Summary

The Makonde people of northern Mozambique coalesced during the convulsions generated by the Indian Ocean slave trade. Originally an acephalous society composed of independent hamlets under the loose leadership of a lineage head, the Makonde engaged en masse in the armed struggle for the liberation of Mozambique, which was fought for ten years against Portuguese colonialism (1964–1974). The war and the socialist revolution that ensued thoroughly reshaped Makonde society. The Makonde relocated into communal villages; partook in collective production; scattered throughout the country; and embraced Mozambique’s single party, Frelimo, as a cornerstone of their identity. The liberation struggle also wrought important changes in gender relations, with the engagement of women in guerrilla and political activities. These transformations entailed the adoption of a hierarchical social structure, which superseded—and conflicted with—the horizontal organization of Makonde precolonial society.

The Makonde are renowned for their vibrant artistic expression. Their mapiko masks are striking both as plastic objects and for the multifarious performances in which they take life. In the late colonial period, prompted by the patronage of missionaries and traders, a new sculptural tradition emerged, often referred to as “Makonde modern carving.” Executed on African blackwood, largely for an export market, these artworks are characterized by their intricate patterns. The two most recognizable genres are ujamaa, which represents the unity of socialist village life, and shetani, depicting creatures from the spirit world. The Makonde also possess rich song and musical traditions, which convey poignant narratives and criticisms of the dramatic transformations their society underwent.

Since late 2017, the Makonde have been severely impacted by the Islamist insurgency that has exploded in the province of Cabo Delgado, resulting in massive displacement and remilitarization.