{"id":6444,"date":"2022-12-07T17:30:00","date_gmt":"2022-12-07T17:30:00","guid":{"rendered":"https:\/\/mcostastudio.pt\/clients\/waau\/site\/\/?p=6444"},"modified":"2023-02-13T15:42:27","modified_gmt":"2023-02-13T15:42:27","slug":"tirar-o-corpo-da-mulher-do-quadrado-delimitado-e-normalizado-entrevista-a-yola-balangamarta-lanca-em-luanda","status":"publish","type":"post","link":"https:\/\/mcostastudio.pt\/clients\/waau\/site\/2022\/12\/07\/tirar-o-corpo-da-mulher-do-quadrado-delimitado-e-normalizado-entrevista-a-yola-balangamarta-lanca-em-luanda\/","title":{"rendered":"\u201cTaking the female body out of the delimited and normalized square\u201d, interview with Yola Balanga, in Luanda"},"content":{"rendered":"\t\t
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EN<\/a> | PT<\/a><\/p>

Author: Marta Lanc\u0327a\u00a0<\/p>

Yola Balanga<\/b> is a transdisciplinary artist, expressing herself through performance, photography, video, installation and painting. At 29 years old, she strongly knows what she wants to work on, and has approached the concepts of spirituality and transcendence, the female body, gender violence, and the negligence of politicians. Socio-political, religious and cultural issues come to Balanga with a lot of authenticity, feminism coexists naturally in her artistic practice, with a profound knowledge of the addressed matters.\u00a0<\/span><\/p>

In this interview, we get to know the path and effort of a young woman in a society that always forced her to confront herself, to act and to expose, with critical spirit and imagination, that still holds back so many dreams of women in Angola, and beyond. She reflects on domestic violence, femicide, inequality and the loneliness of maternity, the rituals of submission from the traditional culture to an entire contemporary society and the many challenges that stimulate her, on the one hand, and anger her, on the other. Her latest exhibition, <\/span>“War Paintings, Mourning Bodies”<\/b> was “the result of reflections from the romanticization of the<\/span> zungueira<\/span><\/i>, the light hand used to solve problems such as escaping fatherhood, rape, paedophilia, domestic violence, motherhood, abortion, as well as other reflections or war paintings and mourning bodies that affect the universe of women.”\u00a0<\/span><\/p>

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What was your journey before arriving at the performing and visual arts?\u00a0<\/h4>

I was born in 1994, lived in Luanda until I was ten, in Cabinda until I was 19, and then I returned to Luanda in 2013 to live with my mother and to study Accounting at university. I was doing theatre in the Methodist Church and the stage manager of the group informed me that a Higher Education Institute of Arts had opened. My intention was to graduate in theatre, but when I arrived, I decided to enrol in visual arts, because I wanted to be a designer, to embark on the fashion adventure. I was studying with a scholarship from INAGBE and working at the same time, but it was difficult to maintain my grades and commitment at school. It was too much of a burden to reconcile theatre, fashion, and the course. So, I stopped doing theatre, continued working, but dedicated myself one hundred percent to the course, the most conscious option. I needed the money, because besides paying for school, it also gave me sustainability. So, I stayed faithful to the fine arts. At the time we had a teacher, Ana Melim, who introduced us to all the languages, and I fell in love with performance, maybe because I came from the theatre reality. In the last year, I did an internship at <\/span>MOVART<\/span><\/a>.\u00a0<\/span><\/p>

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How did you start researching the option of performance?\u00a0<\/h4>

In school they don’t really teach us performance, they present it as a language within the visual arts. In this institute the options are painting, sculpture, and ceramics. If you want to go deeper into another language, you must do it on your own. The course is four years and at the end we have the written exam, the defence and the practical work. I finished my degree in 2019.\u00a0<\/span><\/p>

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And when do your public performances begin?\u00a0<\/h4>

I did my practical performance work, “Tchikumbi as Performance of Transcendence of the Female Body” in 2019, and I felt that was what I wanted to do from then on. This performance depicted the female initiation ritual that takes place in the Cabinda province. It portrayed that ritual, what it was like, how it was practiced now. This is when I cut my hair and didn’t let it grow again… I identified myself better with my new look, and with what I wanted to achieve. It was like creating Yola.\u00a0<\/span><\/p>

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You created the persona<\/i> and the stage name. So, what happens in the Tchikumbi <\/i>ritual?\u00a0<\/h4>

The idea of the ritual is that the girl enters as a child or young woman and comes out as a woman. It takes place in the adolescence phase, in the manifestation of the menstrual cycle. Before, the girl would stay for a month or even a year inside the Casa da Tinta, and in this house, she would be taught how to treat her husband, how to please her husband, how to raise a family, take care of her children, cook. Nowadays, it only lasts three days, the girl starts it on Friday, and on Sunday there is a celebration for the whole neighborhood, a really big celebration. Before they would also cut the girl’s hair, but nowadays the father pays so they don’t cut it. While the girl is inside the Casa, they paint her with a powder of Tu\u0301kula, a mixture of dried reddish tree root and palm oil. But she no longer enters because she believes in the ritual or in order to have a spiritual growth of consciousness, to become a new person, there is no longer this consciousness because the girl stays inside the house messing with her cell phone, doing I don’t know what. In those three days, no one comes to advise her. There is only one community that still continues to practice. But it’s just a formality, because it came from a distant tradition and they won’t stop doing it just like that. <\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Qualquer Semelhan\u00e7a \u00c9 Mera Coincid\u00eancia: Revolu\u00e7\u00e3o, 2022
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Qualquer Semelhan\u00e7a \u00c9 Mera Coincid\u00eancia: Revolu\u00e7\u00e3o, 2022
Courtesy of the artist.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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What was your critical point of view when working on it?\u00a0<\/h4>

When I started, I wanted to make Tchikumbi known to the public, because many people don’t know about it. When I went deeper into the research, that chauvinistic side of the ritual emerged, and with the body work, it became visible. It became inevitable to talk about the lack of seriousness with which people currently approach Tchikumbi, to talk about feminism, about the patriarchy and male chauvinism. So, I covered all these nuances, changes in the form of the ritual. It was a good start, because from this ritual or this vision the subsequent projects were established.\u00a0<\/span><\/p>

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Society may be matrilinear, but the initiation ritual is about pleasing the husband, it is always for the sake of the man…<\/h4>

