African Christmas Ornaments

Angola's Emerging Contemporary Artists

In the rebuilding of Angola’s society after the war, a burgeoning crop of contemporary artists, especially in Luanda, are expressing their inspirations to the world.  Here is the view of two well-known Angolan artists.

António Ole, one of Angola’s most admired and internationally acknowledged artists.  He expounds,  “The world is in transition. And during transitions there tend to be artistic explosions, explosions of creativity. Right now, everyone should be alert. Interpreting the world is part of what we artists do,” he says

One of a handful of artists who stayed on in Angola during the civil war, Ole, 60, has since exhibited all over the world including in venues such as London’s Hayward Gallery and the National Museum of African Art in Washington DC. He has also taken part in international exhibitions including the Venice Biennial, the São Paulo Biennial and ‘The Short Century: Independence and Liberation Movements in Africa, 1945–1994’ at New York’s Museum of Modern Art.

Ole’s work includes film, sculpture and photography as well as painting. “What astonishes me is people’s creativity in Angolan civil society,” he says. “I feel very inspired by this positive energy. Development is not only about education and health; it is also about the evolution of a cultural identity. From independence onwards, Angola has tried to find, construct and keep this identity. It’s a long marathon in which everyone takes part. What Angola still needs is a more balanced society. Then you’ll see that we’re going to create artistic champions.”

Another well-known Angolan painter is Paulo Kussy, 34. He studied fine arts in Lisbon and is fascinated by the human body. He passes on his artistic expertise to students at the Methodist University of Angola.

Kussy attended school in Luanda up until the sixth grade. He then lived in Lisbon with his family for 17 years. He spent all his family holidays were spent either in Rome, Madrid, Florence, Venice or Lisbon, the culture of which influenced him profoundly. Kussy returned to Angola, where critics immediately applauded his art.

“Painting is like writing a song,” Kussy explains in the café of a Luanda city centre hotel. “You spend five days thinking about the lyrics and the melody. Then you go to the studio, close your eyes and just let it go.”

Kussy is inspired by the Pre- Raphaelites, neoclassicism, baroque art, cubism, surrealism, architecture, graffiti art and the hectic day-to-day life of Luanda. “I enjoy looking at people,” he says. “Our structure, muscles, fat – I study people when I look at them.” His paintings are all about “people fighting for space” and he places great emphasis on anatomy. “The figures in my paintings ask for help. They’re aggressive, they’re submissive, they are pulled away, pushed against.

“What’s Angolan about my work is that I’m Angolan. I’m contributing to the development of my country. There should not be a preconceived idea of what is Angolan or African or black or white art. Art is all about the individual,” he argues.

“I’m mostly influenced by cities because I didn’t grow up in the countryside. Big buildings, structures, that’s my library. Not a woman carrying a child, or an elephant, a lion or a baobab tree. I’d be lying if I painted that. It would be fake.” (Sonangol Universo Magazine, October 2012)

Angolan Youth Making Beautiful Music

Every day in the district of Samba, a part of the Angolan capital Luanda, about 60 children and adolescents faithfully take lessons each day in classical music on donated violins, basses, and cellos.  This is all a part of the  Kapossoka School of Music, created by Angolan professor Peter Fançony, the director and founder of the school which also supports Kapossoka Symphony Orchestra.

Founded on October 10, 2008, the original idea for the school was to provide a place where Angolan children could engage in cultural activities to prevent crime and stop the misuse of leisure time.  In providing a learning opportunity for needy young people, the school underwrites the costs of all the fees and materials, oftentimes offering clothing and meals.  With interest from the government, even high ranking government officials have personally provided funds for the school's operation.

As City Director of Samba, Professor Fançony traveled in work to the Philippines in early 2008, where the then Angolan ambassador in that country, Flávio Fonseca, also shared the same interest in classical music. The conversation flowed naturally and Flávio Fonseca showed Peter Fançony a violin factory.  From that factory, 60 violins, 10 cellos and 6 contrabasses were ordered, which are being used today.

