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Core Theme
The Banga Collective, an Angolan group of architects and artists, explores the reclamation and redefinition of Angolan identity through transdisciplinary projects that blend architecture, art, and cultural heritage, challenging colonial narratives and envisioning future urban landscapes.
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intro. Mhm.
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>> Ah, yes. Yolana.
Okay, great. Helena,
now we should be able to hear her. I I believe
We lost her.
>> Can you hear me now? Uh yes, now we can. [clears throat]
[clears throat] >> Okay.
>> Okay.
>> Okay. Super.
>> Okay. Perfect.
>> Thank you, Yolana. Okay.
>> Yes. Thank you.
>> Okay. Okay. So, next time we will have
the same problem. Maybe we know how to
solve it. Thank you. [laughter] >> Yeah.
>> Yeah.
>> Okay. Good. So, let's start. I'd say
>> let's start. >> Okay.
>> Okay. >> Okay.
>> Okay.
>> Maybe I will just give a short introduction.
introduction.
>> I will just make a short introduction.
>> Okay. Hi everyone. Um
today we are welcoming Banga Kulivu and
I just have to mute. Okay.
And we have with us Yolana Lemush.
Welcome Yolana and thank you for being
with us.
Um so Banga is a group of Angolian
architects and artists.
The collective operates uh from Lwanda
and Angola and Lisbon, Portugal.
Um they have several members. Some of
them are Yana Lemush who is here with us
today, Elimar Fright, Katya Mandes, Ma Mesh.
Mesh.
Uh the name banga in contemporary urban
Angolian Angolan slang means one's own
style which implies self-esteem,
individuality, a sense of identity
for the collective. Banga is a mode of
self affirmation especially in response
to colonial narratives that have
historically marginaliz marginalize
African culture. Their aim is to
re-energize cultural memory identity to
reclaim and project angle and narratives
through architecture and art. In 2023,
their work SOA eternal was the presented
in the 18th Venice architectural BNL.
and short film Okua
Tula were presented in the 13 BNL of
architecture of Sa. Paulo. Um today we
look forward to gaining deeper insight
into their transdisciplinary and
culturally rooted practice through which
their critical thinking and social socio
artistic engagement continuously
form deform and transform the space we
inhabit. Uh Yolana thank you very much
again for being with us.
Um in name of faculty of architecture
and our team we would like to welcome
you and give you give you the stage. So
whenever you want you can start to to
>> Thank you Lana. Um
I I don't know if you can see my PowerPoint.
PowerPoint.
Uh are you seeing the PowerPoint?
>> Yes. It's not in a presentation mode,
but we can see. Yes.
>> Uh now is in in the presentation mode. >> Okay.
>> Okay.
>> No, now it's perfect.
>> Um thank you Lana. Um
first good afternoon or good evening
everyone. Uh yes, I'm representing Banga
Collective. uh has my colleagues are
unable to be here today and I would like
to to begin by talking a little about uh
this colleive um even so Liliana
presented us uh really great thank you
but um Bangarivo is a group of five
Angolan architects who aims to promote
Angolan uh culture and architecture.
uh we seek above all uh the identities
of Angalan architecture as well has
thinking about uh the design and
morphology of communities
uh and what brought us together as a
group uh I may say was the restfulness
of being uh living in this territory
finding our identities um recovering our
past understanding our present but uh
helping to build well-informed
futures that challenge the country's
current narratives.
And as uh Lilian Liliana said before,
Banga in informal Angolan language means
uh a feeling of great self-esteem
uh like dressing well or looking good.
But uh for the collective rather than
this term being associated only with aesthetics
aesthetics
uh we want it to be reflected in culture
uh in what make us who we are. Uh since
it was founded in 2020 uh the collective
has been committed to a
transdisciplinary approach based on the
theorical and practical projects.
uh which is why uh the the collective is
divided into components. One is the
Banga architecture a more practical
aspect of the discipline and Banga
experiments a kind of research uh and
experimentation laboratory uh that wants
to touch and mix with other disciplines.
And in this presentation I will focus on
the experimental and investigative
component which seeks to blend
architecture and urbanism with other art
other arts areas disciplines.
And uh to start I would like to talk
about uh identity in Angola or rather an
Angolan Angolanity
which will be important when we discuss
Angolan cities. uh the questions of
Angolanity emerged as a central theme in
the analysis of Angolan's cultural
identity evaluation
especially in the context of the
country's capital Lwanda [snorts]
that is a city that has always uh
developed in a cosmopolitan manner in
light of colonialism.
Therefore, the creation of a certain
Angolanity had its epicenter in the
city, especially in the years before independence.
independence.
Um, but first uh uh it's necessary to
understand that Angola was colonized
until uh 1975.
Uh and the coastal cities were more
influenced by the west than interior of
the country.
Uh it's important to have this in mind.
Uh returning to angularity uh the person
who use and explained this term is the
American research [snorts] Marisa
Murman. Uh the author describes Lwanda
uh between 1950 and 1975
has a mix of communities from different
uh parts of Angola that made up the
suburbs of this city. But there was also
a Portuguese elite and uh Angolan
intellectuals in the city center.
And um what Marisa Murman explained is
that these Angolan intellectuals mainly
through literature and this population
that lived in suburbs of Lwanda and who
were beginning to understand the notion
of an an nation
boosted by Angolan popular music. Uh so
these two groups uh played a fundamental
role in the maturity of Angolan
identity. which was essential among
other things of course uh for the path
to independence.
Um so music and literature played um
fundamental roles in the construction
and understanding of this angulanity
in a very recent country uh whose
borders were drawn to ser col col
colonial uh interests
and these people uh who were confined in
to a single country uh began to develop
a sense of nationalism during these ers
uh but in a way um there was already a
sense of community within the various
kingdoms or native communities that
exist uh in the territory.
uh regard regarding this sense of
community uh that exists in the African
society. Um Congalist philosopher Kim
Bandande Fukiao explains that it comes
from the bantto people uh who dominated
uh much of the African continent
and the African concept of society was
based on a social principle the
indivisibility of the land. uh meaning
that every man or woman uh has the right
to a piece of plants to cultivate or and
build on. But the land and everything on
it belongs to the entire community. And
when a member of the community dies, the
land returns to the community.
So for the bantto people land was not a
commodity to be uh traded
and construction itself was a collective
act involving the community has self-
construction predominated and even today
uh in the more rural regions of Angala
uh self- construction uh predominates
um and it is it means that there's no
such a thing as an architect.
Um but when we look to uh Lwanda for
example, the distance from the modus
event of these native people is much
and in Lwanda has in order in in other
coastal cities in Angola but mostly in
Lwanda uh where not only the Portuguese
presence but also true colonial rule was
felt for longer. Uh there was greater
urban transformations uh based on a
western vision uh unlike cities uh
towards the interior of the territory
where there was greater resistance to
this rule, this colonial rule. Um
therefore it is natural that in Lwanda
people identify with a more westernized
city or culture that in other parts of
uh Angola. Also um the influence of
colonization is felt throughout Angola.