Yes, it is for the partner, with the idea of pleasing and taking care of the other, it is not for her, it is never for her. The teachings of the ritual are not to empower us, to teach us to stand up for ourselves, it is always rooted in the idea of putting the other, the man, in first place. And in 2020 we had many cases of feminicide. I asked myself: what if instead of those rituals telling us to be submissive, we were taught to defend ourselves? Wouldn’t we have fewer cases of domestic violence, fewer cases of feminicide, fewer cases of emotional and economic dependence?\u00a0<\/span><\/p>

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Certainly.<\/h4>

Because it all stems from there, it may not necessarily be from a ritual, but from the family teaching that we received at home.\u00a0<\/span><\/p>

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And your generation is the offspring of people around my age, it’s not something from a distant past, and yet… your mothers perpetuated those roles.<\/h4>

I actually took my mother’s life story, who for a long time lived this submission and suffered from domestic violence, my father who was an alcoholic, beat her, and the children… I remember being about six years old, and my mother was with my sister on her back, it was night-time, and we left, as we arrived over there [points to a building] suddenly my mother stopped and asked, “Where am I going with you?” She wanted to leave, but she didn’t know where, she had no job, she had no place to go, at that time almost all of her family was in Malange. She wanted to leave, but she couldn’t, for economic reasons and family pressure, she thought: “What will people say?” And my father was a good Samaritan, a respected man from the church. He didn’t die with this burden, in the last years of his life he became a better father. At least he was able to redeem himself.\u00a0<\/span><\/p>

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Do you have that memory of your mother trying to get out of an oppressing situation?<\/h4>

I started to become more aware, as I addressed the story.\u00a0<\/span><\/p>

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Unfortunately, domestic violence does not occur only in your family, it is very common. The most emancipated women struggle with the general society, as much as it is a frequent discourse, chauvinistic practices are deep-rooted, in their partners, in their social environment… But they are trying to change things.\u00a0<\/h4>

Machismo is a system, and it’s very complicated to tear that system apart when the figureheads of that system are mostly men. The mother who is there, provides the teachings. I can give my son and my daughter an education saying that their rights are equal, but then they go outside of the home, at school, at work, even while playing with other children, it’s a whole system that can’t be destroyed easily, not even with a minority.\u00a0<\/span><\/p>

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And for you, what is the best strategy? What is your contribution for it to change?\u00a0<\/h4>

Just the fact that there were people who were positioned, open and brave enough to talk about this here, when it is so complicated, is already a good start.\u00a0<\/span><\/p>

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Completely, since the Ondjango collective….<\/h4>

In 2013, there were a lot of things that weren’t talked about, sexuality, the female body, even the question of submission, the housewife. It is something so institutional that you can hear it even in political speeches. For example, the vice president of the country said in a news report, “we are going to follow the path that the President follows”. But the President’s path is not towards feminist agendas, connected to women, and they are going to follow that path, so it is just one more.\u00a0<\/span><\/p>

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But you can influence mentalities. Are you linked to any collective?<\/h4>

No, but I participate, united we\u2019re stronger. We just need to expand into other areas, especially to the periphery, because these are the big centres of emotional, physical, and domestic violence, because in a place with lack of information, there are more mistreated women.\u00a0<\/span><\/p>

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Returning to your relationship with the arts…\u00a0<\/h4>

In my last year of University, I did a curatorial internship at Movart. I really like curating, but I was unsure. I needed a stable job that could give me financial security. I then started looking for jobs and ended up at the Gallery \u201cEla-Espac\u0327o Luanda Arte\u201d, where I became a production assistant to Dominick Alexander Maia, for two years.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Qualquer Semelhan\u00e7a \u00c9 Mera Coincid\u00eancia: Revolu\u00e7\u00e3o, 2022
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Qualquer Semelhan\u00e7a \u00c9 Mera Coincid\u00eancia: Pol\u00edtica de Empatia, 2022
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\u00a0<\/p>

It was probably important to understand the market and get to know the industry. Were you already aware that you wanted to make your own artistic creations?<\/h4>

When I was still an assistant, an opportunity came up to do a residency in Spain, called Solar. I asked for a break to do a three-month internship in Madrid. When I came back, I told Dominick that I would devote myself one hundred percent to the art, and he offered to represent me.\u00a0<\/span><\/p>

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How brave! It is nice to be able to devote yourself to what enjoy most at an early age.<\/h4>

It is not certain, you never know when, everything is very uncertain, improbable, but it\u2019s working out. I also work on a social project for Unitel, we go to foster homes, spend the day there, and teach art classes.\u00a0<\/span><\/p>

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The best way for many artists to have something steadier is teaching\u2026 And other projects?<\/h4>

In 2019 I made the residence the #LUUANDA Open Studio with the P\u00e9s Descal\u00e7os, in which I presented the work “The Sound of the Dead”, a video performance about women who were killed where they were meant to be safe.\u00a0<\/span><\/p>

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And the exhibition “War Paintings, Mourning Bodies” (2022), which paintings and bodies were you referring to?<\/h4>

This solo exhibition included nine paintings, photographs, installation and, at the end, a performative-intervention by the audience. In a wider and more political concept, the speeches that apparently are for us, women and children, but in reality, are not felt. The war paintings are the so-called warriors who hold most of the power, the mourning bodies are the bodies of people behind it all, from where the money comes from. These are the people who make money, but do not have it. There was a whole series of photographs about the loneliness of motherhood. Because I experienced it a lot, here we call it a family support network, and I had that support network for three months, I was literally doing nothing, I was just staying with my baby. When you begin to raise your daughter, no matter how surrounded you are, there are lots of moments of solitude. When you wake up in the early morning, the nights, all alone. And you do not talk about it. Most of that loneliness happens in common places, in your own home, in the kitchen, in the bedroom, in the bathroom, when you do not even have the time to go to the bathroom.\u00a0<\/span><\/p>

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When you get it, it is like a little moment just for yourself.\u00a0<\/h4>

So, I made this photography series in my mother’s house, which has one big kitchen. I was the only person in that space. The idea was to have people look at the photograph, to realize the size of the room, and almost not noticing who’s there, while feeling the emptiness. I received feedback from a lot of people, a lot of women telling me that the photographs had touched them, and that it was a perfect translation of what they have been through.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Sorrisos Cruzados, 2022
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Qualquer Semelhan\u00e7a \u00c9 Mera Coincid\u00eancia: Pol\u00edtica Rosa, 2022
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\u00a0<\/p>

