There are moments when art transcends simple entertainment to become a mirror held up to society, an echo of silenced voices, and an invitation to revisit the forgotten pages of our shared history. Zonga is one such moment. This dance performance, imagined by Congolese choreographer Jipé Lukusa-Kankonde, is far more than a stage production; it is a profound exploration of identity, cultural heritage, and historical justice.
The return of the masks
Zonga, meaning “return” or “come back” in Lingala, a Congolese language, resonates as a powerful call for the restitution of African artifacts to their countries of origin. But beyond the material question of objects, it is a quest for self-discovery, a reconnection with severed roots, and an affirmation that cultural heritage cannot be separated from those who created it.
On stage, four dancers move in harmony with four masks, iconic symbols of African cultures. In tradition, a mask is not merely an object; it embodies a spirit, serving as a bridge between the living and the ancestors. The mask is both matter and soul, and the wearer becomes the vessel for a millennia-old story.
From the first notes, the masks come alive, emerging from the silence imposed by Western museum displays. The dancers’ bodies, inhabited by these ancestral spirits, awaken forgotten sensations. They dance not for the mere joy of movement but to tell a story—one of rupture and a longing for reunification.
Tradition and modernity: a dialogue of bodies
The performance is a conversation between tradition and modernity, between ancestral heritage and contemporary influences. The dancers yearn for a new freedom, seeking to transcend established codes, drawn to the promises of a modernity often dictated by others. They are swayed by imported ideologies and images shaped by a homogenizing globalization.
Opposite them, the masks—guardians of tradition—encourage them not to forget, to maintain a precious link with their roots. This dialogue, at times conflicted, translates into choreography where styles blend and respond to each other. Traditional dance, grounded and rooted, intersects with contemporary dance, which is light and liberated. It is a delicate balance, a constant search for harmony between past and present.
The music, eclectic and daring, accompanies this duality. It oscillates between traditional African sounds, Gregorian chants, gospel, and electro notes. Each note, each rhythm, adds another layer to this identity exploration.
Jipé Lukusa-Kankonde: the artist at cultural crossroads
At the heart of Zonga is Jipé Lukusa-Kankonde, a self-taught choreographer and dancer with a rich and singular journey. Born in Congo, Jipé began his career in hip-hop dance, mastering popping, locking, and jazz-rock. But his hunger for bodily expression quickly led him to explore other horizons.
Over the years, he has trained in various styles, including ballet, modern jazz, contemporary dance, Graham and Horton techniques, afro-contemporary, and more. This versatility has enabled him to collaborate with prestigious companies and perform on stages worldwide, from Asia to America, Europe, and Africa.
Beyond his performances, his ability to fuse styles and create bridges between cultures sets him apart as a unique artist. With Zonga, he delivers a personal and universal work, an invitation to rethink our relationship with art, history, and ourselves.
An immersive and engaged experience
Zonga is not just another performance. It blends dance, music, theater, and visual arts to offer an immersive experience for the audience. Visual projections and short recordings of debates enrich the show’s aesthetic while provoking deep reflection on historical and contemporary issues.
The dancers—Abdul Karim Sangari, Brice Gabiro, Lele Vanyan, and Jipé Lukusa-Kankonde—embody this duality between tradition and modernity. Their movements capture the energy of the debate, expressing rebellion, nostalgia, hope, and determination.
The scenography, minimalist yet symbolic, allows the focus to remain on the essential: the message conveyed by the moving bodies. The costumes and makeup, designed by Marie Cécile Memesi, enhance this sense of timelessness, bridging the past and present.
The question of restitution: a necessary debate
Beyond its artistic aspect, Zonga raises an essential question: the restitution of African artifacts. Thousands of objects—masks, sculptures, sacred artifacts—were taken from the African continent during colonization and are now displayed in Western museums. These objects, stripped from their cultural and spiritual contexts, are often presented as exotic curiosities, disconnected from their profound meaning.
The performance explores the arguments for and against restitution. On one side is the need to recover part of one’s identity, to right historical wrongs, and to allow new generations to reconnect with their heritage. On the other side are arguments concerning conservation, global visibility, and financial implications.
But Zonga does not seek to impose a binary perspective. Instead, it invites the audience to reflect, question, and understand the many dimensions of this complex debate. By staging this dialogue between masks and dancers, it poignantly illustrates the tensions, hopes, and contradictions inherent in this issue.
A mirror held to society
Art has the unique power to reveal what is often hidden, to give a voice to those silenced. Zonga is an engaged work that challenges power dynamics, colonial legacies, and the ways the past continues to shape the present.
By revisiting North-South relations, the performance reminds us that history is not fixed—it can and must be rewritten and reclaimed. It also underscores the importance of transmission, collective memory, and preserving cultures in all their richness and diversity.
An invitation to reflection and emotion
Attending Zonga means allowing yourself to be carried away by a wave of emotions, questions, and discoveries. It’s an invitation to immerse yourself in a universe where boundaries blur, movement becomes language, and every gesture carries meaning.
It is also a rare opportunity to witness the talent of exceptional dancers guided by a visionary choreographer. Their performance is both technically impressive and deeply human, blending virtuosity with authenticity.
Practical information
- Duration: 1 hour
- Dancers: Abdul Karim Sangari, Brice Gabiro, Lele Vanyan, Jipé Lukusa-Kankonde
- Choreographer: Jipé Lukusa-Kankonde
- Music: Fusion of contemporary and traditional African sounds, Gregorian chants, gospel, electro
- Scenography: Visual projections, lighting by Sébastien Jimenez
- Costumes and makeup: Marie Cécile Memesi (@memesikubi)
- Photography and animations: Madelon Timmers (@Floating Sphere)
Book your place for a unique journey
Zonga is more than a performance; it’s a transformative experience, a journey that resonates far beyond the theater. Don’t miss the opportunity to be transported by a work that combines beauty, depth, and relevance.
For more information and reservations, contact Cie Amba Malu:
Email: amba.malu@yahoo.com
Phone: +32 492 412 302
Or directly with Jipé Lukusa-Kankonde:
Email: lukusa_jipe@ymail.com
Phone: +32 488 117 337
Zonga is an ode to resilience, the richness of African cultures, and the importance of preserving and honoring our shared heritage. In a world searching for meaning and justice, this performance is a beacon of hope, a testament to art’s power to inspire change and awareness.
As Nigerian writer Chinua Achebe so aptly said: “If you don’t like someone else’s story, tell your own.” Zonga is that story, told with passion, talent, and disarming sincerity.
