Dancing for the King of Congo from Early Modern Central Africa to Slavery-Era Brazil

Abstract

Breathtaking parades of black kings and their courts enlivened the streets of cities in Europe and the Americas between the fifteenth and the eighteenth centuries. Sumptuously dressed queens and kings and their resplendent attendants processed to the sound of music, lifted, temporarily, from the grim the life of enslavement or institutionalized inferiority many of them lived in the age of Atlantic slavery. Drawing from a recent analysis of a prominent ritual performance from the central African kingdom of Kongo called sangamento, this article offers a new interpretation of the black kings festivals, beyond their interpretation as carnivalesque pomp emulating and destabilizing European rule. On both shores of the Atlantic, the performances combined African and European regalia and pageantry to express and enact central African collective identity, political power, and social unity. Restaging performances and reshaping ideas honed in the Kongo, enslaved central Africans not only preserved the memory of their region of origins, but also crafted empowered responses to enslavement and the colonial system at large.