And how do you tie that to the war?\u00a0<\/h4>

The exhibition talked about politics in the general scope and used the leaders of the political parties to speak through them. They were either representatives of the parties or not, because the titles of the artworks said, “any resemblance better be a coincidence”, the silhouette of Joa\u0303o Lourenc\u0327o and Adalberto Costa Ju\u0301nior, or not. Because it is forbidden now.\u00a0<\/span><\/p>

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And you link those rulers to the war?<\/h4>

That was a metaphor for the war, we are the fruits of a past war. We continue to fight for livelihood and for rights that only exist constitutionally. From behind these representatives, with differential speeches between parties, and the power and the money, our struggles are still the same: the healthcare system, the educational system, the prevention of children’s rights. So, these are people that are not being represented, we remain in misery.\u00a0<\/span><\/p>

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From the difficult heritage remained an unstructured society.<\/h4>

And they still give that speech that young people are the ones ruining the country.<\/span><\/p>

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Do you have any memories from the war?\u00a0<\/b><\/h4>

I remember the day Jonas Savimbi was killed, in 2002. We had no electricity, and the door of our house had access to the road. There was this radio playing the news, and I remember finding it strange. Everything was dark, then there were fireworks and everything lightened up.\u00a0<\/span><\/p>

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Was that a sense of relief?<\/h4>

Yes, and these days it is really complicated. With my mother, I have two wars. My feminist side and my non-partisan side, she is very much MPLA. So, there are two fights. But I do respect it because she had a very unpleasant past with UNITA, so when I talk about politics with her I do so in the calmest way possible, so she doesn’t feel offended.\u00a0<\/span><\/p>

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Because these personal experiences make it difficult to differentiate the image of the UNITA from the past and from the present one. They were the enemy, so how are you going to trust them?<\/h4>

It’s really resentment.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Bestas Sem Na\u00e7\u00e3o, 2022
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Entre Grades e Coroa, 2022
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\u00a0<\/p>

How do you see your path in the coming years and the things that you want to do?<\/h4>

I see a lot. I began to prepare the exhibition for 2021, but then I had a very problematic pregnancy, I was sick and I couldn’t work, so I didn’t get to perform. But after that everything went well, I have a daughter who is one year and three months old.\u00a0<\/span><\/p>

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You really wanted to be a mother?<\/h4>

Yeah. But how I was…\u00a0<\/span><\/p>

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Is it hard to reconcile being an artist and being a mother? Invitations for trips, biennials, residencies…<\/h4>

I’ve been in that position, I have missed out on opportunities. Last year I missed a residency in Portugal and that same year I had to decline to be part of a group of artists that were going to the International Jazz Festival, in the United States. But I said to myself, “the universe is seeing that I’m not refusing because I want to, if this is really an opportunity it will come back again.” My mother told me she could stay with the baby, but my daughter was not even one year old yet.<\/span><\/p>

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Which themes will you continue to work on?<\/h4>

I have started to talk about gender issues, women’s issues, the female body, but it is almost impossible to talk about all of these without touching on politics or religion. So, I think that my path will be through those two spheres, we have many issues to portray here, and we need voices who can portray them, how these two elements (politics and religion) put the body of the woman in a very delimited and normalized square…\u00a0<\/span><\/p>

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What about other approaches less literal than the body?\u00a0<\/h4>

I talk a lot about my work on transcendence, about feeling good about ourselves, with a free and clear conscience. And the question of empathy, I portray that a lot. And perhaps will go deeper into the matter of spirituality, which is a very controversial theme. Because my mother tells me that I have stopped going to church, and I tell her that I am much more spiritual than most people who go to church, who are following a rule. And then there is this whole issue of spirituality. It was already a problem when I left the Catholic church and now I have left the Methodist church. One more problem.\u00a0<\/span><\/p>

\u00a0<\/p>

In which way do you experience spirituality?<\/h4>

In the way that I feel the world, how I would like to see the world, maybe in a more local question in Angola. For a while now I have been feeling such empathy that it almost hurts to go out on the street, to take a cab, listen to the news, it always causes me a lot of pain. <\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Yola Balanga
\u00a9 Marta Lan\u00e7a<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Nguzu, 2022
Courtesy of the artist.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\u00a0<\/p>

There are many people from the periphery that are also starting to change their discourse. By living in the periphery, can you participate in the cultural life in the centre?\u00a0<\/h4>

I live in Morro Bento now and my mother is living in Viana. From Morro Bento to here is not that far. But when I lived with my mother in Kazenga, it was very risky to leave the city late, I had this precaution of going to the ghetto. But I still managed to participate in the activities.\u00a0<\/span><\/p>

\u00a0<\/p>

Performance is an area that is little explored in Angola…\u00a0<\/h4>

Now that my daughter is older, I already feel like I am back in my body, I used to feel very invaded. I\u2019m able to go back to performing, which is my passion.\u00a0<\/span><\/p>

\u00a0<\/p>

The problem is that it\u2019s not so marketable, isn’t it?<\/h4>

Yes. There must be records, photography, video. Most of the time I am looking for financing to make a video-performance.\u00a0<\/span><\/p>

\u00a0<\/p>

You have been participating in Fuckin’ Globo since 2020. How has this experience been like?<\/h4>

Unique.\u00a0<\/span><\/p>

\u00a0<\/p>

Why?<\/h4>

There is nothing better than an artist feeling that they can speak about anything and everything.\u00a0<\/span><\/p>

\u00a0<\/p>

A freedom that starts with “Take the room, do what you want” …<\/h4>

Yes, and we have technical support, conceptual support, and follow-up based on whatever you want to do and talk about, it’s amazing.\u00a0<\/span><\/p>

\u00a0<\/p>

And the collective work with your colleagues?<\/h4>

It also works well. As a matter of fact, last year we had a lot of collaborative work.\u00a0<\/span><\/p>

\u00a0<\/p>

And what have you done?<\/h4>

Since last year I had just given birth, I presented a video-performance. In the previous year I did <\/span>Sukura<\/span><\/i>, which is also a political performance. <\/span>Sukura<\/span><\/i> is a term in Kimbundu for those clothes that you wash quickly because you have to wear them in an hour. Like washed, dried, put on. But I portrayed that metaphor to represent the resolutions that our rulers are making for many of the problems that we have. It\u2019s like trying to hide what is plain to see. There’s a hole in the road, and someone comes, and covers it up, but then tomorrow the hole is still there. These are the “resolutions” that I have tried to address.\u00a0<\/span><\/p>

