LUSOPHONE WORLD in FOCUS Table of Contents 3 EDITORIAL
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Al-Mureijah Art Spaces Sharjah, United Arab Emirates
2019 On Site Review Report by Raza Ali Dada 5050.UAE Al-Mureijah Art Spaces Sharjah, United Arab Emirates Architect Mona El Mousfy, Sharmeen Azam Inayat Client Sharjah Art Foundation Design 2010-2011 Completed 2013 Al-Mureijah Art Spaces Sharjah, United Arab Emirates I. Introduction The Al-Mureijah Art Spaces are a series of exhibition spaces set up by the Sharjah Art Foundation (SAF). Following the global success of the Sharjah Biennial the need for flexible spaces to house contemporary art was inevitable. A part of the historic district was acquired by the foundation, and re-appropriated to house spaces for contemporary art, installations and performances. New buildings were designed and inserted into the historical fabric, adding a new typology of buildings to the current mix. The five new gallery spaces are surrounded by courtyards and older structures that also function as spaces for art, installations and performances. The placement and scale of these spaces is mindful of the historical fabric where one navigates through narrow and shaded passageways punctuated by the courtyards. A significant urban response eliminates any boundary or formal element to mark the limit of the project, thus enabling pedestrians to walk through or approach the project from a number of sides. This creates an informal relationship and a natural access for the public in this unique urban setting. II. Contextual information A. Brief historical background The Emirate of Sharjah covers approximately 2,600 square kilometres. In addition to Sharjah city, which lies on the shores of the Arabian Gulf, the emirate has three regions on the scenic east coast at the Gulf of Oman: Dibba Al Hisn, Khor Fakkan and Kalba. -
The Locations and Relocations of Lusophone Studies
The Locations and Relocations of Lusophone Studies josiah blackmore harvard university “ usophone studies,” or the range of topics and methodologies centered on Lthe study of the Portuguese-speaking world, is a relatively recent disciplinary designation with origins in Portuguese studies and Luso-Brazilian studies. As a field, Lusophone studies encompasses the study of Portugal and Portuguese- speaking countries and communities outside of Portugal, such as those in Africa (Angola, Mozambique, São Tomé and Príncipe, Cabo Verde, Guinea-Bissau, Equatorial Guinea) and in Asia (e.g., Macau, Timor, and India) but is typically exclusive of Brazil. Lusophone studies, therefore, takes as its collective matter of analysis a vast geographical arena south and east of Portugal with a variety of cultures and national and ethnic identities that at one point existed under the umbrella of Portuguese colonialism. The extended geographical arena of the field also supports a practice of interdisciplinary scholarship that reaches out- side of traditional literary studies and history to include cinema studies, dias- poric studies, or gender and sexuality studies that are commensurate with developments in other humanities disciplines. The current configurations of Lusophone studies raise the question of disci- plinary labels and scholarly practices, which in turn reveal a politics of identity and even a struggle for survival of a comparatively small field in the North Amer- ican academy. Entrenched biases or geopolitical realities have long affected Luso- phone studies, not to mention the name of the field itself. On the one hand, shifting nomenclatures reveal a consciousness of collective identities and affilia- tions to national, political, or cultural realities, while on the other hand they can act as strategic attempts to delineate the specific national and cultural purviews of study that define the discipline. -
Abstract African and African