Uh it only differs in terms of proportion.
proportion.
Uh but um for this reason um
interventions in different Angolan
cities should be different.
Uh today we cannot speak of a single
Angolan identity, a single Angolanity. Um,
Um,
Angolan architect Margarita Waku who
immigrates to eur Europe with her
parents at a young age uh address the
concept of hybridism
uh which refers to the fusion of
identities resulting from interactions
with different cultures
of how this hybrid hybridism can enrich
personal identity. can also intensify
the feeling of disconnection from one
city of origin. Um it is therefore
important to recognize and understand
this diverse experience in order to
reconcile um the various periods that
have shaped the city. Um, I would like
to highlight the importance of memory in
the construction of an urban space that
represents Angolan identities where uh
architecture can respect the memories of
the past and move forward into the
future and um yes we it's it's important
to talk about the future uh to talk
about uh these identities.
what kind of cities do we want uh in
Angolan context
and about identity
um this term is a widely um debated
topic today not only in African
countries but also in regions of South
America and Asia uh which have undergone
similar process of cultural oppression
um the search for identity arrive rise
uh from the need to understand who we
are in relation to others especially in
a world that has always been multicultural.
multicultural.
Um however
can occur when we see the other as
different without recognizing them correctly.
correctly.
Uh so
the search for or recovery of identity
in this context
um that have undergone colonization
um also means the decolonization of
thought. uh during the independence
movements of African countries, the
colonization was understood as the
return of territory
to indigenous uh population.
Uh today the concept needs to transcend
territory recovery uh extending to the
systematization and dissemination of knowledge
knowledge
and therefore mental and academic decolonization
decolonization
is a necessary necessary path to
understanding Angolan identity in its
entirely. Um,
this implies recognizing and challenging
uh the colonial narrative that still
permeates academic thought and practice,
promoting an approach that values the
the voices and experience of Angolans
and the interpretation of culture in
Angola, especially in Lwanda, does not
need to mimic European or African uh
constructions. We have um seen that
architect Margarita Waco uh speaks of
cultural hybridism but it's equally
important speak of architectural
hybridism a subject that is incredibly
uh discussed in in other African
contexts [snorts]
and uh this term means um combining the
global technological advances we have
assets uh today uh with local material
materials and techniques. Uh ancestral knowledge
knowledge
should not be uh dissociated from
technological advancement.
Uh this approach seeks to create an
architecture that goes beyond colonial
influences uh while being both
contextual and globally uh conscious.
Um does
uh new urban language emerged that uh
transcends the dichotomy between what
was built before and after colonization.
Uh we need to transcend this um
understanding cities in this territory
is therefore more complex.
Uh um so overcoming urban interventions
marked by the lack of identity in
contemporary architecture plus the
abandonment of the past plus the
uncertaintity about future district
questions remains the challenge for
architects in Angola today. [snorts]
Uh so um it is incredibly urgent to ask
ourselves what cities do we want for the
future? What are these Angolan uh
future? And it is precisely from this
question that Banga collections
depart. More than uh relearning our own
history, we seek possible paths to a
more sustainable uh future. both
So I I bring here two territories that
we have been working on um extensively
uh due to their complexity and cultural differences
differences
and one is the city of Lwanda which I
have already talked about about this city.
city.
Um and uh this city has we we we seen
that the city grew in a cosmopolitan way
during colonialism.
Uh those who was born in Lwanda
have little or no referency to a past
before colonization.
Therefore the way of identifying a city
even the language itself
uh is westernized. Uh also there are
some uh rem remnants of African culture
in the way people for example inhabit
the space. Um and then we have Bundu. Uh
Bundu was once supportful kingdom and
and today is just a municipality within
a democratic uh country that we have
today. Uh it is curious that uh it is a
kingdom founded after the arrival of the
colonists in Angola. Yet to this day it
preserves traditions and cultures uh
originating from the ethnic group to
which they belong which are the ofundus.
And therefore uh in Bundu almost
everyone speaks unbundu
um in addition to Portuguese.
Uh they also preserve to these days the
figure of a king or soba as called in Angola.
Angola.
And this king or soba uh has lost his
political autonomy but continues to have
great social significance.
uh it functions more as a bridge between
the people and the Angolan uh government
and this is it it is precisely this
figure that is the focus of the first
project I'm going to present for you today
today
um the issue the issue surrounding the
adaptation of the figure of Saba as well
as the entire community around him over
time and above all in contemporary times
uh is a topic that has been subject of
study by uh Banga uh for a long time
and given that Angola is a vast
territory with different cultures and
ethnic groups um and the figure of the
Soba and its representation varies
according to certain regions. Um we
decide that our research uh would focus
only in so kings from Boni. Um
Um so
so in
in 2020
2020
uh the tour of the figure of Saba began
uh in the Banga collective with the
project uh Soba has something to say
uh followed by other collateral projects
such as Soba's house frame hat and boots
uh Soba goes to the community until nothing
nothing
uh dries of soba and finally um the turn
eternal soba which you um we I will
explore in in more depth. Uh this
project the eternal soba was part of the
exhibition uh guest from the future
which was part of the 18th Venice
Um but back in in history of Bondu
uh when the kingdom was found uh its
people acquired the the tradition of
painting a black mark from their
foreheads to to their nose given to this
mark the name of by Lundu which means
even if I am covered with or by a hat,
good clothes and shoes
I will have everything covered except my
forehead which is difficult to hide. So
bundu is a mark seen by everyone.
However, over the years the saba uh and
its meaning have changed like like I
said um
like has changed the the dangolan
customs and traditions uh especially in
more urbanized contexts.
uh and as I mentioned the Sabba was a
king but today he mainly serves as a
bridge between a democrat democratic
government and some local communities
and we we have to know that bul society
like many others in Angola or in Africa
um or in the world has its roots in a
patriarchal structure.
Uh however there is evidence that the
relationship or dialogue between the
soba or the king uh and the community is
or horizontal rather than vertical uh as
we shall see. Uh but his historically
power and authority were centralized in
male figures
such as chiefs and and kings who played
key roles in governance and maintaining
social uh order.
But reflecting on what we can and cannot
maintain in the sense of a culture will
be one of the topics to be discussed uh
here in this project. Uh knowing that
the culture does not need to be static,
uh we ask ourselves what is essential in
a culture and to do so it is necessary
to carefully examine the practice and
values that define a society as well as
the external influences that were
imposed imposed uh on col on colonized territories
territories
uh leading to cultural resistance and
cultural hybridism.
Uh it will be important here to identify
uh which cultural elements promote uh
the material and immaterial
sustainability of a people and which can
be transformed or adapt to better serve
the contemporary needs of the community.
using here of course the bundo as an example.
example. Um
Um
and uh the Soba eternal project not only
aims to bring the figure of soba back to
the stage but also seeks to understand
how this important character in Angola
history uh can change or adapt while uh
remaining re relevant over time and
across the various layers of the of the city.
city.
