Africa-Press – Angola. The National Museum of Natural History, in partnership with Atelier D’Artes Lucengomono,hold, yesterday, at 11:00 am, under the coordination of the Ministry of Culture and Tourism, the Conference “Voz Sem Igual e PoesiCultura”, in its facilities, within the scope of of FENACULT/2022, Centenary Special of Dr. Antonio Agostinho Neto.
According to the program, the essayist and professor Pedro Mayamona will be the speaker of the first theme “Voz Equal: Influences of the Poetics of Agostinho Neto, on the poetry of the new wave of emerging writers” proposal “Novo Rumo: Notion of Rhythm in ‘The Impossible Renunciation’, by Agostinho Neto”.
Hélder Simbad presents the third theme “To Agostinho Neto and the Prophetic: Criticism of theological reason about we have to return”. will be the essayist and poet Cíntia Gonçalves.
In the afternoon, “PoesiCultura” takes place, a recitation and trove program with Obadias Correia, Pedro Sambo, Tina Bunga, Kendra Sombrãs and Bell Neto.
Atelier D’Artes
Atelier D’Artes Lucengomono will host, tomorrow, at 6.30 pm, in the same place, the National Opera Company of Angola (CNÓPERA), which will present “Cantada Renuncia Impossível”, and an hour later, Emanuel Mendes, Max de Jesus and Ilídio Gomes, in “Trovadouro”.
On Friday, at 7 pm, at the National Museum of Natural History, the Manguxiandu Concert will take place with Isaú Baptista, Carlos Praia, Johnny Master Mukeko and Mars Luise.
Mwimbu Plagged
Filipe Mukenga, Dodó Miranda, Totó ST, Anabela Aya, Angela Ferrão, Carlos Praia, Jennifer Tavira, Gari Sinedima, Unekka, Aylasa, John Canga and Nell Jazz will participate, on the 17th and 18th of this month, in the Mwimbu Plagged concert, at the Palácio de Ferro, in Luanda, included in the programming of the third edition of FENACULT.
Mwimbu Plagged was born out of the need to promote the reading resulting from the dialogue between the rhythms produced by ancestral Angolan and modern musical instruments.
The initiative proposes to be a platform for research and experimentation of original and hybrid rhythms without prejudice to the identity matrix of each element of aesthetic integration.
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