Dance music plays a central role in the cultural, social, religious, and family lives of the people of the Democratic Republic of the Congo. Among the various genres popular in the capital city of Kinshasa, Congolese rumba occupies a special place and can be counted as one of the DRC’s most well-known cultural exports. The public image of rumba was historically dominated by male bandleaders, singers, and musicians. However, with the introduction of the danseuse (professional concert dancer) in the late 1970s, the role of women as cultural, moral, and economic actors came into public prominence and helped further raise Congolese rumba’s international profile. In Congo’s Dancers, Lesley Nicole Braun uses the prism of the Congolese danseuse to examine the politics of control and the ways in which notions of visibility, virtue, and socio-economic opportunity are interlinked in this urban African context. The work of the danseuse highlights the fact that public visibility is necessary to build the social networks required for economic independence, even as this visibility invites social opprobrium for women. The concert dancer therefore exemplifies many of the challenges that women face in Kinshasa as they navigate the public sphere, and she illustrates the gendered differences of local patronage politics that shape public morality. As an ethnographer, Braun had unusual access to the world she documents, having been invited to participate as a concert dancer herself.

A "meticulously researched and comprehensive" (Financial Times​) history of the devastating war in the heart of Africa's Congo, with first-hand accounts of the continent's worst conflict in modern times. At the heart of Africa is the Congo, a country the size of Western Europe, bordering nine other nations, that since 1996 has been wracked by a brutal war in which millions have died. In Dancing in the Glory of Monsters, renowned political activist and researcher Jason K. Stearns has written a compelling and deeply-reported narrative of how Congo became a failed state that collapsed into a war of retaliatory massacres. Stearns brilliantly describes the key perpetrators, many of whom he met personally, and highlights the nature of the political system that brought these people to power, as well as the moral decisions with which the war confronted them. Now updated with a new introduction, Dancing in the Glory of Monsters tells the full story of Africa's Great War.

Presents a photographic introduction to the land, history, government, economy, people, and culture of the African nation of Democratic Republic of Congo.

"This book presents a provocatively new interpretation of one of New Orleans's most enigmatic traditions--the Mardi Gras Indians. By interpreting the tradition in an Atlantic context, Dewulf traces the 'black Indians' back to the ancient Kingdom of Kongo and its war dance known as sangamento. He shows that good warriors in the Kongo kingdom were per definition also good dancers, masters of a technique of dodging, spinning, and leaping that was crucial in local warfare. Enslaved Kongolese brought the rhythm, dancing moves, and feathered headwear of sangamentos to the Americas in performances that came to be known as 'Kongo dances.' By comparing Kongo dances on the African island of Saao Tomae with those in Latin America, the Caribbean, and Louisiana, Dewulf demonstrates that the dances in New Orleans's Congo Square were part of a much broader Kongolese performance tradition. He links that to Afro-Catholic mutual-aid societies that honored their elected community leaders or 'kings' with Kongo dances. While the public rituals of these brotherhoods originally thrived in the context of Catholic procession culture around Epiphany and Corpus Christi, they transitioned to carnival as a result of growing orthodoxy within the Church. Dewulf's groundbreaking research suggests a much greater impact of Kongolese traditions and of popular Catholicism on the development of African American cultural heritage and identity. His conclusions force us to radically rethink the traditional narrative on the Mardi Gras Indians, the kings of Zulu, and the origins of black participation in Mardi Gras celebrations"--Provided by publisher.

Mobutu Sese Seko, who ruled Zaire (now the Democratic Republic of Congo) from 1965 until 1997, was fond of saying “happy are those who sing and dance,” and his regime energetically promoted the notion of culture as a national resource. During this period Zairian popular dance music (often referred to as la rumba zaïroise) became a sort of musica franca in many parts of sub-Saharan Africa. But how did this privileged form of cultural expression, one primarily known for a sound of sweetness and joy, flourish under one of the continent’s most brutal authoritarian regimes? In Rumba Rules, the first ethnography of popular music in the Democratic Republic of Congo, Bob W. White examines not only the economic and political conditions that brought this powerful music industry to its knees, but also the ways that popular musicians sought to remain socially relevant in a time of increasing insecurity. Drawing partly on his experiences as a member of a local dance band in the country’s capital city Kinshasa, White offers extraordinarily vivid accounts of the live music scene, including the relatively recent phenomenon of libanga, which involves shouting the names of wealthy or powerful people during performances in exchange for financial support or protection. With dynamic descriptions of how bands practiced, performed, and splintered, White highlights how the ways that power was sought and understood in Kinshasa’s popular music scene mirrored the charismatic authoritarianism of Mobutu’s rule. In Rumba Rules, Congolese speak candidly about political leadership, social mobility, and what it meant to be a bon chef (good leader) in Mobutu’s Zaire.

This book is an exploration of the geography, history, government, economy, people, and culture of the Democratic Republic of the Congo. All books of the critically-acclaimed Cultures of the World® series ensure an immersive experience by offering vibrant photographs with descriptive nonfiction narratives, and interactive activities such as creating an authentic traditional dish from an easy-to-follow recipe. Copious maps and detailed timelines present the past and present of the country, while exploration of the art and architecture help your readers to understand why diversity is the spice of Life.

A detailed history of a New Orleans landmark. Congo Square is an iconic location in New Orleans culture, filled with the echoes of jazz and the footsteps of modern dance. Brimming with the rich history of the city, this auspicious landmark traces its origins back to the 1740s. A popular gathering place for African-Americans, the square hosted public markets, musical events, and even the Congo Circus throughout its history. Johnson's detailed analysis of the development of the landmark places the deep-set culture of both the African-American community and the roots of New Orleans music firmly in the heart of Congo Square.