And our research for the SOA eternal
project began in 2021 with the
production of illust illustrations and
models which uh s to explore the figure
of the soba has a continuous element
that managed to transverse
traverse various um layers of time.
um the repetition and distortion of the
image were fundamental in consolidating
this source. Uh thus in the project
presented at the Venice Bale, the aim
was to transform the SOA into a
messenger and to manifest or immortalize
everything he represents or has represented.
Uh the installation uh was um divided
into parts into two parts. Um first an
object and then uh the screen of a short
film which relates the interpretation of
the meaning of bundu to the evolution of
uh the installation was divide um was
divided into two parts and first I I
would like to talk about the the object um
um
knowing that the image of the SA like
the culture is not static static and
that it's important uh and its
importance and wo are changeable and
behaving differently in different layers
of time uh We decided to have a set of
acrylics forming a cube
um and with different colors and
different shapes of the figure of
h it was important for us to highlight
the black symbol uh that market the
foreheads of Bundu's people. Um so we
marked a black line in the acrylic plates
plates
and with this object we tried to
establish a tension between uh two
house. One reflecting the search and
rescue of a lost identity and other
reflecting the affirmation of a tradition.
Um the other part of the exhibition was
a short film. Uh the video uh featured a
character dressed uh in black clothes, a
hat and boots. So everything about this
character could be seen, the clothes,
the hat um except his identity, his
face, uh because it all was covered always.
always.
Um and this video is intended to to be a
contradiction to the true meaning of bundu.
bundu.
So this character not knowing himself
cannot relate to space around him. Uh
this character seeks uh an identity
um and he or she because we don't know
uh the gender of the the character uh
but is trying to rescue the image of the
soba and recover the mark on the
forehead in in order to recognize as an
individual with within a community. Uh
well uh there are some this is just some
metaphors and analogies we have attempt
uh to drawn from Angolan uh culture. [snorts]
Uh second project um
was presented at the uh 13 architectural
Uh this is also a two-part project. Uh
we have
uh two pieces of urban furniture, a
bench and a workt designed by Bangivo
and a short film also. Um it was
entitled uh Okutoa
the act of sitting and creating. This
research project is a reflection on the
informal vendors who daily take over the
streets of Lond City doing hard and
intense work um that sometimes goes unnoticed.
unnoticed.
And the focus of this work is street
artists and craft uh markets.
And after mapping the different points
of sale for art in streets of Lwanda, we
identified uh the need for artists as
well as a large number of street vendors
to have an object that could fulfill the
function of both a seat and a stand on
In in response to these reflections, uh
a multifunctional and easily
transportable model was designed uh
which aims to understand the universe of
And when we contemplate the the the
lives of informal vendors in Lwanda,
um we are immediately transported to
what makes up this city. Uh these
informal markets not only represent a
substantial part of the population that
lives in this city or or rather survives
in this city um through this daily life.
uh but are also intertwined with the
and for a long time the national
authorities have tried in various ways
to control this part of society uh
whether through direct interventions
attempts at uh invisibilization orever eradication.
eradication.
However, the informal markets and its
agents have persisted and continue to
take roots deeply in the history of uh
the city of Lwanda.
And uh the city review itself has a city
overcrowd uh with people and buildings
where at first glance chaos rings. Um,
however, a longer and more attentive
look reveals the ingenuity and uh
creativity of the people
in in in in this apparent uh disorder in the daily struggle for survival.
the daily struggle for survival. resilience is born and with with it the
resilience is born and with with it the a certain in inventiveness
a certain in inventiveness uh that defined the spirit of surviv and
uh that defined the spirit of surviv and angolan in lwanda. [snorts]
So the intention of the bench and workt was not to pre present a final uh
was not to pre present a final uh solution based on design of these two
solution based on design of these two new urban uh furnishings but rather to
new urban uh furnishings but rather to pave the way uh for new possibilities uh
pave the way uh for new possibilities uh encouraging um creators to offer more to
encouraging um creators to offer more to these communities. On the other hand,
these communities. On the other hand, uh the development of the short film was
uh the development of the short film was intended to capture the spirit of
intended to capture the spirit of [snorts] making with what we have
[snorts] making with what we have available. Uh similar to what happens to
available. Uh similar to what happens to on streets of of Lwanda. [snorts]
on streets of of Lwanda. [snorts] Here you can see some pictures of the
Here you can see some pictures of the bench and uh the work table.
Uh here you can see how um we try to make it easy to transport the the the
make it easy to transport the the the object
and um well in the case of the short film
film the act of sitting and creating uh the
the act of sitting and creating uh the main character
main character um art streets artists and artisans of
um art streets artists and artisans of Rwanda's markets
Rwanda's markets while invest in investigating in the
while invest in investigating in the day-to-day life of these vendors. In one
day-to-day life of these vendors. In one of the markets that we found, we come
of the markets that we found, we come across the the the central figure of our
across the the the central figure of our short film, a sculpture named Saai
short film, a sculpture named Saai uh with a with a clever eye of for
uh with a with a clever eye of for business. We think that this sculpture
business. We think that this sculpture sa uh embodies um the blend of humor,
sa uh embodies um the blend of humor, creativity
creativity and this certain inventiveness
and this certain inventiveness uh of all these characters in the in the
uh of all these characters in the in the city and we can easily identify all
city and we can easily identify all these characteristics uh among street
these characteristics uh among street vendors in the city of Lwanda. In fact,
vendors in the city of Lwanda. In fact, uh this conflict between simplicity and
uh this conflict between simplicity and uh the desire to negotiate
uh the desire to negotiate uh prevails um in the streets of Rwanda.
uh prevails um in the streets of Rwanda. [snorts]
Um in in this short film uh the narrative uh interwines
narrative uh interwines when the sculpture uh on the right uh
when the sculpture uh on the right uh meets a new character on the left. Um
meets a new character on the left. Um that we we we used to call this
that we we we used to call this character the abstract.
character the abstract. Um, for us it is a character stealing
Um, for us it is a character stealing information, immune to corruption of the
information, immune to corruption of the streets and who wants to learn. And this
streets and who wants to learn. And this the abstract symbolize the the
the abstract symbolize the the possibility of a new way of interacting
possibility of a new way of interacting with the urban space uh through uh the
with the urban space uh through uh the use of objects such as the bench uh and
use of objects such as the bench uh and the workt designed uh by Banga collectiv
the workt designed uh by Banga collectiv uh to facilitate the daily lives of
uh to facilitate the daily lives of streets vendors.
streets vendors. And this character is represented by a
And this character is represented by a dancer who dance and uh uh presents the
dancer who dance and uh uh presents the two the two new pieces of furniture to
two the two new pieces of furniture to the streets at the same time at the same
the streets at the same time at the same time. Um and for us these two objects,
time. Um and for us these two objects, the bench and the workt uh are not only
the bench and the workt uh are not only useful um but also artistic
useful um but also artistic manifestations
manifestations that bring a new kind of function of
that bring a new kind of function of beauty to the urban um landscape.
finally um I I I brought to to you the the
I I I brought to to you the the university of orality.
