This article offers a glimpse at two foundational works of Congolese rumba produced at the threshold of African decolonization: Indépendance Cha Cha (1960), composed by Joseph ‘Grand Kallé’ Kabasélé and performed by L’African Jazz, and Africa Mokili Mobimba (1961), composed by Charles Mwamba ‘Déchaud’ Kasanda and first articulated through the same band and their broader musical network. Situating each song within its specific historical, political, and cultural context, the study argues that Congolese popular music actively shaped how African publics sensed, narrated, and imagined that transition. Indépendance Cha Cha , recorded in Brussels during the Congo’s Table Rond (Round Table) negotiations, functioned as a performative staging of national unity at the very moment of sovereignty. Through its festive Cuban-influenced cha-cha rhythm, multilingual lyrics, and extensive roll call of political parties and leaders, the song transformed political negotiation into a participatory sonic event. It travelled widely, rapidly assuming the role of an unofficial anthem of Congolese and pan-African independence. A few years later, Africa Mokili Mobimba Africa all over the world, offered a more contemplative perspective. Performed by an emerging generation of L’African Jazz musicians, the song addresses Africa as a continental subject, articulating a broader ethical vision grounded in dignity, responsibility, and global presence. Taken together, these two songs mark different scales and temporalities of liberation. Indépendance Cha Cha is tied to the immediacy of 1960, a celebratory gesture that stages consensus amid political uncertainty. Africa Mokili Mobimba expands that horizon, imagining Africa beyond the event of independence and toward a wider field of circulation and belonging. Drawing on the concepts of imagined futurity articulated by Jacques Attali and Felwine Sarr, the article demonstrates how Congolese rumba served as a medium through which independence was not only announced but also culturally rehearsed, ethically extended, and heard. In doing so, it positions popular music as a central site for understanding the temporal and imaginative dimensions of African decolonization. This article was published open access under a CC BY licence through the support of the Winthrop-King Institute: https://creativecommons.org/licenses/by/4.0/ .
Frank Gunderson (Thu,) studied this question.