"The Art of Positive Fatalism - lessons from Kinshasa" (publication English version @ Routledge & publication French version @ Edern Editions - both in 2026)

Staying constructive in a world filled with violence, poverty, wars, oppression, illnesses, and inequality is a challenge for all of us. In Kinshasa, the capital of the Democratic Republic of Congo, life unfolds amidst extraordinary constraints. Yet, its inhabitants demonstrate a remarkable capacity to make things work, an art form I call 'positive fatalism'. This concept — emerging from my years of research there — describes a paradoxical resilience: the pragmatic ability to accept the immovable constraints of life for individuals, while exercising agency and creativity within them. Music-making, resource sharing, and other communal practices exemplify how Kinois embrace their fate, transforming adversity into acts of resistance and self-expression.

This book builds on new data from postdoctoral research conducted in Kinshasa in 2024 and 2025, following my doctoral research (2012–2016) exploring two social music projects: Les Jeunes Talents of Espace Masolo, a brass band of former "witch" children, as well as Beta Mbonda, a traditional percussion ensemble composed of former members of violent gangs. These projects revealed how mastering musical instruments and repertoire empowered young people, helping them navigate their constrained realities and carve out spaces for agency and belonging.

This book examines positive fatalism as an art form practiced by individuals in Kinshasa, focusing on how they navigate their daily lives through creative, communal, and relational strategies. Drawing on years of research into the role of music in social projects, I expand the discussion to include broader activities and practices that allow people to endure, adapt, and sometimes resist the systemic challenges they face. From informal saving systems like likelemba to the transformative power of music-making, Kinshasa offers a profound lens through which to explore resilience and creativity.

Besides the short introduction of my postdoc-supervisors Hartmut Rosa and Olivier Hamant, Professor Manda Tchebwa has agreed to write the preface to the book. By associating the voice of this major intellectual figure in the Congolese and African cultural world with this work, he also recognises the legitimacy of the young musicians of the city as bearers of a living and changing heritage. The post-scriptum will be proposed by Philémon Mukendi, Professor in sociology and philosophy at the Université Catholique of Kinshasa and at the Université Pédagogique Nationale (UPN).

Routledge New York expects to publish the English version of this book in 2026 in their 'focus titles' series. And the French-language version of this new book will be published in 2026 by Edern Editions.