university of orality. It's it's a a work in progress is is the
It's it's a a work in progress is is the the last work that Banga uh
the last work that Banga uh development developed. Um and therefore
development developed. Um and therefore the image that I will present for you
the image that I will present for you today uh are um unpublished
today uh are um unpublished and the university of orality
and the university of orality um project is also related to Bundu
um project is also related to Bundu and came after a conversation with the
and came after a conversation with the current king of Bundu in which he
current king of Bundu in which he expressed uh his intention to build a
expressed uh his intention to build a space where the teachings and traditions
space where the teachings and traditions of viol could be uh perpetuate
of viol could be uh perpetuate um not only for the residents of the
um not only for the residents of the community but also for others who want
community but also for others who want text to to learn about uh this culture.
text to to learn about uh this culture. Um but first it is necessary to
Um but first it is necessary to understand the importance of oral
understand the importance of oral tradition in the various communities and
tradition in the various communities and more rural societies in um in Angalo.
more rural societies in um in Angalo. [snorts]
[snorts] uh in Bundu the language spoken like I
uh in Bundu the language spoken like I said is umbu
said is umbu uh in addition to Portuguese uh many of
uh in addition to Portuguese uh many of these uh of or many of the ancestral
these uh of or many of the ancestral practice or teachings are passed on
practice or teachings are passed on through are passed on through this
through are passed on through this language um and bundu sustains uh
language um and bundu sustains uh ancestral practice and wisdom that are
ancestral practice and wisdom that are perpetuate uh through oral tradition
perpetuate uh through oral tradition Thus, it is clear that without the
Thus, it is clear that without the preservation of this language, it will
preservation of this language, it will be difficult to transmit um between
be difficult to transmit um between generations
generations um ways of building philosophies uh and
um ways of building philosophies uh and ways of observing and uh relating to the
ways of observing and uh relating to the world.
world. Um
Um so oral tradition remains fundamental to
so oral tradition remains fundamental to the preservation of culture especially
the preservation of culture especially in rural and more isolated areas in
in rural and more isolated areas in Angalo. Uh it is common to sit um under
Angalo. Uh it is common to sit um under a tree and listen to the elders or
a tree and listen to the elders or simply stop and shut under a tree. Um
simply stop and shut under a tree. Um and language therefore plays a very
and language therefore plays a very important role in the community of these
important role in the community of these communities. Also it it is also fragile.
communities. Also it it is also fragile. Um in Angola for example uh younger
Um in Angola for example uh younger generation especially in urban areas
generation especially in urban areas tend to speak only Portuguese uh and do
tend to speak only Portuguese uh and do not learn other native Angolan language.
not learn other native Angolan language. Uh when we talk about communities whose
Uh when we talk about communities whose structure depend mainly um on oral
structure depend mainly um on oral tradition, the extinction of native
tradition, the extinction of native language jeopardize the perpetuation of
language jeopardize the perpetuation of knowledge and even of construction
knowledge and even of construction systems for for for example. Um, thus it
systems for for for example. Um, thus it is urgent um to understand the
is urgent um to understand the relationship between the Portuguese
relationship between the Portuguese language and the native native Angolan
language and the native native Angolan language today. Um, and it is important
language today. Um, and it is important to preserve this language as well as to
to preserve this language as well as to systematize and document them. Uh, the
systematize and document them. Uh, the issue of linguistic and cultural
issue of linguistic and cultural preservation is one of the great uh,
preservation is one of the great uh, contemporary challenge for native people
contemporary challenge for native people in various regions of the world.
in various regions of the world. especially in postc colonial context uh
especially in postc colonial context uh in Angola the historical imposition of
in Angola the historical imposition of egemonic language um continues to
egemonic language um continues to influence socioultural
influence socioultural and educational dynamics.
and educational dynamics. uh alo the predominance of Portuguese uh
uh alo the predominance of Portuguese uh has the official language and a language
has the official language and a language of instruction is important for national
of instruction is important for national unity and of course international
unity and of course international communication.
communication. Um but it has also contributed to the
Um but it has also contributed to the progressive weaken weakening of the
progressive weaken weakening of the native language of the people of Angola
native language of the people of Angola and con consequently to the erosion of
and con consequently to the erosion of the of traditional knowledge uh which is
the of traditional knowledge uh which is transmitted mainly or orally. [snorts]
transmitted mainly or orally. [snorts] So this process of linguistic erosion uh
So this process of linguistic erosion uh manifests itself not only in the gradual
manifests itself not only in the gradual loss of vocabulary or the decline in the
loss of vocabulary or the decline in the number of uh speakers but also
number of uh speakers but also represents a a broader uh threat to the
represents a a broader uh threat to the preservation of uh entire system of
preservation of uh entire system of knowledge including traditional
knowledge including traditional constructions techniques like I said
constructions techniques like I said ancestral uh medicinal practice or even
ancestral uh medicinal practice or even agricultural methodology. ies
agricultural methodology. ies um specific in the field of
um specific in the field of architecture.
architecture. The influence of the language and more
The influence of the language and more westernized way of of life is evident in
westernized way of of life is evident in the construction in Bundu.
the construction in Bundu. uh although uh by lud preserves many
uh although uh by lud preserves many traditional practice such as building
traditional practice such as building with earth for for example uh we can see
with earth for for example uh we can see a change in the types of houses and the
a change in the types of houses and the use of materials.
use of materials. Well, in short, the houses in Bundu had
Well, in short, the houses in Bundu had a square uh in the past had a square
a square uh in the past had a square layout uh with no windows and only one
layout uh with no windows and only one room that they call or hondu or bedroom
room that they call or hondu or bedroom in English.
in English. Uh in fact uh it is clear that inundu
Uh in fact uh it is clear that inundu the words for living room and bedroom is
the words for living room and bedroom is the same or hundu. Um thus um we believe
the same or hundu. Um thus um we believe that there was no concept of comp
that there was no concept of comp compartment
compartment compartmentalized
compartmentalized spaces uh within a house separated by a
spaces uh within a house separated by a more or less private function similar to
more or less private function similar to a more western uh way of interpreting
a more western uh way of interpreting the the house. Uh we believe that this
the the house. Uh we believe that this is due to the fact of um that in of
is due to the fact of um that in of culture the common grounds uh I mean the
culture the common grounds uh I mean the outdoor space is shared um by everyone
outdoor space is shared um by everyone and uh is where most social activity
and uh is where most social activity take place. Um and the house where is
take place. Um and the house where is the hondo or the bedroom it's only a
the hondo or the bedroom it's only a place for rest.
place for rest. uh t
uh t um socializing take place between the
um socializing take place between the houses. Uh so outside uh the house uh
houses. Uh so outside uh the house uh are the uh personal
are the uh personal area, the kitchen, the rental area and a
area, the kitchen, the rental area and a place called onjangu
place called onjangu uh donjango um which serves as a living
uh donjango um which serves as a living room, teaching room uh or a meeting
room, teaching room uh or a meeting room. I'm going to talk uh more about
room. I'm going to talk uh more about Donjango. uh late but um
Donjango. uh late but um what I mean is there is a preference for
what I mean is there is a preference for community life um and it happens outside
community life um and it happens outside the house. [snorts]
Um, we should also note that in the past we found that the king or the queen's
we found that the king or the queen's house um was quite similar to the houses
house um was quite similar to the houses of the rest of the community which uh
of the rest of the community which uh demonstrates uh once again uh a
demonstrates uh once again uh a horizontal dialogue within uh this so
horizontal dialogue within uh this so society.
