Performing Trauma in Central Africa: Shadows of Empire by Laura Edmondson (review)

Abstract

In the context of an ever-expanding humanitarian sector, particularly active in Africa, scholarship interrogating the ethics and effects of arts-based therapeutic models in humanitarian interventions has increasingly turned to performance as both a fruitful object and an important tool of study. In Performing Trauma in Central Africa, Laura Edmondson develops this approach, drawing on performance theory in a compelling analysis of a variety of cultural responses to mass violence and trauma in the Great Lakes region over the last two decades. Borrowing from Didier Fassin and Richard Rechtman, Edmondson uses an “empire of trauma” (5) as a lens that reveals the limiting master-narratives of suffering and healing that are regularly perpetuated by Western-sponsored arts interventions. Scrutinizing neoliberal solutions to managing the aftermath of conflict, she investigates how Central African trauma is packaged to “obscure rather than to illuminate empire’s complicity in a world order that sustains mass death and systemic violence” (9) and is made to soothe and satiate empire’s appetites. If local artistic expression is prone to manipulation and co-option by both INGOs and African states, however, empire’s trauma market is not a straightforward vampirization of African suffering by the imperial consumer. Performance is a site through which local actors might legitimate such narratives but also, simultaneously, reappropriate them for their own ends: in contexts of scarcity, trauma narratives can serve as vital resources. The historical overview of the region in the first chapter immediately reveals the advantages of Edmondson’s geographical focus, which allows room for a detailed presentation of the specificities of each country’s history while also establishing, through a transnational approach, the interconnectedness of conflicts across the region. Mapping the “roots and routes” (38) of mass violence and genocide, Edmondson analyzes the concept of “competitive memory” (59) and considers how a single mass trauma might overshadow others in the public imagination, creating a hierarchy of suffering. The following four chapters offer a wide range of case studies of the cultural production that has emerged from these intersecting histories of violence in Uganda, Rwanda, and the Democratic Republic of the Congo. Fieldwork in 2004 at a US-sponsored rehabilitation center for former child soldiers in northern Uganda, for example, informs Edmondson’s reflections on the constructed linear narratives of these children’s experiences, performed as spectacle for the benefit of foreign visitors. The exploration of the Western consumption of spectacle is then expanded in an examination of the performative strategies of the post-genocide Rwandan state, while in the Congolese context interventions by American humanitarian organizations are seen to shrink spaces of suffering and eclipse the trauma of those excluded from victim groups recognized on the world stage. Finally, Edmondson returns to a post-conflict northern Uganda in 2010 and reflects on the role of INGOs and American celebrities in the complex dynamics of trauma branding. Such branding projects are however sidestepped by many