Force De Sappe
OLIVER EALES PAINTING SCULPTURE MURALS & FURNITURE
The Zairois Preachers of the SAPE (Society of Partygoers and Dandies)
The SAPE is an African term that emerged in the 80s to define an urban culture that appeared at the end of the 70s at the heart of theworking class areas of Kinshasa (capital of Congo). At first thiscult called itself the Kitendi religion (the term Kitendi in Lingalameaning a cut piece of fabric). The deity of this faith was clothing, its cult that of appearance. Its followers sought to distinguish themselves by wearing luxury garb that they presented in a particular codified style and attitude.
The Kitendis would exclusively wear designer clothes by the most well known European and Japanese fashion houses, with a preference for those which were most expensive and extravagant. Most important was not so much to wear a label as to be seen wearing one and Kitendis thus became equally noticeable for their mannerisms: legs rising to the max to reveal a label sown into a sock; blazer inner sleeves left permanently abreast for brand exposure. Essentially, designer clothes became the only reason to be. Any means, especially illicit ones, were deemed worthy to attain them. In the 80s and 90s Kitendis would ceaselessly cruise the city, covering neighbourhood after neighbourhood to exhibit their goods.
Alongside Kitendism emerged a parallel music scene, tightly sown to its superficial counterpart. In fact it was this musical branch that created the cult known in Europe in the 80s as Mikilistes (Mikili meaning Europe), which then codified into the Sapeurs. Advocates Strevos Niarcos, Jo Balard and the musician Papa Wemba would invent SAPE predominantly to exclude the non-initiated and make their cult more elite.
There is the SAPE original, which boasts authenticity; a mix of ultra classic Japanese (Yamamoto, Masamoto, Kenzo) and Italian (Armani, Gucci etc). Shoes would be either Weston or Doc Martens. Papa Wemba was the figure head of this look. Koffi Olomide would develop this style by introducing French couture in the 90s (Gautier, Jitrois etc). Driving cars such as the V12 or a Mercedes open-top would all be part of the look.
Becoming a Sapeur requires confirmation from a jury, made up ofdistinguished members of the SAPE, who at a night club or baracknowledge the new “popes” of the order. Until these inclusive initiations at club nights the SAPE had previously been an exclusively male affair, but now women, notably Mère Malu, Mère Evé and Mère zuli zulema, broadened the exclusivity of the original cult. Women would compete with each other in various ways: never wearing clothing more than once, dying their hair radiant colours, having skin with a cosmetic orange tint, and generally being fat.
SAPE has considerably diminished since the end of the 90s, its main players having aged. But the cult of showmanship and, more generally, that of elegance in dress, has been well anchored in Zairian culture since the 1950s, SAPE being the most extreme manifestation. Its practice mirrors a yearning for social ascension out of the poorest of communities. Congolese society has long been extremely hierarchical, hence creating the semblance of western or indigenous affluence that exists as an outlet for people’s aspirations. SAPE has a reputation as a sub-culture that impoverished and tarnished Congolese tradition and its musical richness in the 70s and 80s, which explains why, despite its undeniable originality, it remains very controversial to this day.
Originally published 15 July 2007 by Tshibwabwa Mua Bay
