The Congo Free State was under the personal rule of King Leopold II of the Belgians from 1885 to 1908. The accolades that attended its founding were soon contested by accusations of brutality, oppression, and murderous misrule, but the controversy, by itself, proved insufficient to prompt changes. Starting in 1896, concerned men and women used public opinion to influence government policy in Britain and the United States to create space for reforming forces in Belgium itself to pry the Congo from Leopold’s grasp and implement reforms. Examining key factors in the successes and failures of a pivotal movement that aided the colonized people of the Congo and broadened the idea of human rights, British Humanitarianism and the Congo Reform Movement provides a valuable update to scholarship on the history of humanitarianism in Africa. The Congo Reform movement built on the institutional experience of overseas humanitarianism, the energy of evangelical political involvement, and innovations in racial, imperial, and nationalist discourse to create political energy. Often portrayed as the efforts of a few key people, especially E.D. Morel, this book demonstrates that the movement increasingly manifested itself as an institutionalized and transnational campaign with support from key government officials that ultimately made a material difference to the lives of the people of the Congo.

This book investigates the historical evolution of 'humanitarian photography' - the mobilization of photography in the service of humanitarian initiatives across state boundaries.

The humanitarian movement against Leopold’s violent colonisation of the Congo emerged out of Europe, but it depended at every turn on African input. Individuals and groups from throughout the upper Congo River basin undertook journeys of daring and self-sacrifice to provide evidence of atrocities for the colonial authorities, missionaries, and international investigators. Combining archive research with attention to recent debates on the relation between imperialism and humanitarianism, on trauma, witnessing and postcolonial studies, and on the recovery of colonial archives, this book examines the conditions in which colonised peoples were able to speak about their subjection, and those in which attempts at testimony were thwarted. Robert Burroughs makes a major intervention by identifying African agency and input as a key factor in the Congo atrocities debate. This is an important and unique book in African history, imperial and colonial history, and humanitarian history.

What are the stakes of cultural production in a time of war? How is artistic expression prone to manipulation by the state and international humanitarian organizations? In the charged political terrain of post-genocide Rwanda, post-civil war Uganda, and recent violence in the Democratic Republic of Congo, Laura Edmondson explores performance through the lens of empire. Instead of celebrating theatre productions as expression of cultural agency and resilience, Edmondson traces their humanitarian imperatives to a place where global narratives of violence take precedence over local traditions and audiences. Working at the intersection of performance and trauma, Edmondson reveals how artists and cultural workers manipulate narratives in the shadow of empire and how empire, in turn, infiltrates creative capacities.

Decolonising the Camera trains Mark Sealy's sharp critical eye on the racial politics at work within photography, in the context of heated discussions around race and representation, the legacies of colonialism, and the importance of decolonising the university. Sealy analyses a series of images within and against the violent political reality of Western imperialism, and aims to extract new meanings and develop new ways of seeing that bring the Other into focus. The book demonstrates that if we do not recognise the historical and political conjunctures of racial politics at work within photography, and their effects on those that have been culturally erased, made invisible or less than human by such images, then we remain hemmed within established orthodoxies of colonial thought concerning the racialised body, the subaltern and the politics of human recognition. With detailed analyses of photographs - included in an insert - by Alice Seeley Harris, Joy Gregory, Rotimi Fani-Kayode and others, and spanning more than 100 years of photographic history, Decolonising the Camera contains vital visual and written material for readers interested in photography, race, human rights and the effects of colonial violence.