This post is also avail­able in: French, Ital­ian

MALAKI MA KONGO is one of the rare African cul­tural meet­ings (in the mod­ern sense of the term) made in Congo by artists' and men of culture's sweat and funds.

These artists and men of cul­ture, there­fore, mean to pre­serve their expres­sion of free­dom and inde­pen­dence inside all of their artis­tic and cul­tural work.
The festival's orga­ni­za­tion and espe­cially its ori­en­ta­tion do not want to have influ­ences or inspi­ra­tions that are exter­nal to the African cul­tural logics.

Malaki ma Kongo: the village festival

Malaki ma Kongo: the vil­lage festival

In Kikongo lan­guage MALAKI means fes­ti­val, ker­messe.
Unlike Matanga, which con­tains tanga for its root (singing) and which lasts two days, Malaki has laki for its root (date or pro­gram), and con­se­quently peo­ple get ready to a one or two weeks long party. Time, this one, which cor­re­sponds to eight days, accord­ing to Kongo cal­en­dar: such cal­en­dar in fact counts only four days (nsila, bukonzo, mpika, tsaba).
Here is there­fore our chance to present to the Inter­na­tional audi­ence our  Ker­messe made in Kongo.

Unpub­lished spec­ta­cles inspired by the rich African territory's tra­di­tion. Liv­ing, eat­ing, drink­ing, talk­ing as in the old good time of cul­tural vir­gin­ity, that one before the Por­tugue­ses' arrival. Going time back­wards and remem­ber­ing Ngoma ya Kongo, the party per­cus­sion accom­pa­ny­ing crick­ets' fields and frogs' fan­fare to excite the goat-suckers night dances.
MALAKI MA KONGO is the return to the ori­gins through theatre's magic: camp fire, tam-tams' choirs, rat­tles' rolls, shakes' shocks, because life itself swings and waves in an unknown trance, the fre­netic waltzer of black skins under light­bugged nights.
We live all this, tast­ing biyoki, cane sugar and pineap­ple beer; mbulu and ntsamba (palm wine), all spiced by kola (cola), in pow­der and grain; and, why not, even by mundiondo (local root).
MALAKI has already known many edi­tions, 7 of which were held in M'foa Braz­zav­ille in Congo Rep. For war rea­sons, one edi­tion was held in Kin­shasa, Congo Dem. Rep.; another one in plain for­est in Mbanza Ndunga; inthe last year the fes­ti­val is held on three con­ti­nents. The first and last show are always around a big campfire.

Malaki ma Kongo in Bas­sano, Italy - 2002


Cre­ated in 1991 in M’foa, Braz­zav­ille, Rep. Congo, Malaki Ma Kongo was ini­tially born as an African cul­ture roots' fes­ti­val includ­ing dif­fer­ent kinds of shows, story-telling etc. How­ever, its main axis has always been the­atre.
Although inspired to Kongo cul­ture - which Malaki wants to be known and appre­ci­ated - the fes­ti­val is open to the world's cul­tures… The first and last show are always made out­door, around a big camp fire.
Malaki ma Kongo is a “pret à porter” fes­ti­val, able to move not only from coun­try to coun­try, but recently also from a con­ti­nent to another.

Con­fer­ence dur­ing Malaki ma Kongo fes­ti­val in Bas­sano - Italy

Malaki has already known artists' and men of culture's par­tic­i­pa­tion from the two Con­goes, Angola, Cameroon, Zam­bia, France, Ghana, Guade­loupe, South Africa and Italy.
Since early, Malaki got well devel­oped into school's and University's envi­ron­ments, reli­gious meet­ings', big com­mu­ni­ties' or eth­ni­cal minori­ties' com­mu­ni­ties search­ing for deep Africa's knowl­edge.
Malaki exper­i­mented the eth­i­cal tourism of Return to the Ori­gins and it orga­nized conference-debats; excur­sions; pil­grim­ages; shows; spe­cial din­ners; exhi­bi­tions; sem­i­nars; research and ini­ti­a­tion ate­liers; etc. And all this keeps being orga­nized any time is possible.



MBONGUI MALAKI MA KONGO is an adul­ter­ine child of North-South Inter­na­tional cul­tural rela­tions of the 80's. Such rela­tions' bal­ance was neg­a­tive. On one side, these rela­tions couldn't give up to the Inter­na­tional exchange sys­tem founded on the strongest one's dic­tat log­ics; on the other side, these rela­tions allowed them­selves to be over­comed by priv­i­leged and per­sonal rela­tions with States' lead­ers and groups.

Sony Labou Tansi, one of the priv­i­leged part­ners in the 80's France/Africa cul­tural rela­tions, sum­ma­rizes such exchanges through these words:
"Coop­er­a­tion is a Pan­dora box, an we haven't yet found the key to open it".

Malaki rep­re­sents this key, that we dare to present to humanity

for Man to cease being wolf to Man.