Academic literature on the topic 'Lumumba, Patrice (1925-1961)'

Ce numéro n’a pas vocation à être un numéro biographique consacré à Patrice Lumumba (1925-1961), le premier Premier ministre de la République du Congo. En effet, ce dossier cherche moins à dresser un bilan historiographique de l’ascension, de la chute du leader congolais ou encore de la crise congolaise (1960-1965), qu’à comprendre la généalogie d’un phénomène global à partir de l’objet d’étude « Lumumba ».
 

From the Democratic Republic of Congo Seeking Independence to the Democratic Republic of Congo which Commemorates Its Independence Celebrations. On June 30, 1960, the independence of the Belgian Congo, once personal possession for 23 years of the Belgian King Leopold II, was proclaimed as the “Republic of the Congo”. Emery-Patrice Lumumba (1925-1961) played a capital role in this emancipation which resulted in the consecration of Joseph Kasavubu as first President of the Republic of Congo and himself, Emery Patrice Lumumba, as Prime Minister. Congo has proclaimed its independence, but the new country remains plagued by violence and infighting. Belgian troops and peacekeepers from the United Nations intervene in the territory as a standoff begins between Kasavubu and Lumumba. On September 14, 1960, Colonel Joseph Désiré Mobutu led a first coup d’état which was followed by the arrest and assassination of Lumumba. The following years would be punctuated by rebellions and fighting interspersed with ceasefires in protest against the dictatorship established by the Mobutu regime after its second coup d’état, five years later, during a new political crisis. After thirty-two years of unchallenged reign, Mobutu was ousted from power by Mzee Laurent Désiré Kabila in May 1997 and since then, it has been difficult to speak of the real independence of the country, which became the Democratic Republic of Congo. Keywords: formal independence, real independence, Independence Day, Zaïre, Democratic Republic of Congo, colonization, decolonization, political emancipation, sovereignty.

The 1991 films of David Achkar, a French-Guinean filmmaker, and Raoul Peck, a Haitian filmmaker whose family spent many years in the Congo, intersect around Patrice Lumumba (1925-1961), the first Congolese prime minister and victim of a political murder. Both films remain intensely personal if not intimate. Achkar is reminiscent of Beckett in the depiction of “waiting for” an occurrence ever differed. What is haunting about Achkar’s quest is that the filmmaker is in search of his father Marof David Achkar (1930-1971), a choreographer of the Keïta Fodeba “Ballets Africains” (1955-1960) and cultural counsellor to the Guinean embassy in Washington (1960-1964). Marof had replaced Telli Diallo at the United Nations (1964-1968) when he worked against apartheid in South Africa; in 1968 U. Thant (secretary to the United Nations) recommended him to a post of high commissioner to the World Organization in Namibia, a proposal rejected by Sékou Touré (elected as the first President of Guinea, serving from 1958 until his death in 1984) who recalled him to Conakry. Upon his return to Guinea, Marof Achkar was arrested and brought to camp Boiro, where he was tortured, made to sign charges of embezzlement and executed on January 25, 1971. At the time, David Achkar was a child — something of the child remains in the biography of his father. Beyond his father’s political ordeal is the first-hand demonstration of the personal impact the execution had on him; he connects more publicly and didactically with the administration of justice versus political murders in his last film, Kiti, justice en Guinée (1996). Both Achkar and Peck employ collages of family reels, documentaries, and film that may be inspired by Surrealism, a movement mentioned in Death of a Prophet (1991). Peck also moved toward a stronger Marxist message in his 2017 film about the German philosopher, and though he has done several documentaries, he is attached to the current relevance of legacies when he depicts Marx as appealing to today’s youth. In both 1991 films, the sliding distance of political heroes, from public careers to intimate family documents is further complicated by the filmmakers’ decision to intertwine plain autobiography to their biographies. They are working from the premises of affective encounters to create a sense of community. Eventually, Achkar and Peck raise issues about the philosophical nature of identity and the autobiography involved in the encounter with sacrificed or resurrected prophets as interpreted in Allah-Tantou—God’s Will be Done [À la grâce de Dieu] (1991) by David Achkar (1960-1998) and Death of a Prophet, by Raoul Peck (1954-present).