DOCSLIB.ORG

Alternative Expressions of Citizen Voices: the Protest Song and Popular Engagements with the Mozambican State

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Alternative Expressions of Citizen Voices: the Protest Song and Popular Engagements with the Mozambican State Working Paper Volume 2020 Number 541 Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State Anésio Manhiça, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse and Mariz Tadros November 2020 2 The Institute of Development Studies (IDS) delivers world-class research, learning and teaching that transforms the knowledge, action and leadership needed for more equitable and sustainable development globally. Action for Empowerment and Accountability (A4EA) is an international research programme which explores how social and political action can contribute to empowerment and accountability in fragile, conflict, and violent settings, with a particular focus on Egypt, Mozambique, Myanmar, Nigeria, and Pakistan. Led by the Institute of Development Studies, A4EA is being implemented by a consortium which includes: the Accountability Research Center, the Collective for Social Science Research, the Institute of Development and Economic Alternatives, Itad, Oxfam GB, and the Partnership for African Social and Governance Research. It is funded with UK aid from the UK government (Foreign, Commonwealth & Development Office – FCDO, formerly DFID). The views expressed in this publication do not necessarily reflect the official policies of our funder. © Institute of Development Studies and Kaleidoscopio – Research in Public Policy and Culture 2020 Working Paper Volume 2020 Number 541 Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State Anésio Manhiça, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse and Mariz Tadros November 2020 First published by the Institute of Development Studies in November 2020 ISSN: 2040-0209 ISBN: 978-1-78118-712-8 DOI: 10.19088/IDS.2020.001 A catalogue record for this publication is available from the British Library This paper is funded with UK aid from the UK government (Foreign, Commonwealth & Development Office – FCDO, formerly DFID). The opinions are the authors and do not necessarily reflect the views or policies of IDS or the UK government. This is an Open Access paper distributed under the terms of the Creative Commons Attribution 4.0 International licence (CC BY), which permits unrestricted use, distribution, and reproduction in any medium, provided the original authors and source are credited and any modifications or adaptations are indicated. Available from: Institute of Development Studies, Library Road Brighton, BN1 9RE, United Kingdom +44 (0)1273 915637 ids.ac.uk IDS is a charitable company limited by guarantee and registered in England Charity Registration Number 306371 Charitable Company Number 877338 3 Working Paper Volume 2020 Number 541 Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State Anésio Manhiça, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse and Mariz Tadros November 2020 ids.ac.uk Working Paper Volume 2020 Number 541 4 Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State Anésio Manhiça, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse and Mariz Tadros November 2020 Summary This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state. We found indicators of empowerment and accountability in the protest songs surveyed. In these songs, musicians expressed awareness of their political and economic positions in relation to political and administrative authorities. The songs refer to citizens’ duties such as paying taxes, preserving public infrastructures, and acknowledging the rights of fellow citizens. They also reference citizens’ rights such as access to health, education, transport, security, and participation in governance processes through elections. In these songs, musicians demand that government authorities be accountable to citizens, with specific reference to political participation, right to information, public consultation, and the provision of public services. The report also found that in the past two decades Mozambican civil society organisations have turned to popular musicians to promote and animate public debates on awareness of citizen’s rights and accountability. Used as a vehicle to disseminate individual and collective experiences, we show that the protest song is a vehicle for popular engagements with the state. The lyrics used in the protest song denounce, demand, and mobilise for social