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artisans unite

By Lauren Hassani | Photos by Marco Javier

Preserving Tanzanian identity through craft, community, and mentorship.

The sculpture on display in the crowded storefront is expertly crafted from smooth African Blackwood, or mpingo, carved into an intricate totem and polished to a rich, dark sheen. Human figures spiral and weave around one another — a complex portrayal of unity and interconnectedness. Known as “Ujamaa” carvings, or “Tree of Life” sculptures, pieces like this have become iconic symbols of Tanzania’s cultural heritage, showcasing the artistry of the Makonde tribe.

The store is housed within Dar es Salaam’s Mwenge Woodcarvers Market — a lively place full of handcrafted pieces of all sorts, from paintings to masks to jewelry. But the market is perhaps best known for being a hub for artisans specializing in Tanzanian woodwork, such as the striking, symbolic carvings of the Makonde people, famous for their ebony wood creations.

The market operates as a collective of more than 200 local artisans and craftsmen, primarily woodcarvers, who work together under a cooperative model. This system allows individual carvers to retain ownership of their work while benefiting from shared resources and a central location to sell their products. Senior artisans often mentor younger or less experienced carvers within the co-op. This passing of knowledge helps preserve traditional woodcarving techniques and ensures that skills are maintained and developed across generations, even as fewer Tanzanians are seeking to pursue the craft.

This passing of knowledge helps preserve traditional woodcarving techniques and ensures that skills are maintained and developed across generations, even as fewer Tanzanians are seeking to pursue the craft.

The Mchingama storefront at the Mwenge Woodcarvers Market is filled with carvings hand crafted by the family.

In a narrow stall, where shelves overflow with intricate carved treasures, 40-year-old Elias Cprian Mchingama works beside his father, Cprian Mchingama Lukanga, 71. The Mchingama family, proud members of the Makonde tribe, have been master woodcarvers for generations. They first opened their shop at Mwenge in 1984, the year the center was established.

Like his father, grandfather, and great-grandfather before him, Elias Mchingama learned the craft in his youth, spending countless hours in the family workshop. For the Makonde, carving is typically a family tradition passed down from father to son.

Like his father, grandfather, and great-grandfather before him, Elias Mchingama learned the craft in his youth, spending countless hours in the family workshop. For the Makonde, carving is typically a family tradition passed down from father to son. He knew from an early age that his path would follow theirs. Today, he dedicates his time to mentoring young carvers through the co-op, sharing the knowledge and precision techniques that define his family’s legacy. He notes the unique method of hands-on instruction at Mwenge.

“They mainly learn by observation. It’s not like in a normal classroom. This is how I first learned,” he explains. He is currently guiding two apprentices; when they become proficient, he will take on a new batch of students.

Elias Cprian Mchingama began learning the family trade at age 12 from his grandfather.

Elias and his father, Cprian Mchingama Lukanga, have honed distinctly different artistic styles.

There is no expectation for any of his three children to enter the profession. The demands of modern life have made it increasingly difficult to make a living through carving, and the viability of continuing the tradition seems uncertain. This concern is shared by his father, Cprian Mchingama.

“I’m afraid that this work won’t continue like it did before. Things are changing and I don’t think many people appreciate this type of art,” the elder Mchingama reflects. Sales of Makonde art have declined in recent years, a result in part of changing tastes and a dwindling appreciation for the craft among locals and foreign visitors, as well as the effects of the COVID-19 pandemic on tourism.

For many years, the Tanzanian government has made some effort to support Makonde woodcarvers, the most significant being allocating a plot of land with a 99-year lease for them at Mwenge in 1984. Aside from creating an important tourism hub, this act also led to the formation in 1987 of CHASAWATA, the Carvers Association of Tanzania, which has played a vital role in advocating for its members.

Elias Mchingama observes two apprentices. Students at the co-op often sleep and eat here, in addition to spending hours learning their craft.

Preservation of Tanzanian arts is not limited to the Makonde tradition. Another significant cooperative is the Tingatinga Arts Cooperative Society in Dar es Salaam, which focuses on the vibrant Tingatinga painting style. This distinctive art form, characterized by bold colors and whimsical depictions of Tanzanian wildlife and culture, was founded in the 1960s by Edward Said Tingatinga. Today, the cooperative consists of roughly 100 artists and operates as a collective. Members contribute 15 percent of their earnings to support the school, covering the cost of utilities and workshop space.

One of the cooperative’s senior artists, 50-year-old Rashidi Said Chilamboni, has dedicated his life to preserving the Tingatinga tradition. Chilamboni, who learned the craft from his older brother, now teaches three students, ages 35, 35, and 25. His four brothers are also painters at the cooperative, continuing a family legacy that traces back to their father, a Makonde woodcarver.

“Tingatinga is in our blood. It represents Tanzanian culture,” Chilamboni explains as he works on a new canvas. “I hope that one day my children and grandchildren will carry on the Tingatinga tradition.”

Detail from a Tingatinga painting by the artist Saidi Abasi Mitumbati (Shaha), 42.

The Tingatinga Arts Cooperative Society is located in the Oyster Bay area of Dar es Salaam.

Detail of painting by Augustino Mpochogo.

Artist Rashidi Said Chilamboni's work station and supplies.

“Tingatinga is in our blood. It represents Tanzanian culture. I hope that one day my children and grandchildren will carry on the Tingatinga tradition.” - rashidi said chilamboni

Rashidi Said Chilamboni, 50, holds one of his paintings.

Like the Makonde carvers, the Tingatinga artists rely on the cooperative model to sustain their art. The collective provides not only a space for creation but also a platform for mentorship and intergenerational knowledge transfer. Chilamboni’s role as both artist and teacher embodies the cooperative’s mission to preserve the tradition while fostering innovation and growth.

Despite challenges such as changing tastes, economic pressures, and the decline in tourism, Tanzania’s art cooperatives play a crucial role in safeguarding the country’s cultural heritage.

Despite challenges such as changing tastes, economic pressures, and the decline in tourism, Tanzania’s art cooperatives play a crucial role in safeguarding the country’s cultural heritage. From the intricate Makonde woodcarvings at Mwenge to the colorful canvases of Tingatinga art, these cooperatives ensure that traditional art forms are not only preserved but celebrated, connecting generations of artists and keeping Tanzanian culture alive for the future.

“I’m proud of this art and the way it is inherited through the generations,” says Cprian Mchingama. “Our work is not like other creative works, like music, which can be fleeting because of technology and trends. Our work lasts.” ●