Book Chapter
Civil Religion and Performed Politics in Postcolonial Congo
-
Published:January 2016
Dancing with the Invisible: Everyday Performances under Mobutu Sese Seko
This chapter considers the relationship between performance and authority during the postcolonial period under the dictatorial regime of Mobutu Sese Seko. State-scripted dancing and singing, most commonly known as animation politique, became part and parcel of daily life for average citizens of Zaire. The adoration of Mobutu became a civil religion as the ideologies of his regime were reinforced through the everyday performances of the citizens, and through Mobutu’s own attempts to supplant everyday religious practice with performances in his own honor. This chapter examines yet another shift in the relationship of embodied cultural performances to political authority, in particular from the early 1970s to the 1990s. Using interviews and archival documents, this chapter examines the impact of animation politique in three major areas of everyday life in rural Luozi territory: schools, businesses, and churches.
References
Primary Sources
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This chapter explores the localized effects of national policies of animation politique on BisiKongo women living in Luozi Territory in postcolonial Zaire. This chapter focuses on the lived and gendered experiences of animation politique to demonstrate that coerced performances are an often overlooked but potent governmental technique that shapes individual and group subjectivities, and also disrupts the moral order of local communities. The chapter builds on and expands Achille Mbembe’s work on the banality of power by illuminating the impact of performative encounters in the bedroom. The interviews used in this chapter show that the sexual exploitation of female dancers, even in the most rural areas, largely created moral disorder and fostered negative sentiments in local communities, thus undermining the nationalist project. The chapter argues that the complex engagement of these women with the state under Mobutu was a form of gendered nationalism that differed from the experiences of male performers.
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