and political change, in some cases using coded messages and, in other cases, resorting to open and direct messages. ids.ac.uk Working Paper Volume 2020 Number 541 5 Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State Keywords Protest songs; empowerment; accountability; citizen mobilisation; state; popular music; Mozambique; social and political action. Authors Alex Shankland is an IDS Fellow and Convenor of the Power and Popular Politics Cluster. His current research interests centre on theories and practices of democratic representation, accountability and the political strategies of marginalised groups engaging with the state around health, energy, and land rights. Anésio Manhiça is a researcher at Kaleidoscopio – Research in Public Policy and Culture. He has worked on the dynamics of Maputo city occupation and the political economy of handicraft production in Maputo city. Catija Maivasse is a research associate at Kaleidoscopio. She has a background in anthropology and is mainly interested in questions related to governance and education. Catija has collaborated with various government and non-governmental organisations conducting qualitative and quantitative research in Mozambique. Euclides Gonçalves is a researcher and director at Kaleidoscopio – Research in Public Policy and Culture. He has published on topics such as governance, bureaucratic processes, and political rituals in scholarly journals. Kátia Taela is a researcher and director of WILSA Mozambique. She has worked on gender equality and women’s rights for over ten years in policy development and analysis, project evaluation and institutional assessments. Mariz Tadros is an IDS Research Fellow specialising in the politics and human development of the Middle East. Areas of specialisation include democratisation, Islamist politics, gender, sectarianism, human security, and religion and development. ids.ac.uk Working Paper Volume 2020 Number 541 6 Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State Contents 1. Introduction 8 1.1 Background and questions 8 1.2 Empowerment, public accountability, and the protest song 9 1.3 Data collection 10 2. Musicians’ voices in the ‘time of democracy’ 12 2.1 ‘They eat alone’ 12 2.2 ‘The land of marrabenta’ 13 2.3 ‘The boss is the boss’ 14 2.4 ‘Lies in truth’ 14 2.5 ‘The governance of Armandinho’ 15 3. Two decades of the protest song: key topics 17 3.1 Economic situation 17 3.2 Corruption 18 3.3 Peace 19 3.4 Popular action 20 3.5 Police 21 3.6 Public transport 22 3.7 Progress 22 3.8 Donors 23 ids.ac.uk Working Paper Volume 2020 Number 541 7 Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State 4. Singing empowerment and (un)accountability 25 4.1 On empowerment 25 4.1.1 Reporting, giving voice, and venting 25 4.1.2 Inspiring individual and collective action 27 4.2 On (un)accountability 28 4.2.1 Questioning authority and legitimacy 28 4.2.2 Demanding public services 30 4.2.3 For participatory governance 31 5. Mobilising acoustic communities 33 5.1 (Un)censored 33 5.2 Spontaneous interventions 34 5.3 Citizenship through music 35 6. Political awareness and political action 39 6.1 Knowledgeable citizens, engaged musicians 39 6.2 Doing nothing? 40 7. Conclusion 41 Annexe 1 List of songs, interviews, workshops, and field observations 43 References 46 ids.ac.uk Working Paper Volume 2020 Number 541 8 Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State 1. Introduction 1.1 Background and questions Globally, there is a significant body of literature that explores the links between politics and popular culture, covering various historical periods and geographic areas. These
Load more

Recommended publications
  • View the 2021 Project Dossier
    www.durbanfilmmart.com Project Dossier Contents Message from the Chair 3 Combat de Nègre et de Chiens (Black Battle with Dogs) 50 introduction and Come Sunrise, We Shall Rule 52 welcome 4 Conversations with my Mother 54 Drummies 56 Partners and Sponsors 6 Forget Me Not 58 MENTORS 8 Frontier Mistress 60 Hamlet from the Slums 62 DFM Mentors 8 Professional Mourners 64 Talents Durban Mentors 10 Requiem of Ravel’s Boléro 66 Jumpstart Mentors 13 Sakan Lelmoghtrebat (A House For Expats) 68 OFFICAL DFM PROJECTS The Day and Night of Brahma 70 Documentaries 14 The Killing of A Beast 72 Defying Ashes 15 The Mailman, The Mantis, and The Moon 74 Doxandem, les chasseurs de rêves Pretty Hustle 76 (Dream Chasers) 17 Dusty & Stones 19 DFM Access 78 Eat Bitter 21 DFM Access Mentors 79 Ethel 23 PARTNER PROJECTS IN My Plastic Hair 25 