\u00a0<\/p>

You also film and photograph, technically do you do everything yourself?<\/h4>

Yes, as of now all the performances have been my individual concept and participation.\u00a0<\/span><\/p>

\u00a0<\/p>

And you like to write?<\/h4>

I usually think about the performance, and then I think about the recordings, photographs and things like that, I start the theory, concepts, and I write about them. In 2019, I used to write some critical essays about exhibitions and artworks, and as a production assistant for Dominick I also wrote some texts. The text from my exhibition was written by me, then a friend of mine helped me edit it, to make the text more coherent. I really liked it.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Autora: Marta Lan\u00e7a<\/p>

Yola Balanga<\/span><\/a>, artista transdisciplinar, 29 anos.\u00a0\u00a0Expressando-se pela performance, fotografia, v\u00eddeo, instala\u00e7\u00e3o\u00a0tem abordado os conceitos de espiritualidade e transcend\u00eancia, corpo feminino, viol\u00eancia de g\u00e9nero, neglig\u00eancia dos pol\u00edticos. Nesta entrevista, ficamos a conhecer o seu percurso e esfor\u00e7o, de jovem mulher numa sociedade que sempre a obriga a confrontar-se, a agir e a expor, com esp\u00edrito cr\u00edtico e imagina\u00e7\u00e3o, o que ainda tolhe os sonhos a tantas mulheres (angolanas e n\u00e3o s\u00f3). Viol\u00eancia dom\u00e9stica, feminic\u00eddio, desigualdade\u00a0econ\u00f3mica,\u00a0solid\u00e3o da maternidade, rituais de submiss\u00e3o das culturas tradicionais \u00e0 sociedade contempor\u00e2nea. A sua \u00faltima exposi\u00e7\u00e3o \u201cQuadros de Guerra, Corpos de Luto\u201d fala “da romantiza\u00e7\u00e3o da zungueira, da m\u00e3o leve para se resolver os problemas como a fuga \u00e0 paternidade, estupro, pedofilia, viol\u00eancia dom\u00e9stica, maternidade, aborto, bem como outras reflex\u00f5es ou quadros de guerra e corpos de luto que afetam o universo da mulher.\u201d<\/p>

\u00a0<\/p>

Qual foi o seu percurso at\u00e9 chegar \u00e0s artes performativas e visuais?<\/h4>

Nasci em 1994, vivi em Luanda at\u00e9 aos dez, em Cabinda at\u00e9 aos 19, regressei a Luanda em 2013 para viver com a minha m\u00e3e e fazer a universidade de Contabilidade. Fazia teatro na Igreja Metodista e o encenador do grupo informou que abriu um Instituto Superior de Artes. A inten\u00e7\u00e3o era ir-me formar em teatro, mas quando cheguei decidi inscrever-me em artes visuais, porque queria ser estilista, embarcar na aventura da moda. Estava a estudar com uma bolsa do INAGBE e, ao mesmo tempo, a trabalhar, mas estava dif\u00edcil, as notas e o empenho na escola. Era demasiado peso conciliar teatro, moda e o curso. Ent\u00e3o parei de fazer teatro, continuei a trabalhar, mas me dediquei a cem por cento ao curso, a op\u00e7\u00e3o mais consciente. Precisava do dinheiro, porque al\u00e9m de pagar a escola tamb\u00e9m me dava sustentabilidade. Ent\u00e3o fiquei fiel \u00e0s artes pl\u00e1sticas. Na altura t\u00ednhamos uma professora, Ana Melim, que nos apresentou todas as linguagens e me apaixonei por performance, se calhar porque j\u00e1 vinha de uma realidade de teatro. No \u00faltimo ano estagiei na <\/span>MOVART<\/span><\/a>.<\/span><\/p>

\u00a0<\/p>

No mundo da arte como inclui tamb\u00e9m a performance como modo de express\u00e3o?<\/h4>

Na escola n\u00e3o nos ensinam propriamente performance, apresentam como uma linguagem dentro das artes visuais. Nesse instituto as sa\u00eddas s\u00e3o pintura, escultura e cer\u00e2mica. Se quiser aprofundar outra linguagem, \u00e9 por conta pr\u00f3pria. S\u00e3o quatro anos, no final temos a prova escrita, a defesa e o trabalho pr\u00e1tico. Acabei a licenciatura em 2019.<\/span><\/p>

\u00a0<\/p>

E quando come\u00e7am as suas performances p\u00fablicas?<\/h4>

Fa\u00e7o o meu trabalho pr\u00e1tico de performance \u201cTchikumbi como\u00a0Performance de Transcend\u00eancia\u00a0do Corpo Feminino\u201d, em 2019, e senti que era isso que queria fazer daqui em diante. Falava sobre o ritual de inicia\u00e7\u00e3o feminina que acontece na prov\u00edncia de Cabinda. Retratava esse ritual, como era, como era praticado agora. Foi a\u00ed que cortei o meu cabelo e n\u00e3o voltei a deixar crescer\u2026 Senti-me mais identificada com a minha nova apar\u00eancia, e com aquilo que queria alcan\u00e7ar. Foi como se tivesse criado a Yola.<\/span><\/p>

\u00a0<\/p>

Criou a persona<\/i> e o nome art\u00edstico. O que \u00e9 que acontece no ritual Tchikumbi?\u00a0<\/h4>

