Echoes of Kinshasa: Fiston Mwanza Mujila’s Journey from Congo to “Justice”

Yulia Lem / United Nations

One Friday afternoon in November, I had the privilege of delving into the creative mind of Fiston Mwanza Mujila, a celebrated Congolese writer whose words were poised to unfurl a vivid narrative, a soul-stirring journey in his libretto for the upcoming opera ‘Justice’ at le Grand Theatre de Geneve (GTG). As we crossed the realms of his personal experiences and the rich soil of his Congolese roots, Fiston’s voice painted a vivid picture of a libretto that resonates with the echoes of his home county, his childhood, his sorrow and deep hope for the beloved land.

Your libretto for “Justice” paints the profound theme of injustice. How does your Congolese heritage and personal experiences shape the narrative?

“My roots in Congo are the bedrock of my storytelling. The rich traditions, the pulse of our music, and the cadence of our languages infuse the libretto with a unique vitality. Justice, for me, is deeply intertwined with the collective memory of my people and the tragic stories of the mining district that are still untold. It’s about navigating the complexities of a post-colonial world, where the echoes of history resonate in the pursuit of justice. Through the libretto, I want to invite the audience into the heart of Congo, to feel its joys, tragedies, and the unyielding spirit that courses through its veins.”

Set against this vivid canvass, Fiston’s libretto emerges as a lyrical celebration of the Congolese spirit and an exploration of justice within the context of his heritage.

As a celebrated writer, your work often reflects a deep connection to human experience. How do you translate these universal themes into the specific context of, and the story behind “Justice”?

Fiston’s response is a testament to the universality of human nature, transcending borders and languages. “While the libretto draws inspiration from my personal journey and Congo’s untold history, it is essential to recognize the universality of the human experience. Justice, in its essence, is a theme that resonates globally. Through the characters and their struggles, I aim to write a melodical story that easily crosses cultural, and certainly geographic, boundaries. It’s about inviting the audience to find threads of familiarity in the unfamiliar, to connect with the characters on a deeply human level, and to recognize the shared quest for justice that binds us all.” His words are a bridge, connecting the specific experiences of Congo to the broader concept of human existence. For Fiston, Congo is not just a setting; it’s a character in its own right in ‘Justice.’ “In the libretto, I draw from the rich traditions of Congo to breathe life into the characters. The environmental catastrophe caused by a Swiss multina- tion, which is an unnerving storyline in the opera and its libretto, is not an abstract concept; it’s a lived experience that forever reshaped their lives. Through the characters, I want the audience to feel the heartbeat of my homeland, to glimpse both the beauty and tragic complexity of our stories.”

The opera is set to premiere at the Grand Theatre de Geneva, yet the roots of your storytelling trace back to Congo. How do you infuse the libretto with the spirit of your homeland while resonating with an international audience?

Fiston’s voice, a blend of nostalgia and determination, carries on. “Geneva, much like Congo, is a mosaic of cultures and histories. In the libretto, I seek to create a dialogue between the two worlds—a convergence of my Congolese roots and the international stage of Geneva. It’s about infusing the libretto with the vibrancy of Congo’s languages, the rhythm of its music, and the warmth of its people. At the same time, it’s a recognition that the pursuit of justice is a universal theme that resonates with each of us. The challenge lies in crafting a narrative that speaks to the heart of Congo while also connecting on a deep, emotional level with the diverse audience at GTG.” For Fiston, his work is not about transplanting Congo onto the Geneva stage. It is about finding the harmonies where the two worlds converge. It’s a delicate dance, a celebration of diversity within the universal theme of justice. Fiston’s words paint a portrait of a librettist straddling worlds, navigating the delicate balance between the intimate and the universal.

In the closing notes of our conversation, I ask Fiston about his aspirations for the audience experiencing “Justice” at GTG. With profound sincerity, Fiston responds: “I hope the audience, irrespective of their background, feels a connection to the characters and their pursuit of justice. More than entertainment, I want ‘Justice’ to be a bridge—a bridge between Congo and Geneva, between personal stories and shared experiences. If, through the libretto, the audience can glimpse the spirit of Congo and reflect on their own understanding of justice, then the opera will have achieved its purpose.”

As our conversation concludes, Fiston’s words linger, an invitation to blend the landscapes of Congo and Geneva, and to resonate with the universal heartbeat of justice that pulses through his evocative libretto.