FINANCE FORUM 80 Nzonzing 27 Hot Docs-Blue Ice Docs Part of the Pack 29 Fund Fellows 81 The Possessed Painter: In the Footsteps The Mother of All Lies 82 of Abbès Saladi 31 The Wall of Death 84 The Woman Who Poked The Leopard 33 What’s Eating My Mind 86 Time of Pandemics 35 Unfinished Journey 37 Talents Durban 88 Untitled: Miss Africa South 39 Feature Fiction: Bosryer (Bushrider) 89 Wataalat Loughatou él Kalami (Such a Silent Cry) 41 Rosa Baila! (Dance Rosa) 90 Windward 43 Kinafo 91 L’Aurore Boréale (The Northern Lights) 92 Fiction 45 The Path of Ruganzu Part 2 93 2065 46 Yvette 94 Akashinga 48 DURBAN FILMMART 1 PROJECT DOSSIER 2021 CONTENTS Short Fiction: Bedrock 129 Crisis 95 God’s Work 131 Mob Passion 96 Soweto on Fire 133
    [Show full text]
  • O Semba Angolano Pré-Independência (1961-1975): Relações Entre Música E Política
    O SEMBA ANGOLANO PRÉ-INDEPENDÊNCIA (1961-1975): RELAÇÕES ENTRE MÚSICA E POLÍTICA Mateus Berger Kuschick [email protected] Universidade Estadual de Campinas (UNICAMP) Resumo A presente comunicação é parte da pesquisa de doutorado em andamento, desenvolvida na área de música popular / etnomusicologia. O semba, estilo musical erigido a símbolo nacional de Angola a partir dos anos 60 do séc.XX, é o principal objeto do estudo: desde sua formação, os principais artistas, as canções mais representativas, o apelo popular, até a busca por elementos musicais recorrentes que lhe diferencie de outros estilos de música popular. Apresentaremos uma revisão fonográfica das principais coletâneas publicadas sobre semba, bem como trechos de entrevistas realizadas com sembistas de Angola e definições de diversos autores sobre o estilo musical em questão e seu percurso por terras angolanas principalmente a partir de 1947, com o grupo Ngola Ritmos, até 1975, ano da independência do país e de início de uma guerra civil que perdurou até 2002 com apoio de potências econômicas como EUA e URSS. Traremos constatações parciais sobre o semba em que apontaremos características referentes a aspectos como padrão rítmico, instrumentação, forma, harmonia, melodia, idioma, temática das letras, arranjo vocal e instrumental. Ainda, destacaremos o papel relevante da música no movimento pela independência angolana. Consideramos importante o estudo do semba angolano no contexto 893 acadêmico brasileiro para que possamos buscar pontos de contato entre as culturas musicais de Palavras-Chave: Semba, Angola, etnomusicologia. Abstract This communication is part of the doctoral research in progress, developed in the area of ethnomusicology / popular music. Semba, musical style national symbol of Angola , is the main object of study.
    [Show full text]
  • MALAUENE Umn 0130E 22082.Pdf
    A history of music and politics in Mozambique from the 1890s to the present A DISSERTATION SUBMITTED TO THE COLLEGE OF LIBERAL ARTS OF THE UNIVERSITY OF MINNESOTA BY DENISE MARIA MALAUENE IN PARTIAL FULFILLMENT OF THE REQUEREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY ALLEN F. ISAACMAN JANUARY 2021 Ó DENISE MARIA MALAUENE, 2021 Acknowledgements Nhi bongide ku womi ni vikelo Thank you for life and protection Nhi bongide gurula ni guhodza Thank you for peace and provision Nhi bongide gu nengela omo gu Thank you for happiness in times of tsanisegani suffering Nhi bongide Pfumu Thank you, God! Denise Malauene song titled “Nhi bongide Pfumu”1 Pfumu Nungungulu, nhi bongide ngudzu! (Thank you, God!) My children Eric Silvino Tale and Malik TSakane Malauene Waete: I thank you for your unconditional love, Support, and understanding aS many timeS I could not be with you nor could meet your needs because I waS studying or writing. Mom and dad Helena ZacariaS Pedro Garrine and João Malauene, nhi bongide ku SatSavbo. My Siblings Eduardo Malauene, GiSela Malauene, Guidjima Donaldo, CriStina AgneSS Raúl, DioníSio, Edson Malauene, ChelSea Malauene, Kevin Malauene, obrigada por tudo. I am grateful to my adviSor Allen IsSacman for the advice, guidance, and encouragement, particularly during the difficult timeS in my Ph.D. trajectory Somewhat affected by Several challengeS including CycloneS Idai, the armed instability in central and northern Mozambique, and Covid 19. Barbara’s and hiS support are greatly appreciated. I am grateful to ProfeSSor Helena Pohlandt-McCormick for her encouragement, guidance, and Support. Her contribution to the completion of my degree in claSSeS, reading groups, paper preSentations, grant applications, the completion of my prelimS, and Michael’s and her support are greatly appreciated.