A ideia do ritual \u00e9 a rapariga entrar crian\u00e7a ou jovem e sair mulher. D\u00e1-se na fase da adolesc\u00eancia, na manifesta\u00e7\u00e3o do ciclo menstrual.\u00a0 Antes, a rapariga ficava um m\u00eas ou at\u00e9 um ano dentro da Casa da Tinta, e nessa casa lhe ensinavam como tratar o marido, como agradar o marido, como constituir fam\u00edlia, cuidar dos filhos, cozinhar. Atualmente, faz-se apenas tr\u00eas dias, a rapariga entra na sexta e no domingo tem a comemora\u00e7\u00e3o para o bairro todo, uma comemora\u00e7\u00e3o mesmo muito grande. Antes tamb\u00e9m cortavam o cabelo da rapariga, mas atualmente o pai paga para que n\u00e3o cortem o cabelo da rapariga. Durante o tempo que a rapariga fica dentro da Casa, lhe pintam com um p\u00f3 de T\u00fakula, uma mistura de raiz seca de \u00e1rvore de cor avermelhada com \u00f3leo de palma. Mas j\u00e1 n\u00e3o entra por se acreditar no ritual ou para ter um crescimento espiritual de consci\u00eancia, ser uma nova pessoa, j\u00e1 n\u00e3o h\u00e1 essa consci\u00eancia porque a rapariga fica dentro da casa a mexer no telem\u00f3vel, n\u00e3o sei o qu\u00ea. Nesses tr\u00eas dias nenhuma pessoa vem aconselh\u00e1-la. S\u00f3 h\u00e1 uma comunidade que ainda continua a praticar. Mas \u00e9 j\u00e1 s\u00f3 cumprir formalidade, porque vem de uma tradi\u00e7\u00e3o long\u00ednqua e n\u00e3o v\u00e3o deixar de fazer assim do nada.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Qualquer Semelhan\u00e7a \u00c9 Mera Coincid\u00eancia: Revolu\u00e7\u00e3o, 2022
Cortesia da Artista<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Qualquer Semelhan\u00e7a \u00c9 Mera Coincid\u00eancia: Revolu\u00e7\u00e3o, 2022
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\u00a0<\/h4>

Qual era o seu ponto de vista cr\u00edtico ao trabalhar esse ritual?<\/h4>

Quando comecei queria dar a conhecer o Tchikumbi, porque muita gente desconhece. Quando aprofundei a pesquisa, surgiu esse lado mais machista do ritual, com o trabalho no corpo come\u00e7ou a ser vis\u00edvel. Tornou-se inevit\u00e1vel falar da falta de seriedade com que fazem Tchikumbi atualmente, falar sobre feminismo, sobre patriarcado e machismo. Ent\u00e3o abordei todas essas nuances, mudan\u00e7as de forma do ritual. Foi um bom princ\u00edpio, porque a partir desse ritual ou dessa vis\u00e3o, os trabalhos seguintes ficaram encaminhados.<\/span><\/p>

\u00a0<\/p>

A sociedade pode ser matrilinear, mas o rito de inicia\u00e7\u00e3o \u00e9 para agradar o marido, sempre em fun\u00e7\u00e3o do homem\u2026<\/h4>

Sim, \u00e9 para o companheiro, na ideia de agradar e de cuidar do outro, n\u00e3o \u00e9 para ela, nunca \u00e9 para ela. Os ensinamentos do ritual nunca s\u00e3o para nos fortalecer, para nos ensinar a nos defender, \u00e9 sempre na ideia de p\u00f4r o outro, o homem, em primeiro lugar. E em 2020 n\u00f3s tivemos muitos casos de feminic\u00eddio. Eu perguntava: se em vez desses rituais nos dizerem para ser submissas, nos ensinassem a nos defender? N\u00e3o ter\u00edamos menos casos de viol\u00eancia dom\u00e9stica, menos casos de feminic\u00eddio, menos casos de depend\u00eancia emocional e econ\u00f3mica?<\/span><\/p>

\u00a0<\/p>

Certamente.<\/h4>

Porque tudo come\u00e7a a\u00ed, pode n\u00e3o ser necessariamente por um ritual, mas pela pr\u00f3pria educa\u00e7\u00e3o familiar que recebemos em casa.<\/span><\/p>

\u00a0<\/p>

E a sua gera\u00e7\u00e3o \u00e9 filha de pessoas da minha idade, j\u00e1 n\u00e3o \u00e9 uma coisa do antigamente, e mesmo assim\u2026 as vossas m\u00e3es perpetuam esses pap\u00e9is.<\/h4>

Por acaso peguei na hist\u00f3ria de vida da minha m\u00e3e que, durante muito tempo, viveu essa submiss\u00e3o e sofreu viol\u00eancia dom\u00e9stica por parte do meu pai que era alco\u00f3lico, batia nela, nos filhos\u2026 Lembro-me de ter uns seis anos, a minha m\u00e3e estava com a minha irm\u00e3 \u00e0s costas, era de noite, e sa\u00edmos, cheg\u00e1mos mais ou menos at\u00e9 ali [aponta para um pr\u00e9dio] e de repente a minha m\u00e3e parou e perguntou: \u201cestou a ir com voc\u00eas aonde?\u201d Ela queria sair, mas n\u00e3o sabia para onde, n\u00e3o tinha emprego, n\u00e3o tinha para onde ir, na altura quase toda a sua fam\u00edlia estava em Malange. Ela queria sair de l\u00e1, mas n\u00e3o conseguia, por quest\u00f5es econ\u00f3micas e por press\u00e3o familiar, pensava: \u201cO que \u00e9 que as pessoas v\u00e3o falar?\u201d E o meu pai era um bom samaritano, um senhor da igreja respeitado. N\u00e3o morreu com esse peso, nos \u00faltimos anos de vida tornou-se melhor pai. Pelo menos conseguiu se redimir.<\/span><\/p>

\u00a0<\/p>

Ficou com essa mem\u00f3ria da sua m\u00e3e a querer sair de uma situa\u00e7\u00e3o de opress\u00e3o?<\/h4>

Comecei a ter mais consci\u00eancia, conforme abordei a hist\u00f3ria.<\/span><\/p>

\u00a0<\/p>

Infelizmente a viol\u00eancia dom\u00e9stica n\u00e3o \u00e9 um caso de exce\u00e7\u00e3o da sua fam\u00edlia, \u00e9 generalizada. Por mais que seja um discurso frequente, as pr\u00e1ticas de machismo est\u00e3o enraizadas, com os parceiros, no ambiente social.\u00a0<\/h4>

O machismo \u00e9 mesmo um sistema e \u00e9 muito complicado romper esse sistema, quando os cabecilhas desse sistema s\u00e3o maioritariamente homens. A m\u00e3e que est\u00e1 a\u00ed, d\u00e1 educa\u00e7\u00e3o, eu posso dar uma educa\u00e7\u00e3o ao meu filho e \u00e0 minha filha de que os direitos deles s\u00e3o iguais, mas depois v\u00e3o fora de casa, na escola, no trabalho, at\u00e9 na brincadeira entre crian\u00e7as, \u00e9 todo um sistema que n\u00e3o se rompe de um dia para o outro, nem com uma minoria.<\/span><\/p>

\u00a0<\/p>

E para si qual \u00e9 a melhor estrat\u00e9gia? Qual \u00e9 o seu contributo para isso mudar?<\/h4>

