Preamble Narratives and Social Memory - Universidade do Minho

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Audiovisual Post-colonial Narratives: Dealing with the Past in Dundo, Colonial MemoryIsabel Macedo, Rosa Cabecinhas & Lilia Abadia4. The filmmaker Diana Andringa and the documentary Dundo, ColonialMemory4.1 Brief biography of the filmmaker Diana AndringaDiana Andringa was born in 1947 in Dundo, northern Angola, the center of one of themost important mining companies, Diamang 2 . She is white, the daughter of an engineerworking at Diamang. The author came to Portugal in 1958 where she completed high school,and chose to study medicine at university. However, student arrests, contact with hospitalizedchildren and the floods of 1967 led her to choose journalism instead of medicine.Her first journalistic experience came through Vida Mundial (World Life) magazinein 1968/69, until a collective dismissal obliged her to find other work. She then workedas copy-writer at an advertising agency, an experience interrupted by her arrest by theInternational and State Defence Police (PIDE) 3 in January 1970. Released in September 1971,she worked in journalism and advertising activities. She joined RTP – Portuguese PublicRadio and Television, in 1978, working there for 23 years. In the meantime, she wrote articlesfor newspapers and radio. She also holds a postgraduate degree in Journalism, from ISCTE -Lisbon University Institute, since 2000.Currently Diana Andringa is an independent documentary producer. Some of her mostrecent films are: “East Timor: The Crocodile Dream” (2002), “The beach rampage that neverwas” (2005), “This is our blood, our life” (2005), “Back to the Crocodile Country” (2006), “TheTwo Sides of War” (co-directed with Flora Gomes - 2007) and “Dundo, Colonial Memory”(2009). These films share common themes; all seek to disclose the colonial past, the strugglesfor independence and the memories of those who lived conflict experiences.4.2 Film Synopsis – Dundo, Colonial MemoryThe film begins with photographs of Diana Andringa, when she was a child in Dundo.As she shows them to her daughter, she explains what Diamang was. While showing her birthcertificate she tells her daughter that as she had been born in Angola, she was considered a“second class citizen” in Portugal. She explains how the memories of her childhood in Dundomarked her and how those same memories led her to fight for the independence of Angola 4 .In the cinemathèque archive, Diana Andringa found older films about Dundo thatshowed images of its sponsors, the tennis games and entertainment organized by Diamangin an atmosphere of racial segregation. The images included in the Diana Andringa’s documentaryillustrate the racial policies of the company, recalling the controversy between the2Diamang was a company exploiting Diamond mines in Angola. This company was formed on 16 October 1917 by financialinvestors from Angola’s, Portugal, and also from Belgium, USA, Great Britain and South Africa. After independence, thediamond industry was nationalized along with all industry in Angola. According to Collier (2010: 72) “Diamang was nationalizedin 1977 and in 1979 Angola passed a law giving the state exclusive rights to mining enterprises. Endiama was formedin 1981 and they took control of the 77% of Diamang owned by the government”. Diamang was officially dissolved in 1986.3PIDE – International and State Defense Police, was the main tool of repression used by the authoritarian regime during theEstado Novo (1926 - 1974) (Mattoso, 1993).4The armed struggle for national liberation of Angola lasted from 1961 to 1975. Independence was achieved in 1975(November 11) (Mendes, Silva & Cabecinhas, 2010).Narratives and social memory: theoretical and methodological approaches164
Audiovisual Post-colonial Narratives: Dealing with the Past in Dundo, Colonial MemoryIsabel Macedo, Rosa Cabecinhas & Lilia AbadiaBrazilian sociologist Gilberto Freyre and the Commander Ernesto Vilhena (responsible forDiamang, 1919-1955) 5 . At Diamang’s annual lunch for fomer employees 6 , Diana Andringacollected some memories of the company. She found the image these people portrayed ofthe company strange and so left for Dundo with her daughter, to confront her memories.As she relates in the interview, she took her daughter with her because she neededsomeone with whom to share their memories and the results of the confrontation with thepeople and places of her childhood.5. Methodological OptionsHaving as a starting point the importance given to autobiographical documentariesas instruments which enable reflection and the (de)construction of pre-formed ideas aboutevents of the past, we decided to examine Diana Adringa’s documentary Dundo, ColonialMemory. To complete this analysis, we have also developed a semi-structured interview withthe documentary author 7 .We chose thematic analysis (Braun & Clarke, 2006), which allows us to locate thepredominant themes in the narrative, i.e., the themes that are capable of representing theentire data set, forming a sort of thematic map of the documentary and the interview withthe director. Although this is a flexible method, it was necessary to follow a set of proceduresthat allowed us to synthesize the central themes discussed in the documentary series in thefollowing three topics: i) familiarisation with the data and transcription of verbal information;ii) definition of initial encodings according to the main topics discussed; iii) constantreview of codifications and reflection on the central themes.At this stage, to justify the methodology used, it is essential to draw attention to thefact that this documentary is a specific record of a reality and that the person who produced ithas both a point of view on the subject matter as well as a script which guides her production.It is not a viewpoint that can be generalised, nevertheless it allows us to explore the identitydynamics that can result from the migration processes in the (post)colonisation period.Three dimensions which prevail in the visual and oral narratives will be analysedbelow: memories about segregation, experiences in Dundo and the return, and finally, thefeelings of guilt, and the idea of ambivalence in her identity narratives.6. Memories of difference and segregation in Dundo (Angola)With regard to memory, Cunha (2006) considers that there are moments that constitutemarkers in community life, setting as examples tragic events or those that representdiscontinuities in the existing social order. For Diana Andringa having been forced to leaveDundo was one experience that marked her life-story.5According to the Brazilian sociologist Gilberto Freyre, who visited Diamang in 1951, was the Belgian influence that justifiedthe racial segregation in Dundo (Freyre, 1953/2011). This reference has generated the discontentment of the CommanderErnesto Vilhena.6Annual lunch held in different regions of Portugal, since 1982. Information available online (cf. http://weblog.aventar.eu/lestedeangola.weblog.com.pt/arquivo/251567.html), indicates that in 2007 was held the xxv Meeting of former employeesand relatives of Diamonds Company of Angola, in Azambuja, Portugal.7Interview with Diana Andringa, Braga, January 6, 2011.Narratives and social memory: theoretical and methodological approaches165
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Cinematic Landscape and Social Memo
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comprises both remembering and forg
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Part ICognitive and Emotional Proce
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Narratives and Social Memory from t
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The Lay Historian: How Ordinary Peo
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Cabecinhas, R. & Abadia, L. (eds.)
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Emotional Processes in Elaborating
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The Past and the Present (re)Visite
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Part IIMedia(ted) Narrativesand Pub
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Narratives of Death: Journalism and
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Part IVEthnic, National and Suprana
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Narratives of Redemption: Memory an
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Colonial Missions in the North Amer
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Part VSocietal Issues, Collective A
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Narratives as Prison ‘Escapes’:
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Drawings and Narrative: the Inmates
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