I did a double-take when I walked into the Young Vic auditorium
last Tuesday. Girls in brightly-coloured Congolese wraps were laughing loud,
with large, languid sweeps of their hands. Police in dark blue uniforms
strutted around, guns under their arms, forcing our eyes downwards. Young men
sat in the shadows, staring listlessly, waiting for something, anything, to
happen. Jaunty, upbeat music stirred the irrepressible urge to dance,
rhythmically, effortlessly, joyfully. It was Congo, 1960, the eve of Independence.
I wished I’d worn my dazzling Golden Jubilee of Independence outfit with its
slogans “Vive la RDC! Pour la
paix, pour l’unité, pour le développement” splashed across it. It would
have been a first : blending in in a Congolese dress in the UK.
We’d come to see “A Season in the Congo”, a 1966 play by
Aimé Césaire, retold in a new English version by Joe Wright. It tells the
brutal story of the brief rise and tragic fall of the first Congolese Prime
Minister after Independence, Patrice Lumumba, an inspiring, idealistic and
popular figure who was dramatically removed from power and assassinated just
months after Independence. The circumstances surrounding his death are debated, but related to the secession struggle in the province of
Katanga. Many claim that Western powers played a part in his demise. The UN
was portrayed as weak, high minded but unwilling to take action to back the
democratically elected government. What is indisputable is that fifty years on
Congolese still mourn Lumumba as their greatest hero, the only truly
democratically leader, the only one who was prepared to put the Congolese
people before his own interests.
The play was a pulsating, colourful, creative explosion that
captured the chaotic, vibrant, optimistic beauty of Congo and the crushed hopes
of its people. The voice of traditional wisdom was represented by an elderly
man, a traditional healer, perhaps, who commented on events in the cadences and
proverbs of his mother tongue (Kikongo? Chiluba? I wasn’t sure, but it was
certainly a Bantu language). There were moments when I couldn’t breathe for
sadness, mesmerised by the intensity of Lumumba’s rhetoric of hope, transported
back to Congo, feeling the heat, aware of the gathering storm clouds, knowing
the march of history. Massacres in Katanga were brilliantly and appallingly
portrayed by a writhing, slow motion dance to deafening, distorted drum beats
and blood red lighting.
The play ended with a poignant echo of the Last Supper as
Lumumba was passed by comrades, colleagues, countrymen, friends, down a long
table before being shot dead in front of them, while those at the table washed
their hands. Traditional wisdom was then shot, too, and died with him. With
Lumumba lying crumpled on the floor, time suspended in silence, to me the play seemed
to shout the message “Hope for Congo died with Lumumba”.
But that’s where I want to take issue with the play. Yes, the
parallels between Independence Congo and current day DRC are depressingly
obvious. It’s tempting to ask what has changed in 50 years. The ineffectiveness
of UN intervention, interference from foreign powers, lust for Congo’s
resources, corruption within the Congolese government, ethnic violence, an army
that does not ensure the security of the country and the suffering of ordinary
Congolese people, continue to bitter Congolese realities. And yet there is hope in Congo, and for Congo. I see
it every day in the resilience and resourcefulness of its people, in their
faith, in their laughter, in their compassion, in their ability to celebrate
the good, in the millions who persevere with life despite the failure of almost
every institution in the country.
There is hope for
Congo. It lies in the country’s people, in their vast, awakening potential. It
lies in the God who created the Congolese and their country, the God of truth,
justice and reconciliation, who brings good news to the poor and liberation to the
oppressed.
more on Lumumba's assassination
review of the play
more on Lumumba's assassination
review of the play