    [Show full text]
  • Sambas, Batuques E Sembas: Experiências Em Música Popular Em Brasil, Moçambique E Angola
    XXV Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música – Vitória – 2015 Sambas, batuques e sembas: experiências em música popular em Brasil, Moçambique e Angola MODALIDADE: PAINEL Vilson Zattera UNICAMP – [email protected] Francisco de Assis Santana Mestrinel UNICAMP – [email protected] Mateus Berger Kuschick UNICAMP – [email protected] Matheus Serva Pereira UNICAMP – [email protected] Resumo: O painel busca aproximar três pesquisas que envolvem temáticas semelhantes sobre a música feita em Moçambique, Angola e em uma escola de samba do Brasil. Sambas, sembas e batuques serão abordados sob o olhar de pesquisadores de música e história, em períodos históricos diferentes, mas aproximados pela história comum de colonização portuguesa. A produção musical nos países em questão tem elos que o presente painel, ao reunir as pesquisas em andamento, apontará aproximações. Palavras-chave: Música popular. Samba brasileiro. Semba angolano. Batuques moçambicanos. Title of the Paper in English Abstract: The paper tries to approximate three studies involving similar issues on the music made in Mozambique, Angola and in a samba school in Brazil. Sambas, sembas and batuques will be addressed from the perspective of music researchers and researcher of history, at different times, but approximate the common history of Portuguese colonization. The musical production in the countries concerned has links that this paper aims to show. Keywords: Popular music. Brazilian samba. Angolan semba. Mozambican batuques. 1. Introdução geral Três pesquisas de doutorado em andamento na Universidade Estadual de Campinas compõem esse painel, sendo duas situadas na sub-área de Música e uma na sub- área de História. Todas têm como elemento central práticas musicais populares, os diferentes usos dessas práticas e suas representativas em países que passaram por experiências comuns no seu processo de formação nacional.
    [Show full text]
  • Construção De Identidade Através Da Música Popular
    Revista Sonora, 2019, vol. 8, nº 14 http://www.sonora.iar.unicamp.br ISSN 1809-1652 Brasil, Angola, Moçambique: construção de identidade através da música popular 1 Ricardo Vilas ,​ Universidade Federal Fluminense E-mails: [email protected] ​ ​ Resumo Semba, MPB (e o Samba, que sempre será inserido, sem o estar totalmente), e Marrabenta são três gêneros musicais inseridos na circulação mundial de música popular. Essas músicas também, fazem parte de um universo cultural “lusófono”, tão intensa sempre foi a circulação de música e cultura entre os Palops e o Brasil. O artigo trata da relação entre música popular e política, e mostra como a música popular, ao trazer respostas a uma crise social , afirma e constrói identidades e pertencimentos. Palavras-chave: Música popular; Brasil-Angola-Moçambique; Construção de Identidade. Abstract Semba, MPB (and Samba, wich will Always be inserted without being totally) and Marrabenta are three musical genres inserted in the world popular music ciculation. These musics are also parto f a “lusophone” cuktural universe, so intebse has always been the circulation of music e=and cukture cetween the Palos and Brazil. The article delas with the relationship between music and politics, and shows how popular music, by bringing responses to a social crisis, affirms and builds identities and belongings. 1 Músico profissional, com 50 anos de carreira e 27 álbuns na sua discografia. É doutor em Antropologia, diploma em cotutela entre a Universidade Federal do Rio de Janeiro (UFRJ) e a Ecole des Hautes Etudes en Sciences Sociales (EHESS) - Paris. É mestre em Etnomusicologia pela Université de Paris 8 - Saint Denis.
