It was one of the (many) awaited events at Kunstenfestivaldesarts, which is already coming to an end. There Missa Utica envisioned by Sammy Baloji promised to return to Africa’s colonized past and present political and economic realities. What she actually went through Missa Luba, a Latin mass which includes traditional Congolese songs in front of an audience ready to listen religiously in the heart of La Mercerie, in one of these small places where the festival likes to shine the light. This old building in its raw state, with its impressive glass roof, partly built by Victor Horta, is located in the lower part of the city, between the Porte d’Anderlecht and the Halles Saint-Géry, and is already part of the show.
The public, in small numbers, sits there on the bifrontal stands to discover in privacy the installation of the Congolese artist, to experience a moment of listening, engagement and almost enchantment. Also to follow, and sometimes with difficulty, since it is so close, the flow of words sung by the wonderful priestess and above all performer Bwanga Pilipili, captivating, moving and of a truly artistic elegance. Here she is ready, determined, determined to tell this complex story since Twelfth Night, musically accompanied by Pytshen’s Kambilo and his very beautiful stage presence, despite his withdrawn position. White tailored suit and baggy trousers combat bootsguitar on his knees and encouraging gaze, he dialogues, between European classical music and Congolese rumba, with the incredible Barbara Drazkov on the redirected piano, able to emit metallic sounds, infused by her abundant movements, sometimes flexible, sometimes jerky, always inhabited.
Anne-Teresa De Keersmaeker re-enchants the four seasons
Congo’s colonial legacy
Then she comes down from the floor or the sky with her long red dress, her sun mirror on her chest, Bwanga Pilipili. Walking on the great carpet woven in Tunisia, she reminds us that a queen does not laugh in the street, does not dance in front of her subjects, does not change her mood. Next, greet Ndo Mfunsu, the only captain on board the Congo, the country’s heir to his ancestors.
Ndo Mfunsu sees the multitude erecting churches, building aristocracies, sees Portugal advance its peasants. From king to king, the exchange of gifts, slaves, parrots and minerals follows each other to the sound ofIndependence Cha Cha…Various stories until Utica, the poisoned gift. The first black bishop appointed by the Catholic Church was supposed to have settled in Utica, Tunisia, but never did. This is what Sammy Baloji, Belgian artist of Congolese origin, wanted to tell, he who puts Congo’s colonial heritage at the center of his reflection. Missa Utica traces the bishop’s journey in the context of the 15th century Kingdom of Kongo and the evangelization of Africa. The strategic issues of colonies and slavery then present themselves to us, showing how the African colonial past collides with the current political-economic reality. But it is also connected… The moment of beauty.
Baloji, president of the Caméra d’or in Cannes
⇒ Brussels, at La Mercerie, at 20.30 until 1 June. Duration: 60 minutes. Info: kfda.be
