6 July, 18h30, Amphitheater 1
Cinema
Alcindo
Realização e Argumento Miguel Dores, 2021.
Pesquisa e Entrevistas Beatriz Carvalho, Miguel Dores
Direcção de Fotografia Filipe Casimiro
Montagem André Mendes, Miguel Dores
Produção João Afonso Vaz
Produtora Maus da Fita
Apoio Institucional SOS Racismo
Prémios
Doc Lisboa - Prémio do Público; Festival Caminhos do Cinema Português, Coimbra - Grande Prémio e Prémio de Melhor Documentário; Prémios da Associação Portuguesa de Antropologia - Menção Honrosa na categoria Filme Etnográfico; Festival Clit de Setúbal - prémio Melhor Longa Metragem.
Trailer
https://www.youtube.com/watch?v=urPuhxccSR0
Sinopse
Synopsis On June 10, 1995, under the multiple pretext of celebrating the Day of the Race and Sporting’s victory in the Footbal Portuguese Cup, a large group of Portuguese nationalists takes to the streets of Bairro Alto to beat up black people they meet along the way. The official result was 10 victims, one of them mortal whose tragic death on Rua Garret gives name to the judicial process – the Alcindo Monteiro
case. This is a documentary about a long night – a night the size of a country.
7 July, 18h30, Greek Patio
Meeting with writers
Ondjaki e Yara Nakahanda Monteiro
Ondjaki is a poet and writer. Born in Luanda in 1977, he studied theatrical interpretation and he is graduated in Sociology. His book Actu sanguineu received an honorable mention at the António Jacinto Prize (2000). Bom dia, Caramaras, Os da minha rua and AvóDezanove e o segredo do soviético were finalists in the Portugal Telecom Prize in 2007, 2008 and 2010, respectively. AvóDezenove was also a finalist in the São Paulo Literature Prize and winner of the Jabuti Prize in the Youth category. In 2013, he received the José Saramago Prize for his work Os Transparentes. He participates in international anthologies and has had his work translated into more than ten languages, including English, Spanish, French, German and others. He is a member of the Angolan Writers Union.
Yara Monteiro (1979) was born in Angola, in the province of Huambo. Her family roots are from the Central Highlands of Angola and northern Portugal. At the age of two, she went to Portugal with her mother and maternal family to Portugal and she grew up in the Margem Sul (Lisbon’s South Bank). It was
during the adolescence that, stimulated by her Portuguese teacher, she began to actively write. She has a degree in Human Resources and she has worked in the area for fifteen years. In 2015, while living in Brazil, she began his search for inner connection and, in 2016, she embarked on a shamanic journey in the Amazon that transformed her life. She has lived in Luanda, London, Copenhagen, Rio de Janeiro and Athens. She practices yoga and meditation. Her first novel, Essa dama bate pué (Guerra e Paz, 2018) had several editions and translations. She has recently published a book of poems: Memórias, Aparições, Arritmias (Companhia das Letras, 2021), that was awarded the Glória de Sant’ Anna Literary Prize 2022.
8 July, 19h30, Dinner-Party
with Mbye Ebrima (kora)
Mbye Ebrima, Mandinka, kora player, composer, singer and oral history diseur, was born in Jarra Soma, Gambia, in 1988, in a djéli family, the Mbye, kora players and renowned experts and disseminators of Mandiga-kaabunké oral history for many generations. Ebrima's father, El-Hadji Alieu Mbye, was a kora player and one of the great connoisseurs of the oral history of the region. On his maternal side, Mbye Ebrima descends from another important and ancient djéli family of kora players, the Cissoko of Casamanca. Mbye Ebrima was part of the Kora Symphony group, created by the Gambian president, in which he was one of six permanent members and several times soloist. In 2014, he went to Germany at the invitation of the director of the dance company Mother Africa and participated in a tour that covered three countries and 47 cities. In 2015, he settled in Portugal, where he still lives and works as a musician. Mbye Ebrima played on various stages, festivals and shows (Coliseu do Porto; Clube B.Leza; ZIFF Festival, Tanzania; VII Noia Harp Fest, Galicia; World in Harmony, Portugal) and collaborated with several artists such as Selma Uamusse, Moullinex, Remna Schwarz, Eneida Marta, Kimi Djabaté, Marta Miranda, among others.
Book Fair
During the days of CIEA11, a book fair will be held in the spaces of the FLUL, oriented to the themes of African Studies. In addition to the Portuguese editorials with relevant catalogs in this area, editorials from African countries will also be represented. Among them: ALCANCE (Moçambique); Associação Ouvir e Contar – Projeto Literaturas Afrikanas; Colibri (Portugal); Escola Portuguesa de Maputo; ETHALE (Moçambique); Fundação Amílcar Cabral (Cabo Verde); Instituto Caboverdiano do Livro; Instituto Nacional do Livro e do Disco (Angola); KusiMon (Guiné-Bissau); Letra Livre (Portugal); Leya (Portugal); Livraria Pedro Cardoso (Cabo Verde); Nimba (Guiné-Bissau); nossomos (Angola); Penguin (Portugal); Rosa de Porcelana (Cabo Verde); Spleen (Cabo Verde); Tinta da China (Portugal); União de Escritores Angolanos.
Book Launch
Isabel Castro Henriques, Roteiro Histórico de uma Lisboa Africana Séculos XV-XXI
Lisboa, Edições Colibri, junho de 2021
Cadernos de Estudos Africanos, nº42, 2022 - O processo de paz do conflito de Casamansa
https://journals.openedition.org/cea/
Encounters in Huíla, 1880s-90s: migrant routes, missions, borders, colonial records and other voices
Org. Cristiana Bastos, with Filipa Vicente, Inês Ponte, Maria Concetta LoBosco, Carla Osório, within the project The Colour of Labor /ERC AdG 695573 - Instituto de Ciências Sociais, ULisboa
This exhibition set, composed of a photographic album, video installation and documentary, results from recent works and interactions that refer to older interactions: those that produced and produce images and knowledge, alterities, encounters, confrontations, violence, history, memories, post-memories. Among photographic objects, documents, records of monuments, landscapes, gravestones, narratives, ethnographies, musealizations, testimonies and interviews we seek to share with the public, in counterpoint to the colonial record, some aspects of the experience of these interactions, having as reference of place and time the plateau of Huíla (southwest Angola) in the decades 1880-90.
