{"id":6629,"date":"2022-12-22T08:00:00","date_gmt":"2022-12-22T08:00:00","guid":{"rendered":"https:\/\/mcostastudio.pt\/clients\/waau\/site\/\/?p=6629"},"modified":"2023-03-06T18:34:57","modified_gmt":"2023-03-06T18:34:57","slug":"tenho-fome-de-fazer-arte-entrevista-com-mussunda-nzombo","status":"publish","type":"post","link":"https:\/\/mcostastudio.pt\/clients\/waau\/site\/2022\/12\/22\/tenho-fome-de-fazer-arte-entrevista-com-mussunda-nzombo\/","title":{"rendered":"“I am hungry to make art”, an interview with Mussunda N’zombo Marta Lanc\u0327a, in Luanda"},"content":{"rendered":"\t\t
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EN<\/a> | PT<\/a><\/p>

Author: Marta Lan\u00e7a<\/p>

\u00a0<\/p>

In one word, how would you describe each of your characters?<\/h4>

Miguel Prince is a sex symbol, Mussunda N’zombo is patriotic, Mwata is eccentric, and Nguvulo is egocentric.\u00a0<\/span><\/p>

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Where did the idea of constructing heteronyms as an artistic narrative come from?\u00a0<\/h4>

I started with Miguel Prince, a character born in Germany in 1992 in a frenetic cultural and artistic environment that focused on the character of the musician Prince. Miguel was my name. The perception of my expression, appearance, and clothing were linked to the singer Prince. I perceived Prince in my body in terms of aesthetics and style. I then returned to Angola and entered a conflict of identity.\u00a0<\/span><\/p>

\u00a0<\/p>

Why?\u00a0<\/h4>

Because the Miguel Prince character was astonishing; a shock, both in the family environment and in the cultural-artistic climate, due to his queer side.\u00a0<\/span><\/p>

\u00a0<\/p>

Did you show extravagance in your style from an early age?\u00a0<\/h4>

The style comes from my adolescence. In my youth in Angola, I started out as a dancer in two dance groups directed by one of the greatest choreographers of his time, Tony Africa (now deceased). Practically, the construction was already in me, but it was in Germany that I found the freedom I needed because I was now much more independent. There I got the accessories and everything else I dreamed of to build the character of Miguel Prince.\u00a0<\/span><\/p>

\u00a0<\/p>

How were the twenty years you spent in Germany?\u00a0<\/h4>

Angola is my country in essence, but Germany is my country of choice. It\u2019s my second home. In Germany I have a profound relationship, friendships, and it was there that my artistic process developed greatly.\u00a0<\/span><\/p>

\u00a0<\/p>

What did you work on during this period?\u00a0<\/h4>

I worked in the worlds of fashion, dance, telecommunications, and even gastronomy. In the cultural sector, I’ve had many invitations and opportunities. I left Luanda when I was 17, I stayed in Portugal for a year, France for a few months, and then finally in Germany, I got to know a society that, at the time, was experiencing the effects of the fall of the Berlin Wall. So there was now this flow of communities and cultures in one single Germany. <\/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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Mussunda N\u2019zombo
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Mussunda N\u2019zombo
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\u00a0<\/p>

And you came from a country that was also “socialist”\u2026<\/h4>

Yes, Angola was a socialist country allied with Eastern Europe and the Cold War.\u00a0<\/span><\/p>

\u00a0<\/h4>

I remember your return to Angola, Miguel Prince was drawing attention at the time, but was well received.\u00a0<\/h4>

I was well received, but the shock was there.\u00a0<\/span><\/p>

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Is this because in Germany you would not be as exceptional, but in the context of Luanda, you felt the estrangement?\u00a0<\/h4>

Yes, because of the theme, the narrative, and the clothes I was wearing. I heard comments like “who is this crazy guy?”, “who is this gay that you brought here?”, and “does this guy really exist?\u201d So in that sense, it was a conflict.\u00a0<\/span><\/p>

\u00a0<\/h4>

And how was the character of Mussunda N’zombo, by which you are known today, born?\u00a0<\/h4>

He was born in 2017 from the photographic project “The last journey of the dictator Mussunda N’zombo before the last extinction” by Kiluanji Kia Henda. It appeared in Fuckin’ Globo in 2018 with the performance <\/span>The Metamorphosis<\/span><\/i>. But heteronyms were already part of my biography. By adopting this identity, I managed to create the perfect connection between Miguel Prince and Mussunda N’zombo, including in the relationship between Africa and the West. This is where subsequent characters like Mwata and Nguvulo Marimbondo came from. Mussunda is the father of them all.\u00a0<\/span><\/p>

\u00a0<\/h4>

How would you explain Mussunda N’zombo in biographical terms?\u00a0<\/h4>

Mussunda means ‘the first’, and N’zombo means ‘twin’, therefore the first twin. I initially looked for an original name from my paternal side, but I couldn\u2019t find one. So I asked my 75-year-old uncle, “What is the name of my grandfather or my great-grandfather?”, to which he answered, “Your grandfather is Miguel, we are from the Miguel Family.” No, I thought, that’s a colonizer\u2019s name, the name of a settler who owns a farm, who probably beat us up. Who made us adopt their name because they could not pronounce African names, many people adopted Portuguese names by force. I also had Domingos Menezes as a surname; Menezes became a school and family name. Years later, at a cousin’s wedding, an aunt said “You’re Ngola Kiluanje’s great-great-grandson”, but in the artworld there are already many Kiluanjes, so I became Mussunda N’zombo, which comes from my maternal great-grandfather, Nzombo, of Kimbundo and Kikongo origin. If we look closely, Bengo is the closest city to Luanda and, at the same time, the closest to the north. It’s equidistant.\u00a0<\/span><\/p>