S\u00f3 o facto de haver pessoas posicionadas, abertas e corajosas para falar isso c\u00e1, sendo t\u00e3o complicado, j\u00e1 \u00e9 um bom princ\u00edpio.<\/span><\/p>

\u00a0<\/p>

Completamente, desde o coletivo Ondjango\u2026.<\/h4>

Em 2013, havia muita coisa que n\u00e3o se falava, sexualidade, o corpo da mulher, at\u00e9 a quest\u00e3o da submiss\u00e3o, a dona de casa. \u00c9 algo t\u00e3o institucional que podemos ouvir isso at\u00e9 em discursos pol\u00edticos. Por exemplo a vice-presidente do pa\u00eds disse numa reportagem, \u201cn\u00f3s vamos seguir o caminho que o Presidente seguir\u201d. S\u00f3 que o caminho do Presidente n\u00e3o est\u00e1 virado para pautas feministas, ligadas \u00e0 mulher, e ela vai seguir esse caminho, ent\u00e3o \u00e9 s\u00f3 mais um.<\/span><\/p>

\u00a0<\/p>

Mas voc\u00eas podem influenciar nas mentalidades. Est\u00e1 ligada a algum coletivo?<\/h4>

N\u00e3o, mas participo, unidas somos mais fortes. Precisamos \u00e9 de expandir para outras \u00e1reas principalmente para as periferias, porque s\u00e3o os grandes centros de viol\u00eancia emocional, f\u00edsica, dom\u00e9stica, porque num lugar com menos informa\u00e7\u00e3o mais maltratam as mulheres.\u00a0<\/span><\/p>

\u00a0<\/p>

Voltando \u00e0 sua rela\u00e7\u00e3o com as artes\u2026<\/h4>

No \u00faltimo ano da Universidade, fa\u00e7o um est\u00e1gio curricular de curadoria na Movart. Gosto muito de curadoria, mas estava indecisa. Precisava de um trabalho fixo que me desse sustentabilidade e seguran\u00e7a. Comecei a procurar trabalhos e fui parar \u00e0 Galeria \u2018Ela<\/span>-Espa\u00e7o Luanda\u00a0Arte<\/span>\u2019, onde fiquei assistente de produ\u00e7\u00e3o do Dominick Alexander Maia durante dois anos.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Qualquer Semelhan\u00e7a \u00c9 Mera Coincid\u00eancia: Revolu\u00e7\u00e3o, 2022
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Qualquer Semelhan\u00e7a \u00c9 Mera Coincid\u00eancia: Pol\u00edtica de Empatia, 2022
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\u00a0<\/p>

Deve ter sido importante para perceber o mercado e ter contacto com o meio. J\u00e1 sabia que queria fazer\u00a0o seu pr\u00f3prio trabalho art\u00edstico?<\/h4>

Ainda era assistente surgiu oportunidade de fazer uma resid\u00eancia em Espanha, a Solar. Pedi um intervalo para fazer uma resid\u00eancia de tr\u00eas meses em Madrid. Quando regresso, digo ao Dominick que me vou dedicar a cem por cento \u00e0 arte, e ele convidou-me para me representar<\/span>.<\/span><\/p>

\u00a0<\/p>

Que corajosa, \u00e9 bom desde cedo poder dedicar-se \u00e0quilo que gosta.<\/h4>

N\u00e3o \u00e9 certo, nunca se sabe quando, \u00e9 tudo muito indeciso, improv\u00e1vel, mas est\u00e1 a resultar. Tamb\u00e9m colaboro num projeto social na Unitel, vamos aos lares de acolhimento, passamos o dia, damos aula de educa\u00e7\u00e3o pl\u00e1stica.<\/span><\/p>

\u00a0<\/p>

A forma de muitos artistas terem algo mais certo \u00e9 dar forma\u00e7\u00e3o\u2026 E mais trabalhos?<\/h4>

Em 2019 fa\u00e7o a resid\u00eancia o\u00a0<\/span>#LUUANDA<\/span><\/a>\u00a0Open Studio com a P\u00e9s Descal\u00e7os, onde apresentei o trabalho \u201cO Som das mortas\u201d, em v\u00eddeo-performance, sobre as mulheres que s\u00e3o mortas onde era suposto estarem seguras.<\/span><\/p>

\u00a0<\/p>

E a exposi\u00e7\u00e3o \u201cQuadros de Guerra, Corpos de Luto\u201d (2022), a que quadros e corpos se refere?<\/h4>

Esta exposi\u00e7\u00e3o individual tinha nove pinturas, fotografias, instala\u00e7\u00e3o e, no final, uma interven\u00e7\u00e3o-performativa do p\u00fablico. Num conceito mais alargado e pol\u00edtico, os discursos que aparentemente s\u00e3o a favor de n\u00f3s, mulheres e crian\u00e7as, mas na pr\u00e1tica n\u00e3o \u00e9 isso que se vive. Os quadros de guerra s\u00e3o os ditos guerreiros que t\u00eam a maior parte do poder, os corpos de luto s\u00e3o os corpos das pessoas por detr\u00e1s disso tudo, de onde vem o dinheiro. S\u00e3o as pessoas que fazem dinheiro, mas n\u00e3o o possuem. Havia uma s\u00e9rie de fotografias sobre a solid\u00e3o da maternidade. Porque vivi muito isso, e n\u00f3s aqui chamamos de rede de apoio \u00e0 fam\u00edlia, e eu tive essa rede de apoio durante tr\u00eas meses, fiquei literalmente sem fazer nada, s\u00f3 ficava com a minha beb\u00e9. Quando come\u00e7as a criar a tua filha, por mais cercada de pessoas e de companhia, h\u00e1 muitos momentos de solid\u00e3o. Quando acorda de madrugada, as noites, sozinha. E n\u00e3o se fala sobre isso. A maior parte dessa solid\u00e3o d\u00e1-se em s\u00edtios comuns na pr\u00f3pria casa, na cozinha, no quarto, na casa de banho, quando voc\u00ea nem tem tempo de ir na casa de banho.<\/span><\/p>

