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dance, the Mapiko, is performed. Throughout this dance there are three active parts: A masked dancer representing a dead man who has come to haunt the village, the
Mashapilo or an evil spirit seeking to spread malice and disrupt health and lastly the young man undergoing this transition into manhood who is to conquer these entities. Both of the masked dancers are symbolic expressions of the evil that must be faced and defeated by the boy, soon to be man. After this dance, a boy will receive his operation from the Mkukomela, or the “Hammerer", who conducts the entirety of the ritual. Once a boy is circumcised, he will spend days away from the general population with other men and boys in a shelter called a Likumbi. In conjunction with their healing, boys are taught their manly roles in society. There is a physical shift that includes learning to hunt and tend the land. There is also a social shift in which men are taught how to rejoin their community as men. Men are taught quality virtues and morals, how to regard elders and the appropriate manner for sexual relations. Once boys are healed, the Likumbi is destroyed with fire and they inherit new names. Woodcarvings are present during female initiation as well but at a different stage than that of males. A girl is too made women by ritualist dance and isolation however, woodcarvings are only present once a woman is married. Once a Makonde woman marries, she will carry around a wood carved doll to promote fertility.
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to meet new social and economical demands. Once a signifier of ritualistic expression made solely by men, and kept hidden from women, Western influences on
Makonde art changed who created the art and for what reasons. Portuguese forced labor and taxes encouraged many Makonde people to expand the practices of traditional woodcarving. One way of this evolution was expressed through these figures. Traditionally, practical things like tools and ritualistic helmet masks were the center of creation. However, after the insertion of road systems, Europeans and missionaries began to commission Makonde people to create religious symbolic sculptures. This contributed to the distinction of Ujamaa, Shetani and Binadamu styles of Makonde art.
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194:, meaning ‘power of strength’ or ‘tree of life’. Traditionally these sculptures portrayed clusters of connected wrestlers holding up a winning victor. Gradually, the main figure shifted to represent tribal heads or other people in unity with community members or family. Regardless, of who the central figure of a sculpture is, the organization of this style represents one central figure, surrounded by and supported by other figures. These figures exemplify
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style woodcarvings (“devil” in
Swahili) are expressions of Makonde mythology and spirits. This style uses the appearance of otherworldly physical traits, like large, distorted facial or body features, and sometimes of animals to signify the spiritual realm. The essence of Shetani is thought to take
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Makonde art is an integration of dated practices of woodwork met with a demand of woodcarving of the modernized world. After the introduction of road systems in the plateaus between
Tanzania and Mozambique by Portuguese troops during World War I, the traditional sense of the practice began to shift
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Long before
Makonde woodcarvings became of commercial interest, the purpose of this artform was in its characterization of evil spirits during rites of passage ceremonies. Most notable are male initiations into adulthood which is marked by circumcision. At the beginning of this rite, a ritualist
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type, captures the essence of
Makonde social roles. Most common are depictions of men smoking and women fulfilling household chores. Once the Portuguese made contact, the market for Makonde woodcarvings flourished abroad. Many locals began to prioritize the craft and create figures embodying the
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Northern Mozambique. They showed great interest and fascination for the Makonde wood carvings and began to order different pieces, from religious to political “eminences.” The Makonde sculptors, after noticing such interest, decided to carve the new pieces, using pau-preto
85:, Diospyros ebenum) and pau-rosa (Swartzia spp.) instead of the soft and not long-lasting wood they had used before. This first contact with the Western culture can be considered to be the first introduction of the classical European style into the traditional Makonde style.
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spirits, ancestors, or living characters (real or idealized). The dancers wore them so that they could see through the mask's mouth or alternatively, fixed the mask on their heads, with the mask facing straight towards the audience, when they bent forward.
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Makonde art can be subdivided into different styles. Traditionally, the
Makonde have carved secular household objects, ritual figures and masks. After the 1930s, Portuguese colonizers and other missionaries arrived at the
421:. Paris: Ministère des affaires etrangères, Secretariat d'état aux relations culturelles internationales, Association française d'action artistique; Ministère de la coopération et du développement. pp. 144–157.
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Since the 1930s, the so-called Modern
Makonde Art has been developed in Tanzania. An essential step away from the traditional sculptures was the creation of abstract figures, representing mostly evil spirits, called
117:, whose patron Mohamed Peera, an art curator in Tanzania played an instrumental and decisive role in influencing the modern Makonde art movement. Some Makonde sculptors, of whom the best known is
463:: "In fact, throughout Tanzania, social, economic, political and religious power and authority are symbolised by sculptured pieces of work..." In Ewel, Manfred and Anne Outwater, eds., 2001.
