Interpreting the Present and the Memory of Nation in Cape Verde, Guinea-Bissau and São Tomé and Príncipe
Edited By Ana Mafalda Leite, Jessica Falconi, Kamila Krakowska, Sheila Kahn and Carmen Tindó Secco
This volume brings together a selection of interviews with writers and filmmakers from Cape Verde, Guinea-Bissau and São Tomé and Príncipe in order to examine representations and images of national identity in the postcolonial narratives of these countries. It continues and completes the exploration of the postcolonial imaginary and identity of Portuguese-speaking Africa presented in the earlier volume of interviews Speaking the Postcolonial Nation: Interviews with Writers from Angola and Mozambique (2014).
Memory, history, migration and diaspora are core notions in the recreation and reconceptualization of the nation and its identities in Cape Verdean, Guinean and São Tomean literary and cinematographic culture. By assembling different generations of writers and filmmakers, with a wide variety of perspectives on the historical, social and cultural changes that have taken place in their countries, this book makes a valuable contribution to current debates on postcolonialism, nation and identity in these former Portuguese colonies.
Adulai Jamanca is a film maker from Guinea-Bissau and was mentored by the Guinea-Bissauan director Sana Na N’Hada at the Instituto de Cinema (Film Institute) in Bissau. He studied Film and Television at the University of the Arts in London (BA, 2016) and is best known for his documentary José Carlos Schwarz: Voz do Povo [José Carlos Schwarz: Voice of the People] (2006).
Q. I would like to start with some general questions and then go on to your documentary José Carlos Schwarz1 – a voz do povo2 [José Carlos Schwarz- Voice of the People]. Could you talk a bit about your career in cinema?
A. My professional career started when I was 15 or 16 years old. I had always liked films and telling stories and I decided that’s what I wanted to do in life. I decided I was going to be a film director. Before I finished secondary school, I was faced with the problem that Guinea-Bissau had no university and I would need a study grant or think of something else. There was also no cinema at the time and after the 7 June3 war, I went through a pretty frustrating period.←183 | 184→
I didn’t give up and I wrote small stories. I contacted people working in the area of culture or music and, on one of these occasions, I met with director Sana Na N’Hada from Guinea-Bissau, who, at the time, spent a lot of time in...
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