{"id":16841,"date":"2022-09-19T11:30:56","date_gmt":"2022-09-19T11:30:56","guid":{"rendered":"https:\/\/www.africa-press.net\/angola\/all-news\/the-testimony-of-augusta-conchiglia-in-the-liberated-zones-of-the-east"},"modified":"2022-09-19T13:13:29","modified_gmt":"2022-09-19T13:13:29","slug":"the-testimony-of-augusta-conchiglia-in-the-liberated-zones-of-the-east","status":"publish","type":"post","link":"https:\/\/www.africa-press.net\/angola\/all-news\/the-testimony-of-augusta-conchiglia-in-the-liberated-zones-of-the-east","title":{"rendered":"The testimony of Augusta Conchiglia in the liberated zones of the East"},"content":{"rendered":"

Africa-Press – Angola. <\/strong><\/span>In April 1968, Italian journalist Augusta Conchiglia (1948) entered Angola clandestinely to, with director Stefano di Stefani (1929), report on the liberation struggle. Until September, guided by the guerrillas of the Popular Movement for the Liberation of Angola (MPLA), they traveled hundreds of kilometers in the liberated areas of Moxico and Cuando Cubango.<\/b><\/p>\n

With two Nikon Fs, Augusta Conchiglia took thousands of photographs, a small part of which was published in “Guerra di Popolo in Angola \/ Guerre du Peuple en Angola” (1969), a small-format album, with Italian and Swiss-French editions \u2013 from Lerici, in Italy, and, in Switzerland, from MSACP \u2013, whose subtitle clarifies that it is a photographic report made with MPLA guerrillas.<\/p>\n

Curated by Maria do Carmo Pi\u00e7arra and Jos\u00e9 da Costa Ramos, “Augusta Conchiglia nos Trilhos da Frente Leste – Images (and Sounds) of the Liberation Struggle in Angola” features many of the images reproduced in what is credited as the first photo album by the author. Published on the initiative of the Associazione per i Rapporti com i Movimenti Africani di Liberazione (ARMAL), founded in Italy in 1968, many of the photographs were reframed in order to enhance their effect and meanings. of the surviving negatives reveals that they were either reproduced with no or only slight reframing, as they were “cut” in order, in a variation that anticipates the “analytical (cinematographic) camera” (Gianikian, Ricci Lucchi), to create close-ups.These reveal elements \u2013 such as the gaze \u2013 and make details more expressive and meaningful, both in human faces and bodies and in the integration of people into the landscape.<\/p>\n

For this exhibition at the Museu do Aljube \u2013 Resistance and Freedom \u2013 whose director, Rita Rato, enthusiastically welcomed the idea of, for the first time, presenting a selection of photographs by Augusta Conchiglia, digitization was carried out, with the highest possible quality, of more than a thousand existing black and white negatives \u2013 in 50 years, some have gone astray. In print, we restored the original frames to the photographs, sublimating more the humanism in the images and less the subordination of the same to the militant purpose, evident, underlying its taking and, above all, its later use, both in the aforementioned album and in posters, book covers, etc. Additionally, we added to the iconic images, other unpublished ones, revealing the quality and sensitivity of the author’s gaze.<\/p>\n