Recently the Kapossoka Symphony Orchestra, comprised of students training at the music school, took part in an international festival of youth orchestras in Argentina, called the Festival of Iguazu.  At this festival, the Kapossaka Symphone Orchestra won 1st prize in the category of "Effort, Attendence and Good Conduct".  Upon their return back to Angola, the Orchestra was received and greeted by the President of the Angolan Republic, José Eduardo do Santos who congratulated the students on their honor. (TAAG Austral Magazine)

Luanda's Novel Community Gyms

The redevelopment of Luanda has produced gyms and other spaces to provide quality physical education and allow the clients to keep fit and stay healthy.   But many of these facilities are economically out-of-reach to many of the urban dwellers.   Today, in response to that need, there are outdoor gyms in several community public spaces for all municipalities, an initiative of the Provincial Government of Luanda.   Under this program, no one has to pay and the more experienced to serve as physical education teachers. Creating community gyms is a program of the national government and is being implemented at national through provincial governments.  In Luanda there are already gyms in Ingombota, Samba, Sambizanga, Rangel, Kilamba Kiaxi, Viana and Cacuaco. 

Around 17:00 hours, many community gyms begin to get crowded with people. Children, youth, adults and seniors come to do their physical exercises. At the Independence Square in central Luanda, there are hundreds of people running or moving fast; men and women who for reasons of health or aesthetic, are dedicated to the sport. 

Those who live nearby are the gyms often stay until after 21:00 hours such as in the areas of Samba, Cape Island, New Marginal and the Independence Square where the attendees perform more practice physical exercises. The community areas are well lit and attended with police officers nearby to ensure all safety and tranquility.  

Luanda resident Paula Costa, 34, trains at the Independence Square, his favorite place from Monday to Friday.  "We do not complain, because the government has provided this for us.  Previously, it was difficult to find spaces for leisure. Today we have several sites for outdoor recreation, "he said.  Before community gyms " we felt like walking, exercising, and we could not afford a gym. Now we exercise in well equipped facilities without worrying about time and payment.  Now we just need to care for and preserve this public good, for our good, "acknowledged Paula Costa. (Portal de Angola, July 31st)

Angola's Boy Scouts - "Always Alert"

Luanda - At least 20,000 Boy Scouts are registered in Angolan religious entities and they have been working everyday towards to the Angolan community's well-being.

These remarks were uttered recently by the head of the Angolan National Scouting Movement, António Silvestre Sardinha, when welcoming 2.000 delegates from 21 African countries to attend the 15th African conference on scouting in Angola's capital Luanda,  from June 7-9.  The event was attended by high-ranked figures of scounting, namely the African regional director Frederic Kama-Kama, secretary-general of scouting movement, Luc Panissod and the chairman of the world scouting committee, Simon Rhee.

The 15th African Conference on Scouting in Luanda was focused on the theme “Scouting, a vehicle for Africa’s development”, and debated the implementation of policies and guidelines defined in the World Conference for National Associations of Scouting. The conference also debated the goals and programmes for the coming mandate, as well as training actions under the programme of the Angolan government. 

Angolan Scouting was widespread in colonial years, working closely with Portugal's Catholic Corpo National de Escutas.  When Angola gained its independence in 1975 and came under Marxist rule, Scouting was banned by that government.  Scouting was officially started again in February 1991.  In 1994, the inter-religious Associação National de Escuteiros and the Catholic Associação de Escuteiros Católicas de Angola merged forming the AEA.  Scouting includes an inter-religious pastoral commission which brings together the main religions represented by the members of the Scout Association. 

Scouting in Angola enjoys special support from the Catholic Church and some groups are closely linked to the church, and excellent relations exist with UN agencies. Together with UNICEF, Scouting has been in the forefront of the campaign for children's immunization against polio. Scouting activities focus on improving the quality of life in local communities. These include humanitarian assistance to those who have fled armed conflict, working with UNICEF on Oral Rehydration Therapy programs, and an anti-polio campaign led by the Ministry of Health. (ANGOP, Google)

Angolan Teeth Alterations

The practice of tooth filing and intentional tooth extraction is a longstanding cultural practice among some Angolan tribes, notable the Himba people living in the southern regions.

