![]() | This article may be expanded with text translated from the corresponding article in French. (January 2023)Click [show] for important translation instructions.
|
Tingatinga (also spelt Tinga-tinga or Tinga Tinga) is a painting style that originated in East Africa. Tingatinga is one of the most widely represented forms of tourist-oriented paintings in Tanzania, Kenya and neighbouring countries. The genre is named after its founder, Tanzanian painter Edward Tingatinga. Tinga Tinga also insipired the kids animation tales namely Tinga Tinga Tales .
Tingatinga is traditionally made on masonite, using several layers of bicycle paint, which makes for brilliant and highly saturated colours. Many elements of the style are related to the requirements of the tourist-oriented market; for example, the paintings are usually small so they can be easily transported, and subjects are intended to appeal to Europeans and Americans (e.g. the big five and other wild fauna). In this sense, Tingatinga paintings can be considered a form of "airport painting". [1] The drawings themselves can be described as both naïve and caricatural; humour and sarcasm are often explicit.
Tingatinga art originated in Tanzania in 1978. [2] The art was named after Edward Tingatinga who started copying the art in 1968. He employed low-cost materials such as masonite and bicycle paint and attracted the attention of tourists for their colourful, both naïve and surrealistic style. When Tingatinga died in 1972, his style was so popular that it had started a wide movement of imitators and followers, sometimes informally referred to as the "Tingatinga school". [3]
The first generation of artists from the Tingatinga school basically reproduced the works of the school's founder. In the 1990s new trends emerged within the Tingatinga style, in response to the transformations that the Tanzanian society was undergoing after independence. New subjects related to the new urban and multi-ethnic society of Dar es Salaam (e.g. crowded and busy streets and squares) were introduced, together with occasional technical novelties (such as the use of perspective). One of the most well-known second-generation Tingatinga painters is Edward Tingatinga's brother-in-law, Simon Mpata. [4]
Because of his short artistic life, Tingatinga left only a relatively small number of paintings, which are sought-after by collectors. It is known that fakes were produced from all famous Tingatinga paintings like: The lion, Peacock on the Baobab Tree, Antelope, Leopard, Buffalo, or Monkey. [5]
It is controversial whether Tingatinga's style is completely original or a derivative of traditional forms of East Africa. In his seminal paper Tingatinga and His Followers, Swedish critic Berit Sahlström claimed that Tingatinga was of Mozambican origin and thus suggested that his style might have connections with modern Mozambique. The claim that Tingatinga was of Mozambican descent is nevertheless rejected by most scholars and by the Tingatinga Society. Art trader Yves Goscinny suggested that Edward Tingatinga might have been influenced by Congolese paintings that were sold in Dar es Salaam at his time. [6] The source of this claim could be some articles by Merete Teisen, where she also claims that Tingatinga decorated two house walls for payment before he started painting on masonite boards.
The claim by Merete Teisen about Tingatinga decorating house walls might also be interpreted as a clue to another origin of Tingatinga's paintings, namely the traditional hut wall decorations of Makua and Makonde people. These paintings were first witnessed by Karl Weule in 1906 and described in his book Negerleben in Ostafrika. [7] Also ethnologist Jesper Kirknaes and Japanese painting curator Kenji Shiraishi, as well as modern travellers, have seen and documented these paintings in several locations in southern Tanzania, including Ngapa, a village where many relatives of Tingatinga's father still live today.
Jesper Kirknaes also documented those paintings being done in Dar es Salaam by Makua and Makonde migrants. Shiraishi is one of the scholars who most firmly supported the theory that Tingatinga's art is connected to traditional Makua wall paintings. Among other considerations, Shiraishi observed that it is unlikely that a style emerged and spread so quickly over most of East Africa without any connection to traditional art. He claimed that his studies provided evidence for this claim. [8]
In 2010 Hanne Thorup interviewed Tingatinga student Omari Amonde, who confirmed that Tingatinga used to paint on hut walls as a young boy (around 12 years old). [9]
Further elaborating on the Makua painting hypothesis, Shiraishi also suggested a connection between hut walls, painting and traditional rock paintings, an art form that in Africa has continued past Stone Age to at least the 19th century. Based on this connection, Shiraishi concludes that Tingatinga art might be seen as the "longest artist trend ever". [10]
After Tingatinga's death, his direct six followers: Ajaba Abdallah Mtalia, Adeusi Mandu, January Linda, Casper Tedo, Simon Mpata, and Omari Amonde [11] tried to organise themselves. Relatives of Tingatinga also joined this group, which would be later called the "Tingatinga (or Tinga Tinga) Partnership". Not all of Tingatinga's followers agreed to be in the partnership; some created a new group at Slipway. [12] In 1990, the Tingatinga Partnership constituted itself into a society, renamed to Tingatinga Arts Cooperative Society (TACS). [13]
The Tingatinga Arts Cooperative Society launched its own website in May 2018, www.TingaTingaArt.com
Although the internationally acclaimed Tanzanian artist George Lilanga was not a student of the Tingatinga school nor a member of the Tingatinga Society, he's known to have frequented Tingatinga artists, [14] and some influence of Tingatinga is evident in his work, for what concerns painting (an art form that Lilanga approached in 1974). [15] This influence has been recognised by Lilanga himself in an interview with Kenji Shiraishi, specifically in reference to the use of enamel paint and square hardboards. [16] Besides using materials and techniques originally adopted by Tingatinga painters, Lilanga's art resembles Tingatinga also in its use of vibrant colours [17] and its composition style, that shares the same horror vacui of Tingatinga art. It has been suggested [18] that Lilanga (who was originally a sculptor) actually learnt to paint from Tingatinga painters such as Noel Kapanda and later Mchimbi Halfani, who collaborated with him. [19] The collaboration between Lilanga and Kapanda lasted several years. [20]
As it is in other countries, the music in Tanzania is constantly undergoing changes, and varies by location, people, settings and occasion. The five music genres in Tanzania, as defined by BASATA are, ngoma, dansi, kwaya, and taarab, with bongo flava being added in 2001. Singeli has since the mid-2000s been an unofficial music of uswahilini, unplanned communities in Dar es Salaam, and is the newest mainstream genre since 2020.