\u00a0<\/p>

Quando consegue, \u00e9 tipo um pequeno momento s\u00f3 teu.<\/h4>

Ent\u00e3o, fiz essa s\u00e9rie de fotografia na casa da minha m\u00e3e, que tem uma cozinha grande. Era a \u00fanica pessoa naquele espa\u00e7o. A ideia era as pessoas verem a fotografia, perceberem a dimens\u00e3o do espa\u00e7o, e quase que n\u00e3o se notava quem l\u00e1 est\u00e1, e que se sentisse o vazio. Recebi <\/span>feedback <\/span><\/i>de muitas pessoas, muitas mulheres a dizer que as fotografias lhes tocaram, que era a tradu\u00e7\u00e3o perfeita do que tinham passado.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Sorrisos Cruzados, 2022
Cortesia da Artista<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Qualquer Semelhan\u00e7a \u00c9 Mera Coincid\u00eancia: Pol\u00edtica Rosa, 2022
Cortesia da Artista<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\u00a0<\/p>

E como faz essa associa\u00e7\u00e3o \u00e0 guerra?\u00a0<\/h4>

A exposi\u00e7\u00e3o falava de pol\u00edtica no \u00e2mbito geral, e pegava nos l\u00edderes dos partidos pol\u00edticos para falar atrav\u00e9s deles. Eram os representantes dos partidos ou n\u00e3o, porque o t\u00edtulo das obras era \u201cqualquer semelhan\u00e7a melhor coincid\u00eancia\u201d, a silhueta do Jo\u00e3o Louren\u00e7o e do Adalberto Costa J\u00fanior, ou n\u00e3o. Porque agora \u00e9 proibido.<\/span><\/p>

\u00a0<\/p>

E associa esses governantes \u00e0 guerra?<\/h4>

Era uma met\u00e1fora do quadro de guerra, somos frutos de uma guerra passada. Continuamos a lutar para ter o sustento e os direitos que s\u00f3 existem institucionalmente. Por detr\u00e1s desses representantes, com discursos diferenciados entre os partidos, e do poder e o dinheiro, as nossas lutas continuam as mesmas: o sistema de sa\u00fade, o sistema de educa\u00e7\u00e3o, a preven\u00e7\u00e3o do direito das crian\u00e7as. Ent\u00e3o, s\u00e3o pessoas que n\u00e3o est\u00e3o representadas, n\u00f3s continuamos na mis\u00e9ria.<\/span><\/p>

\u00a0<\/p>

Da heran\u00e7a dif\u00edcil ficou uma sociedade desestruturada.<\/h4>

E ainda fazem aquele discurso de que os jovens \u00e9 que est\u00e3o a estragar o pa\u00eds\u2026.<\/span><\/p>

\u00a0<\/p>

Tem lembran\u00e7as da guerra?<\/h4>

Lembro o dia que o Jonas Savimbi foi morto, em 2002. N\u00e3o t\u00ednhamos energia, a porta da casa dava acesso \u00e0 estrada. Havia um r\u00e1dio a passar as not\u00edcias e lembro-me de ter estranhado. Estava tudo escuro, e depois houve fogo-de-artif\u00edcio e tudo se iluminou.<\/span><\/p>

\u00a0<\/p>

Foi uma sensa\u00e7\u00e3o de al\u00edvio?<\/h4>

Foi, e atualmente \u00e9 muito complicado. Com a minha m\u00e3e eu tenho duas guerras. O meu lado feminista e o meu lado de apartid\u00e1ria, ela \u00e9 muito do MPLA. Ent\u00e3o s\u00e3o duas lutas. Mas respeito porque ela teve um passado muito desagrad\u00e1vel com a UNITA, quando falo de pol\u00edtica com ela procuro a maneira mais calma poss\u00edvel para ela n\u00e3o se sentir ofendida.<\/span><\/p>

\u00a0<\/p>

Essas viv\u00eancias pessoais\u00a0dificultam a distin\u00e7\u00e3o da imagem de uma UNITA de antigamente da atual.\u00a0<\/h4>

\u00c9 mesmo rancor.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Bestas Sem Na\u00e7\u00e3o, 2022
Cortesia da Artista<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Entre Grades e Coroa, 2022
Cortesia da Artista<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\u00a0<\/p>

Como \u00e9 que v\u00ea o seu percurso nos pr\u00f3ximos anos, o que deseja fazer?<\/h4><\/div>

Muitas coisas. Comecei a preparar a exposi\u00e7\u00e3o para 2021, mas tive uma gravidez muito problem\u00e1tica, estava doente e n\u00e3o conseguia trabalhar por isso n\u00e3o consegui fazer performance. Mas depois correu bem, tenho uma filha com um ano e tr\u00eas meses.<\/span><\/p>

\u00a0<\/p>

Queria muito ser m\u00e3e?<\/h4>

Ainda. Mas como fiquei\u2026<\/span><\/p>

\u00a0<\/p>

\u00c9 dif\u00edcil compatibilizar ser artista e m\u00e3e? Convites para viagens, bienais, resid\u00eancias\u2026\u00a0<\/h4>

J\u00e1 estive nessa posi\u00e7\u00e3o, j\u00e1 perdi oportunidades. O ano passado perdi uma resid\u00eancia para Portugal e esse ano tive de recusar fazer parte dum grupo de artistas que iam ao Festival Internacional de Jazz, nos Estados Unidos. Mas falei, \u201co universo est\u00e1 a ver que eu n\u00e3o estou a negar por capricho meu, se \u00e9 mesmo oportunidade vai voltar.\u201d A minha m\u00e3e falou que podia ficar com a beb\u00e9, mas ela ainda n\u00e3o tinha um ano.<\/span><\/p>

\u00a0<\/p>

Que temas vai continuar a trabalhar?<\/h4><\/div>

Eu comecei a falar de quest\u00f5es de g\u00e9nero, quest\u00f5es ligadas a mulheres, corpo da mulher, mas \u00e9 praticamente imposs\u00edvel falar de tudo isso sem tocar na pol\u00edtica ou na religi\u00e3o. Ent\u00e3o acho que o meu caminho vai ser por essas duas esferas, temos muitas problem\u00e1ticas para retratar aqui e precisamos de vozes que deem a cara por esses temas, como \u00e9 que esses dois elementos (a pol\u00edtica e a religi\u00e3o) p\u00f5em o corpo da mulher num quadrado super delimitado e normalizado\u2026<\/span><\/p>

