Precolonial culture in Angola was broadly similar from one end of the country to another, albeit with local variations and some differences stemming from the many, though mostly related, languages spoken in the area. A common traditional culture is still noticeable in Angola.
Portuguese contact beginning in the late 15th century produced an overlay of European culture that was accepted to varying degrees in much of the northwestern part of the country. The Portuguese settled at Luanda in 1575 and established the core of colonial Angola in the area approximately 90 miles (150 km) inland from Luanda. By the mid-17th century a mixture of Mbundu and Portuguese culture had emerged in the region, and in 18th-century Luanda, Kimbundu (the language of the Mbundu) predominated as the language of the elite; even Portuguese of considerable stature who resided locally spoke Kimbundu, often in preference to Portuguese.
In the 19th century the Luanda elite embraced both Kimbundu and Portuguese culture and language and valued their blended nature, and the eventual cessation of Kimbundu as the language of the elite did not occur until after 1910. In contrast, a class of mixed origin (including government officials, the assimilated African and mulatto population, and, later, the settlers that moved to the country after 1945) that was strongly Portuguese in language and cultural expression developed after 1850 with the Portuguese conquest of the rest of Angola and with the programs of assimilation that were begun in 1910 and intensified after 1926. This predominantly Portuguese culture coexisted with a less-assimilated rural population that harkened back to the mixed culture of earlier times (especially in the Kongo areas) or to the traditional cultures (in those regions brought under Portuguese control after 1850). Protestant missionaries introduced North American and British influences; they were anxious to promote significant cultural change—including the introduction of many Western norms under the guise of modernization—as well as religious conversion, although they preferred to teach in indigenous languages.
After independence the propaganda of the emerging nationalist movements placed a greater value on the purely African culture, but, because of the colonial policy of assimilation, most educated Angolans were more Portuguese than African in their general cultural orientation. This created considerable cultural conflict and had political implications as well, because those who were assimilated were generally the educational and political leaders. Although rigorous censorship ceased in the 1990s, both the cultural ambiguity of many in the government and the desire to discourage the “tribalism” that endured initially made Angola, in spite of official positions, less supportive of cultural expressions that were not Portuguese based. However, this began to change in the first decade of the 21st century, as the government appeared to be somewhat more accommodating.
The mixture of Portuguese and African culture has made urban Angola, especially the Luanda region, more like a Latin American than an African country. Its nightclubs, restaurants, and annual Carnival might seem at home in Brazil had not war and security measures made this sort of social life difficult. Nevertheless, the country has much to celebrate in its cuisine, festivals, and artistic traditions.
As in much of sub-Saharan Africa, palm oil is an indispensable part of many Angolan dishes, and a number of dishes emphasize the Angolan population’s love of seafood. The feast of Nganja, usually celebrated in April, is a harvest festival during which children roast corn. The Futungo market, near Luanda, provides craftsmen with a place to sell their handicrafts.
Wood, clay, copper, reeds, ivory, shells, and the human body are the main media for Angolan decorative arts. The wooden sculptures of the Chokwe people, the carved ivories of Cabinda, and the elaborate hairstyles of the Nyaneka and Nkhumbi peoples are especially famous. A number of modern artists and graphic designers work with both African and Western motifs in the general realm of modern African art. Music and dancing play a central role in cultural life, with the drum as the basic instrument; there is also a rich oral literature. Since independence various government research agencies have tried to collect ethnographic material and to do archaeological studies, but their work has been sporadic and limited by the war.
Western influences, which tend to predominate in the towns, have increasingly overshadowed traditional culture. During the 19th century, a dynamic group of educated Africans emerged in Angolan towns. These individuals wrote newspaper articles, histories, novels, and poems in Portuguese and also explored Mbundu folklore and ethnography. The right-wing dictatorship in Portugal drove much of this literary activity underground after 1926 but failed to destroy it altogether. Although the leader of the MPLA at independence, Agostinho Neto, was renowned throughout the Portuguese-speaking world for his poetry, his government too curtailed artistic freedom, implementing a rigorous system of censorship. Additional artistic outlets emerged by the mid-1990s with the rise of a national television service and the beginnings of a national film industry.
Angola has many traditional instruments, including the ngoma, a bongo drum, and the mpwita, a drum originally found in Kongo. Also noteworthy are the mpungu, a trumpet, and the Luandan hungu, equivalent to the mbulumbumba of southwestern Angola, both types of gourd-resonated musical bow. These stringed instruments traveled with slaves to Brazil, where they developed into the berimbau.
Contemporary music in Angola combines the African influences in the music of the Caribbean, the United States, and the Democratic Republic of the Congo with the Latin influences of Cuba and Brazil. Angola’s poverty and civil unrest have provided few opportunities for professional musicians, especially because the Ministry of Culture has exerted much control over commercial music production since independence; despite this, musical expression has flourished in informal sectors.
An ambitious program to expand museums, libraries, and archives, initiated in the postindependence era, has borne little fruit. A National Institute for Cultural Heritage does exist in Luanda, but material from other local museums was either looted or removed to Luanda during the course of the war. The National Historical Archive, also in Luanda, houses material dating to the 17th century. The Kongo Kingdom Museum in M’banza Congo is home to many cultural artifacts. Many other fine collections built up in colonial times were destroyed, dispersed, or made unavailable to the public. Following the end of the civil war in 2002, the government and private organizations began the process of renovating or rebuilding cultural institutions damaged in the war.
Sports and recreation
Sports are largely dominated by football (soccer), which is a national passion and is played by people of every social stratum. Some Angolans have become players of distinction, but they tend to compete professionally in Portugal or elsewhere in Europe, where there are more opportunities. In 2006 Angola was one of four sub-Saharan African countries that participated in the World Cup finals. Basketball is growing in popularity in Angola, especially owing to the influence of foreign armed forces fighting on Angolan soil. The sport is played by people of all ages and both sexes, and, because of government support, the men’s national team has done well at African championships and participated in the 2004 Olympics in Athens.
Media and publishing
The press was nationalized in 1976; several newspapers and periodicals are published, mainly in Luanda. The state-run radio station broadcasts in Portuguese, English, French, Spanish, Chokwe, Kikongo, Kimbundu, and Umbundu, as well as a few other African languages. The television station, founded in 1975, is also state-controlled. Although the constitution provides for freedom of the press, it is not always enforced, and some journalists have practiced self-censorship.