when he asked her what country she was from, Yonga was surprised to hear him say that the museum had a lot of Zambian artefacts.

She did – and when he asked her what country she was from, Yonga was surprised to hear him say that the museum had a lot of Zambian artefacts.

“It really blew my mind, so I asked: ‘How come a country that did not have a colonial past in Zambia had so many artefacts from Zambia in its collection?'”

In the 19th and early 20th Centuries Swedish explorers, ethnographers and botanists would pay to travel on British ships to Cape Town and then make their way inland by rail and foot.

There are close to 650 Zambian cultural objects in the museum, collected over the course of a century – as well as about 300 historical photographs.

When Yonga and her virtual museum co-founder Mulenga Kapwepwe explored the archives, they were astonished to find the Swedish collectors had travelled far and wide – some of the artefacts come from areas of Zambia that are still remote and hard to reach.

The collection includes reed fishing baskets, ceremonial masks, pots, a waist belt of cowry shells – and 20 leather cloaks in pristine condition collected during a 1911-1912 expedition.

They are made from the skin of a lechwe antelope by the Batwa men and worn by the women or used by the women to protect their babies from the elements.

On the fur outside are “geometric patterns, meticulously, delicately and beautifully designed”, Yonga says.

There are pictures of the women wearing the cloaks, and a 300-page notebook written by the person who brought the cloaks to Sweden – ethnographer Eric Van Rosen.

He also drew illustrations showing how the cloaks were designed and took photographs of women wearing the cloaks in different ways.

“He took great pains to show the cloak being designed, all the angles and the tools that were used, and [the] geography and location of the region where it came from.”

The Swedish museum had not done any research on the cloaks – and the National Museums Board of Zambia was not even aware they existed.

So Yonga and Kapwepwe went to find out more from the community in the Bengweulu region in north-east of the country where the cloaks came from.

“There’s no memory of it,” says Yonga. “Everybody who held that knowledge of creating that particular textile – that leather cloak – or understood that history was no longer there.

“So it only existed in this frozen time, in this Swedish museum.”

One of Yonga’s personal favourites in the Frame project is Sona or Tusona, an ancient, sophisticated and now rarely used writing system.

It comes from the Chokwe, Luchazi and Luvale people, who live in the borderlands of Angola, the Democratic Republic of Congo and Yonga’s own north-western region of Zambia.

Geometric patterns were made in the sand, on cloth and on people’s bodies. Or carved into furniture, wooden masks used in the Makishi ancestral masquerade – and a wooden box used to store tools when people were out hunting.

The patterns and symbols carry mathematical principles, references to the cosmos, messages about nature and the environment – as well as instructions on community life.

The original custodians and teachers of Sona were women – and there are still community elders alive who remember how it works.