourism trends.

Diplomacy and development plans

The NMDRC is central to President Tshisekedi’s cultural diplomacy. At the 2019 inauguration, he emphasised that restitution must be organised and recognised Belgium’s role in preserving heritage. His government has since elevated cultural heritage to a diplomatic agenda, engaging with Belgium, France, and other former colonial powers.

Bilateral talks have produced a framework for provenance research and potential restitution. In parallel, the government works with private partners to market the museum internationally. The 360‑degree virtual tour is part of these efforts, alongside planned traveling exhibitions and collaborations with African diasporic centres in Europe and North America. A long‑term vision includes establishing regional museums across Congo’s provinces, so repatriated objects can return to their communities rather than remaining solely in Kinshasa.

Domestic development plans focus on integrating the museum into Kinshasa’s urban renewal. Authorities envision a cultural corridor stretching from the museum and Parliament to the Congo River, with pedestrian paths, art installations, and green spaces. Infrastructure upgrades, improved roads, parking, and signage are planned to accommodate more visitors. Partnerships with universities aim to train conservators, archivists, and tour guides, addressing the shortage of museum professionals that hindered previous institutions.

Lingering challenges and a path forward

Despite its successes, the NMDRC faces serious challenges. Funding for conservation, staffing, and programming depends heavily on donor support. Scholars warn that building a modern museum without sustained investment could repeat past failures.

As of mid‑2025, only a fraction of the collection is on display; climate‑controlled storage for sensitive materials remains limited. The high cost of insurance and security may discourage lenders from returning priceless objects. Meanwhile, the majority of Congolese heritage still resides abroad, and the restitution debate continues. Activists call for immediate returns, while some European museum directors caution that hastily transferring objects could jeopardise preservation. Finding a balance, ensuring objects are cared for while acknowledging colonial injustice, requires diplomacy, resources, and transparency.

Why travellers and professionals should care

• Tourists and culture travellers: The NMDRC offers a rare window into one of Africa’s most diverse cultures. Exhibits range from stone‑age tools to 20th‑century paintings. Guided tours bring alive the songs, dances, and beliefs behind each object. The museum’s central location makes it easy to combine with visits to the Congo River, art markets, and Kinshasa’s vibrant music scene. A virtual tour provides a preview before arrival or a souvenir after leaving. Visiting the NMDRC supports local guides, artisans, and businesses, contributing to sustainable DRC tourism.

• Development and heritage professionals: The NMDRC is a case study in how cultural infrastructure can drive urban renewal and national identity. Its funding model, South Korean aid combined with Congolese management, offers lessons for similar projects across Africa. The museum’s challenges, from staffing to decolonisation of collections, highlight the need for capacity building and long‑term financing. Professionals involved in museum development, heritage law, or repatriated artifacts will find the ongoing restitution negotiations a compelling example of cultural diplomacy.

• Congolese diaspora: For Congolese abroad, the museum is a tangible connection to ancestral traditions. Virtual tours and social media allow diaspora communities to engage with the collection. Donations and advocacy from diaspora groups can support restitution efforts and encourage European institutions to work collaboratively with Congolese scholars. Keeping the spotlight on Congolese culture ensures that future generations know their heritage, whether they live in Kinshasa, Brussels, or New York.

Conclusion: A call to action

The National Museum of the Democratic Republic of Congo embodies a journey from loot to legacy. It reflects the scars of colonial plunder and the resilience of a people reclaiming their story.

By visiting the museum, physically or virtually, readers can witness masterpieces once stolen but now celebrated. Tourists can contribute to DRC tourism by booking local guides, staying in Kinshasa’s hotels, and buying crafts from artisans. Development professionals can study how a modern museum revitalises a neighbourhood. And the Congolese diaspora can support ongoing campaigns to return heritage. Congo is opening its cultural house; it invites the world to step inside, learn, and stand in solidarity.