As esculturas cokwe como respostas às assimetrias civilizacionais

Fundada em 1917, a Companhia de Diamantes de Angola (Diamang) ocupava uma vasta região da Lunda Norte e Lunda Sul. Além das ações voltadas para a exploração de diamantes, essa empresa concessionária constituiu em 1936 o Museu do Dundo, um espaço destinado a colecionar objetos relacionados, sobretudo, aos povos que habitavam a sua área de atuação. Os objetivos cada vez mais ambiciosos e o receio da extinção de uma arte reminiscente do “tempo tribal” levaram o Museu do Dundo a organizar não apenas expedições de recolhas de objetos, mas também a contratar e manter “protegidos” em seus domínios escultores de madeira e de marfim a fim de evitar que as transformações ocasionadas pela situação colonial influenciassem os trabalhos desses homens. Este artigo tem como objetivo apresentar algumas reflexões sobre como os anseios fictícios do Museu em relação a esses escultores foram fundamentais para compreender as constantes tensões e dificuldades em enquadrar em seu espaço não apenas esses próprios homens, mas também as suas produções.The Companhia de Diamantes de Angola (Diamang) was founded in 1917 and occupied a vast region of Lunda’s north and south areas. Aside from the activities around diamond mining this concessionary company also created a museum in 1936. The Museu do Dundo (Dundo Museum) was a space dedicated to collect objects related to the inhabitants who lived in the area exploited by the company. The increasingly ambitious objectives of the Museum and the concern regarding the disappearance of a reminiscent art from “tribal times” resulted not only in the organization of collecting expeditions but also in the recruitment and “protection” of wood and ivory sculptors inside the company’s domains to avoid that their work were influenced by changes caused by the colonialism. The main objective of this paper is to present some considerations regarding how the museum’s fictitious expectations regarding these sculptors were crucial to understand the continuous tensions and difficulties faced to accommodate not only these men but also their work in its space

Reimag [in] ing the village as a portrait of a nation-state in Uganda:

In this article I reexamine the ways in which certain contemporary artists based in Uganda problematize the narrative that the ruling National Resistance Movement (the NRM) party is the party of the rural poor (Cheeseman, Lynch, and Willis 2016) in their work while using it as a metaphor to inform their visual expression. I focus on the contest between tradition (imagined as a village) and modernity (imagined as a modern state), as well as the dilemma such a contest causes for a contemporary artist. Cornelius Adepegba (1995) argues that this dilemma influenced the African novel. Agreeing with Adepegba, Freeborn Odiboh (2009) observes that the same dilemma has shaped African visual artists, such as Abayomi Barber, and formal art education institutions like the Barber School in Nigeria; Odiboh then assesses the historical context in which this dilemma evolved as African nationalists struggled to forge postcolonial states based on a national consciousness amid competing ethnic, religious, and ideological interests