Vitreous enamel, also called porcelain enamel, is a material made by fusing powdered glass to a substrate by firing, usually between 750 and 850 °C. The powder melts, flows, and then hardens to a smooth, durable vitreous coating. The word vitreous comes from the Latin vitreus, meaning "glassy".
African art describes the modern and historical paintings, sculptures, installations, and other visual culture from native or indigenous Africans and the African continent. The definition may also include the art of the African diasporas, such as: African-American, Caribbean or art in South American societies inspired by African traditions. Despite this diversity, there are unifying artistic themes present when considering the totality of the visual culture from the continent of Africa.
In visual art, horror vacui, or kenophobia, is a phenomenon in which the entire surface of a space or an artwork is filled with detail and content, leaving as little perceived emptiness as possible. It relates to the antiquated physical idea, horror vacui, proposed by Aristotle who held that "nature abhors an empty space".
The Makonde are an ethnic group in southeast Tanzania, northern Mozambique, and Kenya. The Makonde developed their culture on the Mueda Plateau in Mozambique. At present they live throughout Tanzania and Mozambique, and have a small presence in Kenya. The Makonde population in Tanzania was estimated in 2001 to be 1,140,000, and the 1997 census in Mozambique put the Makonde population in that country at 233,358, for an estimated total of 1,373,358. The ethnic group is roughly divided by the Ruvuma River; members of the group in Tanzania are referred to as the Makonde, and those in Mozambique as the Maconde. The two groups have developed separate languages over time but share a common origin and culture.
The Zaramo people, also referred to as Dzalamo or Saramo, are a Bantu ethnic group native to the central eastern coast of Tanzania, particularly Dar es Salaam Region and Pwani Region. They are the largest ethnic group in and around Dar es Salaam, the former capital of Tanzania and the 7th largest city in Africa. Estimated to be about 0.7 million people, over 98% of them are Muslims, more specifically the Shafi'i school of Sunni Islam. Zaramo people are considered influential in Tanzania popular culture with musical genres like Sengeli originating from their commonity in Kinondoni District. Their culture and history have been shaped by their dwelling in both urban and rural landscapes.
Following Tanganyika's independence (1961) and unification with Zanzibar (1964), leading to the formation of the state of Tanzania, President Julius Nyerere emphasised a need to construct a national identity for the citizens of the new country. To achieve this, Nyerere provided what has been regarded by some commentators as one of the most successful cases of ethnic repression and identity transformation in Africa.
The Mwera people are a Bantu ethnic and linguistic group. They are native to Kilwa District in southeast Lindi Region. However they have also settled in northern Mtwara Region, and eastern Ruvuma Region of Tanzania, as well as along the Ruvuma River between Tanzania and Mozambique.
George Lilanga was a Tanzanian painter and sculptor, active from the late 1970s and until the early 21st century. He belonged to the Makonde people and lived most of his life in Dar es Salaam, the largest city in Tanzania.
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and airbrushes, can be used.
Shetani are spirits of East African mythology and popular belief. Mostly malevolent, and found in many different forms and different types with different powers, shetani are a popular subject of carved artwork, especially by the Makonde people of Tanzania, Mozambique, and Kenya. Physically, shetani of various types appear as distorted human and animal figures.
Tingatinga may refer to:
Edward Saidi Tingatinga (1932–1972) was a Tanzanian painter, best known as the founder of the eponymous painting style and school.
Jean Pruitt was an American Maryknoll Sister operating in Dar es Salaam, Tanzania. She was best known for her activism in promoting Tanzanian art and defending Tanzanian children's rights. She worked with the Maryknoll Sisters and the Roman Catholic Church of Tanzania from 1969, and she received several awards for her contributions to Tanzanian society and culture.
The Afrika-Haus Freiberg is a museum of modern African art at Freiberg am Neckar in Germany.
Makonde chess sets are made by the Makonde tribe of south-west Tanzania and Mozambique who have for centuries been greatly skilled in wood carving and Makonde art is a distinctive style. Chess sets were originally made for export to Europe but the pattern of the pieces follows traditional Makonde designs rather than any established chess pattern.
The name Makonde art refers to East African sculptures or, less frequently, to modern paintings created by craftspeople or artists belonging to the Makonde people of northern Mozambique and southern Tanzania, separated by the Ruvuma river. Art historians, dealers and collectors have created this genre of African art, that can be subdivided into African traditional artifacts or modern artistic works. This genre can be traced back to the 1930s, when the first documented exhibition of Makonde art was held at the Centro Cultural dos Novos in Mozambique.
Hans CoryOBE was a self-taught British social anthropologist of Austrian descent, farmer and sociologist with a special interest in traditional lifestyles of ethnic groups in former Tanganyika, now Tanzania. Little is known about his childhood and youth in Vienna as well as about his life before the First World War in colonial German East Africa.
Reinata Sadimba is a Mozambican ceramicist who produces work that originates in traditional Makonde pottery, while incorporating her own techniques and conceptions of femininity and motherhood. She is considered among the most important contemporary sculptors in Mozambique.
The Nairobi Gallery is an art gallery located in the capital of Kenya. The gallery is dedicated to showcasing African art.
{{cite web}}
: CS1 maint: bot: original URL status unknown (link){{cite news}}
: CS1 maint: url-status (link)