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WEAPONS AND REFUSE AS MEDIA: THE POTENT POLITICS OF RECYCLING IN CONTEMPORARY MOZAMBICAN URBAN ARTS By AMY SCHWARTZOTT A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2014 © 2014 Amy Schwartzott To Mom and Pop Thank you! ACKNOWLEDGMENTS Many individuals and institutions have made this dissertation possible from my earliest fieldwork in Africa in 2007 to the completion of this document in 2013. First and foremost I thank my dissertation advisor, Victoria Rovine. Vicki has seen this project through since its nascency and has provided indefatigable support, necessary critical comments, and advice. Robin Poynor has been equally indispensible in his constant willingness to provide wisdom and astute commentary at all stages of my research and writing process. Many thanks also to my committee members Fiona McLaughlin and Guolang Lai, who offered support and guidance along the way. Fiona assisted my first African journey to Dakar, and through Guolong’s advisement I unexpectedly learned how contemporary Chinese art would make an impact on my understanding of African art. I am grateful for institutional support that has provided me with funding, allowing me to travel and complete fieldwork research in Dakar, South Africa, London, and Mozambique. The U.S. Department of Education provided funding for my lengthiest stay in Mozambique (2010- 2011) with a Fulbright-Hays DDRA Grant. The University of Florida has generously provided several travel grants that have facilitated research trips to Mozambique (2008-2010) through the Center of African Studies, where I received support and encouragement from Leo Villalón and Todd Leedy. Also at the University of Florida I must thank others for their support and advice: Dan Reboussin, Laura Robertson, and my colleagues Jordan Fenton and Genia Martinez. Beyond Florida, I thank Curator of African Art at the British Museum, Chris Spring, who kindly allowed me to participate in the progression of his commission of TAE artworks in England and Maputo. Also, Stephanie Danker at Coastal Carolina University, who agreed to look at early drafts and offer suggestions as I completed the writing process; and Margaret Sharkoffmadrid in Washington D.C. for her help with logistics and continuing robust support of my research. 4 During time spent in Mozambique I have many individuals and institutions to thank for their continuing kindness and generosity. I am grateful my research has been supported through affiliations to the National Museum of Mozambique/Museu Nacional da Mocambique (Julieta Massimbe); Transforming Arms into Plowshares/Transformação de Armas em Enxadas (TAE) project (Bishop Dom Dinis Sengulane, Boaventura Zita, Nicolau Luís); Força Moçambicana para Investigação de Crimes e Reinserção Social/Mozambican Force for Crime Investigation and Social Reinsertion (FOMICRES) project (Albino Forquilha); Hulene Dump (Amerigo); A Associação Núcleo de Arte/ Association of the Nucleus of Art (Arturo Vincente (Nongwhenye), and many of the artist members); Movimento de Arte Contemporânea de Moçambique/ Contemporary Art Movement of Mozambique (MUVART) (Pompilio Hilário (Gemuce), Jorge Dias; and many others. I heartily thank my assistant, Alcides Goba, who proved a knowledgeable authority, and served as a translator, tour guide, photographer, advisor, and friend. The artists included here represent a small number of the many artists who have generously spent time with me answering questions, providing source materials, and explaining and sharing their love of art with me. Although there are too many overall to mention here – I hope they are aware of my indebtedness and gratitude to them. I would like to especially thank particular artists who exceeded my expectations in their generosity of time, understanding, and unwavering patience. They include Cristóvão Estevão Canhavato (Kester), Faizal Omar (Matequenha), Moisés Ernesto Matsinhe Mafuiane (Butcheca), Domingos W. Comiche Mabongo (Domingos), and Jorge José Munguambe (Makolwa). Finally, thank you to my Mozambican family – the Munguambe Family: for their tireless support, advice, companionship, kindness, and senses of humor throughout my project. To Rosa, Zitho, and Makolwa, I say “obrigado” and “kanimambo.” 5 TABLE OF CONTENTS Page ACKNOWLEDGMENTS ...............................................................................................................4 LIST OF FIGURES .........................................................................................................................8 ABSTRACT ...................................................................................................................................15 CHAPTER 1 INTRODUCTION ..................................................................................................................16 Recycling ................................................................................................................................17 Object Materiality ...................................................................................................................19 Theoretical Frames .................................................................................................................20 Assemblages and Recycling: linking past and present ...........................................................23 Overview: History of Mozambique ........................................................................................27 Research Methodology ...........................................................................................................32 Chapter Organization and Summaries ....................................................................................34 2 CONCEPTUAL, TEMPORAL, AND TANGIBLE: DISCURSIVE SPACES OF CONTEMPORARY ART IN MAPUTO ...............................................................................43 Conceptual: MUVART ...........................................................................................................47 Temporal: TDM Bienal ..........................................................................................................55 Tangible: Núcleo de Arte ........................................................................................................62 Tangible: Kulungwana ............................................................................................................67 Conceptual, Temporal, and Tangible: MUVART, TDM Bienal, A Associação Núcleo de Arte, and Associação Kulungwana .....................................................................................72 3 MOZAMBIQUE’S TAE PROJECT: RECYCLING WEAPONS OF WAR INTO ART .....95 Theoretical Framework/Deconstructing Weapons of War .....................................................96 History of TAE .......................................................................................................................98 TAE Donors: Providing Financial and Product Support ......................................................103 TAE Informants: Individual Narratives ................................................................................109 TAE Weapons Destruction ...................................................................................................113 TAE Arts ...............................................................................................................................116 Projects/Group Exhibitions ...........................................................................................118 Earliest TAE Artists: 1997-1998 ...................................................................................124 TAE Artists: 2000-2005 ................................................................................................128 TAE Artists: 2010-2013 ................................................................................................130 TAE Patrons: Financial Support through Sales ....................................................................131 The Future of TAE ................................................................................................................134 Conclusion ............................................................................................................................135 6 4 RECYCLED WOOD AND METAL AS MEDIA ...............................................................176 Recycled Metals ....................................................................................................................176 Zeferino: “The garbage is beautiful” .............................................................................177 Mathe: “I use garbage, [so I’m] not polluting” .............................................................183 Recycled Metals and Wood ..................................................................................................188 Pekiwa: “I give life to an object that doesn’t have life” ................................................188 Alexandria: “ I am connecting two worlds, the processes of metal and wood” ............193 Makolwa: “I noticed objects in the street and wondered what use they had served before”........................................................................................................................198 Conclusion ............................................................................................................................202 5 RECYCLED FABRIC
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