\u00a0<\/h4>

And then you killed Miguel Prince?\u00a0<\/h4>

No, because Mussunda still has a duality of accessories with Prince, although, in style and clothing, it is something different to what I used as Miguel Prince. My latest attire has new details. But there was a break with Miguel Prince to focus on the appearance of his twin part, which is Mussunda N’zombo, that comes from the conflict experienced upon the return to Angola.\u00a0<\/span><\/p>

\u00a0<\/h4>

Then you created Mwata as a metaphor for the traditional leaders?\u00a0<\/h4>

Mwata comes from a very traditional system, he was the leader of his community, soba, king, father, counselor, and conciliator, who eased the community’s problems. But after the independence, that changed. If he was respected before, nowadays, his name has lost its value and true meaning. The traditional leaders are not so traditional anymore, as they have a lot of modern and western influence. What interests me in working with these leaders is their abuse of authority in exercising power.\u00a0<\/span><\/p>

\u00a0<\/h4>

The sobas used to be more autonomous, although they were instrumentalized during colonial times, today they are very partisan.\u00a0<\/h4>

They no longer have that autonomy. So I take Mwata in the sense of these new African characters. They are sometimes exaggerated, exuberant and excessive in what concerns their security, wastefulness, or the lust in which they live, which signals the lack of control concerning the distribution of illicit wealth.\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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Mussunda N\u2019zombo
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\u00a0<\/p>

Broadly speaking, how do we distinguish Mwata from Mussunda?\u00a0<\/h4>

Mussunda is not the same person who plays Mwata or Nguvulo. You can’t have a dialogue or closeness with those characters. However, Mussunda is the most social character, perhaps he is also the most popular and has the least security and the least care. Mwata is the most superb, eclectic, and expensive of the distinct characters I play. He has a certain status for having already been present at a dinner with thirty personalities when German Chancellor Angela Merkel was in Angola or when he met the Vice-President of the Republic of Angola, Bornito de Sousa, during the handing over of the documental archive of Angolan artworks in German territory. Mwata has already given speeches to European diplomatic entities represented in Angola, as well as diplomats from other continents, and government members, where he was also invited to give a speech on Europe Day. In this speech, I called for better cooperation and equity in the relationship and collaboration between the two continents, without forgetting the help of the diplomatic bodies present to achieve the recognition, cataloging, and the handover of the art that belongs to the African continent. I continue to work on these characters and maintain a relationship with them, I follow what they think about Africa, namely in their work on the issue of the African Union.\u00a0<\/span><\/p>

\u00a0<\/h4>

Based on these figures, you create a caricature of the power, the waste, the absurd, and show-off. Do you have any affection for them at all?\u00a0<\/h4>

I have created this caricature of power, I exert the waste, the absurd, and the <\/span>banga<\/span><\/i>. But it is not a question of affection, nor sympathy, and even less so about pleasure. Instead, I propose a political manifesto in the artistic sense. Sometimes it is explosive and dangerous to see the waste and carelessness in the distribution and spending of public money. I play with this absurdity, I include satire and humor in the works that I present.\u00a0<\/span><\/p>

\u00a0<\/h4>

Which African figures do you draw inspiration from to create your characters?\u00a0<\/h4>

I work with people and images as inspiration. For example, Mobutu Sese Seko, who was one of the great figures of the African continent in the 1970s and 80s. In my portfolio I also have work based on leaders such as Muammar Kadafi, Patrice Lumumba, Thomas Sankara, Amin Dada, and Samora Machel. I am particularly interested in the positioning they all had as statesmen. In a specific format, I can even be inspired by them because of the boldness of their speeches and manifestos, but I try to approach or propose a discourse according to what I am living, what I am feeling, and what they might be thinking. The current African leaders have become puppets in the hands of the West, they no longer interest me as much.\u00a0<\/span><\/p>

\u00a0<\/h4>

You also interpret Nguvulo Marimbondo, who is he?\u00a0<\/h4>

Nguvulo Marimbondo is a political character, but he focusses on internal affairs, concerning Angola’s political and financial management.\u00a0<\/span><\/p>

\u00a0<\/h4>

Nguvulo is complicit in theft and corruption, yet he is also denouncing and asking back for what has been stolen. He is an ambiguous character.<\/h4>

The truth is that this ambiguity appears in the positions that I defend. When I denounce the system itself or the pact in which I was involved, it is also about patriotism. It’s reaching the position of these characters who were considered “marimbondos” (corrupt) by our politicians but who have the courage to denounce and collaborate with justice. In 2022, I dared to play the role of Nguvulo Marimbondo in Portuguese territory as part of the exhibition “<\/span>Now that we found freedom, what are we gonna do with it<\/span><\/a>?” at Hangar, in Lisbon. The performance “Salale\u0301” translates the position of a \u201cmarimbondo\u201d that comes to Portuguese territory to claim the goods that belong to the Angolan State, both tangible and intangible. So I went to Portugal to cooperate, negotiate and identify assets that are the fruit of our public heritage and pacts celebrated underground that I put into practice with the Portuguese and other entities. So, this boldness to arrive, identify, cooperate and denounce the location of these assets is an attitude that our leaders should have. I hope, I ask that they will. It\u2019s the very least that they should do in their role as patriots, after the great embezzlement caused by a small group of individuals who practically displaced our international reserves and destroyed the Angolan financial system. <\/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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Mussunda N\u2019zombo
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\u00a0<\/p>

