Mashinamu na Uhuru

This thesis focuses on the connections between the production of wooden sculptures, known as mashinamu or makonde art, and Mozambique's history under the point of view of the makonde population and its political and artistic participation in the country, from 1950 until 1974.This period comprehends two essential moments for the group's social dynamics: the first, between 1950 and 1959, is characterized by the appreciation of makonde art in international African art markets, the growth of the migration flow towards the Tanganyika and the formation of mutual assistance organizations and policies that had been created there.The second moment, between 1959 and 1974, consists in the new significance makonde art undertakes in Mozambique's independence struggle and the project for the consolidation of a Mozambican nationality.With the intent of understanding the artistic production in relation to Mozambique's political history, this thesis elicited, among other aspects, the meanings of this production under different political and social contexts and the role of the makonde population in the country's independence process.The research has looked into written registers consisting in documents and publications from the colonial period as well as into oral accounts, formed especially by interviews with sculptors who participated in the artistic and political spheres from the colonial period

Aesthetics · Art · Colonial period · Colonialism · Consolidation · Consolidation (business · Humanities · Independence · Independence (probability theory · Period (music · Political science · Politics · Population · Sociology · African history and culture studies · Demography · Gender Studies · Global Maritime and Colonial Histories · History · Law · Urban Development and Societal Issues

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