Tag: Lunda

Free Download Ben F. Eidse, "The Disciple and Sorcery: The Lunda-Chokwe View"
English | ISBN: 1443877298 | 2015 | 241 pages | PDF | 2 MB
Ben F. Eidse is Shakambangu, a messenger who announces the truth, so-named by the Lunda-Chokwe who appreciate his commitment to learning their heart language, proverbs and culture. He often began his messages with a Chokwe proverb about the kambangu bird who doesnt speak empty words like the prairie chicken, but announces the first sliver of the moon. He was also called Tata, a wise elder and blacksmith who equipped us, not with guns, but with the Word of God, which he translated, with two Chokwe pastors/storytellers. Eidse is among the rare western students of Lunda-Chokwe language and culture, which spreads over nine countries of central and southern Africa. His unique and original research captures Lunda-Chokwe oral history in print, tracing that blended tribes origin stories and cultural values. The Disciple and Sorcery is his career study of Lunda-Chokwe worldviews, including family and clan values, sorcery practices and experiences of Biblical discipleship. His research hypothesis is that a culturally relevant biblical discipleship can deal effectively with the fear of sorcery and the temptation to use it to harm others. This book will particularly appeal to the Lunda-Chokwe people, as well as to anyone who treasures respectful insight into a traditional society.

Free Download Repainting the Walls of Lunda: Information Colonialism and Angolan Art By Delinda Collier
2016 | 240 Pages | ISBN: 0816694486 | PDF | 7 MB
Repainting the Walls of Lunda chronicles the publication and dissemination of an anthropology book, Paredes Pintadas da Lunda (Painted Walls of Lunda), which was published in Portuguese in 1953. The book featured illustrations of wall murals and sand drawings of the Chokwe peoples of northeastern Angola. These reproductions were adapted in postindependence Angolan nationalist art and post-civil war contemporary art. As Delinda Collier recounts, the pictorial narrative foregrounds the complex relationships between content, distribution, and politicization. The result is a nuanced look at the practices of art entangled in political economies as much as in issues of aesthetics.After historicizing the drastic changes in media for the Chokwe images, from sand and dwelling to book and from analog to digital, Collier analyzes the formal and infrastructural logic of the two-dimensional images in their subsequent formats, from postindependence canvas paintings to Internet images. Collier does not view any of these iterations as a negation or obliteration of the previous one. Instead, she argues that the logic of reproductive media envelops the past: each mediation adds another layer of context and content. As Collier sees it, the images’ historicity is embedded within these media layers, which many Angolan postindependence artists speak of in terms of ghosts or ancestors when describing their encounter with reproductions of the Chokwe art.If, as Collier contends, "Africa troubles media," this book troubles facile theories and romantic constructions of "analog Africa," boundaries between art and cybernetics, and the firewall between the colonial and the postcolonial.