Nguvulo is a character that assumes his implication in all of this.\u00a0<\/h4>

The idea was that everything should be declared here in the national territory, as the courts requested, with a six-month moratorium for the declaration and handing over of the assets appropriated at the public\u2019s expense. But, as many didn’t do it or comply, showing a certain resistance, I decided to roll my sleeves and help. I’m helping by denouncing. I am implicated, yes. None of them had this attitude of going and recognizing where they left off. I came to collaborate and negotiate, which is the result of my efforts. This should be the role of all of them, to say, “on my behalf, I declare myself, I can identify and collaborate.” This is a provocation behind that character.\u00a0<\/span><\/p>

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The common thread running through all of the heteronyms is the fact that they are characters linked to power.\u00a0<\/h4>

Power fascinates me. I graduated in International studies. I also wanted to study Political Science, I had already studied history a lot, I also lived next door to the Zairean embassy (D.R.C.), so I felt power at its extreme and the luxury that lived next door. We were constant guests and had access to the anniversary parties of the independence of the Republic of Zaire, where Angolan and foreign political entities would attend. It was the biggest festive and musical event of an embassy held in Angola, that of Zaire (Democratic Republic of the Congo).\u00a0<\/span><\/p>

\u00a0<\/h4>

What really attracts you to power?\u00a0<\/h4>

What attracts me to power is the audacity of being able to do and undo. I don’t mean this in a totally political sense, but in an artistic sense, ironizing it through the powerful characters I play. I am attracted to feeling the positioning of the African leaders themselves. Perhaps, it is the audacity that attracts me.\u00a0<\/span><\/p>

\u00a0<\/h4>

You describe that you do “high-risk” performance, why?\u00a0<\/h4>

When I suggest making a speech before the European Union in a frontal way, when I suggest making a speech in Lisbon demanding a limousine, a security team and all of the necessary care so that nothing happens to me. When I get on top of a car leaving downtown Luanda towards the Upper City Palace, which is an area of high military risk. When I challenge myself to stand in the middle of ten thousand bikers in the center of Lisbon and lie down on the ground risking being strangled. The challenge of taking a cage to downtown Luanda in the middle of rush hour and arguing with over five hundred people interpreting the position of our politicians who are full of luxury and perks, with the best champagne, and the best cognac. I am talking about a golden cage with all the finery, with lights as if it was a royal palace. It had diamond stone and a gold sink, 10 thousand euros worth of decorations alone. It’s those exaggerations; that provocative shock. And also, challenging those characters on platforms where I enter into discourse, with a certain authoritarianism. I am often unpredictable during performances. It’s a condition that neither my team nor I know what\u2019s going to happen. I\u2019m still determining how they’re going to capture the image. It’s happening. You have to be careful as the idea starts to distort. The very sense of my characters or performances being political also says something about the risk.\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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\u00a0<\/p>

Performance is a difficult genre to sell, but it gives you a lot of independence and allows for other things to be made. What do you think about that?\u00a0<\/h4>

It\u2019s true that in Angola it is challenging to sell performances. But performance has also brought me other things. It lead me to work with photography, it also lead me to cinema, television, fashion, magazines, museums to distinct international platforms. I think I can say that I am a person who is happy with what I do. It\u2019s true that I would like to make a living from performance, but because I am a multidisciplinary artist, I can also work with other artistic mediums. When I entered the art world, I didn’t come in hungry, and so far, I haven’t declared myself as hungry. But I am hungry to make art. That’s where I say that performance has given me these various possibilities to experiment and to act in the different mediums that I practice today, such as acting, installation, and so on.\u00a0<\/span><\/p>

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Collaborating with other artists is one of your lines of work.\u00a0<\/h4>

Yes, I have collaborated with different artists. To defend the last work I presented “Entities and Intertwined Identities, 2075”, the photo-calendar project and photographic exhibition that covers Angola, Cape Verde, Mozambique, and Sa\u0303o Tome\u0301. About twenty artists and thirty assistants collaborated with me, the twelve artists who later stayed on the project were Lee-bogota\u0301, Rui Magalha\u0303es, Fla\u0301vio Cardoso, He\u0301lio Buite, Indira Mateta, Mwana Pwo\u0301, Coletivo Ibaku, Kiluanji Kia Henda, Bruno Fonseca, Osmar Edgar, and Artur Silva. In other works, I have collaborated with Kiluanji Kia Henda, Tho\u0301 Simo\u0303es, Ery Clever, Helder Filipe, G 80, Yonamine, and the Verkon collective. These experiences of sharing and collaborating have been both productive and progressive. The result of this are the works now spread all over the world. The collective exhibition <\/span>Africa a State of Mind <\/span><\/i>in San Francisco with “The Last Journey of the Dictator Mussunda N’zombo before the last extinction”. This collaborative work also took us to the Tate magazine in England. We have reached magazines like <\/span>Vogue<\/span><\/i>, <\/span>Marie Claire, Umbigo<\/span><\/i>, and many newspapers. We have works being defended and discussed in Universities as a subject of study. So I really need to be grateful for my collaborative work.\u00a0<\/span><\/p>

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Performance is an area that has the challenge to create embarrassment, which you have managed to do. However, people have become used to what they initially found strange. So how are you going to make it more, or continue to be inconvenient?\u00a0<\/h4>

The performance creates a provocation. It creates a shock, and sometimes that’s precisely the intention. One of the proposals that will happen, to be more inconvenient, is that Mussunda N’zombo will be a candidate for the municipality and later has the intention of running for the presidency of the Republic. I have already taken the first steps for the performance, which was presented in November, “The Speech About the State of the Nation Address 2075”. There I dress as the character of the Head of State elected in the 2072-77 legislature, so I’m already campaigning. Count me in, I just hope I’m not an inconvenient politician.\u00a0<\/span><\/p>