\u00a0<\/p>

E outras abordagens menos literais do que o corpo?<\/h4>

Eu falo muito no meu trabalho sobre transcend\u00eancia, sobre se sentir bem consigo mesma, de consci\u00eancia livre, tranquila. E a quest\u00e3o da empatia, retrato muito isso. E talvez aprofunde a quest\u00e3o da espiritualidade, que \u00e9 muito controversa. Porque a minha m\u00e3e diz que eu parei de ir na igreja assim, mas eu lhe falo que sou muito mais espiritual do que muita gente que vai na igreja, que seguem uma regra. E ent\u00e3o tem toda essa quest\u00e3o da espiritualidade. J\u00e1 foi um problema quando sa\u00ed da igreja Cat\u00f3lica e agora sa\u00ed da Metodista\u2026. Outro problema mais.<\/span><\/p>

\u00a0<\/p>

De que modo sente espiritualidade?<\/h4>

Na maneira como penso o mundo, como gostaria de ver o mundo, se calhar numa quest\u00e3o mais local de Angola. De h\u00e1 um tempo para c\u00e1, tenho sentido tanta empatia que quase d\u00f3i sair na rua, pegar t\u00e1xi, ouvir qualquer notici\u00e1rio, causa-me sempre muita m\u00e1goa. <\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Yola Balanga
\u00a9 Marta Lan\u00e7a<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Nguzu, 2022
Cortesia da Artista<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\u00a0<\/p>

H\u00e1 muita gente da periferia a come\u00e7ar a mudar o discurso. Consegue participar na vida cultural que ainda acontece mais no centro da cidade?<\/h4><\/div>

Eu moro no Morro Bento, agora, a minha m\u00e3e \u00e9 que est\u00e1 em Viana. Do Morro Bento para aqui n\u00e3o \u00e9 t\u00e3o longe. Mas quando estava com a minha m\u00e3e no Kazenga, era muito arriscado sair tarde da cidade, tinha essa precau\u00e7\u00e3o de ir para o gueto. Mas conseguia participar nas atividades.<\/span><\/p>

\u00a0<\/p>

A performance \u00e9 uma \u00e1rea pouco explorada em Angola\u2026\u00a0<\/h4>

Agora que a minha filha est\u00e1 mais crescida, j\u00e1 me sinto de volta ao meu corpo, sentia-me muito invadida, volto a fazer performance que \u00e9 a minha paix\u00e3o.<\/span><\/p>

\u00a0<\/p>

O problema \u00e9 n\u00e3o ser t\u00e3o vend\u00e1vel, n\u00e3o \u00e9?<\/h4>

Sim. Tem de haver registos, fotografia, v\u00eddeo. Na maioria das vezes busco financiamento para fazer a v\u00eddeo-performance.<\/span><\/p>

\u00a0<\/p>

Participa no Fuckin\u2019 Globo desde 2020. Como \u00e9 essa experi\u00eancia?\u00a0<\/h4>

\u00danica.\u00a0<\/span><\/p>

\u00a0<\/p>

Porqu\u00ea?\u00a0<\/h4>

N\u00e3o h\u00e1 nada melhor do que o artista sentir que pode falar sobre tudo e mais alguma coisa.\u00a0<\/span><\/p>

\u00a0<\/p>

Uma liberdade que come\u00e7a com \u201cTome l\u00e1 o quarto fa\u00e7a o que quiser\u201d \u2026<\/h4>

Sim, e temos apoio de montagem, de ideia, e acompanhamento com base naquilo que voc\u00ea quer fazer e falar, \u00e9 incr\u00edvel.<\/span><\/p>

\u00a0<\/p>

\u00a0E o trabalho coletivo com os colegas?<\/h4>

Tamb\u00e9m funciona bem. No ano passado por acaso teve muitos trabalhos coletivos.<\/span><\/p>

\u00a0<\/p>

E o que \u00e9 que fez?<\/h4>

Como estava de parto fresco no ano passado, apresentei uma v\u00eddeo-performance. No antepassado fiz <\/span>Sukura<\/span><\/i>, uma performance tamb\u00e9m pol\u00edtica. <\/span>Sukura<\/span><\/i> \u00e9 um termo em quimbundo para aquela roupa que lava r\u00e1pido porque se quer usar daqui a uma hora. Tipo lavou, secou, vestiu. Mas retratava essa met\u00e1fora como sendo as resolu\u00e7\u00f5es que os nossos governantes fazem para muitos dos problemas que temos. \u00c9 como se tapassem o sol com a peneira. Tem um buraco na estrada, vem algu\u00e9m, tapa, mas depois amanh\u00e3 o buraco continua ali. S\u00e3o essas \u201cresolu\u00e7\u00f5es\u201d que eu procurei abordar.<\/span><\/p>

\u00a0<\/p>

Tamb\u00e9m filma e fotografa, faz tudo sozinha tecnicamente?<\/h4>

Sim at\u00e9 agora todas as performances foram meu conceito e participa\u00e7\u00e3o individual.<\/span><\/p>

\u00a0<\/p>

E gosta de escrever?<\/h4>

Normalmente penso na performance, depois penso nos registos, fotografias e coisas assim, come\u00e7o a teoria, conceitos, escrevo sobre eles. Em 2019 fazia ensaios cr\u00edticos sobre exposi\u00e7\u00f5es e obras, como assistente de produ\u00e7\u00e3o do Dominick tamb\u00e9m fazia alguns textos. O texto da minha exposi\u00e7\u00e3o fui eu que escrevi, depois um amigo ajudou-me a editar, a dar mais coer\u00eancia ao texto, gostei muito.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Yola Balanga is a transdisciplinary artist, expressing herself through performance, photography, video, installation and painting. At 29 years old, she strongly knows what
\nshe wants to work on, and has approached the concepts of spirituality and
\ntranscendence, the female body, gender violence, and the negligence of politicians. <\/p>\n","protected":false},"author":1,"featured_media":6446,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[47,11],"tags":[],"class_list":["post-6444","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-editorial","category-highlights"],"acf":[],"yoast_head":"\n\u201cTaking the female body out of the delimited and normalized square\u201d, interview with Yola Balanga, in Luanda - waau art<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mcostastudio.pt\/clients\/waau\/site\/2022\/12\/07\/tirar-o-corpo-da-mulher-do-quadrado-delimitado-e-normalizado-entrevista-a-yola-balangamarta-lanca-em-luanda\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cTaking the female body out of the delimited and normalized square\u201d, interview with Yola Balanga, in Luanda - waau art\" \/>\n<meta property=\"og:description\" content=\"Yola Balanga is a transdisciplinary artist, expressing herself through performance, photography, video, installation and painting. 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