ABSTRACT AFRICAN AND AFRICAN AMERICAN STUDIES HILL, ERNESS A. B.A. SPELMAN COLLEGE, 1998 REFLECTIONS OF THE PAST: THE CASE OF MOZAMBICAN ART. THE MACONDE AND THE SHETANI Advisor: Dr. Mustafah Dhada Thesis dated December, 2000 This thesis examines to what extent the shetani icon in Maconde Art has been elevated to the status of deity; and what powers it has been endowed with to transform the lives of its "worshippers." The investigation was based on the observation that, although not a recognized 'god' in the traditional Maconde form of worship, nor that of Mozambique, the shetani’s appearance in Mozambican art was consistent and abundant. The investigative approach used was a comparative analysis of three internationally known Mozambican artists, two of which are Maconde. The researcher found that with all three artists, the shetani was an obvious element in their artistic renderings and in each instance, their individual lives, though not unique, were charged with suffering and unhappiness. The conclusion drawn from this investigation suggests that, although created by a Maconde for the purpose of patronage, the shetani icon has become a 'deity' not only for the Maconde, but for Mozambicans, as well. While not 'worshipped' in the sense that Westerners worship, it has been endowed with powers that transform the lives of those who identify with it. At the very least, it has been endowed with the power to promote their artistic abilities with a view to catalyzing greater creativity. REFLECTIONS OF THE PAST: THE CASE OF MOZAMBICAN ART, THE MACONDE AND THE SHETANI A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS BY ERNESS A. -
Portugal's Colonized Colonialism
JOÃO M. PaRaSKEVa1 PORTUgAL’S COLONiZED COLONiALiSM A Prospering Calibanian Paradoxal Identity2 A PaRadOxIcaL IdENtItY In this chapter attempts to challenge a lethal commonsensical commonsense set of discourses and practices constructed by António Salazar’s dictatorship regime that ‘Portugal will always be an African nation.’ It is an analysis over the way ideology underlies social, cultural and political discourse and racist actions. In so doing we were able, not only to demystify how such despotic claim is deeply rooted within the very marrow of Portuguese capitalist colonial and neo-colonial strategy which was (and still is) framed by what we might call a ‘paradox identity framework,’ but also to denounce how curriculum content—via textbooks—has judicial record perpetuating an intricate reracializing political scaffold that positively tries to crystallize and legitimize a particular kind of western hegemony. We end our analyses claiming for the need to work within the critical race theory platform as a way to debunk the endemic western ‘we.’ In one of his flamboyant and ostentatious remarks the Portuguese dictator António Salazar claimed that ‘Portugal will always be an African nation.’ Such a despotic statement requires cautious consideration of two things in particular. First, it is important to understand in depth the reasons why António Salazar and ‘his regime[s of truth]’ claimed such an identity and, second, in understanding these reasons, one has to analyze how schooling has perpetuated what one might call a bizarre reracializing policy. A good way to start this radical critical analysis is to clarify specific political particularities of the Portuguese dictatorship epoch. -
TRACEPLAY-PRESS-KIT-2017.Pdf
EDITOR “Our audience and urban creators were looking for a single platform that offers the best urban music and entertainment on all connected devices, all over the world. TracePlay is our answer to this request”. OLIVIER LAOUCHEZ CHAIRMAN, CEO AND CO-FOUNDER OF TRACE GROUP SUMMARY 1/ THE APP 03 TRACE PRESENTS TRACEPLAY 04 AN OFFER THAT FULLY INCLUDES URBAN MUSIC 2/ THE EXPERIENCE 05 LIVE TV: 9 TRACE MUSIC TV CHANNELS + 1 TV CHANNEL DEDICATED TO SPORT CELEBRITIES 06 LIVE RADIOS : 31 THEMATIC TRACE RADIOS 07 SVOD & ORIGINALS : OVER 2000 URBAN ASSETS 3/ THE OFFER 08 PRICES 09 DEVICES 10 GEOGRAPHICAL DISTRIBUTION APPENDIX: TRACEPLAY PROGRAM CATALOGUE 2017 WWW.TRACEPLAY.TV 1/ THE APP 1.1 TRACE PRESENTS TRACEPLAY TracePlay is the first subscription-based service entirely dedicated to urban and afro-urban music and entertainment. The App is available worldwide on most THE BEST RADIOS connected devices and offers an instant Afro-urban series, movies, documentaries 30 radio channels covering the various urban and unlimited access to 10 live TV chan- and concerts. and afro-urban genres. nels, 30 live radios and more than 2000 on demand programs. LIVE TV EXPLORE Watch the 9 best urban and afro-urban music channels Browse by region, topic, genre or mood and the #1 sport celebrities channel to make your choice. ON DEMAND Instant access to more than 2000 selected programs including originals. TV | RADIO | DIGITAL | EVENTS | STUDIOS | MOBILE | MAGAZINE TRACEPLAY | PRESS KIT 2017 03 1/ THE APP 1.2 AN OFFER THAT FULLY INCLUDES URBAN MUSIC TracePlay leverages Trace’s 14 years expertise in music scheduling to offer a unique music experience: all Urban, African, Latin, Tropical and Gospel music genres are available and curated on a single App for the youth who is 100% connected. -