    [Show full text]
  • MASTER THESIS Research Master African Studies 2015-2017 Leiden University/African Studies Center
    Photo Jay Garrido Jay Photo (E)motion of saudade The embodiment of solidarity in the Cuban medical cooperation in Mozambique MIRIAM ADELINA OCADIZ ARRIAGA MASTER THESIS Research Master African Studies 2015-2017 Leiden University/African Studies Center First supervisor: Dr. Mayke Kaag Second supervisor: Dr. Kei Otsuki E)motion of saudade. The embodiment of solidarity in the Cuban medical cooperation in Mozambique Miriam A. Ocadiz Arriaga Master Thesis Research Master African Studies 2015-2017 Leiden University/African Studies Center First supervisor: Dr. Mayke Kaag Second supervisor: Dr. Kei Otsuki To my little brother, and to all those who have realized that love is the essence of life, it’s what build bridges through the walls, it´s what shorten abysmal distances, it´s what restore the broken souls, it´s what cures the incurable, it´s what outwits the death Photo Alina Macias Rangel Macias Alina Photo To my little brother, and to all those who have realized that love is the essence of life, it’s what build bridges through the walls, it´s what shorten abysmal distances, it´s what restore the broken souls, it´s what cures the incurable, it´s what outwits the death Copyrights photo; Alina Macias Rangel Index (or the schedule of a journey) Acknowledgments 9 Abstract 13 Preface 15 List of Acronyms 16 1 Introduction. Two ports 17 Human faces 17 Cuban medical cooperation in Mozambique 20 Research question & rationale 23 Order of the thesis 24 2 Methodology. Mapping Nostalgia 27 Methods and methodology 28 Mozambique 30 Cuba 34 Reflection and ethical considerations 36 (Un)Limitations 39 3 Macro perspectives and background.
    [Show full text]
  • Transferir Download
    Revista Lusófona de Estudos Culturais / Lusophone Journal of Cultural Studies, vol. 6, n. 1, 2019, pp. 101 – 113 http://dx.doi.org/10.21814/rlec.382 Lusophony in the cinema Benalva da Silva Vitorio Abstract Dreaming and writing it, that was how I started this article in which the memories trans- ported me on a metaphorical journey into the world of the cinema to reflect about Migration and Lusophony, contemplating the intricate paths of the process of identity and otherness. With the methodological support of Autoethnography and the French School of Discourse Analysis, the discursive construction represents the immigrant’s life illustration starting from its origins. Also, as a symbolic object of analysis, the Luso-Brazilian movie Foreign land represents the interweav- ing between the Brazilians’ disillusion with the Collor Plan and the hope of the Lusophones in the Portugal border and the quest of realizing their dreams. Keywords Cinema; memory; migrations; Lusophony Lusofonia no cinema Resumo Sonhar e escrever. Assim, comecei este artigo, no qual as lembranças me transporta- ram em uma viagem metafórica ao mundo do cinema para refletir sobre Migração e Lusofonia, contemplando os intrincados caminhos do processo de identidade e alteridade. Com apoio me- todológico da Autoetnografia e da Análise de Discurso da Escola Francesa, a construção dis- cursiva representa desenho da vida de imigrantes tecida por fios de pertenças. Assim, o filme luso-brasileiro Terra estrangeira, como objeto simbólico de análise, representa o entrelaçamento entre o desencanto no Brasil do Plano Collor e a esperança de sujeitos fronteiriços em Portugal, lusófonos na busca da concretização de seus sonhos.
