An absurd distraction

An absurd distraction Danting is clear with her intention. She was not in Italy to problematize or victimize the refugees or migrants. She was there to tell a story with her own poetics and narrative. I can not agree more with Rainer Maria Rilke that art should not be critiqued, and I do believe that I must fail in writing any critique, since I only follow my own instinctive way of following art. In this sense, and in my personal perception, I am glad to have discovered a filmic narrative from a Chinese Baip filmmaker. Her name is Danting Chen.

07.03.2021 | by Cheong Kin Man

Jean-Michel Basquiat on How to Be an Artist

Jean-Michel Basquiat on How to Be an Artist Jean-Michel Basquiat wasn’t a fan of interviews, and on the rare occasions he surrendered to them, his responses were terse—even cryptic. Despite this, the painter’s words reveal a great deal about his inspirations and his all-consuming process. They offer a window into his approach, in which he remixed references from art history, the streets of 1980s New York, and the tumult of pop culture with his Carribean heritage and his identity as a young black man.

08.02.2021 | by Alexxa Gotthardt

The history and protagonists of Afro-Portuguese music

The history and protagonists of Afro-Portuguese music The relevance of black participation in Portugal in the most diverse areas - including music - dates back several hundred years, but is rarely articulated in dominant public narratives. It is not, of course, that blacks in Portugal have no voice or are not present in the daily life of the country. It's often about talking without being considered, seeing without being seen, singing without being listened to - at least outside a cultural sphere that tends to be more circumscribed.

01.02.2021 | by Inês Nascimento Rodrigues

Solemn Gestures on the Sandy Ground. Tchiloli in São Tomé and Príncipe

Solemn Gestures on the Sandy Ground. Tchiloli in São Tomé and Príncipe São Tomé and Príncipe, an archipelago on the Equator, boasts one of the most curious performances of popular imagination. Tchiloli is the fruit of cultural (and at times violent) encounters and creolisation. It is a delightful ethnodrama/ethnotheatre that unites music, movements and 16th century texts in one ceremony.

01.02.2021 | by Marta Lança

Tufo dance: Cultural heritage of Mozambique

Tufo dance: Cultural heritage of Mozambique Tufo, therefore, has strong religions roots. The same archival documents reveal that, in its origin, the dance was only performed in rituals and festive moments associated to the Muslim faith, but with time the dance was popularized and secularized.

29.01.2020 | by Hélio Nguane

the origins of rap in portugal: margins and centre, accommodation and emancipation

the origins of rap in portugal: margins and centre, accommodation and emancipation Beyond the old question of the relationship between ethics and aesthetics, the controversy encourages us to ask how rap – understood as a site for the denunciation of racism and the visibilization of the daily life of racialized, subordinated groups – has, itself, been complicit with other kinds of invisibilities and oppressions.

23.10.2019 | by Miguel Cardina

Scúru Fitchádu: Punk will not die while listening to funaná

Scúru Fitchádu: Punk will not die while listening to funaná One hears the intense and physical music of Scúru Fitchádu and it is perceived that it comes from the entrails, populated by a whirlwind of emotions that long people the imaginary of Marcus. Why have not they been patented before? "Every day I think about it," says the 37-year-old musician. "Why did not this come sooner if it always lived within me? Do not know. But glad it came out now. A few years ago maybe it was too soon and I did not have the same kind of answers I'm getting now.

02.04.2019 | by Vítor Belanciano

Tufo dance: Cultural heritage of Mozambique

Tufo dance: Cultural heritage of Mozambique Women come together to perform Tufo wearing capulanas and bright-coloured shirts. Their faces are covered with mussiro, a type of facial cream used by Macua women. They tie head wraps and use jewellery, necklaces and bracelets for an extravagant finishing touch.

27.02.2019 | by Hélio Nguane

Submundo Luso vs 12transfusons, a new Hip-Hop Mix Tape

Submundo Luso vs 12transfusons, a new Hip-Hop Mix Tape “Submundo Luso vs 12transfusons” is a new mix tape that features rappers from Angola, Mozambique, Brazil and Portugal. Released on New Year’s Eve after five months of preparation, the project brought together hip-hop promoters from the blogs Submundo Luso [pt] in Mozambique and 12transfusons [pt] in Angola. The two met online and the former invited the latter to collaborate. In this interview for the blog Underground Lusófono [pt], Astérix o Néfilim (Astérix the Giant, in English), a rapper, producer and manager at 12transfusons, talks about the effort, which counted the participation of artists from all over the globe and is now available as a free download. He also shares his views on the artistic scene in Cabinda – a tiny province in the north of Angola – and the challenges caused by such isolation.

28.01.2014 | by vários

Lusophone hip-hop

Lusophone hip-hop “This fascinating book looks at hip hop in the Lusophone world. Its authors explore the various aspects of hip hop culture - break dance, graffiti, rap music, and social movements based on this street culture. They scrutinise local cases and examine the multiple links between hip hop on both sides of the Atlantic, such as the new global codes that have developed among Portuguese-speaking young people.”