Despite the hard walks, the food shortage \u2013 resulting from the war, with the annihilation of existing cattle by the Portuguese Army and the use of defoliants \u2013, the scarcity of medical assistance and the permanent risk of military attacks, the passage of Augusta Conchiglia in the maquis it was not determined by the acceleration of the movement but rather by the urgency of fixing the daily life in the liberated areas. Intuition and sensitivity are evident \u2013 \u200b\u200bthe images denote the quality of the relationship with the people photographed, and the effort to reveal all aspects of the ongoing struggle. Although the report is framed by the author’s militantism, it highlights the portraits and the fixation of situations, simple or disruptive, in the daily life of the guerrillas and people in the context of the struggle. literacy manuals, the weapons of both (also to cultivate the fields); their maintenance; the use(s) and integration of gestures \u2013 of their importance \u2013 in a collective movement of a community struggling for survival and liberation, but in which, nevertheless, Conchiglia does not stop looking at the people in their uniqueness. He also does it when he portrays Agostinho Neto. She doesn’t catch him in pose; he portrays him both when he speaks and when he attends a representation of colonial violence against Angolans. The view of Neto does not differ from that of “Inga” Ingl\u00eas, who became secretary-general of the Angolan Women’s Organization, or of the woman who, in a territory with an infant mortality rate above 60%, accumulates all the worries of the world in a frown, while, serenely, a baby sleeps in your arms. their maintenance; the use(s) and integration of gestures \u2013 of their importance \u2013 in a collective movement of a community struggling for survival and liberation, but in which, nevertheless, Conchiglia does not stop looking at the people in their uniqueness. He also does it when he portrays Agostinho Neto. She doesn’t catch him in pose; he portrays him both when he speaks and when he attends a representation of colonial violence against Angolans. The view of Neto does not differ from that of “Inga” Ingl\u00eas, who became secretary-general of the Angolan Women’s Organization, or of the woman who, in a territory with an infant mortality rate above 60%, accumulates all the worries of the world in a frown, while, serenely, a baby sleeps in your arms. their maintenance; the use(s) and integration of gestures \u2013 of their importance \u2013 in a collective movement of a community struggling for survival and liberation, but in which, nevertheless, Conchiglia does not stop looking at the people in their uniqueness. He also does it when he portrays Agostinho Neto. She doesn’t catch him in pose; he portrays him both when he speaks and when he attends a representation of colonial violence against Angolans. The view of Neto does not differ from that of “Inga” Ingl\u00eas, who became secretary-general of the Angolan Women’s Organization, or of the woman who, in a territory with an infant mortality rate above 60%, accumulates all the worries of the world in a frown, while, serenely, a baby sleeps in your arms. the use(s) and integration of gestures \u2013 of their importance \u2013 in a collective movement of a community struggling for survival and liberation, but in which, nevertheless, Conchiglia does not stop looking at the people in their uniqueness. He also does it when he portrays Agostinho Neto. She doesn’t catch him in pose; she portrays it both when she speaks and when she attends a representation of colonial violence against Angolans. The view of Neto does not differ from that of “Inga” Ingl\u00eas, who became secretary-general of the Angolan Women’s Organization, or of the woman who, in a territory with an infant mortality rate above 60%, accumulates all the worries of the world in a frown, while, serenely, a baby sleeps in your arms. the use(s) and integration of gestures \u2013 of their importance \u2013 in a collective movement of a community struggling for survival and liberation, but in which, nevertheless, Conchiglia does not stop looking at the people in their uniqueness. He also does it when he portrays Agostinho Neto. She doesn’t catch him in pose; she portrays it both when she speaks and when she attends a representation of colonial violence against Angolans. The view of Neto does not differ from that of “Inga” Ingl\u00eas, who became secretary-general of the Angolan Women’s Organization, or of the woman who, in a territory with an infant mortality rate above 60%, accumulates all the worries of the world in a frown, while, serenely, a baby sleeps in your arms. but in which, nevertheless, Conchiglia stops looking at people in their singularity. He also does it when she portrays Agostinho Neto. She doesn’t catch him in pose; she portrays it both when she speaks and when she attends a representation of colonial violence against Angolans. The view of Neto does not differ from that of “Inga” Ingl\u00eas, who became secretary-general of the Angolan Women’s Organization, or of the woman who, in a territory with an infant mortality rate above 60%, accumulates all the worries of the world in a frown, while, serenely, a baby sleeps in your arms. but in which, nevertheless, Conchiglia stops looking at people in their singularity. He also does it when she portrays Agostinho Neto. She doesn’t catch him in pose; she portrays it both when she speaks and when she attends a representation of colonial violence against Angolans. The view of Neto does not differ from that of “Inga” Ingl\u00eas, who became secretary-general of the Angolan Women’s Organization, or of the woman who, in a territory with an infant mortality rate above 60%, accumulates all the worries of the world in a frown, while, serenely, a baby sleeps in your arms. he portrays him both when he speaks and when he attends a representation of colonial violence against Angolans. The view of Neto does not differ from that of “Inga” Ingl\u00eas, who became secretary-general of the Angolan Women’s Organization, or of the woman who, in a territory with an infant mortality rate above 60%, accumulates all the worries of the world in a frown, while, serenely, a baby sleeps in your arms. he portrays him both when he speaks and when he attends a representation of colonial violence against Angolans. The view of Neto does not differ from that of “Inga” Ingl\u00eas, who became secretary-general of the Angolan Women’s Organization, or of the woman who, in a territory with an infant mortality rate above 60%, accumulates all the worries of the world in a frown, while, serenely, a baby sleeps in your arms.<\/p>\n

Photo trip through the liberated zones<\/b><\/p>\n

Guerra di Popolo in Angola \/ Guerre du Peuple in Angola\u201d opens with a preface by the intellectual Joyce Lussu, translator of Agostinho Neto’s poetry into Italian. Lussu lived in Lisbon in 1941, as part of the activities of the Italian Resistance. Her anti-fascist struggle integrated anti-colonialism. It was in this painting that she got to know Neto’s poetry. The return to Lisbon took place, twenty years later, with a contract to publish, in Italy, the work of Neto, then imprisoned in Aljube. Lussu unsuccessfully asked Homero de Oliveira Matos, director of PIDE, for an audience with Neto. It was through Maria Eug\u00e9nia Neto that she got some answers in addition to unpublished poems.<\/p>\n