    [Show full text]
  • Notebook of Colonial Memories Isabela Figueiredo
    luso-asio-afro-brazilian studies & theory 4 Notebook of Colonial Memories Isabela Figueiredo Translated by Anna M. Klobucka and Phillip Rothwell Notebook of Colonial Memories Publication supported by a Gregory Rabassa Translation Grant from the Luso-American Foundation Notebook of Colonial Memories Isabela Figueiredo Translated by Anna M. Klobucka and Phillip Rothwell luso-asio-afro-brazilian studies & theory 4 Editor Victor K. Mendes, University of Massachusetts Dartmouth Associate Editor Gina M. Reis, University of Massachusetts Dartmouth Editorial Board Hans Ulrich Gumbrecht, Stanford University Anna M. Klobucka, University of Massachusetts Dartmouth Pedro Meira Monteiro, Princeton University João Cezar de Castro Rocha, Universidade do Estado do Rio de Janeiro Phillip Rothwell, University of Oxford Miguel Tamen, Universidade de Lisboa Claire Williams, University of Oxford Cover design & typesetting Inês Sena, Lisbon Translation copyright © 2015 by Anna M. Klobucka and Phillip Rothwell Library of Congress Cataloging-in-Publication Data Figueiredo, Isabela, 1963- [Caderno de memórias coloniais. English] Notebook of colonial memories / Isabela Figueiredo ; translated by Anna M. Klobucka and Phillip Rothwell. pages cm -- (Luso-Asio-Afro-Brazilian studies & theory ; 4) ISBN 978-0-9814580-3-8 1. Figueiredo, Isabela, 1963- 2. Portugal--Biography. I. Klobucka, Anna, 1961- II. Rothwell, Phillip, 1972- III. Title. CT1378.F54A3 2015 946.904’4092--dc23 [B] 2015008099 Table of Contents Introduction 7 Anna M. Klobucka and Phillip Rothwell Notebook of Colonial Memories 27 Introduction Anna M. Klobucka and Phillip Rothwell When Isabela Figueiredo’s Caderno de Memórias Coloniais (Notebook of Colonial Memories) was published in Portugal in late 2009, it was greeted by marked critical interest and popular acclaim.
    [Show full text]
  • DA COLONIALIDADE: REFLEXÕES SOBRE AS DANÇAS KIZOMBA E URBANKIZ EM WORKSHOPS INTERNACIONAIS Paolla De Souza Thomaz1
    ARTIGO DA COLONIALIDADE: REFLEXÕES SOBRE AS DANÇAS KIZOMBA E URBANKIZ EM WORKSHOPS INTERNACIONAIS Paolla de Souza Thomaz1 RESUMO: Evidenciando a importância que a dança tem na cotidianidade da cultura angolana, esta pode ser entendida como meio singular para a tessitura de redes de sociabilidade e fortalecimento de pertença, sendo de profundo interesse dos estudos antropológicos e culturais a observação de suas dinâmicas de mediação, onde as pessoas criam diariamente seu senso de coletividade, com sentidos e razões de ser únicos em comparação a outras culturas. Como fica então essa dinâmica quando uma de suas danças mais populares, a Kizomba, se globaliza a partir da Europa e se modifica consideravelmente até ganhar outra nomenclatura? Este artigo pretende observar essa questão a partir de reflexões sobre a colonialidade nos workshops internacionais. PALAVRAS-CHAVE: Kizomba; Dança; Urbankiz; Colonialidade. OF COLONIALITY: REFLECTIONS ON KIZOMBA AND URBANKIZ DANCES IN INTERNATIONAL WORKSHOPS ABSTRACT: Evidencing the importance that dance has in the daily life of Angolan culture, this can be understood as a unique means for the weaving of networks of sociability and strengthening of belonging, being of profound interest in anthropological and cultural studies the observation of its mediation dynamics. , where people daily create their sense of collectivity, with unique 1 Mestranda do Programa meanings and reasons compared to other cultures. How then is de Pós-graduação em this dynamic when one of its most popular dances, the Kizomba, Cultura e Territorialidades globalizes from Europe and changes considerably until it gains (PPCULT) pela UFF. Graduada em Estudos de another nomenclature? This article intends to observe this issue Mídia pela UFF.