Portuguese Perspectives and Approaches
GLOBAL FORUM ON MIGRATION AND DEVELOPMENT Manila, Philippines, 27-30 October 2008-10-22 Roundtable 1: Migration, Development and Human Rights Roundtable Session 1.2 EMPOWERING MIGRANTS AND DIASPORA TO CONTRIBUTE TO DEVELOPMENT Portuguese Perspectives and Approaches 1- Introduction Portugal has had a long history of migration flows ever since it has initiated the maritime discoveries in the 15th century. Fundamental changes have occurred along all these centuries, making our Diaspora a true universal movement. In the last decades of the 20th century, Portugal witnessed a deep transformation in its population structure, and from a being a country of origin of migration, Portugal became also a hosting country. Apart from the increase in the number of immigrants, significant modifications in the structure of foreign nationals in Portugal occurred, going beyond the traditional scope of immigration model in Portugal. There are now immigrants coming from various continents - from Africa, and not only from the Portuguese Speaking African countries, from America, mainly from Brazil and Europe, mainly from Central and Eastern Europe. Over the last thirty years, our country has been faced with an ethnic and cultural diversity within its national borders, with the urgent need to adapt itself to a new reality. Given the cultural and social profile of the Portuguese people, its Diaspora history and its innate capacity to dialogue with other countries and cultures, it has been possible to develop a model of intercultural society, where the cultural and religious elements do coexist and interact. Migration is a multidimensional phenomenon that requires a holistic approach and Portugal is firmly committed to debate the maximization of the development benefits of migration. -
Before the Emirates: an Archaeological and Historical Account of Developments in the Region C
Before the Emirates: an Archaeological and Historical Account of Developments in the Region c. 5000 BC to 676 AD D.T. Potts Introduction In a little more than 40 years the territory of the former Trucial States and modern United Arab Emirates (UAE) has gone from being a blank on the archaeological map of Western Asia to being one of the most intensively studied regions in the entire area. The present chapter seeks to synthesize the data currently available which shed light on the lifestyles, industries and foreign relations of the earliest inhabitants of the UAE. Climate and Environment Within the confines of a relatively narrow area, the UAE straddles five different topographic zones. Moving from west to east, these are (1) the sandy Gulf coast and its intermittent sabkha; (2) the desert foreland; (3) the gravel plains of the interior; (4) the Hajar mountain range; and (5) the eastern mountain piedmont and coastal plain which represents the northern extension of the Batinah of Oman. Each of these zones is characterized by a wide range of exploitable natural resources (Table 1) capable of sustaining human groups practising a variety of different subsistence strategies, such as hunting, horticulture, agriculture and pastoralism. Tables 2–6 summarize the chronological distribution of those terrestrial faunal, avifaunal, floral, marine, and molluscan species which we know to have been exploited in antiquity, based on the study of faunal and botanical remains from excavated archaeological sites in the UAE. Unfortunately, at the time of writing the number of sites from which the inventories of faunal and botanical remains have been published remains minimal. -
Timeline / Before 1800 to After 1930 / PORTUGAL / POLITICAL CONTEXT
