Among the artistic and other disciplines that pursue the representation of reality, the documentary film is most certainly one of those that raise the most questions. Traditionally favouring a fragmented glimpse of the world around us, and of what arises from events, documentary films today pose problems and challenges for us, with the added difficulty of both attempting to fit it in to some predetermined type and of interpreting its message.
The book has received critical acclaim as a work by an African writing soberly on “such things”, in “journalistic language, backed by rigorous research.” It is a first in terms of its internal discourse, since it provides us “with a view of an African thinker and fighter from an African perspective."
Face to face
The independence of the Congo witnessed tensions between different groups which resulted among others to the Katangese secession eleven days after Belgium officially granted the Congo independence. Lubumbashi therefore became the capital of a state whose main goal was to perpetuate western industrialists economic interests and of the Union Minière du Haut Katanga. This history started ± 50 years ago since the assassination of Patrice Lumumba on the 17th of January 1961 up to the time Mzee Kabila took up the power through a statement rebellion movement.
There is something transversal in Ângela Ferreira's video work, something that deals, fundamentally, with a kind of non-correlation between the concrete identity of the filmed places and its investment in open juxtapositions over a constellation of spacial axes and discontinuous temporalities. If territorial duality, inseparable from a certain biographical trajectory, from frequent journeys between Africa - Mozambique and South Africa - and Europe, undoubtedly marks Ângela Ferreira's work, it is precisely this territorial duality that has written history in the indeterminate space of video discourse, pointing to issues of geopolitics and exposing us, simultaneously, to the work of deconstruction of iconography and the colonial and postcolonial imaginary that is being systematically developed by the artist.
The concept of nationality is not that important to me. I relate very strongly with territories, that is. And I have a strong relationship with Africa, particularly southern Africa, including where I was born, Mozambique, and South Africa, and this Iberian corner of Europe. If I had to define myself culturally in terms of identity, it is somewhere between these two areas of the world that references to my person are found.
Face to face
From Melilla to Poland, Cypress to the Canaries, thousands of people daily attempt to leave their places of origin and reach the European continent in search of better living conditions, leaving behind the most varied settings – wars, fires, droughts, floods, repressive regimes, massive unemployment, poverty wages, fundamentalists – and confronting, everywhere, the same repressive strategy, the same barriers and persecution, the same racism and the same violence.
Games Without Borders
is craft comes from experience, from much observation, but it’s as if he had been there before. On top of this, he often repeats that there is a cultural sense to making clothes, like a gesture that happens every day but goes back to the very roots of humanity. “It all comes from the divine idea that “Adam sewed leaves and God sewed skins.” Sewing is also cultural. In all families and in all societies we come across those who have this strong cultural element. It’s like learning how to make home-made bread.”
Face to face
Among us Angolan refugees, especially among the elders, there were those who had a special passion for the Portuguese language. I recall spending holidays at Uncle Jeremias Bandua’s house in Meheba refugee camp. In the day, we would often go to the fields to look after the vegetables etc with older Angolan men. Some of these men were also on holidays as they had scholarships and were attending different college in the urban areas.
Musseque residents would likely have said, “my suffering, yes, but ours as well.”
Music, in late colonial Angola took private grief and by performing it publicly made it collective. The sound, and perhaps even the process, was attractive to whites as well and in an ironic twist on the lusotropical narrative, by the early 1970s, whites made their way to the musseques in sizeable numbers to hear Ngola Ritmos and other popular bands play.
And I believe, having arrived at this point in life, that I can’t stop wanting to understand that the world, all over and not just here, conspires and produces utilizing always, or almost always, the use and abuse of others’ good faith. I’m afraid I will never be able, even oldish, to resign to this and become the subject well done, dissimulated, pirate, adaptable and finally adapted, that never, throughout my entire life, have I managed to be.
Ruy Duarte de Carvalho
Can you imagine the Portuguese language at the centre of a learning-at-play exercise in the heart of Angola, where the main character, the protagonist, has no kind of academic training? It’s possible. In fact, in a tale told by the writer Uanhenga Xitu, it happens.
Face to face
Angola is a leading oil producer in Africa and one
might have expected that some of the financial
benefits of this valuable commodity would be passed onto the country’s film industry. Veteran Angolan filmmaker Mariano Bartolomeu provides an insight into the state of the film and television
industry in this Portuguese speaking country.
Tchiloli is a story of blood and justice that the local people have made their own. They have turned it into a way to raise their voices against opression but also to retie their links with their African ancestors. Behind the colourful spectacle there is a hidden invocation to their ancestors, in references to a cult that was forbidden under colonial rule. Defeat comes, but there emerges an identity in territory that the first players could take for their own as a means of survival.
One of the most important archeological sites in southwest Angola, Tchitundo-hulo, lies in a semi-arid region on the edge of the Namib desert. The site comprises an imposing granite inselberg, with three smaller hills nearby. These smaller inselbergs are known as Tchitundo-hulo Mucai, Pedra da Lagoa (Lake Rock), and Pedra das Zebras (Zebra Rock). The inselbergs all feature carvings engraved upon the rockface.
Living with Raul is like watching a non-stop show. Gestures, speech patterns, facial expressions, his (…) air, he’s a boy on stage all the time. There’s never any shortage of stories when he is around. His charm never lets go of you. In true Angolan fashion, everything came together – the excitement for life, the wide range of views, his instinct for theatre, and the smile instead of the tear. It all converged to create the talent that is Raul Rosário.
Face to face