Anthropologists speculate that the Angolan teeth filing practice is a remarkable cultural hangover dating back to slavery. From 1575 onwards, Portuguese slavers shipped Angolans in shameful quantities to Brazil. As slaves were partly valued by the quality of their teeth, the local tribes took to intentionally despoiling their teeth to dissuade an attraction by Angolan slave gatherers. The practice still remains today, centuries after abolition.

Normally in Himba men, their two front incisors filed into a v-shaped notch revealing a triangular gap whenever they smile.  In Himba women, this ‘v’ is equally produced as well as the removal of the four central bottom front teeth.  Though the Himba women see these dental alterations as a feature of beauty, there is speculation that the bottom teeth are knocked out or filed to mimic that of a cow, in deference to their animistic cow worship rituals.

Angolan Christmas Tradition; 'Bolo-rei'

To celebrate the end of the year and the coming New Year, an Angolan Christmas tradition is the eating of ‘bolo-rei’ (translated ‘king-cake’);  a sweet, Portuguese cake.

The tradition of the bolo-rei began in France in the seventeenth century; it arrived in Portuguese lands in the late nineteenth century and never left.

The cake receipe is simple: a light yeast dough, filled with raisins, nuts and dried fruits, prepared in such a way as to resemble a crown. But it is laden with symbolism. The sweet that Portugal spread around the world (including towards Angola and Brazil) is an allusion to the three wise men (hence the form of a crown) and is stuffed with a fava bean and a present. The person “rewarded” with the slice containing the fava bean, it is usually designated to prepare the cake for the following year. Whoever receives the slice with the surprise has the right to make a special request and will have luck and wealth in that year.

Play and superstitions aside, the candy became a tradition and it begins to be eaten since the night of Christmas until the Three Kings’ Day, on January 6th. As a curiosity: the gâteau des rois, as the cake is called in France, is completely different as the French cake is made of puff pastry.  In spite of this, the legend surrounding its shape is the same. (TAAG Austral Magazine)

In Search of 'Good Hair'

Like all modern societies, Angolan's place a great emphasis on their hair styles and hair care.  But beyond the current fashion trends, the history of hair styles has a social and cultural significance intrinsic to each beautiful strand.

As in most African societies, hair functioned as a carrier of messages.  Within these societal cultures, hair was an integral part of a complex language system.  Ever since African (or Angolan) civilizations bloomed, hairstyles have been used to indicate a person's marital status, age, religion, ethnic identity, wealth and rank within a community.  In some cultures, a person's surname and geographical origin could be ascertained simply by examining the hair because each clan had its own hair style.

In some Angolan cultures, hair was only groomed by a family member because only a relative could be trusted with such an important task.  In Angolan tribal traditions, most all women were taught about hair care and how to braid while they were young girls.  In social circles amongst women, offering to braid someone else's hair was a way of asking them to be your friend.  Hair braiding sessions are a time of share confidences and laughter; the circle of women who do each other's hair are friends bound together in a fellowship.

To traditional Angolans, and most Africans in general, the hair's value and worth is heightened by its spiritual qualities.  Anthropologists observed the belief systems that supports that since 'the hair is the most elevated point of your body, it is the closest to the divine.  Because the hair is the closest thing to the heavens, communicating from the gods and spirits was thought to pass through the hair to get to the soul".  Because a person's spirit supposedly nestled in the hair, the hairdresser always held a special place in community life.  The hairdresser was often considered the most trustworthy individual in society.

Clearly, hair has never been a purely cosmetic attribute for Angolans or for Africans in general.  It is a testament to the strength of these that most of the same rituals and beliefs regarding the hair remain in traditional Angolan societies today. (Hair story: untangling the roots of Black hair in America.  By Ayana D Byrd, Lori L Tharps)

Celebrating Angola's Mother Tongue

The Portuguese language is the national language of Angola.  Spoken by more than 200 million people around the world and often described as the 'fatherland' or 'motherland' in the Portugese-speaking world, commemorations of the language were celebrated recently on February 21, International Mother Language Day.

