Paper short abstract:

A new dynamic arts field is growing and challenging the constraints of national identity in Angola. In a polarized art world intercepted by politics, the work of Vitex and Kiluanji Kia Henda as well as UNAP and 'Fucking Globo' project allow us an insight into present Angolan art scene.

Paper long abstract:

The current political discourse in Angola concerning culture maintains a focus on the strengthening of Angolan culture. The loss of cultural values is a common motto, used by politicians. In Agostinho Neto's first speech proclaiming independence two important layers of this debate are mentioned. Firstly, the social class and differences among social groups; and secondly, the cultural differences among the Angolan territory. It also mentions, the idea of dependency towards foreign cultures, namely colonial culture. More than 40 years past independence, the national culture discourse sounds emptied and translates into a moralizing discourse while the marks of the cultural struggle are to be seen from the street, from the erasure of colonial statues and street names to the adopted notions of art. Actually, the struggle seems to be particularly alive in the cultural field where structures from the socialist moment such as the UNAP-National Union of Visual Artists try to keep themselves relevant and manage to do so with the support of the state and the party in power. At the same time, a new dynamic arts field is growing and challenging the constraints of national identity and the limits of Angolan art. In a polarized art world intercepted by the politics of an Angolan identity constructed through and in a specific historical moment, looking to the work of Vitex and Kiluanji Kia Henda as well as UNAP and the 'Fucking Globo' project will give us some data on the present Angolan art scene.