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The question of the project “Entities and Intertwined Identities” is knowing how will Angola be 53 years from now. What do you have to tell us?\u00a0<\/h4>

At the height of the 100th anniversary of Dipanda, national consolidation and presentation to the world as a multicultural nation with the motto “one people, one nation”, I think about how the Angolans of the future will be. Political-military, independent, petrodollars-dependent, what will our descendants be like? Around these, and other questions, runs this project of photo calendar, exhibition, and performance.\u00a0<\/span><\/p>

\u00a0<\/h4>

How do you see your subjects and the people who idolize you? Are they naive or do they simply need a strong hand?\u00a0<\/h4>

We can consider these subjects, or the people that idolize, as somewhat naive because they tend to see me as being real, but what I present is not real. I manifest myself dressed as a politician. There is a certain naivety when I see these people idolizing me because I am not actually that character. I am not the politics they worship.\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>

\u00a0<\/p>

Como descreve, numa palavra, as suas personagens?<\/h4>

Miguel Prince \u00e9 um <\/span>sex symbol,<\/span><\/i> Mussunda N\u00b4zombo \u00e9 patriota, o Mwata \u00e9 exc\u00eantrico e o Nguvulo \u00e9 egoc\u00eantrico.<\/span><\/p>

\u00a0<\/p>

De onde veio a ideia de construir heter\u00f3nimos como narrativa art\u00edstica?<\/h4>

Comecei com o Miguel Prince, personagem que nasce na Alemanha em 1992, num ambiente art\u00edstico cultural fren\u00e9tico focado na personagem do m\u00fasico Prince. A percep\u00e7\u00e3o da minha express\u00e3o, visualidade e indument\u00e1ria estavam ligadas ao cantor Prince. Apercebe-mo do Prince no meu corpo, em termos de est\u00e9tica e de estilo. Regresso a Angola, e d\u00e1-se esse conflito identit\u00e1rio.\u00a0<\/span><\/p>

\u00a0<\/p>

Porqu\u00ea?\u00a0<\/h4>

Porque a personagem Miguel Prince foi um espanto, um choque, tanto no meio familiar como no meio cultural-art\u00edstico, digamos que pelo seu lado <\/span>queer<\/span><\/i>.\u00a0<\/span><\/p>

\u00a0<\/p>

Desde cedo mostrava extravag\u00e2ncia no seu estilo?<\/h4>

Em Angola, come\u00e7o como dan\u00e7arino em dois grupos de dan\u00e7a, dirigido por um dos maiores core\u00f3grafos do seu tempo, o j\u00e1 falecido Tony \u00c1frica Praticamente, o estilo e a indument\u00e1ria j\u00e1 v\u00eam desde a adolesc\u00eancia em Luanda, mas \u00e9 na Alemanha que encontro a liberdade que precisava. Estava mais solto, conseguia os acess\u00f3rios e tudo o que sonhava para construir a tal personagem de Miguel Prince.\u00a0<\/span><\/p>

\u00a0<\/p>

Viveu vinte anos na Alemanha.<\/h4>

Angola \u00e9 o meu pa\u00eds na ess\u00eancia, mas a Alemanha \u00e9 o meu pa\u00eds de elei\u00e7\u00e3o, \u00e9 a minha segunda casa. L\u00e1 tenho uma rela\u00e7\u00e3o muito profunda, amizades, e foi l\u00e1 que o meu processo art\u00edstico se desenvolveu muito.\u00a0<\/span><\/p>

\u00a0<\/p>

Em que trabalhou nesse per\u00edodo?<\/h4>

Estive no mundo da moda, no mundo da dan\u00e7a, no mundo das telecomunica\u00e7\u00f5es, da gastronomia, na \u00e1rea cultural, tive muitos convites e passagens. Sa\u00ed de Luanda com 17 anos, fiquei em Portugal um ano, em Fran\u00e7a uns meses e na Alemanha conhe\u00e7o uma sociedade que, na altura, estava a viver os efeitos da queda do Muro do Berlim. Ent\u00e3o havia esse fluxo de comunidades e culturas numa s\u00f3 Alemanha.<\/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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Mussunda N\u2019zombo
Cortesia do 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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Mussunda N\u2019zombo
Cortesia do 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 vinha de um pa\u00eds que tamb\u00e9m era \u201csocialista\u201d\u2026<\/h4>

Sim, Angola era um pa\u00eds socialista aliado do Leste europeu e da Guerra Fria.<\/span><\/p>

\u00a0<\/p>

Lembro-me do seu regresso a Angola, o Miguel Prince chamava a aten\u00e7\u00e3o.<\/h4>

Era bem acolhido, mas o choque estava l\u00e1.\u00a0<\/span><\/p>

\u00a0<\/p>

Porque na Alemanha n\u00e3o seria t\u00e3o excepcional, e no contexto de Luanda sentia o estranhamento?<\/h4>

Sim, devido \u00e0 tem\u00e1tica, \u00e0 narrativa e indument\u00e1ria que trazia. Ouvia coment\u00e1rios \u201cquem \u00e9 esse maluco?\u201d, \u201cesse gay que voc\u00eas trouxeram aqui\u201d, \u201cesse gajo existe mesmo?\u201d. Nesse sentido, foi um conflito.<\/span><\/p>

\u00a0<\/p>

E como nasce o Mussunda N\u2019zombo pelo qual \u00e9 hoje conhecido?\u00a0<\/h4>

