ABSTRACT
The Companhia de Diamantes de Angola (Diamang) was founded in 1917 and occupied a vast region of Lunda’s north and south areas. Aside from the activities around diamond mining this concessionary company also created a museum in 1936. The Museu do Dundo (Dundo Museum) was a space dedicated to collect objects related to the inhabitants who lived in the area exploited by the company. The increasingly ambitious objectives of the Museum and the concern regarding the disappearance of a reminiscent art from “tribal times” resulted not only in the organization of collecting expeditions but also in the recruitment and “protection” of wood and ivory sculptors inside the company’s domains to avoid that their work were influenced by changes caused by the colonialism. The main objective of this paper is to present some considerations regarding how the museum’s fictitious expectations regarding these sculptors were crucial to understand the continuous tensions and difficulties faced to accommodate not only these men but also their work in its space.
KEYWORDS:
Colonialism; Companhia de Diamantes de Angola; Dundo Museum; Cokwe; Sculpture
