The world must wake up to the situation in Congo

Endemic rape, violence and rights abuses make creating an accountable national security service more

How have we got to a place in the eastern Democratic Republic of Congo where more than 150 women can be gang-raped by rebels in a four-day brutal attack only an hour's drive from a UN base? It is traumatising simply reading the accounts, reported only this week, of what happened to ordinary people in a series of villages in Luvungi in the eastern part of the country at the beginning of the month.

The often understandable reaction to such extreme violence is to take a deep breath and shake one's head in disbelief. The response of all us should be extreme anger and outrage at such atrocities. This is not a one-off event outside of human understanding.

Rather, outrageous human rights abuses are a daily reality for many people in eastern Congo, but they are preventable if there were the serious political will to stop them.

Last year alone, 15,000 women and girls were raped in DRC, with many more sex attacks going unreported. More than 150 women in four days or 15,000 in one year? These are numbers that have somehow been normalised in this long-running crisis, one of the worst humanitarian emergencies in the world.

Since early 2009, the emphasis for the UN Mission and the Congolese army has been on its military offensive against the rebels accused of perpetrating this most recent attack. Protection of local communities at risk of rape has not reached the top of the agenda; in fact, the military operations have put ordinary people at greater risk of attack.

An Oxfam survey released in July this year found that women overwhelmingly felt less safe than last year, in large part due to widespread rape. In the survey, of 816 people living in 24 communities in eastern Congo, 60 per cent of those surveyed felt security had deteriorated, with women and boys feeling particularly at risk.

The uses of an army

While the UN investigation into the Luvungi attack announced this week is a positive move, the scale of this incident must be the final wake-up call to the rest of the world. More, much more, must be done by all to improve security for Congolese children, women and men.

Ordinary people are bearing the brunt of the conflict because of a basic failure by those who have the responsibility to protect them. Today, that means the UN mission and tomorrow the Congolese army.

Improving security requires root-and-branch reforms to the national army and police force, institutions now in disarray. Soldiers lack training and discipline, while sections of the army are themselves perpetrators of widespread abuse, including sexual violence.

The people we work with tell us that the Congolese army is living in pitiful conditions -- often deployed without rations, and with wages paid irregularly or stolen by commanders. Such living standards result in abuse and looting against citizens. All the communities surveyed by Oxfam said if soldiers were paid on time it would improve their security.

However, nothing can ever serve as an excuse for rape.

Only when accountable national security services, trained, paid, disciplined and supported, are deployed across the country will there be the possibility of a safe and secure DRC where people feel protected.

In the interim, the UN needs to do the job it's been given: listening and responding to the security needs of ordinary Congolese people, getting boots on the ground, and working with the Congolese government to get the national army ready for securing peace and security in the long term.

The world must realise that deep suffering is happening every day for ordinary Congolese, and it has to stop.

Marcel Stoessel is Oxfam's country director for the Democratic Republic of Congo.

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Brexit confusion is scuppering my show – what next?

My week, from spinning records with Baconface, Brexit block and visiting comedy graves.

I am a stand-up comedian, and I am in the process of previewing a new live show, which I hope to tour until early 2018. It was supposed to be about how the digital, free-market society is reshaping the idea of the individual, but we are in the pre-Brexit events whirlpool, and there has never been a worse time to try to assemble a show that will still mean anything in 18 months’ time.



A joke written six weeks ago about dep­orting eastern Europeans, intended to be an exaggeration for comic effect, suddenly just reads like an Amber Rudd speech – or, as James O’Brien pointed out on LBC, an extract from Mein Kampf.

A rude riff on Sarah Vine and 2 Girls 1 Cup runs aground because there are fewer people now who remember Vine than recall the briefly notorious Brazilian video clip. I realise that something that gets a cheer on a Tuesday in Harrogate, or Glasgow, or Oxford, could get me lynched the next night in Lincoln. Perhaps I’ll go into the fruit-picking business. I hear there’s about to be some vacancies.



