Herge’s In the Congo, re-illustrates Belgium’s interaction with the Congo and minimalizes the dark history between the locals and King Leopold’s agents. In the Congo serves as a fantastic example of the many ways Belgium “forgot” its past and tried to legitimize its rule.
Burbank and Cooper discussed Europe’s colonization of Africa and Belgium’s brutality. The Congolese under King Leopold suffered mass executions, mutilations, and humiliation. In fact, once this behavior became public, “Leopold was forced to turn the Congo from a private domain into a formal Belgian colony and make gestures to cleaning up its administration (Burbank and Cooper 321).” Since the end of this dark period, Belgium went to great lengths to rewrite history and erase its dark past. Hochschild addresses the changes, and we can see evidence of Belgian revisionism in The Adventures of Tintin, In The Congo.
In The Congo uses racist humor and stories to illustrate how “backward” the Congolese were, and why they needed Tintin, a representation of the altruistic goodness of Western society to help them. Three particular stories within the larger story arc paint the Belgians as saviors: the train accident scene, stopping Al Capone, and the ending scene with a more westernized Congolese village.
The first story placed Tintin in a car crash with a Congolese train. In a ‘Tintin” twist of fate, the train is derailed, and the car is unscathed, which suggests the poor quality of Congolese equipment. Tintin and his dog immediately try to help fix the train and have the locals help. Herge portrays the locals as being lazy, especially when Tintin shows them that his dog is doing most of the work (Herge 20). In fact, Tintin tows the broken train to the village, and the people hail him as a hero. This episode shows the ‘goodness’ of the West, and how these villagers need people like Tintin. Later, Tintin and his Belgian counterparts are seen as law enforcement heroes when they fight Al Capone’s gang.
The next story shows Tintin capturing Al Capone and stopping his plans. Al Capone intended to establish a diamond operation and to cheat the Congolese locals. Tintin, who was a Belgian reporter works with the white inspector in charge of the Force Publique, a military and police force in charge of the Congo. The Force Publique consisted of enlisted Congolese men but supervised by Belgian officers. Tintin captures Al Capone’s gang with the inspector’s help and is hailed by The African News as a hero. Through Tintin’s actions, the comic ends with the Congolese village showcasing a new supportive opinion of Tintin and other “white European men.”
The ending is another example of how this comic can be seen as a form of propaganda. People are worshiping the statues of Tintin and his dog. The village also has a “westernized café” with people stating, “them say, in Europe all young white men is like Tintin” as a clear indication that Tintin is a synecdoche for Belgium (Herge 63).
In The Congo is just one of many tools used by Belgian colonizers to create a new narrative of their relationship with the Congolese. I didn’t mention any “traces” of King Leopold in the comic because there weren’t any. Hochschild addresses the serious level of censorship that Belgium conducted to “forget” the past and legitimize their rule over the Congo. He states that “in all of Africa, the colonizers wrote the school textbooks; together with widespread book banning and press censorship, this accomplished the act of forgetting for the written record…textbooks for Africans praised Leopold” (Hochschild 299). Had Herge criticized any aspect of Belgian rule, the government would have censored him. Similarly, Force Publique NCOs were given a “Belgian version” of history. These soldiers were taught that Belgium was their savior over the Arab slavers and it developed a strong humanitarian mission for the Congolese (299). This form of propaganda helped “forget” history and reinforce Belgian control.
Tintin In The Congo was controversial and was encouraged to be banned. While I understand the motives within the deep cutting issue, it’s dangerous to censor. Rather, people should use this book as an educational tool to help readers see Belgian propaganda. If we were to ban this book and all other traces of other propaganda work, people will “forget, ” and history can repeat itself.
Works Cited
Burbank, Jane, and Frederick Cooper. Empires in world history: power and the
politics of difference. Princeton: Princeton U Press, 2010. Print.
Hergé, Leslie Lonsdale-Cooper, and Michael R. Turner. Tintin in the Congo. Tournai:
Casterman, 2016. Print.
Hochschild, Adam. King Leopold’s ghost: a story of greed, terror and heroism in
colonial Africa. London: Pan, 2012. Print.