| spelling |
oapen-20.500.12657-301062021-11-12T16:13:13Z Gesture and Power Covington-Ward, Yolanda Anthropology Anthropology Bundu dia Kongo Congo Basin Democratic Republic of the Congo Kingdom of Kongo Kinshasa Kongo people Luozi Mobutu Sese Seko Simon Kimbangu Zaire In Gesture and Power Yolanda Covington-Ward examines the everyday embodied practices and performances of the BisiKongo people of the lower Congo to show how their gestures, dances, and spirituality are critical in mobilizing social and political action. Conceiving of the body as the center of analysis, a catalyst for social action, and as a conduit for the social construction of reality, Covington-Ward focuses on specific flashpoints in the last ninety years of Congo's troubled history, when embodied performance was used to stake political claims, foster dissent, and enforce power. In the 1920s Simon Kimbangu started a Christian prophetic movement based on spirit-induced trembling, which swept through the lower Congo, subverting Belgian colonial authority. Following independence, dictator Mobutu Sese Seko required citizens to dance and sing nationalist songs daily as a means of maintaining political control. 2018-05-18 23:55 2020-03-10 03:00:28 2020-04-01T12:45:14Z 2020-04-01T12:45:14Z 2018-05-04 book 649994 OCN: 1038395647 9780822374848 http://library.oapen.org/handle/20.500.12657/30106 eng application/pdf n/a 649994.pdf Duke University Press 10.1215/9780822374848 103403 10.1215/9780822374848 f0d6aaef-4159-4e01-b1ea-a7145b2ab14b b818ba9d-2dd9-4fd7-a364-7f305aef7ee9 9780822374848 Knowledge Unlatched (KU) Durham, NC 103403 KU Round 2 604616 Knowledge Unlatched open access
|
| description |
In Gesture and Power Yolanda Covington-Ward examines the everyday embodied practices and performances of the BisiKongo people of the lower Congo to show how their gestures, dances, and spirituality are critical in mobilizing social and political action. Conceiving of the body as the center of analysis, a catalyst for social action, and as a conduit for the social construction of reality, Covington-Ward focuses on specific flashpoints in the last ninety years of Congo's troubled history, when embodied performance was used to stake political claims, foster dissent, and enforce power. In the 1920s Simon Kimbangu started a Christian prophetic movement based on spirit-induced trembling, which swept through the lower Congo, subverting Belgian colonial authority. Following independence, dictator Mobutu Sese Seko required citizens to dance and sing nationalist songs daily as a means of maintaining political control.
|