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five forms: human, mammal, fish, bird, and reptile. In some sculptures, there are also culturally significant symbols, like a mother's breasts or calabashes, used to carry water.
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rituals, since before contact was made with missionaries in the 19th century. These masks were painstakingly carved from a single block of light wood (usually '
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737:"Carving a Life: The Political Economy of Woodcarver Livelihoods in Cabo Delgado, Northern Mozambique"
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A special genre of traditional ritual
Makonde art are the characteristic Mapiko masks (singular:
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or modern artistic works. This genre can be traced back to the 1930s, when the first documented
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in the latter years of the 1950s. With him he brought a style of Makonde art formally known as
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A Host of Devils: The History and Context of the Making of Makonde Spirit Sculpture
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Ebony Sculptures from East Africa, a comprehensive photo-documentation. Vol. 1-3.
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642:"Makonde figurative carvings - Traditional Music & Cultures of Kenya"
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From Ritual to Modern Art. Tradition and Modernity in Tanzanian Sculpture
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If interested in Makonde you can find a long list of literature here:
618:"Makonde sculpture – TALKING OBJECTS: Art Conservation Conversations"
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As Tanzanian art historian J.A.R. Wembah-Rachid wrote in his article
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language, that play a special role in Swahili popular beliefs. This
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daily lives of Makonde men and women to appeal to westerner taste.
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river. Art historians, dealers and collectors have created this
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London, New York, Sydney: The Hamlyn Publishing Group Limited.
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509:"Makonde Art – African Blackwood Conservation Project"
391:. 1966. Kibo Art Gallery Publications, Nairobi, Kenya.
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style was created in the early 1950s by master carver
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PhD thesis concerning Makonde carvers in Mozambique:
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Art Makonde contemporain = Arte Makonde contemporânea
666:"Rituals, beliefs and sculptures in Makonde culture"
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or, less frequently, to modern paintings created by
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Collection S. Hansen and other European Collections
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https://www.tanzanian-art.de/service/literatur.html
55:, that can be subdivided into African traditional
722:Read about contemporary Makonde artists on AFRUM
485:"Modern African Art : A Basic Reading List"
622:TALKING OBJECTS: Art Conservation Conversations
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713:For more information about Makonde Art see:
467:. Dar es Salaam: Mkuki na Nyota Publishers.
705:A basic reading list on Makonde sculpture
303:An abstract carving by George Lugwani in
125:. The most acknowledged such artist was
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574:"Tanzanian Affairs » MAKONDE ART"
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182:Roberto Yakobo Sangwani left his home
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71:Traditional and contemporary styles
355:Korn, Jorn, Jesper Kirknaes.1974.
254:Gallery of modern Makonde carvings
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695:African Carvings and Sculptures
291:Makonde Ujamaa sculpture detail
63:of Makonde art was held at the
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371:Masterpieces of the Makonde.
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156:Changes in the 20th century
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717:Hamburg Mawingu Collection
267:Makonde Binadamu sculpture
232:modern Binadamu sculptures
123:contemporary art of Africa
700:Google Arts & Culture
415:Grohs, Elisabeth (1989).
279:Makonde Shetani sculpture
65:Centro Cultural dos Novos
769:African contemporary art
594:"Makonde art collection"
389:Modern Makonde Sculpture
340:Kingdon, Zachary. 2002.
323:Contemporary African art
212:modern Shetani sculpture
173:modern Ujamaa sculpture
534:Newport Middle Passage
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178:Ujamaa or Tree of life
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764:Culture of Mozambique
709:Smithsonian Libraries
461:Traditional Sculpture
377:Heidelberg, Germany.
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344:. London: Routledge.
165:Types of Makonde art
16:Genre of African art
759:Culture of Tanzania
598:www.makonde-art.com
357:Modern Makonde Art.
328:Culture of Tanzania
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35:people of northern
558:has generic name (
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646:www.bluegecko.org
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369:Mohl, Max:
53:African art
21:Makonde art
748:Categories
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651:2020-11-14
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539:2020-11-14
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473:9976973853
402:References
383:3925761578
334:Literature
184:Mozambique
83:ebony wood
61:exhibition
37:Mozambique
530:"Makonde"
445:ignored (
435:cite book
373:1990–97.
57:artifacts
19:The name
548:cite web
427:20964411
312:See also
224:Binadamu
192:Dimoongo
188:Tanzania
41:Tanzania
217:Shetani
204:Shetani
146:shetani
111:shetani
107:Swahili
103:Shetani
33:Makonde
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305:mpingo
197:ujamaa
134:Lipiko
94:Lipiko
45:Ruvuma
49:genre
560:help
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