But during the colonial period, the introduction of new building materials
introduction of new building materials and techniques as well as the
and techniques as well as the establishment of new urban centers
establishment of new urban centers created a dichotomy between the
created a dichotomy between the traditional practice of different
traditional practice of different regions of Angola and colonial
regions of Angola and colonial architectural norms. Um, as a result,
architectural norms. Um, as a result, uh, the Portuguese language influenced
uh, the Portuguese language influenced by influenced the way in which the
by influenced the way in which the various people in Angola conceive and in
various people in Angola conceive and in inhabit spaces. Uh, giving priority
inhabit spaces. Uh, giving priority mainly to European models over evolution
mainly to European models over evolution of ancestral practice.
of ancestral practice. Uh and during our visits in to Bundu in
Uh and during our visits in to Bundu in 2024,
2024, uh we found that the square floor plan
uh we found that the square floor plan um that uh predominated in the past uh
um that uh predominated in the past uh has now been replaced by a rectangular
has now been replaced by a rectangular floor place uh floor plan. Um as there
floor place uh floor plan. Um as there has been an in crisis in the
has been an in crisis in the compartmentmentalization
compartmentmentalization of interior space like we can see in the
of interior space like we can see in the in this floor plan and sketches
in this floor plan and sketches above.
Um the houses that uh um that I I I have the opportunity to visit in 2024
the opportunity to visit in 2024 uh had the following following rooms. Um
uh had the following following rooms. Um a living room, a bedrooms, a kitchen,
a living room, a bedrooms, a kitchen, and in some cases a porch. Um the
and in some cases a porch. Um the bathroom is still outside and is still
bathroom is still outside and is still possible to see food being prepared on
possible to see food being prepared on the patio floor. Um, poor lighting still
the patio floor. Um, poor lighting still prevails, but we did notice that uh
prevails, but we did notice that uh there are now more openings to the
there are now more openings to the outside.
outside. Um, another major change is the king's
Um, another major change is the king's house uh which became the king's palace
house uh which became the king's palace uh demonstrating a much more pronounced
uh demonstrating a much more pronounced uh hierarchy
uh hierarchy in the in the community.
in the in the community. Uh but well I I could mention several
Uh but well I I could mention several other examples of these changes uh uh
other examples of these changes uh uh here in this presentation. Um not only
here in this presentation. Um not only lang in language but uh also in in types
lang in language but uh also in in types of buildings or the use of
of buildings or the use of industrialized materials for example but
industrialized materials for example but beyond this linguistic or constru
beyond this linguistic or constru constructional evolution. We want to
constructional evolution. We want to understand how these types of buildings
understand how these types of buildings which are closely linked to to a culture
which are closely linked to to a culture uh can be interpreted to today
and based on the idea of a university of orality conceived by the current king of
orality conceived by the current king of Bundu. uh we decide to reinterpret uh
Bundu. uh we decide to reinterpret uh this space based on a topology um the
this space based on a topology um the jungle. Um
jungle. Um like I said before which has uh already
like I said before which has uh already been already mentioned um
been already mentioned um it is a a space which is open uh to to
it is a a space which is open uh to to outside with a wooden structure and
outside with a wooden structure and covered with the dry grass. uh where the
covered with the dry grass. uh where the communities in Bundu gather to
communities in Bundu gather to socialize, educate among among other
socialize, educate among among other other things usually around uh a
other things usually around uh a bonfire.
bonfire. Uh thus uh the university of orality
Uh thus uh the university of orality designed by Banga is based on people
designed by Banga is based on people coming together and meeting.
Um we start with the circular shape. uh and the idea of gathering in a circle or
and the idea of gathering in a circle or sitting around the tree uh which
sitting around the tree uh which supports uh the idea of horizontal
supports uh the idea of horizontal dialogue between everyone as it allows
dialogue between everyone as it allows uh everyone to look each other in in the
uh everyone to look each other in in the eye. Um, similar to the bench and workt
eye. Um, similar to the bench and workt design, the idea is to create a
design, the idea is to create a structure that is is easy to assemble uh
structure that is is easy to assemble uh which everyone can build as well as to
which everyone can build as well as to create a construction that is not an
create a construction that is not an imitation of the old building in Bundo
imitation of the old building in Bundo or the buildings implemented during
or the buildings implemented during colonialism. The aim is to achieve a
colonialism. The aim is to achieve a hybridism in which it's possible to
hybridism in which it's possible to preserve ancestral knowledge and mix it
preserve ancestral knowledge and mix it with the technology available today.
with the technology available today. Um so the material material is wood the
Um so the material material is wood the same element used to build the
same element used to build the traditional onjango but the pieces that
traditional onjango but the pieces that hold together the construction of the
hold together the construction of the university of orality are printed on a
university of orality are printed on a 3D printer.
3D printer. Um
Um and I have to mention that this
and I have to mention that this structure will be part of an ex
structure will be part of an ex exhibition that will open on 10 November
exhibition that will open on 10 November this year at the Olga Kadaval Culture
this year at the Olga Kadaval Culture Center in Cra. Uh so I I take this
Center in Cra. Uh so I I take this opportunity to invite uh everyone to
opportunity to invite uh everyone to attend it. So
attend it. So um
but beside this but the int the intention of the Banga
intention of the Banga collectivo is to implement uh this
collectivo is to implement uh this structure then um in in in Bondu
structure then um in in in Bondu and
and for it to be a real experience
for it to be a real experience uh as it was with the bench and the work
uh as it was with the bench and the work We will try to to see uh
We will try to to see uh if it works in the community uh without
if it works in the community uh without fear of course that it will do not well
fear of course that it will do not well accepted. Um and continue to experiment
accepted. Um and continue to experiment always thinking about how to improve the
always thinking about how to improve the quality of life of these people. uh as
quality of life of these people. uh as well as contributing to new language
well as contributing to new language that are more urban or more rur rural uh
that are more urban or more rur rural uh as long as they seek a sense of Angolan
as long as they seek a sense of Angolan identity or identities. Um and I began
identity or identities. Um and I began uh to present the collective work uh
uh to present the collective work uh with the question what are these Angolan
with the question what are these Angolan futures or Angolan city uh futures
futures or Angolan city uh futures um and I will end uh in same way
um and I will end uh in same way as we continue to ask ourselves this
as we continue to ask ourselves this question what futures
question what futures and I'll leave this question with you
and I'll leave this question with you so thank you all for listening uh I
so thank you all for listening uh I think now we and open to questions I
think now we and open to questions I guess.