02.05.2013 | by Rosana Martins

Paulo Flores’s Ex-Combatentes

The album is titled “Ex-Combatentes” (Ex-Combatants), which happens also to be the name of the street he lives on in Luanda, but the music in sound and lyrics has little to do with war. Unless one thinks of war in the widest sense – war with the self, war with family, neighbors, friends, etc.

07.09.2012 | by Marissa Moorman

Bonga “I help to place Angola in the world”

Bonga  “I help to place Angola in the world” He makes Angolan music for 40 years, has nearly 500 musical themes recorded and “many miles on the road”. Bonga, whose voice identifies with Angola, has always been attentive to the reality of his country, preserving and disseminating the Semba musical style. He is keen to highlight: “Just like Brazil has Samba and America has Rock, Angola has Semba. It is the music I heard in the cradle”. His musical path was marked by his respect to “origin, tradition and pulse of the Semba”, taking it and spreading it around the world.

23.07.2012 | by Marta Lança

Occupy Wall Street: Carnival Against Capital? Carnivalesque as Protest Sensibility

Occupy Wall Street: Carnival Against Capital? Carnivalesque as Protest Sensibility While some commentators and journalists have dismissed Occupy Wall Street as carnival, lawmakers and police officers did not miss the point. They reached back to a mid-nineteenth century ban on masking to arrest occupiers wearing as little as a folded bandana on the forehead, leaving little doubt about their fear of Carnival as a potent form of political protest. New York Times journalist Ginia Bellafante initially expressed skepticism about 'air[ing] societal grievance as carnival,' but just a few days later she warned against 'criminalizing costume,' thus changing her condescension to caution as she confirmed the police’s point: masking can be dangerous, Carnival is serious business.

21.07.2012 | by Claire Tancons

The balance of the perfect "Batida"

The balance of the perfect "Batida" We are at the Batida workshop. A space in a garages complex in Lisbon. On the outside it’s just that. A building with nothing that distinguishes it from the others. Inside there is Pedro Coquenão, or DJ Mpula, or the man who invented Batida. Inside there, this 37-year-old Portuguese man born in Huambo (Angola), which he left with the onset of civil war, an Angolan living in Portugal since then, talks non-stop about all that Batida means. We could even say that we do not need to hear everything he is saying. The speakers release South African music. Scattered throughout the space we see a marimba, extemporary drums took out from diesel cans, Angolan beer “Cuca” bars, photos of Coquenão’s travels to Luanda, and drums that, in concert, will be illuminated from the inside as efficient do-it-yourself scenery. All this is Batida.

04.06.2012 | by

Angolanidade revisited – Kuduro

Angolanidade revisited – Kuduro This article explores the role of Kuduro, the popular Angolan electronic music and dance style in the process of updating the national Angolan identity called angolanidade to the conditions of the new millennium.

27.05.2012 | by Nadine Siegert and Stefanie Alisch

The Queen of Choreography: Neliswe Xaba

The Queen of Choreography: Neliswe Xaba South Africa´s theatre gains international recognition for its performance arts productions due to applying diverse aesthetics and the search of new stage approaches by many different artists. In addition, regularly scheduled national and international dance, performance art and theater festivals are organized like Invecting the City in Cape Town, Dance Umbrella in Johannesburg, and National Arts Festival in Grahams Town etc.

07.03.2012 | by Grit Köppen

Nairobi Dancer Irene Renée Karanja and the Dashy Krew – An Interview

Nairobi Dancer Irene Renée Karanja and the Dashy Krew – An Interview The most interesting things happen often completely unexpected. On a trip to Nairobi, being busy with the Solo and Duo Festival of Dance Forum Nairobi I came along the dynamics of inspiring artists in the GoDown Art Centre located in the industrial area of town. There I had the coincidental chance to meet the dancer Irene Karanja in a daily rehearsal program for a dance show choreographed by Fernando Anuang´a. Her artist name is short: Renée.

28.12.2011 | by Grit Köppen

The Performance “Kawa” of the Dance Company Chatha (Hafiz Dhaou, Aicha M´Bareck)

The Performance “Kawa” of the Dance Company Chatha (Hafiz Dhaou, Aicha M´Bareck) The stage and the auditorium are darkened. Suddenly a noise of clinking glasses in the audience is to hear. The stage light is slowly moved in, it remains dimmed considerably. The room is bare, dark and corresponds to a black box theatre. One can see a mountain of white cups on the right half of the stage.

20.10.2011 | by Grit Köppen

Interview with the South African Performer Sello Pesa in Berlin

Interview with the South African Performer Sello Pesa in Berlin "I think there are so many misconceptions about African cultures. Besides, I use the ideas of used objects for rituals, but the material is different. Sometimes I abstract additionally the movements of such rituals. Anyway, I feel the need to alienate ritual elements; they mainly serve as an inspiration for me".

11.10.2011 | by Grit Köppen

Mamela Nyamza: the body as instrument

Mamela Nyamza: the body as instrument Multiple award-winning dancer, choreographer, teacher and development activist Mamela Nyamza, the 2011 Standard Bank Young Artist Award Winner for Dance, started using dance to translate the world around her as a child growing up in Gugulethu in the 1980s.

28.09.2011 | by SouthAfrica Reporter