Paper Short Abstract:

This paper examines the recent revival of traditional music in Angola, driven by youth, artists, and cultural institutions, as part of a broader reconfiguration of cultural heritage. Drawing on fieldwork in Luanda’s folkloric music scene, it explores the complex interplay between state-driven patrimonialization efforts—aimed at economic diversification—and grassroots movements advocating for a more inclusive Angolan identity. This process critically challenges static notions of “folk,” highlighting the evolving, contested nature of heritage in the Global South.

Paper Abstract:

Since the outbreak of the COVID-19 pandemic, Angola has seen a surge in interest among youth, artists, and cultural institutions in promoting traditional musical instruments. This movement is part of a broader reconfiguration of cultural heritage, marked by renewed pride in indigenous languages and open discussions of ethnic identities, particularly in urban centers like Luanda. Far from a revival of past traditions, these developments signify a reimagining of Angolanness, where heritage becomes a site for negotiating identity, memory, and inclusion in the post-civil war era.

Drawing on fieldwork in Luanda’s musical folkloric scene, this paper explores how patrimonialization in Angola is shaped by the complex interplay of institutional and grassroots forces. The state uses cultural heritage to address economic diversification in the post-oil transition, envisioning cultural tourism as a panacea for economic crises. Meanwhile, the grassroots resurgence of traditional music and languages reflects a shift towards a more inclusive vision of Angolan identity as the urgency of nation-building and reconciliation wanes.

Through my case study, I contribute to the panel’s exploration of contemporary “folk” and “vernacular” movements by critically examining the notion of folklore and its postmodern and postcolonial reformulations in Angola, where the concept is deeply intertwined with its colonial past. By doing so, I broaden the panel’s scope, offering a perspective on folklore shaped by the legacies of empire and colonialism. I argue that these developments challenge static conceptions of “folk” as relics of the past, revealing the fluid and contested nature of heritage in the Global South.