Nasce no projecto fotogr\u00e1fico \u201cA \u00faltima jornada do ditador Mussunda N\u2019zombo antes da \u00faltima extin\u00e7\u00e3o\u201d, de Kiluanji Kia Henda, em 2017, e aparece no Fuckin\u2019 Globo, em 2018, com a performance <\/span>A Metamorfose.<\/span><\/i> Mas a quest\u00e3o dos heter\u00f3nimos j\u00e1 faz parte da minha biografia. Ao ter adoptado esta identidade, consegui criar a liga\u00e7\u00e3o perfeita entre Miguel Prince e Mussunda N<\/span>\u2019<\/span>zombo, inclusive numa met\u00e1fora da rela\u00e7\u00e3o Ocidente e \u00c1frica. \u00c9 da\u00ed que v\u00eam as sequentes personagens, como o Mwata e o Nguvulo Marimbondo. O Mussunda \u00e9 o pai delas todas.\u00a0<\/span><\/p>

\u00a0<\/p>

Como explica o nome de Mussunda N\u2019zombo em termos biogr\u00e1ficos?<\/h4>

Mussunda quer dizer <\/span>\u201c<\/span>o primeiro\u201d e N<\/span>\u2019<\/span>zombo <\/span>\u201c<\/span>o g\u00e9mio\u201d, portanto, o \u201cprimeiro dos g\u00e9mios\u201d. Inicialmente, procurei um nome original da parte paterna, mas a minha fam\u00edlia n\u00e3o conseguiu situar-se, perguntei a um tio mais-velho: <\/span>\u201c<\/span>Qual \u00e9 o nome do meu bisav\u00f4 ou meu av\u00f4?\u201d, ele disse <\/span>\u201c<\/span>O teu av\u00f3 \u00e9 Miguel, somos da fam\u00edlia Miguel.\u201d Eu achei \u201cn\u00e3o, isso \u00e9 nome de colono, talvez de dono de fazenda, que nos ter\u00e1 dado pancada, que nos obrigou a responder por um\u00a0nome portugu\u00eas\u201d. Porque eles n\u00e3o conseguiam pronunciar os nomes africanos, ent\u00e3o muita gente foi adquirindo nomes portugueses, \u00e0 for\u00e7a.\u00a0Tamb\u00e9m tinha Domingos Menezes como apelido, e Menezes ficou nome de escola e de fam\u00edlia. Anos depois, no casamento de uma prima, uma tia disse: <\/span>\u00a0<\/span>\u201cTu \u00e9s tetra-neto do Ngola Kiluanje\u201d. Mas como no mundo das artes j\u00e1 h\u00e1 v\u00e1rios Kiluanjes, n\u00e3o avancei, e fiquei Mussunda N<\/span>\u2019<\/span>zombo, que \u00e9 origin\u00e1rio do meu bisav\u00f4 materno. N\u2019zombo vem do kimbundo mas tamb\u00e9m existe em kikongo. Se virmos bem, o Bengo \u00e9 a cidade mais pr\u00f3xima de Luanda, e equidistante do norte.\u00a0<\/span><\/p>

\u00a0<\/p>

E ent\u00e3o matou o Prince?<\/h4>

N\u00e3o, porque o Mussunda ainda tem dualidade de acess\u00f3rios com o Prince. A minha nova indument\u00e1ria tem novos pormenores, por exemplo o pano nunca usei como Miguel Prince. De facto houve uma ruptura com o Miguel Prince, para poder aparecer a sua parte g\u00e9mea, o Mussunda N\u2019zomba, que vem desse conflito no regresso a Angola.<\/span><\/p>

\u00a0<\/p>

Depois cria o Mwata como met\u00e1fora dos lideres tradicionais?<\/h4>

O Mwata vem de um sistema mesmo tradicional, era l\u00edder da sua comunidade, soba, rei, pai, conselheiro, conciliador das quest\u00f5es da sua comunidade. Mas depois da independ\u00eancia, isso muda. Se antes era respeitado, nos dias de hoje o nome de Mwata perdeu valor e o seu verdadeiro significado. Os l\u00edderes tradicionais j\u00e1 n\u00e3o s\u00e3o t\u00e3o tradicionais, t\u00eam bastante influ\u00eancia moderna e ocidental. Mas o que me interessa, ao trabalhar com esses l\u00edderes, \u00e9 o abuso da autoridade que eles praticam no exerc\u00edcio do poder.<\/span><\/p>

\u00a0<\/p>

Os sobas antes podiam ser mais aut\u00f3nomos, apesar de instrumentalizados no tempo colonial, hoje est\u00e3o muito partidarizados.<\/h4>

J\u00e1 n\u00e3o t\u00eam essa autonomia. Assim, levo o Mwata no sentido das novas personagens africanas. Por vezes exageradas, exuberantes e excessivas no que concerne \u00e0 sua seguran\u00e7a, ao desperd\u00edcio ou \u00e0 lux\u00faria em que vivem, assinalando o descontrolo quanto \u00e0 partilha de riqueza il\u00edcita.<\/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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Mussunda N\u2019zombo
Cortesia do 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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Em tra\u00e7os gerais, como distinguimos o Mwata do Mussunda?\u00a0<\/h4>