Lussu was the one who incited Conchiglia and de Stefani, RAI’s program director, to report on the struggle that was taking place in Angola, then almost unknown in the West.<\/p>\n

After leaving Rome, in January 1968, Conchiglia and Stefani made reports for Italian television in Egypt and Zambia, to guarantee the Angolan project – RAI could not protect the illegal entry into the then Portuguese colony -, before arriving to Tanzania, to Dar-es-Salaam, where part of the MPLA leadership was located. De Neto, Daniel Chipenda and Jos\u00e9 Condesse de Carvalho (“Joka Toka”), received a framework of the political and social situation, defining in which areas the advances of the struggle would be recorded, anticipating possible filming of war actions against the Portuguese Army.<\/p>\n

From Lusaka, in Zambia, they left for the Angolan border in a van. The trip, at the end of the rainy season, was the first indication that the physical effort would be constant. Two days later they arrived at the Kassamba border base at night. Tiredness gave way to emotion at the prospect of entering “Free Angola”. About thirty guerrillas commanded by “Joka Toka” continued their journey, on foot, with Conchiglia and Stefani, to Cazombo and, later, to the Mandume II and III bases. . For weeks, it was in Mandume III that they interviewed, photographed and filmed some commanders: Filipe Floribert “Monimambo”, Iko Carreira, Ciel da Concei\u00e7\u00e3o “Gato”, in addition to “Joka Toka”.<\/p>\n

The most important bases had infirmary and very basic schools for the pioneers. The oldest of them received military training armed with sticks, which replaced the scarce rifles. Not far away were the villages, displaced from the traditional clearings, camouflaged in the bush, avoiding aerial reconnaissance and Portuguese attacks. The reporters documented encounters between the guerrillas and the population mediated by Tchokuwe and Luvale-speaking translators \u2013 it was often necessary to resolve issues related to the mines. They also recorded the politicization sessions carried out by the guerrilla leaders, as the creation of ties of union was a priority. The idea of \u200b\u200bnation was then an abstraction for those who questioned what improvement its genesis would bring to the life of each individual. The enormous diversity of people,<\/p>\n

The second leg of the trip \u2013 made at night, in the open, through the savanna, and including crossing the lagoons formed by the intense rain in canoes \u2013 took them to zone C, in the Lumbala-N’guimbo region, south of the East Front, where, from the 22nd to the 25th of August, the first conference of regional delegates in the liberated areas took place, with the presence of Agostinho Neto and with Aquino de Bragan\u00e7a as a guest. Other historical MPLA leaders were present, including An\u00edbal de Melo, Am\u00e9rico Boavida and “Dino Matrosse”. ambushes by the MPLA, to be documented by Stefani and Conchiglia.<\/p>\n

Sounds of the Fight<\/b><\/p>\n

testimonies of two peasants and a peasant woman (on the importance, for the MPLA, of the role of women in the struggle), a meeting with the population and a course of revolutionary instruction in the liberated zones. A selection of these recordings dialogues, in the exhibition, with sequences of images or with certain photographs, allowing a mental montage that Conchiglia and Stefani objectified in one. A first version of the filmed material was made for projection at the Pan African Festival in Algiers in 1969, later disappearing. allowing a mental montage that Conchiglia and Stefani objectified in one. A first version of the filmed material was made for projection at the Pan African Festival in Algiers in 1969, later disappearing. allowing a mental montage that Conchiglia and Stefani objectified in one. A first version of the filmed material was made for projection at the Pan African Festival in Algiers in 1969, later disappearing.<\/p>\n

In 1970, Conchiglia and de Stefani clandestinely re-entered the liberated areas of Angola, accompanied by a small group including Lionello Massobrio. They intended to make a color film about the MPLA struggle. A disagreement between the team dictated, however, that the duo did it in black and white, A Proposito dell’Angola \u2013 made collectively, but attributed to Stefano di Stefani and whose whereabouts I located, in the meantime, at the Istituto Luce-Cinecitt\u00e0 \u2013 which recalls images filmed in 1968 with others from 1970. The trip also resulted in the publication, in Italy, of a second book, the same as the film.<\/p>\n

