The 125th anniversary of Gaza king Ngungunhane's imprisonment and exile, pivotal moment in Mozambican history, coincided with the return of monuments and graffiti to central areas of various Mozambican cities, symbolizing an acknowledgment of the country's colonial past and signalling a shifting narrative in African-Portuguese relations. Notably, on Terceira Island in the Azores—the final place of Ngungunhane's exile—a unique monument was erected. Shaped as Ngungunhane, it stands in memory of all political prisoners exiled on the Island, reminding of historical injustices and expressing sorrow and guiltiness for the colonial past in Portuguese soil.
The reemergence of visual representations in Mozambique reflects a cyclical pattern of construction and demolition, echoing the nation's tumultuous history. Following independence in 1975, the removal of Mouzinho de Albuquerque's statue Ngungunhane—the colonial hero depicted alongside Ngungunhane—marked a symbolic rupture with the colonial past. However, the subsequent installation of Ngungunhane's bust in Manjacaze, Gaza province, stirred controversy, revealing underlying tensions surrounding national historical narratives and the complexities of memory.
Recent iconography observed during fieldwork in 2022 further elucidates evolving perspectives on colonial history. From the monumental statue in Chimoio to the graffiti in Manjacaze (dressed in European fashion) and Inhambane (sensitizing on Covid-19 issues), new visual representations offer insights into Mozambican collective memory and the complexities of historical interpretation. By analysing the dialogue between these representations over time, this commemoration aims to reflect on the symbolic meanings embedded within Mozambique's commemorative landscape and trace the evolution of public discourse surrounding imperialism and colonialism.
This communication aims to present new possibilities to achieve Islamic intellectual and written culture from West Africa – the Greater Senegambia region – through an indirect method based on European sources from the 15th to the 17th century. Challenged by the absence of a major corpus of West African written Islamic sources regarding the period ranging from the 11th to the 17th century CE, my scholarship has sought evidence of African Islamic thought in texts produced by European travelers, missionaries, traders, and others. Despite being cast as outsiders, these people kept African voices in their writings. They described the material culture concerning Islamic knowledge across the region stretching from the Senegal River valley to the north of nowadays Sierra Leone – the region known as Greater Senegambia. Largely based on local African oralities, these sources are as European as African, once they showcase local perspectives on African societies and their ancient history as secured by oral knowledge. Moreover, these documents open a new window to the study of Islamic intellectual history in West Africa considering the social approach to Islam and its institutions. Through descriptions of how Qur'anic schools worked, public readings of passages from the Holy Book, the social context in which excerpts of Mohammed's Sunna were debated and its application in Sharia, European sources offer a new avenue to understand how Islam integrated African daily lives. Thus, this communication will debate strategies to be applied to European sources to overcome their remarked ethnocentrism towards new knowledge about African Islamic history.
A literatura e o cinema são formas de comunicação expressivas que dialogam constantemente e geram relações semânticas, temáticas e intertextuais.
Escolheu-se para esta investigação o livro "Os Flagelados do Vento Leste", de Manuel Lopes (1959), um testemunho fiel da forma de viver nas ilhas de Cabo Verde, e em especial em Santo Antão.
Pretende-se estudar o confronto entre as imagens literárias e as cinematográficas, estabelecer um paralelismo na relação dialógica entre o texto literário e a sua adaptação ao cinema por António Faria em 1987, refletindo na questão da fidelidade literária, a interpretação das diversas personagens, suas temáticas e novos olhares presentes na produção fílmica.
Alguns teóricos serão utilizados: André Bazin, Robert Stam, José Luuis Noriega, Jean Mitry, J. Rancière e outros que forem necessários.
Palavras- chave: Literatura, cinema, adaptação, Cabo Verde, interpretação, o pictórico.
La colección Pipino fue adquirida por el Cabildo de Gran Canaria en 2001, al coleccionista italiano Salvatore Palella (conocido como Pipino). A partir de este momento ha permanecido bajo la custodia y supervisión del Fondo para la Etnografía y el Desarrollo de la Artesanía Canaria (FEDAC), Organismo Autónomo dependiente del Cabildo de Gran Canaria.
Esta colección de arte africano está compuesta por 450 piezas, la mayoría de ellas esculturas en madera y en piedra, otras realizadas en metal y, pinturas sobre soporte de tela y cartulina. Dentro de las principales representaciones de esta colección destacan las máscaras, las estatuas, las paleomonedas, los utensilios de uso ceremonial y doméstico y un instrumento musical, además de otras piezas que, aunque fueron realizadas para la decoración, venta o encargo han sido realizados en el estilo tradicional de su respectivo pueblo.
La FEDAC había realizado un trabajo previo de inventario y fotografía de cada una de las piezas con su correspondiente ficha y número de registro. A partir de esta situación, se realizó un trabajo de investigación y catalogación que ha permitido conocer la procedencia de la colección, los grupos étnicos representados, su iconografía, las ceremonias y rituales en los cuales intervienen y su estado de conservación.
Con esta comunicación nos proponemos visibilizar esta colección que actualmente permanece en el depósito de la institución y resaltar la importancia del patrimonio africano en Canarias.
RESUMO:
Margens e travessias da existência. A morte como estágio existencial entre o sagrado e o terreno. Concepções de morte presentes no imaginário de determinadas etnias de Angola e Moçambique, todas elas originárias dos bantu. O culto dos antepassados e do mundo após a morte faz parte das crenças africanas, em geral, e das moçambicanas, das angolanas, em particular. Os anos de colonialismo, os de luta pela Independência e os de guerra civil fizeram esmaecer, na memória do povo, essas práticas religiosas. Analisaremos, em nossa comunicação, as significações poéticas e cósmicas de metáforas e mitos referentes a diferentes representações da morte, em algumas narrativas literárias de Angola e Moçambique.
PALAVRAS-CHAVE: morte, literatura, Angola, Moçambique
ABSTRACT:
Margins and crossings of existence. Death as an existential stage between the sacred and the earthly. Conceptions of death present in the imagination of certain ethnic groups in Angola and Mozambique, all of them originating from the Bantu. The cult of ancestors and the world after death is part of African beliefs, in general, and Mozambican and Angolan beliefs, in particular. The years of colonialism, the struggle for Independence and the civil war made these religious practices fade in the people's memory. We will analyze, in our communication, the poetic and cosmic meanings of metaphors and myths referring to different representations of death, in some literary narratives from Angola and Mozambique.
KEYWORDS: death, literature, Angola, Mozambique