I sit and stare at blocks of text, wondering how to knit them into a homogeneous whole. But it’s Sunday afternoon, a time for supervising homework and finding sports kit. My 11-year-old daughter has a school project on the Victorians and she has decided to do it on dead 19th-century comedians, as we had recently been on a Music Hall Guild tour of their graves at the local cemetery. I wonder if, secretly, she wished I would join them.

I have found living with the background noise of this project depressing. The headstones that she photographed show that most of the performers – even the well-known Champagne Charlie – barely made it past 40, while the owners of the halls outlived them. Herbert Campbell’s obelisk is vast and has the word “comedian” written on it in gold leaf, but it’s in the bushes and he is no longer remembered. Neither are many of the acts I loved in the 1980s – Johnny Immaterial, Paul Ramone, the Iceman.



I would have liked to do some more work on the live show but, one Monday a month, I go to the studios of the largely volunteer-run arts radio station Resonance FM in Borough, south London. Each Wednesday night at 11pm, the masked Canadian stand-up comedian Baconface presents selections from his late brother’s collection of 1950s, 1960s and 1970s jazz, psychedelia, folk, blues and experimental music. I go in to help him pre-record the programmes.

Baconface is a fascinating character, whom I first met at the Cantaloupes Comedy Club in Kamloops in British Columbia in 1994. He sees the radio show as an attempt to atone for his part in his brother’s death, which was the result of a prank gone wrong involving nudity and bacon, though he is often unable to conceal his contempt for the music that he is compelled to play.

The show is recorded in a small, hot room and Baconface doesn’t change the bacon that his mask is made of very often, so the experience can be quite claustrophobic. Whenever we lose tapes or the old vinyl is too warped to play, he just sits back and utters his resigned, philosophical catchphrase, “It’s all bacon!” – which I now find myself using, as I watch the news, with ­depressing regularity.



After the kids go to sleep, I sit up alone and finally watch The Lady in the Van. Last year, I walked along the street in Camden where it was being filmed, and Alan Bennett talked to me, which was amazing.

About a month later, on the same street, we saw Jonathan Miller skirting some dog’s mess and he told me and the kids how annoyed it made him. I tried to explain to them afterwards who Jonathan Miller was, but to the five-year-old the satire pioneer will always be the Shouting Dog’s Mess Man.



I have the second of the final three preview shows at the intimate Leicester Square Theatre in London before the new show, Content Provider, does a week in big rooms around the country. Today, I was supposed to do a BBC Radio 3 show about improvised music but both of the kids were off school with a bug and I had to stay home mopping up. In between the vomiting, in the psychic shadow of the improvisers, I had something of a breakthrough. The guitarist Derek Bailey, for example, would embrace his problems and make them part of the performance.



I drank half a bottle of wine before going on stage, to give me the guts to take some risks. It’s not a long-term strategy for creative problem-solving, and that way lies wandering around Southend with a pet chicken. But by binning the words that I’d written and trying to repoint them, in the moment, to be about how the Brexit confusion is blocking my route to the show I wanted to write, I can suddenly see a way forward. The designer is in, with samples of a nice coat that she is making for me, intended to replicate the clothing of the central figure in Caspar David Friedrich’s 1818 German masterpiece Wanderer Above a Sea of Fog.



Richard Branson is on the internet and, just as I’d problem-solved my way around writing about it, he’s suggesting that Brexit might not happen. I drop the kids off and sit in a café reading Alan Moore’s new novel, Jerusalem. I am interviewing him about it for the Guardian in two weeks’ time. It’s 1,174 pages long, but what with the show falling apart I have read only 293 pages. Next week is half-term. I’ll nail it. It’s great, by the way, and seems to be about the small lives of undocumented individuals, buffeted by the random events of their times.

Stewart Lee’s show “Content Provider” will be on in London from 8 November. For more details, visit:

This article first appeared in the 27 October 2016 issue of the New Statesman, American Rage