N\u00e3o \u00e9 o Mussunda que interpreta o Mwata nem o Nguvulo. N\u00e3o se consegue ter um di\u00e1logo nem proximidade com essas personagens. Apesar de tudo, o Mussunda \u00e9 a mais social, talvez tamb\u00e9m a mais popular, carece de menos corpos de seguran\u00e7a e de menos cuidado. De entre as distintas personagens que interpreto, Mwata \u00e9 a mais soberba, mais ecl\u00e9tica e mais dispendiosa. Tem um certo estatuto de Estado, por j\u00e1 ter estado presente num jantar entre trinta personalidades, quando a Chanceler Alem\u00e3 Angela Merkel esteve em Angola, ou quando conviveu com o vice-presidente da Rep\u00fablica de Angola Bornito de Sousa, aquando da entrega do arquivo documental das obras angolanas em territ\u00f3rio alem\u00e3o. O Mwata j\u00e1 discursou para entidades diplom\u00e1ticas europeias representadas em Angola, diplomatas de outros continentes, e membros do governo onde tamb\u00e9m foi convidado para fazer um discurso no dia da Europa. Nele, defendi uma melhor coopera\u00e7\u00e3o e equidade na rela\u00e7\u00e3o da coopera\u00e7\u00e3o internacional entre os dois continentes, sem esquecer a ajuda dos corpos diplom\u00e1ticos presentes no sentido de fazer o reconhecimento, a cataloga\u00e7\u00e3o e a entrega do acervo art\u00edstico pertencente a \u00c1frica. Vou trabalhando nessas personagens e mantenho uma rela\u00e7\u00e3o com elas, acompanho o que pensam sobre \u00c1frica, nomeadamente no trabalho sobre a quest\u00e3o da Uni\u00e3o Africana.<\/span><\/p>

\u00a0<\/p>

A partir dessas figuras, faz uma caricatura do poder, do esbanjamento, do absurdo, do show of<\/i>. Tem algum carinho por elas?<\/h4>

Fa\u00e7o essa caricatura do poder, exer\u00e7o o esbanjamento, o absurdo, a banga. Vou jogando com esse absurdo, envolvo a s\u00e1tira e o humor nos trabalhos que apresento. N\u00e3o \u00e9 uma quest\u00e3o de carinho, nem simpatia, e muito menos de prazer. Proponho antes um manifesto pol\u00edtico, no sentido art\u00edstico. Por vezes, \u00e9 explosivo e perigoso ver o esbanjamento em quest\u00f5es de valores, no descuido na partilha ou nos gastos do er\u00e1rio p\u00fablico.<\/span><\/p>

\u00a0<\/p>

Em que figuras africanas se inspira para criar as suas personagens?<\/h4>

Trabalho com pessoas e com imagens, como inspira\u00e7\u00e3o. Por exemplo, no Mobutu Sese Seko, uma das grandes figuras no continente africano nas d\u00e9cadas de setenta e oitenta. Tamb\u00e9m tenho trabalhos em carteira baseados em l\u00edderes como Muammar Kadafi, Patrice Lumumba, Thomas Sankara, Amin\u00a0Dada e Samora Machel<\/span>.<\/span> Interessa-me o posicionamento que tiveram como estadistas. Num certo formato, posso at\u00e9 me inspirar neles, pela ousadia dos seus discursos e manifestos, mas tento abordar ou propor um discurso de acordo com o que eu vivo, o que eu sinto, o que \u00e9 que eles poderiam pensar. Os atuais lideres africanos tornaram-se marionetes na m\u00e3o do Ocidente, j\u00e1 n\u00e3o me interessam tanto.<\/span><\/p>

\u00a0<\/p>

E quem \u00e9 o Nguvulo Marimbondo?<\/h4>

O Nguvulo Marimbondo \u00e9 uma personagem pol\u00edtica, mas para assuntos internos, no que concerne \u00e0 gest\u00e3o pol\u00edtica financeira de Angola.\u00a0<\/span><\/p>

\u00a0<\/p>

Nguvulo \u00e9 uma personagem amb\u00edgua. \u00c9 c\u00famplice de roubos e corrup\u00e7\u00e3o, no entanto, est\u00e1 a denunciar e a pedir de volta aquilo que foi roubado.\u00a0<\/h4>

A verdade \u00e9 que esta ambiguidade surge nos meus posicionamentos. Quando apare\u00e7o a denunciar o pr\u00f3prio sistema ou o pr\u00f3prio pacto em que estive envolvido, trata-se tamb\u00e9m de patriotismo. \u00c9 chegar \u00e0 posi\u00e7\u00e3o destas personagens, consideradas \u201cmarimbondos\u201d (corruptos) por pol\u00edticos nossos, mas que t\u00eam a coragem de denunciar e de colaborar com a justi\u00e7a. Tive a ousadia de interpretar este papel do Nguvulo Marimbondo na exposi\u00e7\u00e3o \u201cAgora que temos a liberdade, o que \u00e9 que vamos fazer com ela?\u201d no Hangar, em Lisboa, em 2022. A performance \u201cSalal\u00e9\u201d traduz o posicionamento de um marimbondo que vem reclamar em territ\u00f3rio portugu\u00eas os bens pertencentes ao Estado angolano, sejam eles corp\u00f3reos e incorp\u00f3reos. Ent\u00e3o fui a Portugal cooperar, negociar e identificar bens que s\u00e3o fruto do nosso er\u00e1rio p\u00fablico e de pactos subterr\u00e2neos que eu pr\u00f3prio pus em pr\u00e1tica com entidades portuguesas, e n\u00e3o s\u00f3. Ent\u00e3o, esta ousadia de chegar, identificar, colaborar e denunciar a localiza\u00e7\u00e3o desses bens, \u00e9 uma atitude que os nossos governantes deviam ter. Espero eu, pe\u00e7o eu. Seria o m\u00ednimo a fazer no seu papel de patriotas, depois do grande desfalque provocado por um nicho de indiv\u00edduos que praticamente deslocaram as nossas reservas internacionais, e destru\u00edram o pr\u00f3prio sistema financeiro angolano.<\/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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Mussunda N\u2019zombo
Cortesia do 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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Mussunda N\u2019zombo
Cortesia do 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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Ent\u00e3o o Nguvulo assume a sua implica\u00e7\u00e3o nisso tudo.\u00a0<\/h4>

