The casebre on the sand: Reflections on Luanda's excepted citizenship through the cinematography of Maria João Ganga's Na Cidade Vazia (2004)

Abstract

Abstract This article discusses Maria João Ganga's representations of musseques and the casebre in Na Cidade Vazia (2004). It reads such images and characterization of neglected characters as visual expressions of the way in which Luanda's informal spaces have become the most visible expression of precarious, indeed, excepted citizenship. Set in 1991, the film depicts a period during which the government and the rebels entered a temporary truce, which rapidly disintegrated, gesturing towards a continuing sense of exclusion from postcolonial prosperity. However, the bloody civil war that ensued between rival factions (1975‐2002) ‐ the governing Movimento Popular de Libertação de Angola (MPLA), led by Jose Eduardo dos Santos, and União Nacional para a Independência Total de Angola (UNITA), led by Jonas Savimbi ‐ remarkably shifted the way post-Portuguese citizenship in Angola could be discussed. It clearly necessitates a new way of thinking about inclusion with respect to the incipient repercussions of indeterminate governance. In the context of this historical process, this article uses exception as a lens to conceptualize postcolonial urban citizenship in Luanda's cinema. The article sets off with an overview of 1975 literary imaginations of Luanda when the Portuguese colonialists were leaving Angola, which resulted in a clamour for the so-called spoils of independence. It then critiques excepted citizenship using two approaches: analysing urban architecture as a visual code for precariousness and filmic characters as embodiments of excepted citizenship.