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vol.39 número1Political rhetoric in the transition to Mozambican independence: Samora Machel in Beira, June 1975'They can kill us but we won't go to the communal villages!' Peasants and the policy of 'socialisation of the countryside' in Zambezia índice de autoresíndice de assuntospesquisa de artigos
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versão On-line ISSN 2309-9585
versão impressa ISSN 0259-0190


ASSUBUJI, Rui  e  HAYES, Patricia. The political sublime. reading Kok Nam, Mozambican photographer (1939-2012). Kronos [online]. 2013, vol.39, n.1, pp.20-66. ISSN 2309-9585.

Kok Nam began his photographic career at Studio Focus in Lourenco Marques in the 1950s, graduated to the newspaper Noticias and joined Tempo magazine in the early 1970s. Most recently he worked at the journal Savana as a photojournalist and later director. This article opens with an account of the relationship that developed between Kok Nam and the late President Samora Machel, starting with the photographer's portrait of Machel in Nachingwea in November 1974 before Independence. It traces an arc through the Popular Republic (1976-1990) from political revelation at its inception to the difficult years of civil war and Machel's death in the plane crash at Mbuzini in 1986. The article then engages in a series of photo-commentaries across a selection of Kok Nam's photographs, several published in their time but others selected retrospectively by Kok Nam for later exhibition and circulation. The approach taken is that of 'association', exploring the connections between the photographs, their histories both then and in the intervening years and other artifacts and mediums of cultural expression that deal with similar issues or signifiers picked up in the images. Among the signifiers picked up in the article are soldiers, pigs, feet, empty villages, washing, doves and bridges. The central argument is that Kok Nam participated with many others in a kind of collective hallucination during the Popular Republic, caught up in the 'political sublime'. Later Kok Nam shows many signs of a photographic 'second thinking' that sought out a more delicate sublime in his own archive.

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