In To Be Nsala’s Daughter, Chérie N. Rivers shows how colonial systems of normalized violence condition the way we see and, through collaboration with contemporary Congolese artists, imagines ways we might learn to see differently. Rivers focuses on a photograph of a Congolese man, Nsala, looking at the disembodied hand and foot of his daughter, which were removed as punishment for his failure to deliver the requisite amount of rubber in King Léopold’s Congo. This photograph, taken by British missionary Alice Seeley Harris, featured prominently in abolitionist campaigns to end colonial atrocities in Central Africa in the early twentieth century. But in addition to exposing the visible violence of colonialism, Rivers argues, this photograph also exposes the invisible—and continued—violence of the colonial gaze. With a poetic, personal collage of stories and images, To Be Nsala’s Daughter traces the past and present of the colonial gaze both in Congo and in the author’s lived experience as a mixed-race Black woman in the United States.

Chérie N. Rivers is Associate Professor of Geography at the University of North Carolina, Chapel Hill, author of Necessary Noise: Music, Film, and Charitable Imperialism in the East of Congo, and coeditor of The Art of Emergency: Aesthetics and Aid in African Crises.

Preface  xvi
1. Elegy of Nsala  1
2. To See Nsala's Daughter  3
3. To Decompose  9
4. To Replicate  29
5. To Contradict  47
6. To Create  65
7. To Love Nsala's Daughter  81
Gratitude  89
Notes  93
Bibliography  99
Index  101
Illustration Credits  105