Okay, before starting the questions just to congrats you on the excellent
to congrats you on the excellent presentation. It was really
presentation. It was really inspiring and
inspiring and very very different from what we have
very very different from what we have heard this season of practice. And I
heard this season of practice. And I think if there is a a lecture that um
think if there is a a lecture that um incorporates
incorporates our our thoughts and our
our our thoughts and our uh ideas for this for this edition. Uh
uh ideas for this for this edition. Uh your response to it. uh the most if you
your response to it. uh the most if you want. So thank you very much for sharing
want. So thank you very much for sharing your work.
your work. Um I don't know if as any of our
Um I don't know if as any of our students and uh or colleagues have
students and uh or colleagues have questions.
questions. I think this is very special occasion
I think this is very special occasion [laughter]
[laughter] to to share your thoughts and and
to to share your thoughts and and questions with
questions with Yolana.
Yolana. If not, Professor Allesia for sure and
If not, Professor Allesia for sure and myself have
myself have >> well I I have um it's not actually it's
>> well I I have um it's not actually it's not really a question I think
not really a question I think um it's more
um it's more well it's adding something to what um
well it's adding something to what um Liliana was saying uh before but first
Liliana was saying uh before but first of all thank you Yolana was was really
of all thank you Yolana was was really really really great to see your
really really great to see your presentation and to to go on with uh
presentation and to to go on with uh what Lyanna was saying well um and again
what Lyanna was saying well um and again I'm not sure it's a question but I'm
I'm not sure it's a question but I'm trying to to just tell you what I'm
trying to to just tell you what I'm feeling now um you your work uh from
feeling now um you your work uh from what I understood engage um a lot with
what I understood engage um a lot with um the let's say the vernacular
um the let's say the vernacular practices and with the the traditional
practices and with the the traditional knowledge uh of Angola
knowledge uh of Angola um but at the same time uh it is very
um but at the same time uh it is very very uh contemporary and um very
very uh contemporary and um very experimental in the language that you
experimental in the language that you you use.
you use. Um
Um and and this is something that uh uh
and and this is something that uh uh maybe it could uh looks like something
maybe it could uh looks like something simple but uh but from from my point of
simple but uh but from from my point of view it's it's really difficult to
view it's it's really difficult to balance the the tension between between
balance the the tension between between what is the tradition and the
what is the tradition and the innovation.
innovation. Um
Um and you do it in a very
and you do it in a very um very exquisite way. Uh
um very exquisite way. Uh and most of all we are you are not
and most of all we are you are not falling into
falling into uh just symbolic representation
uh just symbolic representation uh of the local culture or of the local
uh of the local culture or of the local language. And this is something that uh
language. And this is something that uh um I I liked very much and I I I I think
um I I liked very much and I I I I think it's so interesting in what you you have
it's so interesting in what you you have shown now. Um, for example, the the the
shown now. Um, for example, the the the small table or or even now the last
small table or or even now the last project that you you were uh showing us
project that you you were uh showing us this uh this um house and the story know
this uh this um house and the story know behind the house and the final uh design
behind the house and the final uh design of the house.
of the house. So like I said, it's not it's not really
So like I said, it's not it's not really a question, but um well, how do you
a question, but um well, how do you manage to balance so well this um
manage to balance so well this um dichotomy between between tradition and
dichotomy between between tradition and innovation
innovation without going directly to to the symb
without going directly to to the symb symbolic representation?
symbolic representation? I think you already answered showing
I think you already answered showing showing the problem. [laughter]
showing the problem. [laughter] >> Thank you. Um yes it is it's a balance
>> Thank you. Um yes it is it's a balance and it's difficult because sometimes
and it's difficult because sometimes we need to realize that Angola it's a
we need to realize that Angola it's a huge territory. So for example I'm from
huge territory. So for example I'm from Lwanda and um
Lwanda and um many or maybe all of the group besides
many or maybe all of the group besides Katya is from south of Angola. Um we are
Katya is from south of Angola. Um we are centered in the in the Lwanda and
centered in the in the Lwanda and surroundings.
surroundings. uh and it's difficult to to to relearn
uh and it's difficult to to to relearn our story because when you uh grow up in
our story because when you uh grow up in Lwanda uh the referency that you have of
Lwanda uh the referency that you have of of a city is is too much uh um related
of a city is is too much uh um related to a western vision. Um and what I uh I
to a western vision. Um and what I uh I learned um in this five years of Banga
learned um in this five years of Banga Kulivo is that when we are trying to um
Kulivo is that when we are trying to um make an an intervention in in the
make an an intervention in in the territory that is completely different
territory that is completely different from Lwanda the touch need to be
from Lwanda the touch need to be sometimes simple uh because you are
sometimes simple uh because you are sometimes you you you are an outsider I
sometimes you you you are an outsider I don't know if if you can understand
don't know if if you can understand because you are and learning that that
because you are and learning that that culture. Okay. It's it's from Angola.
culture. Okay. It's it's from Angola. Angolan, but it's it's completely
Angolan, but it's it's completely different because Angola was um was made
different because Angola was um was made by different kingdoms uh that made out
by different kingdoms uh that made out made up the the territory and then um
made up the the territory and then um these kingdoms uh need to uh learn how
these kingdoms uh need to uh learn how to
to uh I mean the the n the notion of a
uh I mean the the n the notion of a nation of a nation the Angola nation uh
nation of a nation the Angola nation uh but they are completely different. uh
but they are completely different. uh the the the ethnic groups are different.
the the the ethnic groups are different. Uh so what I learned is that uh I have
Uh so what I learned is that uh I have to to relearn of these cultures. In
to to relearn of these cultures. In order to relearn, I have to be careful
order to relearn, I have to be careful carefully because um
carefully because um we we can we can um
we we can we can um you know have the the the the
you know have the the the the um uh completely know that we know that
um uh completely know that we know that that that place uh because we don't
that that place uh because we don't um and take for granted that we know
um and take for granted that we know that place um even for Angolan people
that place um even for Angolan people specifically specific specifically the
specifically specific specifically the the people those uh those people that uh
the people those uh those people that uh were born in in Lwanda. Um this this is
were born in in Lwanda. Um this this is why we we I was talking about hybridism.
why we we I was talking about hybridism. uh when you grow up in Lwanda, you you
uh when you grow up in Lwanda, you you you know that um this concept of
you know that um this concept of hybridism is so present in the daily
hybridism is so present in the daily life uh because there are rem
life uh because there are rem reminiscence of um or remnants of uh
reminiscence of um or remnants of uh some traditional and cultures that uh uh
some traditional and cultures that uh uh represent some African ethnical groups
represent some African ethnical groups um like the the living in the outside
um like the the living in the outside and the kitchen outside. Uh so you you
and the kitchen outside. Uh so you you have to cook sometimes outside. Um
have to cook sometimes outside. Um but in the other hand um the city is
but in the other hand um the city is totally um transformed uh and we
totally um transformed uh and we recognize uh a city um in a western
recognize uh a city um in a western vision.
vision. So uh what I'm trying to say is that
So uh what I'm trying to say is that this this this the simp simplicity
this this this the simp simplicity of our project sometimes is because we
of our project sometimes is because we know that we have to be careful when we
know that we have to be careful when we uh make some interventions in different
uh make some interventions in different uh parts of territories of of Angola.