Portuguese is the official language of eight countries - Angola, Brazil, Cape Verde, Guinea-Bissau, Mozambique, Portugal, São Tomé and Príncipe and East Timor - in four continents - Africa, America, Asia and Europe. Thus, the language covers a vast area of the Earth's surface (7.2% of the planet), encompassing an extraordinary diversity of lives which is reflected in the variety of dialects. It is also the fifth most spoken language on the Internet, according to Internet World Stats, with around 82.5 million internet users.

Deceased in June 2010, José Saramago, the only Portuguese-speaking winner of the Nobel prize for Literature, said that “there is no Portuguese language, but rather languages in Portuguese ”

"The Portuguese language is a combination of all the people who speak Portuguese and it is this which makes it such an interesting language, with such great elegance, elasticity and plasticity."  (Global Voices, 2011)

Cultural Traditions: The Bride Price

In Angola, there is a still a strong cultural tradition of the asking of the hand in marriage, the alambamento or bride price.  Considered by some as more important than the civil or religious marriage, the alambamento consists of a series of rituals, like the delivery of a letter with the request for the hand of the bride, which often comes with a money offering.

When the young couple decides to marry, it is necessary to have the approval of the bride's family and this is only possible if, during the request, everybody is in agreement that the marriage should happen. The young couple sets the date of the request. This date is agreed upon by the aunt and uncle of the bride, as it is necessary to bring together the whole family and a list is delivered to the groom of all the things he must get before the day of the request.

The day of the request is set and the groom goes out in search of all the materials so that nothing is lacking on the day.  And what is on the list? First is an envelope with money, potentially 300-500 dollars depending on what the uncle stipulates.  It could also be the height of the bride in cases of beer, the height of the bride in cases of Coca-Cola or juice, a goat, a suit for the uncle or some shoes for the mother.

The purchase of these items is also seen as a compensation for all that has been spent on the bride since her birth through her wedding day.  Basically, it is a dowry that represents a valuable asset because the greater the payment, the higher the prestige of the bride. Traditionally, the woman is the one that farms to provide for the family and most importantly she's the one only that can ensure the clan prosperity and continuance through child bearing. Thus a woman leaving her parents home to get married is seen as a great loss of manpower and therefore they are entitled to compensation.

This value can even be greater, in the case that the groom has “jumped through the window.” Jumping through the window means that the bride is pregnant before the wedding and sure, it is just that the request be made stronger.

When the day comes, the family of the groom (father, mother, uncle, aunt, brothers and sisters) goes to the house of the bride, and her uncle, as if he were a judge, introduces all of the people and informs that they are going to begin the request for marriage. The parents of the bride invite the parents of the groom to enter and the uncle begins the reading of the request presented by the groom. If the father of the bride agrees with this request, the groom will need to go look for the alambamento, in other words, that list of things that he got together. The alambamento is presented and if everything is completed a meeting is held to pick the date of the marriage and other logistical details. This resolved, there is singing and dancing (it is not coincidental that beer and coca-cola appear on the list.)

From this day on, if everything goes well, the couple becomes man and wife. Arriving at the wedding, some couples tie the knot wearing traditional clothes and some prefer to use the famous suit and tie with brides wearing the traditional white dress. Before it begins, the bride appears below a piece of cloth, to test if the husband really recognizes her.

After the union is duly official it is time for a party, or else Angolans would not be by nature such party people. Ample food and drink delight the guests, always accompanied by good Angolan music.

The tradition is no longer what it was; in spite of the alambamento still being a strong characteristic of Angolan culture, the truth is that it is becoming less practiced. In the course of modernity, some families give up this tradition while the more conservative make a point to keep it up. At the same time, Angolan society recognizes the ritual importance of alambamento and even uses it in TV advertising. (Global Voices, August 2010)