Timeline / Before 1800 to After 1930 / PORTUGAL / POLITICAL CONTEXT Date Country Theme 1807 - 1816 Portugal Political Context First Napoleonic invasion. Prince Regent João (1767–1826, crowned in 1816) transfers the court and the seat of political power to Brazil, avoiding being deposed and replaced by a Napoleonic nominee as in other European kingdoms. In Portugal, Beresford, the British governor, intervenes in Portuguese general politics disregarding national needs. 1817 - 1821 Portugal Political Context The emergence of liberal ideas. In Porto a Provisional Ruling Council is created (1820) and pursues the rebellion against British rule that started in Lisbon. Liberal revolution breaks out in Porto (August 1820), spreads to Lisbon, beginning the radical cycle known as Vintismo. King João VI is forced to return to Portugal from Brazil in 1821. 1822 Portugal Political Context 1 October: Inspired by Cadiz Constitution members of Parliament authored the first liberal Constitution. King João VI (1767-1826) promulgated the document on 1 October 1822, in Lisbon. Royal prerogatives and the nobles and clergy privileges were limited, though with a weak impact. 1822 Portugal Political Context King João VI asks his heir Prince Pedro, Duke of Braganza (1798–1834) to remain in Brazil. Part of the court decides to stay there. Facing revolt against the anti- Brazilian policy of Portugal, Pedro proclaims the independence of Brazil on 7 September (Grito do Ipiranga). In October he is acclaimed as the first Brazilian Emperor, Pedro I. 1826 - 1832 Portugal Political Context With the death of his father, Emperor Pedro I of Brazil becomes Pedro IV of Portugal but gives up the throne to his daughter, future Queen Maria II. -
Ethnomathematics and Education in Africa
Copyright ©2014 by Paulus Gerdes www.lulu.com http://www.lulu.com/spotlight/pgerdes 2 Paulus Gerdes Second edition: ISTEG Belo Horizonte Boane Mozambique 2014 3 First Edition (January 1995): Institutionen för Internationell Pedagogik (Institute of International Education) Stockholms Universitet (University of Stockholm) Report 97 Second Edition (January 2014): Instituto Superior de Tecnologias e Gestão (ISTEG) (Higher Institute for Technology and Management) Av. de Namaacha 188, Belo Horizonte, Boane, Mozambique Distributed by: www.lulu.com http://www.lulu.com/spotlight/pgerdes Author: Paulus Gerdes African Academy of Sciences & ISTEG, Mozambique C.P. 915, Maputo, Mozambique ([email protected]) Photograph on the front cover: Detail of a Tonga basket acquired, in January 2014, by the author in Inhambane, Mozambique 4 CONTENTS page Preface (2014) 11 Chapter 1: Introduction 13 Chapter 2: Ethnomathematical research: preparing a 19 response to a major challenge to mathematics education in Africa Societal and educational background 19 A major challenge to mathematics education 21 Ethnomathematics Research Project in Mozambique 23 Chapter 3: On the concept of ethnomathematics 29 Ethnographers on ethnoscience 29 Genesis of the concept of ethnomathematics among 31 mathematicians and mathematics teachers Concept, accent or movement? 34 Bibliography 39 Chapter 4: How to recognize hidden geometrical thinking: 45 a contribution to the development of an anthropology of mathematics Confrontation 45 Introduction 46 First example 47 Second example -
Ceramics in Portuguese Architecture (16Th-20Th Centuries)
CASTELLÓN (SPAIN) CERAMICS IN PORTUGUESE ARCHITECTURE (16TH-20TH CENTURIES) A. M. Portela, F. Queiroz Art Historians - Portugal [email protected] ABSTRACT The purpose of this paper is to present a synoptic view of the evolution of Portuguese architectural ceramics, particularly focusing on the 19th and 20th centuries, because the origins of current uses of ceramic tiles in Portuguese architecture stem from those periods. Thus, the paper begins with the background to the use of ceramics in Portuguese architecture, between the 16th and 18th centuries, through some duly illustrated paradigmatic examples. The study then presents examples of the 19th century, in a period of transition between art and industry, demonstrating the diversity and excellence of Portuguese production, as well as the identifying character of the phenomenon of façade tiling in the Portuguese urban image. The study concludes with a section on the causes of the decline in the use of ceramic materials in Portuguese architecture in the first decades of the 20th century, and the appropriation of ceramic tiling by the popular classes in their vernacular architecture. Parallel to this, the paper shows how the most erudite route for ceramic tilings lay in author works, often in public buildings and at the service of the nationalistic propaganda of the dictatorial regime. This section also explains how an industrial upgrading occurred that led to the closing of many of the most important Portuguese industrial units of ceramic products for architecture, foreshadowing the current ceramic tiling scenario in Portugal. 1 CASTELLÓN (SPAIN) 1. INTRODUCTION In Portugal, ornamental ceramics used in architecture are generally - and almost automatically - associated only with tiles, even though, depending on the historical period, one can enlarge considerably the approach, beyond this specific form of ceramic art. -
