Culture of the Democratic Republic of the Congo
The culture of the Democratic Republic of the Congo is extremely varied, reflecting the great diversity and different customs which exist in the country.
Like many African countries, the borders were drawn up by colonial powers, and bore little relation to the actual spread of ethno-linguistic groups.
The main religions in the DRC are:[citation needed] There are small communities of Jews and Hindus who work in commercial urban areas.
Christianity has a long history in Congo, dating back to 1484, when the Portuguese arrived and convinced the king and entourage of the Kongo people to convert.
Towards the end of the colonial era, more African elements were incorporated into Christianity, including songs and dances which were formerly condemned as pagan.
Adherents are led to believe that instant wealth and magical prosperity will result from giving tithes to their charismatic preacher.
Kimbangu chose to try to ignore the vision, and fled to Kinshasa where he abandoned his life as a priest and took to menial work.
In the turbulent eastern region, where the Second Congo War still simmers, some guerrilla groups have a major religious element, believing for instance that they are able to turn enemy bullets into water by wearing certain fetishes.
Cattle breeding and the development of large-scale agricultural businesses has been hindered by the recent war and the poor quality of the road system.
These include maize, rice, cassava (manioc), sweet potato, yam, taro, plantain, tomato, pumpkin and varieties of peas and nuts.
[9] Congolese musicians, like Le Grand Kallé or TPOK Jazz with their emblematic lead singer Franco Luambo Makiadi, were extremely influential in pioneering the musical style of "African Rumba", a blend of South American and modern African musical styles, more often known as Soukous in the years leading up to the independence of the Belgian Congo.
However, the first Congolese feature film (La Vie est Belle by the celebrated director Mwezé Ngangura) was released in 1987.
In recent years, Congolese cinema has reached a wider audience, though the growth of the industry is restricted by the small profits which directors can make (owing to unauthorized distribution) and rarity of credit.
[10] Due to their distinctive styles and the global interest in African culture, Congolese art and artists are known on an international level.
Traditional art of the more than 100 ethnic groups includes masks, wooden or ivory statues, textiles and other woven artifacts.
Opened in November 2019, the new National Museum of the DRC presents both traditional and immaterial cultural heritage, such as music, as well as contemporary art.
Although women were not allowed to perform in the rituals, the sorrow of the mother losing her son to the sphere of men was portrayed in the ceremonies.
The Kuba’s Ngaady a Mwaash, for instance, was commissioned by the queen who wanted to highlight women’s contributions to the royal court.
The Bwami guided moral and individual development in a community and believed that physical beauty and integrity were interlinked.
The Bwami mask’s intricate details reflected these beliefs and were worn in songs or dances to demonstrate proverbs and pass wisdom on to initiates.
The Kongo peoples believed that sacred medicines and divine protection were sent from the heavens to earth through vessels called nkisi.
For instance, the idea of physical manifestations that alter one’s relationship with the world is a spiritual element possessed in contemporary Congo art.
The Luba people used lukasas or memory boards which had various sized beads of different materials arranged in a particular way where one could only read and recount it with extensive training.
Furthermore, the importance of storytelling through unconventional methods is preserved within contemporary art through the use of formal elements like color, texture, and arrangement which evoke a feeling or display a narrative.
