Ma thèse porte sur les logiques relationnelles qui émergent de l’analyse de trois danses pratiquées sur l’Île de Luanda, un cordon littoral situé face à la ville du même nom, autrefois habité uniquement par des pêcheurs, aujourd’hui largement urbanisé. Dans le contexte local, le mot « danse » (« dança » en portugais ou « kizomba » en kimbundu) ne désigne pas une pratique propre au corps singulier, mais plutôt une configuration sociale. « Danse » signifie « groupe ». Cet usage local m’a conduite à appréhender la danse sur deux plans : celui de la représentation et celui de la participation. Deux des trois danses analysées sont des danses récréatives : la danse carnavalesque et la danse en cercle – rebita – à partir duquel des couples se forment. La troisième est une danse rituelle pratiquée lors des offrandes à la sirène, laquelle exprime son mécontentement par de violentes marées qui, au fil du temps, ont drastiquement réduit la surface émergée de l’île. L’analyse de ces trois danses révèle la prééminence axiologique du domaine de l’affinité, de la conjugalité et du couple. Ce domaine relationnel associé à la territorialité s’oppose à la généalogie – champ dont la transmission de maladies spirituelles vient traduire son caractère problématique.Le fait que ces trois groupes se chevauchent (les gens, et notamment les femmes, circulent entre l’un et l’autre) m’a amenée à aborder la contribution des pratiques dansées à la saturation relationnelle de l’île. Cette densité relationnelle implémentée, entre autres, par les pratiques dansées apporte alors une nouvelle perspective à la vexata quaestio de l’identité de la population de l’île et de sa spécificité dans le contexte luandais. / My thesis focuses on the relational fabric that emerges from three dances practiced on the Island of Luanda –a now urbanised coastal strip off the city shore, formerly inhabited by fishermen. In the local Portuguese dialect, the term “dance” (“dança”) not only refers to an action undertaken by individuals, but also designates a social grouping. The term “dance” means first and foremost “group”. This linguistic particularity led me to view dance from two perspectives: representation and participation. Two of the three dances analysed are recreational: the carnival dance, and the circle dance (rebita) –typically during which couples are formed. The third dance is a ritual dance practiced during the offering to the mermaid (kyanda), who manifests her dissatisfaction through sea storms. The analysis of these three dances shows the axiological pre-eminence of the relational domain of affinity, conjugality and partnership. This contrasts with the genealogic domain, which is troubled by the transmission of spiritual afflictions (ilundu spirits).It is common for these three groups to overlap; individuals –especially women– tend to flow from group to group. This led me to consider the role of dance practices in the densification of the Island’s relational fabric. Implemented by dances, this relational density brings a new perspective to the difficult task of understanding the cultural specificity of the Island’s population within Luanda’s broader context. / Esta tese foca as logicas relacionais que emergem da analise de três danças praticadas na Ilha de Luanda, uma restinga que, da margem norte do rio Kwanza, vai até em frente ao porto da cidade de Luanda. A Ilha, um tempo maioritariamente habitada por uma população de pescadores, se encontra hoje englobada pela cidade. No contexto local, o termo dança não se refere à prática de um corpo singular, mas antes a um grupo. Este uso linguístico local leva a considerar a dança segundo uma dupla perspetiva: a da representação e a da participação. Duas das três danças tem uma finalidade recreativa: a dança carnavalesca e a dança em roda de combinação de casais chamada rebita. A terceira é uma dança ritual praticada em ocasião das oferendas para a sereia, cuja insatisfação se traduz em marés violentas chamadas kalembas que ao longo do tempo reduziram a superfície da Ilha. Da analise das três danças emerge la preeminência axiológica do campo da afinidade, da conjugalidade e do casal. Este campo relacional associado à territorialidade se contrapõe ao campo genealógico, dominado pela transmissão de doenças espirituais.A sobreposição sociológica dos três grupos de dança (isto é, o fato que um pequeno grupo de mulheres circulam pertencem simultaneamente aos três) levou a considerar o papel das praticas dançadas na densificação do campo relacional da Ilha. Essa densidade implementada, entre outras coisas, pela dança traz uma nova perspetiva para abordar a vexata quaestio da identidade da população da Ilha e da sua especificidade no contexto luandense

Artefacts acquire/embody migratory meanings according to contexts of raw material manipulation, use, discard and discourse. First-Millennium Agriculturist ceramics and concomitant private and public significances/use values are placed within aspects of a deep past Stone Age history of space and artefact usage in the Eastern Cape, South Africa. Some thought paradigms and cultural contexts are examined as having directly influenced discourse, what artefacts were foregrounded, and in which manner writers of southern African prehistory considered them. Thereafter ceramic artefacts and associated technologies are focussed upon as being intimate to personal/ community lifeways and worldviews. Domestic and ceremonial utilityware, figurines and masks, as well as clay usage in homebuilding and metalworking, and urges to apply a mark to malleable clay, or deliberately alter and/or bury ceramic artefacts; are explored as manifestations of medium and usage well suited to regularly reconfigured meanings . / Art History, Visual Arts & Musicology / M.A. (Art History)

Artefacts acquire/embody migratory meanings according to contexts of raw material manipulation, use, discard and discourse. First-Millennium Agriculturist ceramics and concomitant private and public significances/use values are placed within aspects of a deep past Stone Age history of space and artefact usage in the Eastern Cape, South Africa. Some thought paradigms and cultural contexts are examined as having directly influenced discourse, what artefacts were foregrounded, and in which manner writers of southern African prehistory considered them. Thereafter ceramic artefacts and associated technologies are focussed upon as being intimate to personal/ community lifeways and worldviews. Domestic and ceremonial utilityware, figurines and masks, as well as clay usage in homebuilding and metalworking, and urges to apply a mark to malleable clay, or deliberately alter and/or bury ceramic artefacts; are explored as manifestations of medium and usage well suited to regularly reconfigured meanings . / Art History, Visual Arts and Musicology / M.A. (Art History)