Musicares cinematográficos em Moçambique
Na imagem, a margem esquerda contém informações bibliográficas da revista, enquanto no centro superior encontra-se o logotipo. Abaixo do logotipo, há um desenho rabiscado com quatro pessoas parcialmente sobrepostas, cada uma com poses diferentes das mãos: duas com as mãos próximas ao peito, uma cobrindo os ouvidos mais ao fundo e outra puxando a cabeça para a direita.
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Palavras-chave

Moçambique
Cinema
Musicar local
Decolonial
Multimodal

Como Citar

BOSWALL, Karen. Musicares cinematográficos em Moçambique: lições do passado revolucionário e modelos para o futuro decolonial. Proa: Revista de Antropologia e Arte, Campinas, SP, v. 13, p. e023020, 2024. DOI: 10.20396/proa.v13i00.17681. Disponível em: https://econtents.bc.unicamp.br/inpec/index.php/proa/article/view/17681. Acesso em: 21 maio. 2024.

Resumo

Após a independência de Moçambique de Portugal em 1975, tanto a música quanto o cinema foram vistos como ferramentas essenciais na construção revolucionária de uma identidade nacional nova e unificada. Um Instituto Nacional de Cinema foi criado para produzir e distribuir filmes em todo o país e, em um país com 43 idiomas diferentes e altos níveis de analfabetismo, descobriu-se que os filmes musicais eram eficazes para transcender as barreiras culturais e linguísticas da nação dividida colonialmente. Um filme que exemplifica a importância dos filmes musicais nessa época é a odisseia musical etnográfica e reflexiva Sing My Brother - Help Me to Sing (CANTA, 1981). Este artigo multimodal se concentra em uma cena desse filme em que um homem e uma mulher tocam música juntos no norte de Moçambique para refletir sobre como a música comunitária por meio do filme contribuiu para a transmissão de conhecimento na época e como, quarenta anos depois, 30 jovens moçambicanos produziram sua resposta multimodal, feminista, musical e igualmente decolonial.

https://doi.org/10.20396/proa.v13i00.17681
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Este trabalho está licenciado sob uma licença Creative Commons Attribution 4.0 International License.

Copyright (c) 2023 Karen Boswall

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