    [Show full text]
  • Perspectivas, Análises E Descrições Perspectivas
    Embondeiro Publicação Sócio-Cultural do Arpac • Periodicidade: Semestral • Edição 01• Outubro de 2017 PERSPECTIVAS, ANÁLISES E DESCRIÇÕES PERSPECTIVAS, ARPAC - Instituto de Investigação Sócio-Cultural Embondeiro Publicação Sócio-Cultural do ARPAC Perspectivas, Análises e Descrições ARPAC - Instituto de Investigação Sócio-Cultural Outubro de 2016 Ficha Técnica Título Embondeiro: Publicação Sócio-Cultural do Arpac Direcção João Baptista Fenhane Coordenação Ruben Taibo Equipe editorial Angélica Munhequete Célio Tiane Ruben Taibo Belchior Canivete Marílio Wane Arrisses Mudender Autores Silva A. Dunduro Marílio Wane Abel Mazuze Manuel Vene Killian Dzinduwa Ruben Taibo Angélica Munhequete Agnelo Navaia Osvaldo Zandamela Dulámito Aminagi Revisão Linguística Eugénio Matusse Maquetização Cândido Nhaquila Ramiro Machatine Impressão: Número de Registo: 07/GABINFO-DEPC/2017 Tiragem: 1000 Exemplares Índice -------------------------------------------------------------------------------------------------------- Fontes Orais e sua Importância para a Pesquisa em Moçambique 6 Silva A. Dunduro -------------------------------------------------------------------------------------------------------- 3M: Marrabenta, Memória e Maputo 12 Marílio Wane -------------------------------------------------------------------------------------------------------- XIMBUTSU MUZAYA: mitos e factos sobre o topónimo Chibuto 19 Abel Mazuze -------------------------------------------------------------------------------------------------------- Nomadismo e seu Impacto na Província
    [Show full text]
  • Book Review 40,1
    MRR Book review 40,1 116 Highlife Music in West Africa: Down Memory Lane Edited by Sonny Oti Malthouse Press Limited Lagos, Nigeria 2009 ISBN: 978-978-8422-08-2. Review DOI 10.1108/MRR-08-2016-0201 The creative industry in sub-Saharan Africa (SSA) has witnessed a resurgence in recent years, especially in terms of music and dance. From Nigeria and Ghana to Botswana, Kenya, Mozambique and South Africa, and following in the footsteps of film, music and dance have now attracted global attention having featured prominently in Western media such as CNN and the BBC. Indeed, a recent BBC documentary “Best Nightclub in Africa” profiled Botswana as a country where the youth of SSA have foundan alternative art form – i.e. outdoor music festivals such as the “car park pimping” arising from the restrictive government taxes on entertainment in that country – described as a “tax on sin”. One unintended consequence of this has been the resurgence of alternative art forms – notably music and dance where young: […] people are dancing to live performances by local artists and showing off their latest dance moves – including the particularly impressive one of balancing bottles of beer on their bums. Indeed, other previously unimagined patterns are emerging across SSA with DIY (do-it-yourself) artists springing up in every corner, and especially among the youth. In Mozambique and Kenya, for example, “new” dance forms have either cropped up or re-emerged (notably Marrabenta and Lipala) – thus putting the creative industry back into intellectual discourse and further accentuating the need for more scholarly attention, interrogation and research.
    [Show full text]
  • Annual Report 2013
    Annual Report 2013 Modern Art Centre – 30 YEARS Annual Report 2013 Contents I. Activities Report 7 17 Education Board of Trustees of the Office of the President Calouste Gulbenkian 141 Foundation Ia. Portugal Gulbenkian Empowering New Generations Programme Internal Audit Committee Charity 35 161 9 Gulbenkian Innovation in Scholarships Department Message from the President Health Programme 171 39 Art Library Gulbenkian Human Development Programme 185 Gulbenkian Portuguese 55 Language and Culture Cidadania Ativa Programme – EEA Grants Programme 195 Art Gulbenkian Education for Culture and Science 67 Programme Calouste Gulbenkian Museum Science 85 Music Department 205 Gulbenkian Institute of Science 103 Modern Art Centre – CAM 129 Gulbenkian Next Future Programme II. Economic and Financial Situation Ib. Overseas Financial Statements 225 293 Delegation in France Economic and Financial Situation 231 Armenian Communities 298 Department Budget implementation and the Foundation’s activities 241 United Kingdom Branch 305 Analysis of the Consolidated 257 Financial Statements Gulbenkian Development Aid Programme 370 Auditors’ Reports Ic. Gulbenkian Initiatives 261 III. Internal Audit Gulbenkian Oceans Initiative Committee 267 374 Gulbenkian Cities Initiative Report 271 Gulbenkian Knowledge Transfer 375 Initiative Opinion Id. Support Departments 376 Heads of Department and 275 Gulbenkian Programmes Central Services Department 379 281 Useful Information Budget, Planning and Control Department 287 Communication Department BOARD OF TRUSTEES 9 Board of
    [Show full text]