Estou implicado, sim. A ideia era que fosse tudo declarado aqui em territ\u00f3rio nacional como a Justi\u00e7a pediu, com uma morat\u00f3ria de 6 meses para declara\u00e7\u00e3o e entrega dos bens apropriados a custo do er\u00e1rio p\u00fablico. Mas, como muitos n\u00e3o fizeram nem cederam, mostrando uma certa resist\u00eancia, eu meti a m\u00e3o, eu pr\u00f3prio estou a ajudar ao ir denunciar. Nenhum deles teve essa atitude de ir reconhecer onde deixou. Eu vim colaborar e negociar, o que \u00e9 fruto do meu esfor\u00e7o. Isto devia ser o papel deles todos. Deviam dizer \u201cem meu nome declaro-me, eu consigo identificar e colaborar.\u201d Esta \u00e9 a provoca\u00e7\u00e3o por detr\u00e1s dessa personagem.\u00a0<\/span><\/p>

\u00a0<\/p>

O fio condutor de todos os seus heter\u00f3nimos \u00e9 o facto de serem personagens ligadas ao Poder.<\/h4>

O Poder fascina-me. Sou formado em rela\u00e7\u00f5es Internacionais, queria ter estudado Ci\u00eancias Pol\u00edticas. J\u00e1 estudava muito a hist\u00f3ria, tamb\u00e9m morava ao lado da embaixada do Zaire (R.D.C) e senti o poder no seu extremo, ou a lux\u00faria que vivia ao lado. \u00c9ramos convidados regulares e t\u00ednhamos acesso \u00e0s festas de anivers\u00e1rio de independ\u00eancia da Rep\u00fablica do Zaire, onde apareciam entidades pol\u00edticas angolanas e estrangeiras. Era o maior evento festivo e musical de uma embaixada residente em Angola, a do Zaire (Rep\u00fablica Democr\u00e1tica do Congo).\u00a0<\/span><\/p>

\u00a0<\/h4>

O que realmente o atrai no poder?\u00a0<\/h4>

O que me atrai \u00e9 a ousadia de poder fazer e desfazer, no sentido n\u00e3o totalmente pol\u00edtico mas na vertente art\u00edstica, ironizando atrav\u00e9s das personagens de poder que interpreto. Atrai-me sentir o posicionamento dos pr\u00f3prios l\u00edderes africanos. Talvez a ousadia seja o que me atrai mais.<\/span><\/p>

\u00a0<\/h4>

Porque refere que faz performance \u201cde alto risco\u201d?<\/h4>

Quando me proponho a fazer um discurso perante a Uni\u00e3o Europeia de modo frontal, quando me proponho a fazer um discurso em Lisboa exigindo uma limusine, uma equipa de seguran\u00e7a e todos os cuidados necess\u00e1rios para que nada ocorra contra mim. Quando me meto em cima de uma viatura saindo da baixa de Luanda em direc\u00e7\u00e3o ao Pal\u00e1cio da Cidade Alta, que \u00e9 uma \u00e1rea de alto risco militar. Quando me desafio a ficar no meio de dez mil motoqueiros em plena Lisboa e a deitar-me no ch\u00e3o e poder ser estrangulado. O desafio de levar uma jaula para a Baixa de Luanda em plena hora de ponta e discutir com mais de quinhentas pessoas, interpretando o posicionamento dos nossos pol\u00edticos cheios de luxos e mordomias, com o melhor champanhe e o melhor conhaque. Refiro-me a uma jaula de ouro com todos os requintes, com luzes como se fosse um Pal\u00e1cio Real, com pedra diamante e pia de ouro. 10 mil euros s\u00f3 em decora\u00e7\u00e3o. S\u00e3o esses exageros e provoca\u00e7\u00f5es. E tamb\u00e9m desafiar essas personagens em plataformas em que entro em discurso, com um certo autoritarismo. Na performance, muitas vezes sou imprevis\u00edvel. \u00c9 uma condi\u00e7\u00e3o que, nem eu nem a minha equipa, sabemos o que vai acontecer. Nem sei como \u00e9 que v\u00e3o captar a imagem. \u00c9 um<\/span> happening<\/span><\/i>. \u00c9 preciso cuidado, a ideia come\u00e7a a distorcer-se. O pr\u00f3prio sentido das minhas personagens ou performances, sendo pol\u00edticas, tamb\u00e9m j\u00e1 alude ao risco.<\/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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Mussunda N\u2019zombo
Cortesia do 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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Mussunda N\u2019zombo
Cortesia do 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>

A performance \u00e9 um g\u00e9nero dif\u00edcil de vender, mas d\u00e1 muita independ\u00eancia. O que pensa sobre isso?<\/h4>

\u00c9 verdade que em Angola \u00e9 dif\u00edcil vender performances. Mas a performance tamb\u00e9m me trouxe outras coisas. A performance levou-me a trabalhar com fotografia, a performance levou-me ao cinema, \u00e0 televis\u00e3o, levou-me \u00e0 moda, a performance levou-me a revistas, levou-me a museus, a distintas plataformas mundiais. Acho que posso dizer que sou uma pessoa contente com o que fa\u00e7o, gostaria de viver da performance, \u00e9 verdade, mas tamb\u00e9m por ser um artista multidisciplinar consigo trabalhar tamb\u00e9m com outras disciplinas art\u00edsticas. Quando entrei no mundo da arte n\u00e3o entrei com fome. E at\u00e9 ao momento ainda n\u00e3o declarei fome. Mas estou com fome de fazer arte. \u00c9 a\u00ed que digo que a performance me deu essas v\u00e1rias possibilidades de experimentar e de atuar nas distintas disciplinas que hoje pratico, como representa\u00e7\u00e3o, instala\u00e7\u00e3o e por a\u00ed a fora.<\/span><\/p>

