Durante nossas visitas ao Libolo (Kwanza Sul) conhecemos algumas tradições familiares que foram se reconfigurando. Práticas locais que deixaram de ter o mesmo significado mas que ainda existem em determinados contextos.
CABRAR vem de cabra. O substantivo vira verbo e faz agir com o animal, dar vida e comprovar um luto…
Ali, no Libolo, as viúvas (e viúvos) devem “cabrar” (levar uma cabra e solta-las no cemitério, depois e 1 ano de luto) para que o animal “encontre” a cova do morto… Se encontrar é porque a viúva “zelou bem” pela memória de seu companheiro…
Neste vídeo, feito pelos alunos do 11º ano do curso de Antropologia da Missão Católica, pedimos que os mais jovens fossem escutar seus pais e avós, seus familiares, sobas… para que nós, os de fora, ficássemos a saber um pouco mais sobre esta tradição.
O “Projeto Libolo”, coordenado pelos Professores Drºs Marcia Oliveira (USP) e Carlos Figueiredo (UMacau) teve diversas áreas interrelacionadas. Sou a coordenadora da área de Antropologia e trabalhamos juntos com a Linguística, a História… para aprender um pouco com os ambundos.
Projeto LIBOLO coordenado pela Profª Drª Márcia Oliveira (USP) e Profº Drº Carlos Figueiredo (U Macau) conta com a participação de inúmeros investigadores de distintos centros de pesquisa.
Ana Stela de Almeida Cunha – responsável pela área de Antropologia
Many exchanges (symbolic and material) between both sides of the Atlantic have been greatly explored from the historical point of view, however, the anthropological perspective, as well as an orientation towards “Lusophone” reality, still needs more attention.
Works like Gilroy’s (1993) and Thornton’s (1998) are landmarks in the discussions on the so-called “Black Atlantic” and gave new directions to the conceptual generalizations about the African “diaspora”. The Lusophone world, however, didn’t have its place there, being always observed almost from the perspective of “successful” models that were used by the Empire during its time of expansion (cf. Boxer 1991) or were limited to the colonial period.
“The result (of the contact) was the emergence of a new ‘afro-atlantic’ religion that was often identified as christian, specially in the “New World”, but was a type of christianity that could satisfy both african and european understanding of religion” (Thornton: 1998, pp. 235).
Nevertheless I go further and declare that such “ontological confluences” only were possible due to a constant adptative handling of the catholic church to a distinct reality. On the other hand, the manipulation of these handlings in favour of its own political local interests by the quilombola communities sums political factors to the discussion to the factors related by other authors – in special the missionaires travel acconts – as Cavazzi (1687) and Luca da Caltanisetta (1701).
“Município do Libolo, Kwanza Sul, Angola: aspectos linguístico-educacionais, históricoculturais, antropológicos e sócio-identitários”
Music has changed dramatically in the last 10 or 15 years due to new technologies (Jones, 2002, Stokes, 1997) and social/economic movements have followed or been responsible for some music popularity genders, including rap and eletronic music, stimulated by internet exchanges of DJs, music blogs and other online arenas.
Africa, in turn, has played a central role in these discussions involving notions of tradition, creativity, identities.
Here I focuse the idea that music and “globalization” go hand and hand, so music, mediation, technology and ontology evolves modes of creativity attendant on music’s changing mediations.
Dealing with Waterman (1990:369) I´m interested in the popular music produced in Africa and its diaspora “as a means of making history, (…), as a medium of retrospective definition of tradition”.
Interdisciplinary in its sources, but anthropological in its methodology, I´m looking music not only as an aesthetic form, but as a vital component of human culture, engaging its religious, historical, political and economical dimensions.
“Libolo” Project, coordinated by Drº Carlos Figueiredo (UMacau) and Drª Márcia Oliveira (USP, Brazil)