Yeah, I was I I would like also to add that it is really amazing how how
that it is really amazing how how actually you you work with culture and
actually you you work with culture and architecture is um in the second plan
architecture is um in the second plan and I think
and I think it becomes even more powerful because it
it becomes even more powerful because it is with culture that you show it its um
is with culture that you show it its um beauty. if you want and it's simplicity
beauty. if you want and it's simplicity and my I'm uh I was really interested uh
and my I'm uh I was really interested uh in a way how you choose the topic that
in a way how you choose the topic that you will do next. It is like in the
you will do next. It is like in the future after after this project. Um how
future after after this project. Um how you how your your your group will look
you how your your your group will look or search for the next um uh cultural
or search for the next um uh cultural theme to deepen and to understand
theme to deepen and to understand better.
I I I think that um one of the things that Banga collectivo
one of the things that Banga collectivo criticized the most is that uh we we we
criticized the most is that uh we we we didn't seen an identity or identities in
didn't seen an identity or identities in architectural um fields or in
architectural um fields or in contemporary architecture in Angola.
contemporary architecture in Angola. Uh and in in the other hand uh we feel
Uh and in in the other hand uh we feel like uh uh the most references that uh
like uh uh the most references that uh that we have in this field um they still
that we have in this field um they still talk about the past. Um
we talk about past too. [laughter] Uh all of the all of the our works um
Uh all of the all of the our works um are based on the history on on learn our
are based on the history on on learn our history
history but our aim is to talk about the future.
but our aim is to talk about the future. uh is talk about uh okay we have this
uh is talk about uh okay we have this history we know the history or we're
history we know the history or we're learning our history but what we what we
learning our history but what we what we going to do with this history okay
going to do with this history okay because we need to to talk about the
because we need to to talk about the future because um we have to see huh uh
future because um we have to see huh uh ourselves as person uh or people in
ourselves as person uh or people in future and what we want about these
future and what we want about these cities in in in Angola Um
so uh what I try to to to to uh uh to present today is that this balance
present today is that this balance between past, present and future. Uh we
between past, present and future. Uh we are trying always uh to balance this
are trying always uh to balance this this these times. Um but of course our
this these times. Um but of course our aim is to talk about the future to
aim is to talk about the future to imagine uh our future because we don't
imagine uh our future because we don't talk that much about the future. uh if
talk that much about the future. uh if if you see our our references and uh
if you see our our references and uh bibliographies u um it's it's just about
bibliographies u um it's it's just about the past and sometimes the present but
the past and sometimes the present but we don't don't have um authors that
we don't don't have um authors that explore these futures these possible
explore these futures these possible futures in Angola [snorts]
futures in Angola [snorts] um
um and that this is what we're trying to do
and that this is what we're trying to do to explore path paths and ways to
to explore path paths and ways to imagine futures uh uh in Angolan cities
Thank you. Thank you very much. Okay. >> Maybe maybe I can can just ask more
>> Maybe maybe I can can just ask more something or or not not really asking
something or or not not really asking but uh again um reflect with you
but uh again um reflect with you together. Um
together. Um so uh your your the name Banga uh
so uh your your the name Banga uh colleivo
colleivo uh brings
uh brings together well or or at least banga has
together well or or at least banga has as has a specific meaning in in
as has a specific meaning in in contemporary Angolan language uh means
contemporary Angolan language uh means uh to be pride to be to to have attitude
uh to be pride to be to to have attitude to have style. No, you said so somehow I
to have style. No, you said so somehow I I read this as um uh the for the
I read this as um uh the for the collective banga goes uh a bit beyond
collective banga goes uh a bit beyond aesthetics. So it's also uh a political
aesthetics. So it's also uh a political if you want justice or it's a political
if you want justice or it's a political self affirmation we could we could say
self affirmation we could we could say somehow
somehow um
um and uh it could represent uh a form of
and uh it could represent uh a form of cultural resistance somehow. Uh and then
cultural resistance somehow. Uh and then there is the the the the the word soba
there is the the the the the word soba that you you you explained to us and and
that you you you explained to us and and actually you have many different project
actually you have many different project with the same with the same name and
with the same with the same name and Sabba from from what I understood uh was
Sabba from from what I understood uh was the trai traditional king um
the trai traditional king um the the the the chief of the the
the the the the chief of the the community at the time and now uh it
community at the time and now uh it changed a bit and it's a kind of a
changed a bit and it's a kind of a mediator
mediator between the the
between the the um the state the the Angola government
um the state the the Angola government and the local or the ruler community.
and the local or the ruler community. Right? So um
has this kind of uh is a kind of bridge has this kind of role in the negotiation
has this kind of role in the negotiation or adaptation between between two
or adaptation between between two different uh world if you if you want.
different uh world if you if you want. So here here comes the the the question
So here here comes the the the question that um is uh so in in in which way in
that um is uh so in in in which way in what way uh might banga itself
what way uh might banga itself uh becomes a new forms of soba if you
uh becomes a new forms of soba if you want in the contemporary uh city or in
want in the contemporary uh city or in another way um
another way um is it banga a new way of being a soba
is it banga a new way of being a soba not of course a traditional ruler, not a
not of course a traditional ruler, not a king, uh but as a creative and
king, uh but as a creative and collective figure more more than more
collective figure more more than more than this authoritarian figure that can
than this authoritarian figure that can create can mediate between culture and
create can mediate between culture and social realities for example. So, uh
social realities for example. So, uh is it for you? Do you do you see
is it for you? Do you do you see yourself
yourself um a possible new SOA uh figure? Uh that
um a possible new SOA uh figure? Uh that of course is using uh uh architecture
of course is using uh uh architecture and uh art as tools of communication of
and uh art as tools of communication of of
of translation if you want and of
translation if you want and of resistance to sorry maybe it was a bit
resistance to sorry maybe it was a bit confused but but uh I I see [laughter]
confused but but uh I I see [laughter] no I I understood your your your
no I I understood your your your and and and question and uh first I want
and and and question and uh first I want to say that Um all of our projects uh
to say that Um all of our projects uh are in progress. Um uh we we we we
are in progress. Um uh we we we we don't have finished pro uh projects. Uh
don't have finished pro uh projects. Uh because like I said uh we are still
because like I said uh we are still learning with our history and in our our
learning with our history and in our our culture uh especially because we most of
culture uh especially because we most of mostly of us grew up in Rwanda.
mostly of us grew up in Rwanda. But uh what uh we try to to to bring
But uh what uh we try to to to bring with so or other
with so or other symbols that marked the the culture in
symbols that marked the the culture in Angala is that the culture or these
Angala is that the culture or these figures these symbols are static.
figures these symbols are static. Um
Um we understand that the Sabba changed by
we understand that the Sabba changed by the time by the layers these layers of
the time by the layers these layers of times. And we understand this um because
times. And we understand this um because if we of course analyze um these um
if we of course analyze um these um communities were based uh in a
communities were based uh in a patriarchal uh uh structure.
