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Angolan women building the future : from national liberation to women's emancipation
01 Jan 1984-
About: The article was published on 1984-01-01 and is currently open access. It has received 8 citations till now. The article focuses on the topics: Emancipation.
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TL;DR: In this paper, the authors explore the psychological effects of colonized identity transformation through revolutionary violence, drawing upon firsthand accounts of the anticolonial war experiences of the colonized people.
Abstract: A nticolonial revolutionary theorist Frantz Fanon provided a justification for people’s wars, suggesting that they contributed to the reversal of the inferiority complex created by colonization. Indeed, by asserting their humanity through a violent confrontation with their oppressors, Fanon claimed, the colonized could achieve recognition of their humanity, which had been denied by their colonizers. Although there is no question that revolutionary violence has been effective in struggles for national independence, has it also had the psychological effects predicted by Fanon? Can the debilitating effects of colonized identity be transformed through revolutionary violence? This is the question I seek to explore. By drawing upon firsthand accounts of the anticolonial war experiences of
73 citations
TL;DR: For instance, the authors pointed out that the once thriving cinemas of Luanda's downtown, with revolutionary nationalist names like the Karl Marx Cinema, the First of May Cinema, and the National Theater are all closed and some even occupied by refugees of the civil war.
Abstract: Today, evidence of cinematic desuetude in Luanda abounds. No films have been produced locally in at least the past thirteen years. Angola's directorial hopefuls Antonio Ole and Rui Duarte de Carvalho have ceased filmic activity, the former for painting and the latter to continue his trajectory as anthropologist and poet. The once thriving cinemas of Luanda's downtown, with revolutionary nationalist names like the Karl Marx Cinema, the First of May Cinema, and the National Theater are all closed and some even occupied by refugees of the civil war. Video rental clubs abound, signaling the national crisis in a retreat from the sym? bolic gathering of the nation in cinemas (Shohat and Stam 103), to the constitution of other collectivities organized around family, generation, or gender. At the same time, cinemas are sometimes opened for musical concerts, like a series of peace concerts that have toured since 1997 in hopes of mobilizing support for national reconstruction and reconciliation. Lastly, the national assembly where the parliament convenes is housed in what was, during the colonial period, the largest cinema in the city and the symbol of colonial cultural tastes. Following this establishing shot, it becomes possible, even necessary, to think of cinema from something other than a nationalist perspective, that is, from a postcolonial perspec? tive. The concern is then not so much to delineate the films and define the
13 citations
TL;DR: This article argued that women are often rendered invisible in national politics because of their relegation to the domestic realm, their presence as historical agents and patriots in the body politic of the nation is made possible through the figure of a patriotic mother.
Abstract: The assertion that the mid-twentieth century Black freedom struggles across the African diaspora was a masculine era is one that continues to strike a chord with many African women whose voices have remained absent from the rhetoric on national liberation struggles across the continent. In an effort to broaden and diversify the scholarship on African freedom struggles, which has focused inordinately on masculinist narratives from the Anglophone regions of the continent, this essay centers the experiences of Angolan women and their involvement in the 1961–1975 armed struggle against Portuguese colonialism. It pays particular attention to how nationalist movements deployed the trope of patriotic motherhood to appeal to women to join and support the fight for national independence. Focusing primarily on the maternal body, this essay argues that while women are often rendered invisible in national politics because of their relegation to the domestic realm, their presence as historical agents and patriots in the body politic of the nation is made possible through the figure of a patriotic mother.
11 citations
TL;DR: The authors argues that women's involvement in the liberation struggle played a decisive role for women's emancipation during the post-independence period, but today they have been relegated to the status of outcasts and victims as if their citizenship does not count.
Abstract: HENDA DUCADOS argues that although women's involvement in the liberation struggle played a decisive role for women's emancipation during the post-independence period, today they have been relegated to the status of outcasts and victims as if their citizenship does not count
8 citations
TL;DR: This paper made during African nationalist struggles and which explore African women's experiences in these conflicts, such as Sambizanga (Dir. Sarah Maldoror 1972) and Mapantsula (dir. Oliver Schmitz 1...
Abstract: Films made during African nationalist struggles and which explore African women’s experiences in these conflicts, such as Sambizanga (dir. Sarah Maldoror 1972) and Mapantsula (dir. Oliver Schmitz 1...
4 citations