Hon. Mr President of the European Parliament, Dear David Sassoli
Hon. Mr President of the European Parliament, Dear David Sassoli, Since March, when the outbreak of COVID-19 intensified in Europe, the functioning of the European Parliament (EP) has changed dramatically, due to the sanitary measures applied. We understand the inevitability of the contingency plan, taking into account the need to prevent infection and the spread of the virus and to protect the health and lives of people. Six months later, the functioning of the EP is gradually returning to normal. However, there are services whose unavailability seriously impairs parliamentary work, namely the interpretation service. The European Union (EU) has 24 official languages and all deserve the same respect and treatment. We recognize that the number of languages available in committee meeting rooms has been increasing, but even so, more than half of the languages still have no interpretation. Multilingualism is a right enshrined in the Treaties that allows Members to express themselves in their own language. Now, that is not happening and we are concerned that the situation will continue, even taking into account the expected workflow in the commissions after these atypical six months. In this sense, we appeal, once again, to you, the President of the EP for the application of the letter and the spirit of the principle of multilingualism, finding solutions that respect this principle and that allow the use of any of the 24 official languages of the EU. The expression of each deputy in her/his own language is a priority so that there can be conditions to fully exercise the mandate for which she/he was elected and a condition of respect for the citizens who elected her/him. -
Malangatana, Nationalist Movements and Modern African Art in Mozambique: an Introduction to “Artes Plásticas E Movimento Nacionalista Em Moçambique”
MARIO PEREIRA Malangatana, Nationalist Movements and Modern African Art in Mozambique: An Introduction to “Artes Plásticas e Movimento Nacionalista em Moçambique” Malangatana Ngwenya (1936-2011) was the most important painter from Mozam- bique and one of the most prominent artists of his generation from Africa. His celebrated artistic career, beginning in the late 1950s, spanned six decades in a country that experienced constant, intense and profound historical change. Malangatana and the arresting, colorful images he created were integral, active participants in these transformations. Indeed, the figure of Malangatana and the power of his art, especially his paintings, enjoyed the rare ability to commu- nicate ideas, dreams, emotions and meanings far beyond the studio space and international art galleries. He touched so many so deeply that Mia Couto could describe him, after his death, as the soul of the country. Despite (or perhaps because of ) his artistic greatness, which was recognized almost immediately in Mozambique, his instant fame, which quickly spread to a number of other African countries, his prolific artistic production in a variety of media over the course of a lifetime, which was collected and exhibited throughout Africa, Europe and America, critical art historical and theoretical scholarship on Malangatana and his images remains relatively underdeveloped.1 When the David Winton Bell Gallery at Brown University held a major retrospective exhibition of his work in 2002, it provided visitors with the unique experience of viewing in the United States representative works from throughout Malangatana’s career.2 The breathtaking exhibition featured canonical early works, such as 25 de Setembro, Juízo Final and Monstros Grandes Devorando Monstros Pequenos, and the presence of the char- ismatic artist at the opening.