patriarchal uh uh structure. And of course we know that we need to to
And of course we know that we need to to question
question this um all of these u uh uh
this um all of these u uh uh traditions.
traditions. So this is why we always question what
So this is why we always question what is essential in tradition or culture
is essential in tradition or culture that we have to maintain or adapt.
that we have to maintain or adapt. Um so Soba and other symbols that that
Um so Soba and other symbols that that we use
we use um
um become uh uh like a message
become uh uh like a message like the word banga it's a message that
like the word banga it's a message that uh we need to or we need to start to
uh we need to or we need to start to know in our culture
know in our culture what uh what is important to define our
what uh what is important to define our identities because we live in in in in a
identities because we live in in in in a reality
reality in Angola, in architecture or in the in
in Angola, in architecture or in the in other fields maybe just not in arts uh
other fields maybe just not in arts uh visual or plastic arts but in archite or
visual or plastic arts but in archite or music uh for example but in architecture
music uh for example but in architecture that we just reproduce. we just uh um
that we just reproduce. we just uh um mimic
mimic um
a kind of international style and and we we we kind of don't know exactly who
we we kind of don't know exactly who what define us because when in in in
what define us because when in in in Lwanda for example if you if you talk
Lwanda for example if you if you talk about um a vernacular construction they
about um a vernacular construction they say to you okay but this is our thoughts
say to you okay but this is our thoughts we don't we did we don't identify
we don't we did we don't identify ourselves with this uh these kind of
ourselves with this uh these kind of constructions. Um but easy to to find in
constructions. Um but easy to to find in the interior of Angola uh
the interior of Angola uh new new buildings and new centralities
new new buildings and new centralities that are reproducing this kind of
that are reproducing this kind of international style that you don't know
international style that you don't know exactly what what it is. Um
exactly what what it is. Um so um
so um what we what we're trying to say is that
what we what we're trying to say is that is that we were trying to to to send a
is that we were trying to to to send a message to to to to Angolan uh to Angola
message to to to to Angolan uh to Angola government to Angala people to other
government to Angala people to other people around the world uh especially
people around the world uh especially those that um has the same past of being
those that um has the same past of being uh colon col col colonized uh and Now I
uh colon col col colonized uh and Now I live in the post colon col colonization
live in the post colon col colonization context
context um that are trying to um
um that are trying to um inter
inter reinterpret our symbols in a
reinterpret our symbols in a contemporary words.
contemporary words. >> Yeah, of course. Yeah. Sorry.
>> Yeah, of course. Yeah. Sorry. >> No, no, no, no, no. Sorry, sorry. Go on.
>> No, no, no, no, no. Sorry, sorry. Go on. Sorry. I will not interrupt.
Sorry. I will not interrupt. No, I I just was saying that um of
No, I I just was saying that um of course the contemporary words uh we have
course the contemporary words uh we have different needs today uh and different
different needs today uh and different uh ideas and uh um
uh ideas and uh um and of course we have to uh interpret
and of course we have to uh interpret the these cultures and see what is
the these cultures and see what is essential to to maintain and question uh
essential to to maintain and question uh the things that probably not uh uh
the things that probably not uh uh um maybe don't need it doesn't need
um maybe don't need it doesn't need today. Um but the the the the most
today. Um but the the the the most important thing is that we are trying to
important thing is that we are trying to um
um to to uh inter interpret inter
to to uh inter interpret inter interretate these symbols in in the in a
interretate these symbols in in the in a contemporary world and how we can use
contemporary world and how we can use these symbols to uh define
these symbols to uh define uh new uh new new language, new urban
uh new uh new new language, new urban language um uh new new um new ways of
language um uh new new um new ways of approach.
>> Okay. So, so I would say that uh to to my to my question the answer is yes
my to my question the answer is yes because I I see that uh uh banga um as a
because I I see that uh uh banga um as a a mode of self expression of of
a mode of self expression of of visibility
visibility could perform uh the role of soda and
could perform uh the role of soda and soba um
soba um >> as messenger
>> as messenger or as bridge in the contemporary
or as bridge in the contemporary uh Angola. Uh so yeah, banga it could be
uh Angola. Uh so yeah, banga it could be the new way of being a a soba somehow
the new way of being a a soba somehow and that's that's
and that's that's >> Yeah. Yeah. Yeah. And but this is in a
>> Yeah. Yeah. Yeah. And but this is in a positive in a positive way.
positive in a positive way. >> Yeah. In a positive way because uh when
>> Yeah. In a positive way because uh when we look to soas we don't find any woman
we look to soas we don't find any woman as a sober and uh maybe in the
as a sober and uh maybe in the contemporary world we can find a woman.
contemporary world we can find a woman. Why not
Why not >> has a soba?
>> has a soba? >> Um, and just to highlight that the word
>> Um, and just to highlight that the word soba, uh, the word itself, uh, was
soba, uh, the word itself, uh, was influenced by Portuguese language
influenced by Portuguese language because in Umbundu, the language that is
because in Umbundu, the language that is spoken in the in Bundu
spoken in the in Bundu uh, they call o.
uh, they call o. So the Portuguese when arrival in um, in
So the Portuguese when arrival in um, in Bundu uh, changed to soba. So even the
Bundu uh, changed to soba. So even the word was in influenced by uh this
word was in influenced by uh this colonial um
colonial um uh influence
uh influence >> invasion.
>> invasion. >> Um
>> Um >> you can say
>> you can say >> yeah or or invasion or whatever whatever
>> yeah or or invasion or whatever whatever you [laughter] we call it. Um
you [laughter] we call it. Um but just to say that everything uh even
but just to say that everything uh even the words always changing like culture
the words always changing like culture like uh it's always changing so it's not
like uh it's always changing so it's not static.
static. >> Mhm. Yeah.
>> Mhm. Yeah. True.
True. Okay. Thank you Yolana. [laughter]
Okay. Yolana. So you said that uh um there will be an exhibition in CRA. You
there will be an exhibition in CRA. You said uh in November.
said uh in November. >> Yes. And I would like to invite everyone
>> Yes. And I would like to invite everyone uh is um is exhibition of uh University
uh is um is exhibition of uh University of orality
of orality uh will be uh in exhibition in Oakadava
uh will be uh in exhibition in Oakadava culture center in Cintra and u you open
culture center in Cintra and u you open to to be there in 10 November
to to be there in 10 November uh this year.
uh this year. >> Great. Do you be you will be there?
>> Great. Do you be you will be there? Do you be do you will be in the opening?
Do you be do you will be in the opening? No. You come for the opening.
No. You come for the opening. >> Yes. Nice. Okay.
>> Yes. Nice. Okay. >> Okay.
>> Okay. >> Okay.
>> Okay. Well, Liliana maybe.
Well, Liliana maybe. >> Yes.
>> So, yes, we can we can close the session. We can thank Thank you again.
session. We can thank Thank you again. We see you. If not on 10th of November
We see you. If not on 10th of November then in December.
then in December. Uh it was really a pleasure.
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