Bøger af David Kalala Banze

Depois do seu primeiro ensaio, "O pentecostalismo e os seus 100 anos na República Democrática do Congo: do reformismo racional ao imperialismo cego", o autor volta a denunciar, com uma nota de oitava mais alta, as práticas ignominiosas inventadas pelos profissionais de uma religiosidade vaga que só faz escândalos em África, para manter os ignorantes sob o jugo da servidão. Com um olhar impotente, os ingénuos, tacitamente cúmplices da sua degradação, continuam a acenar com a cabeça às declarações rebuscadas e sem sentido que os mantêm presos na bastilha da ignorância. O autor do livro deseja ver o advento de uma nova sacrificatura, "o novo sacerdócio universal", que pouparia os fiéis a todos os tributos senhoriais que levam o seu destino numa única direção. Isto ajudará o mundo a descobrir aqueles que são realmente chamados a pregar e aqueles que não o são.

After his first essay "Pentecostalism and its 100 years in the Democratic Republic of Congo: from rational reformism to blind imperialism", here again, with this text, the author denounces, with the note of a higher octave, the ignominious practices, set up from scratch by the professionals of a vague religiosity that only withers scandals in Africa; to keep the ignorant under the yokes of servitude. With a helpless gaze, the naïve, tacitly complicit in their debasement, continue to nod their heads at the far-fetched, meaningless declarations that keep them cooped up in the bastille of ignorance. The book's writer's wish is to see the advent of a new sacrificature, 'the new universal priesthood', which would spare the faithful from all the lordly dues and one-way destinations. This will help the world discover those who are truly called to preach and those who are not.

Valuable works of African art, allegedly looted by the colonial power, are often claimed, rightly or wrongly, by their former owners so that they can be returned to the continent. The question that remains unanswered is whether they will be kept there unharmed, as they are in the hands of their new masters. However, the mediocrity that plagues Gondwana, from cast-iron frying pans to household utensils, leads us to bet that destruction will take precedence over conservation. The chances of these much sought-after works being safe from the destroyer once their managers change are very slim. There is a risk that they will suffer the same fate as the tombs and mausoleums in Timbuktu. In place of all these silent documents and other works of value that will be returned to their natural masters, I suggest that the good curators who have long guarded all these possessions should keep in their libraries the African oral art conveyed by the proverbs, maxims and sentences collected in this book, at a time when its original users are content with a culture that is half fig, half grape, or neither fig nor grape.