A Arte dos Quilombos 2015
Several groups of escaped slaves would gather and establish quilombos; settlements in far and hard to reach places. Some quilombos grew, attracting more fugitive slaves, Brazilian natives and even Europeans escaping the law or Chris-
tian extremism. Sometimes a quilombo devel-
oped as an independent multi-ethnic state. Everyday life in a quilombo offered freedom and the opportunity to revive traditional cul-
tures beyond colonial oppression. In this kind of multi-ethic community, constantly threatened by Portuguese colonial troops, capoeira evolved from a survival tool to a martial art focused
on conflict.

Portuguese soldiers were known to say that it took more than one dragoon to capture a quil-
ombo warrior, since they would defend them-
selves with a “strangely moving fighting technique”. The governor from that province declared “it is harder to defeat a quilombo
than the Dutch invaders”.

As I wrote my diploma on rooms of political willingness, the Quilombos intrested me as they have been a space free of the usual oppression of the time.
Abadá Capoeira Angola:
Anisabel Costa (Nani)
Augusto Delgado (Verga)
Bivofue Augostinho (Torres)
Báunto Lourenço
Divel Teixeira (Di)
Elvira Tandala (Amarelinha)
Esperança Cardoso (Cabaça)
Estevão Daniel (Do Brinco)
Gilberto Franscisco (Guilly)
Janguinda Moniz (Cabuenha)
Macário Francisco (Mocho)
Marcelina Ndonga (Luzolo)
Marcia Tavares (Preguiça)
Neide Tsenane
Pedro Tendo (Escama)
Serafim Leleo (Senga)
Yuri O. de Mho Araujo (Kamba)
Valdmir Cuimpolo (Montes)

Lothar Heinrich
Natalie Weber
Helena Alves
Filmlovers, Angola