The album Angola Chiama includes a booklet with a letter from Agostinho Neto, dated July 30, 1969, regarding the recent recognition, by the African Liberation Committee, of the MPLA as the only legitimate movement that represents the interests of the population in terms of aspirations for independence. . This circumstance frames the organization of many of the events and initiatives that the pair of reporters recorded. International recognition resulted in increased responsibilities and, during this period, literacy training, political education for the people and guerrillas, the organization of food production and the implementation of radio communications were encouraged, while a strategy for international political relations was determined to be to establish. It is this phase of great dynamism for the MPLA, because,<\/p>\n

The images by Augusta Conchiglia \u2013 used, with credits, by Sarah Maldoror, in the final generic of the first short film Monangamb\u00e9 (1968), and by William Klein in Festival Panafricain d’Alger (1969) \u2013 are iconographic of the fight against Portuguese colonialism. . This exhibition is also an act of restitution, in the sense that it projects the name of its author with her images.<\/p>\n

For More News And Analysis About Angola<\/a> Follow Africa-Press<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Africa-Press – Angola. In April 1968, Italian journalist Augusta Conchiglia (1948) entered Angola clandestinely to, with director Stefano di Stefani (1929), report on the liberation struggle. Until September, guided by the guerrillas of the Popular Movement for the Liberation of Angola (MPLA), they traveled hundreds of kilometers in the liberated areas of Moxico and Cuando […]<\/p>\n","protected":false},"author":84,"featured_media":16840,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,6,8,16],"tags":[233,337,329],"class_list":["post-16841","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-all-news","category-files","category-homepage-english","category-twitter","tag-africa-press","tag-africa-press-angola","tag-angola"],"yoast_head":"\nThe testimony of Augusta Conchiglia in the liberated zones of the East - Angola<\/title>\n<meta name=\"description\" content=\"In April 1968, Italian journalist Augusta Conchiglia (1948) entered Angola clandestinely to, with director Stefano di ...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.africa-press.net\/angola\/all-news\/the-testimony-of-augusta-conchiglia-in-the-liberated-zones-of-the-east\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The testimony of Augusta Conchiglia in the liberated zones of the East\" \/>\n<meta property=\"og:description\" content=\"In April 1968, Italian journalist Augusta Conchiglia (1948) entered Angola clandestinely to, with director Stefano di ...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.africa-press.net\/angola\/all-news\/the-testimony-of-augusta-conchiglia-in-the-liberated-zones-of-the-east\" \/>\n<meta property=\"og:site_name\" content=\"Angola\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/AfricaPressTunisiaa\" \/>\n<meta property=\"article:published_time\" content=\"2022-09-19T11:30:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-09-19T13:13:29+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/09\/postQueueImg_11-63286add60449.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"620\" \/>\n\t<meta property=\"og:image:height\" content=\"355\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"cfeditoren\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"cfeditoren\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"12 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.africa-press.net\/angola\/all-news\/the-testimony-of-augusta-conchiglia-in-the-liberated-zones-of-the-east#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.africa-press.net\/angola\/all-news\/the-testimony-of-augusta-conchiglia-in-the-liberated-zones-of-the-east\"},\"author\":{\"name\":\"cfeditoren\",\"@id\":\"https:\/\/www.africa-press.net\/angola\/#\/schema\/person\/068c7ab4e9634ae78ec5d54ec46598bb\"},\"headline\":\"The testimony of Augusta Conchiglia in the liberated zones of the East\",\"datePublished\":\"2022-09-19T11:30:56+00:00\",\"dateModified\":\"2022-09-19T13:13:29+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.africa-press.net\/angola\/all-news\/the-testimony-of-augusta-conchiglia-in-the-liberated-zones-of-the-east\"},\"wordCount\":2548,\"commentCount\":0,\"image\":{\"@id\":\"https:\/\/www.africa-press.net\/angola\/all-news\/the-testimony-of-augusta-conchiglia-in-the-liberated-zones-of-the-east#primaryimage\"},\"thumbnailUrl\":\"https:\/\/static.africa-press.net\/angola\/sites\/65\/2022\/09\/postQueueImg_11-63286add60449.jpg\",\"keywords\":[\"Africa Press\",\"Africa Press-Angola\",\"Angola\"],\"articleSection\":[\"all news\",\"files\",\"homepage-english\",\"twitter\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.africa-press.net\/angola\/all-news\/the-testimony-of-augusta-conchiglia-in-the-liberated-zones-of-the-east#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.africa-press.net\/angola\/all-news\/the-testimony-of-augusta-conchiglia-in-the-liberated-zones-of-the-east\",\"url\":\"https:\/\/www.africa-press.net\/angola\/all-news\/the-testimony-of-augusta-conchiglia-in-the-liberated-zones-of-the-east\",\"name\":\"The testimony of Augusta Conchiglia in the liberated zones of the East - 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