\u00a0<\/p>

A colabora\u00e7\u00e3o com outros artistas \u00e9 uma das suas linhas de trabalho. \u00a0<\/h4>

Sim, Tenho colaborado com diferentes artistas. Para defender o \u00faltimo trabalho que apresentei \u201cEntidades e Identidades Entre cruzadas, 2075″, o projeto foto-calend\u00e1rio e exposi\u00e7\u00e3o fotogr\u00e1fica que abrange Angola, Cabo Verde, Mo\u00e7ambique e S\u00e3o Tom\u00e9. Colaboraram comigo cerca de vinte artistas e cerca de trinta assistentes, entre doze artistas que depois ficaram no projeto, Lee-bogot\u00e1, Rui Magalh\u00e3es, Fl\u00e1vio Cardoso, H\u00e9lio Buite, Indira Mateta, Mwana Pw\u00f3, Coletivo Ibaku, Kiluanji Kia Henda,\u00a0 Bruno Fonseca, Osmar Edgar e Artur Silva. Em outros trabalhos tenho colaborado com Kiluanji Kia Henda, Th\u00f3 Sim\u00f5es, Ery Clever, Helder Filipe, G 80, Yonamine, o colectivo Verkon. Esta partilha tem sido produtiva e progressiva. O fruto s\u00e3o os trabalhos que est\u00e3o espalhados por v\u00e1rias partes do mundo. A exposi\u00e7\u00e3o coletiva<\/span> \u00c1frica a State of Mind<\/span><\/i> em S\u00e3o Francisco com \u201cA \u00daltima Jornada do Ditador Mussunda N\u2019zombo antes da \u00faltima extin\u00e7\u00e3o\u201d. Agora tamb\u00e9m esse trabalho colaborativo que nos levou \u00e0 revista <\/span>Tate<\/span><\/i> de Inglaterra. Cheg\u00e1mos a revistas como a <\/span>Vogue, Mairie Claire, Umbigo<\/span><\/i> e muitos jornais. Temos trabalhos a ser defendidos e discutidos em Universidades como mat\u00e9ria de estudo. Ent\u00e3o preciso mesmo de agradecer o trabalho colaborativo que tenho feito.<\/span><\/p>

\u00a0<\/p>

A performance criar constrangimento. Entretanto, as pessoas j\u00e1 se foram habituados \u00e0quilo que no in\u00edcio estranhavam. Como continua a ser provocativo e inconveniente?<\/h4>

A performance cria uma provoca\u00e7\u00e3o, cria um choque e, por vezes, a inten\u00e7\u00e3o \u00e9 mesmo essa. Uma das propostas que vai acontecer, para ser mais inconveniente, \u00e9 que Mussunda N\u2019zombo ser\u00e1 candidato \u00e0 autarquia e tem, posteriormente, a inten\u00e7\u00e3o de candidatar-se \u00e0 presid\u00eancia da Rep\u00fablica. J\u00e1 dei os primeiros passos na performance que foi apresentada em novembro, \u201cO Discurso Sobre o Estado da Na\u00e7\u00e3o 2075\u201d. Nela, visto a a personagem de Chefe de Estado eleito na legislatura de 2072-77, ent\u00e3o j\u00e1 estou a fazer campanha. Contem comigo, s\u00f3 espero que n\u00e3o seja um pol\u00edtico inconveniente.<\/span><\/p>

\u00a0<\/p>

A pergunta do projeto \u201cEntidades e Identidades Entrecruzadas\u201d passa por saber como ser\u00e1 Angola daqui a 53 anos. O que nos tem a dizer?<\/h4>

No auge do cent\u00e9simo anivers\u00e1rio da Dipanda, da consolida\u00e7\u00e3o nacional e de apresenta\u00e7\u00e3o ao mundo como uma na\u00e7\u00e3o multicultural que tem como lema “um s\u00f3 povo uma s\u00f3 na\u00e7\u00e3o”, penso como ser\u00e3o os angolanos do futuro. Pol\u00edtico-militares, independentes, <\/span>petrod\u00f3lares-dependentes,<\/span> como ser\u00e3o os nossos descendentes? \u00c9 em torno destes e de outros questionamentos que decorre este projecto de foto-calend\u00e1rio, exposi\u00e7\u00e3o e performance.<\/span><\/p>

\u00a0<\/p>

Como v\u00ea os seus s\u00fabditos e as pessoas que o idolatram? S\u00e3o ing\u00e9nuos ou simplesmente precisam de uma m\u00e3o forte?\u00a0<\/h4>

Os s\u00fabitos, ou as pessoas que idolatram tendem a ver em mim o real, mas o que eu apresento n\u00e3o \u00e9 real. Manifesto-me revestido de um pol\u00edtico. H\u00e1 uma certa ingenuidade nessas pessoas a idolatrarem, porque eu n\u00e3o sou esse personagem, n\u00e3o sou esta pol\u00edtica que eles idolatram. Mas faz parte do jogo.\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<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

In this exclusive interview, Mussunda N’zombo talks about his iconic characters, the memories and influence of the twenty years spent in Germany, his adolescence and youth in Angola, and his performance, which he describes as ‘high risk’. <\/p>\n","protected":false},"author":1,"featured_media":6630,"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-6629","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-editorial","category-highlights"],"acf":[],"yoast_head":"\n"I am hungry to make art", an interview with Mussunda N'zombo Marta Lanc\u0327a, 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\/22\/tenho-fome-de-fazer-arte-entrevista-com-mussunda-nzombo\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""I am hungry to make art", an interview with Mussunda N'zombo Marta Lanc\u0327a, in Luanda - 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