Afro-Asian resonances: Staging the Congo Crisis in 1960s’ Chinese theatre

Abstract

In the first half of the 1960s China witnessed an unprecedented florescence of theatrical works on Third World decolonization, which aimed to disseminate the ideology of Maoist internationalism and cultivate transnational and interracial solidarity among the Chinese public. Existing scholarship on Maoist internationalist theatre tends to understand the phenomenon as the domestication of Third World decolonization for China’s political ends. This article, by focusing on the heterogeneous processes of production, adaptation, and reception, illuminates the practical and epistemological challenges of representing an internationalist subject, the imperfect performance of foreign culture and history, and the porous process of meaning-making for Chinese performers and audiences. Using previously untapped historical materials, such as performance programmes, personal recollections, and newspapers, this article explores the staging of the Congo Crisis (1960–1965)—a widely mediated international event in Maoist China and a central conflict in the global Cold War—in the spoken drama War Drums on the Equator (1965), its many local variations, and a dance drama adaptation, The Raging Congo River (1965). By mediating and enacting ‘embodied and affective knowledge’ about Congo, these theatrical works made the political motif of internationalist solidarity into sonorous and kinaesthetic artefacts that engendered plural meanings to Chinese performers and audiences. This article further reveals flawed perceptions, processes of corrections, and the epistemological limitations in the performance of the Congo Crisis in Maoist China.