Introduction
In a new, searing collaboration between dancer Faustin Linyekula and a team of Congolese and international artists, the Congo’s history of conflict is translated into a live, almost silent, one-hour performance. Entitled by its creator as a statement that begins with a simple act—standing up—the piece turns physicality, sound, and projection into a powerful indictment of systemic violence in the Democratic Republic of Congo (RDC). The work unfolds with minimal spoken language, using movement and images to address a landscape where millions have suffered from thirty years of war and upheaval.
One Hour of Silence, Sound, and Dread
On stage, the solo dancer returns to the core of the piece: movement that is slow, decomposed, and deeply intimate. The choreography channels reconnection, convulsion, and transcendence, inviting the audience into a microcosm of endurance and resistance. The hour is punctuated not by words but by a concert-like pulse—the kind of electric energy that can be felt between a body and its history. The performance stands as a drumbeat against a brutal silence that has too long muffled the voices of Congo’s people.
Visuals as a Witness: Projected Imagery
Behind the dancer, a canvas comes alive with images that speak of a voracious power and a culture in peril. These projections evoke traditions that survive against the odds, suggesting that history itself is still fighting to be heard. The imagery reinforces the argument that standing up—whether as a political act or a personal decision—constitutes a form of resistance when confronted with violence that has become systemic. The synthesis of image and motion creates a theatre of memory, where past and present collide to confront a painful reality.
Meet the Creators: A Triumvirate of Craft
Leading this creation is a close collaboration between the performers and two pivotal figures. A percussionist acts as the emotional anchor, offering a steady, reassuring presence that sustains the emotional and physical arc of the piece. On the other side, a musician and visual designer shapes the sonic and visual crescendo, infusing the performance with a kinetic energy that mirrors the on-stage choreography. The project emerges from a long-standing friendship and artistic dialogue with the renowned Congolese choreographer Faustin Linyekula, whose signature voice in contemporary dance is amplified by this Congolese-driven collaboration.
Premiere and Context: Théâtre de Vidy-Lausanne
The work premiered at the Théâtre de Vidy-Lausanne, where the first representation framed the piece as both a cultural beacon and a political statement. The show’s Swiss debut places Congo’s complex history into a global context, inviting audiences to witness a form of art that refuses to remain quiet in the face of violence. The aesthetic choices—an almost mute stage, a concentrated hour, and a blend of live percussion with projected imagery—make the experience not merely observed but felt as a threshold crossing into collective memory and resilience.
Why It Matters: Art as a Response to Oppression
By centering standing up as an act of resistance, the piece reframes endurance as a shared political act. It asks audiences to reflect on how communities in the RDC navigate fear, memory, and survival, and how artists translate those pressures into movement and sound. The collaboration between Linyekula and his co-creators offers more than a performance; it provides a space for dialogue about violence, resilience, and the ongoing search for dignity amid conflict.
Conclusion
In just one hour, Faustin Linyekula and his collaborators deliver a seaworthy experience that lingers long after the final projection fades. The work is a testament to how contemporary dance, infused with Congolese history and political urgency, can transform pain into art that speaks to the world. It is also a reminder that, in Congo as elsewhere, the act of standing up remains an act of courage and, paradoxically, a necessary foundation for healing.
