Dateline: Kinshasa, Democratic Republic of the Congo, 28 July 2010
There is an apparent controversy raging in Belgium
and elsewhere in Europe over Belgian Queen Paola’s receipt of a gift of
Congolese diamonds during a recently concluded visit to the Democratic Republic
of Congo (DRC). Paola had accompanied her husband, King Albert II, to represent
Belgium at the Kinshasa commemorative festivities to mark the 50th anniversary
of the country’s so-called restoration of independence (30 June). The DRC’s
head of regime Joseph Kabila gave Paola the priceless diamond set of necklace,
bracelet and earrings, an impressively rich package indeed which led La
Dernière Heure, the influential Belgian daily newspaper, to note, most
pointedly: “a gift of choice and certainly with a high price”.
(rough diamonds – DRC)
Some commentators in Belgium, the Netherlands and
France appear surprised, with a few even “shocked” to learn of the Belgian
royal family’s “acceptance of such (sic) expensive presents” from a country a
Reuters’s and Agence France-Presse’s dispatches on the gift describe,
respectively, as “impoverished” and “one of the poorest in the world”.
(Queen Paola of the Belgians)
“Magnificent African cake”
Really!? It is inconceivable that either Paola or
Albert would have thought or would think that the central African country they
visited a month ago is anywhere “impoverished” nor is it “one of the poorest
[countries] in the world”. The Democratic Republic of Congo is overwhelmingly
richer than Belgium and no one is better placed than the Belgian royal family,
itself, to confirm this fact of comparative international economics. The family
cannot but be aware that King Leopold II, their 19th century/early 20th century “illustrious”
ancestor (some would differ by using the adjective “notorious” or even “bloody”
to describe Leopold instead) wrestled that Congo basin of central Africa from
Africa for the Belgian royalty and state. This was after an indescribably
brutal campaign, a genocide waged on the African population by Leopold’s
private army and forces of the Belgian state during which 13 million
Africans were murdered between 1878 and 1908. In effect, Leopold’s army ravaged the Congo in search
of diamond, rubber, ivory and the like, accumulating gargantuan wealth for the
king (by the time Leopold dies in 1909, he had reaped a personal fortune of
US$1.1 billion dollars [in early 21st century adjusted value terms] from the
Congo genocide, making him one of the richest monarchs of his age) and
transforming the nascent Belgian state into a modern European state.
To his credit, Leopold II made no secrets at all of
the instrumentalist impact that the riches of the Congo would have on his poor
Belgium. He had insisted all along: “I d[idn’t] want to miss the chance of
getting us a slice of this magnificent African cake”.
(King Leopold II of the Belgians)
Scrumptious as ever!
This African cake remains as scrumptious as ever
for Belgium! Thirty-one years after Leopold’s death, Nazi Germany invaded
Belgium, forcing the then Belgian royal family and government to flee to London
on exile. Thanks to the inexhaustible wealth of the Congo bakery, the entire
financing of the Belgian war effort including the expenses of the exiled royals
and government, which totalled the grand sum of £40 million, was paid off
comfortably. Thus, Belgium neither borrowed any money to pay for the war nor
was its gold reserves used.
The historic effort made 15 years later by the
irrepressible Patrice Lumumba, the young Congolese postal clerk and itinerant
salesperson, to recover this bakery of his people for his people was violently
suppressed by Belgian special forces and some of their foreign allies operating
in concert with those Congolese hostile to the restoration of African
independence. Lumumba was murdered and a Joseph Mobutu (or Mobutu Sese Seko)
was ultimately installed instead to oversee the preservation of the bakery to its
agelong exclusivist access, but with some modification in response to the
exigencies of the epoch: Belgian royalty and government, the emerging
“francophonie” constellation of states under French hegemony, Mobutu and his
African cohorts.
(Mobutu Sese Seko)
Yet the Congo, Africa, and the rest of the world will never
forget Lumumba’s moving speech, addressed to his people and the Belgians, after
being sworn in as prime minister on that 30th day of June 1960, part of which
reads as follows:
… We are proud of this struggle, of tears, of fire, and of blood, to the depths of our being; for it was a noble and just struggle and indispensable to put an end to the humiliating slavery which was imposed upon us by force…
(Patrice Lumumba)
The “magnificent African cake”, so graphically
expressed by Leopold II (he should know!), is indeed the metaphor at the crux
of the Congo story, the Sudan story, the Nigeria story, the Burundi story,
the-rest-of-the-Africa story...
Obfuscation
It should now be clear that there is no such thing
as “poor Africa”. The latter is an inexcusable obfuscation of language – and
reality. Besides, it is an unpardonable slur on the humanity of African bakers
who year in, year out, bake the cake that they are shut out from eating. Just
as the Congo, Africans have been shut into anti-African caricatures of the
state where they live, principally, to create incredible levels of wealth – not
for themselves and their children and grandchildren and theirs, but for the
continuing expropriation by extracontinental interests and their local African
allies.
There is no future of African progress in the
existing “Berlin states” of Africa. The inexorable logic of these states’
existence is to alienate Africans from their being and wealth. Africans have no
other choice but break out of these states and create new states of organic
sensibility where they are certain to not only bake their own nation’s cake but
participate fully in the meal as well.
Twitter@HerbertEkweEkwe(Art Blakey & the Jazz Messengers – featuring Wayne Shorter, “Chess players” [personnel: Blakey, drums; Lee Morgan, trumpet; Shorter, tenor saxophone; Bobby Timmons, piano; Jymie Merritt, bass; recorded: Van Gelder Studio, Englewood Cliffs, NJ, US, 6 March 1960])
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