Browsing by Author "Enock, Dinnah"

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    Continuity and change in Makonde Sculpture: a case study of Abunuwasi Anangangola.
    (University of Dar es Salaam, 2003) Enock, Dinnah
    The main purpose of this study was to examine factors for continuity and change in Makonde sculpture, using the works of Abunuwasi Anangangola as a case study. The objectives of the study were to analyze artistic motivation for Anangangola's sculpture, to analyze factors influencing the sculptor's media and style, to identify aesthetic standards for Anangangola's sculptures, and to examine artistic inspiration that guides the sculptor's work from1960's to 2002. The study was conducted at Mkuranga township, where Anangangola lives and works. Research instruments such as interview and observation were employed in data collection. Anangangola's sculptures were observed in two phases. Phases one of Anangangola's sculptures (POAS} are those carved in I960's. While the Phase two are those carved from 2000 to 2002. This was done in order to determine their continuity and change. The findings of the study revealed that, low income, competitive market and mixing cultures are the most important factors for continuity and change in Anangangola's sculpture. The study therefore, concludes that, the artistic creativity for Anangangola has always been affected by those factors mentioned for the whole period from I960's to 2002.
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    The stylistic evolution of modern Makonde sculpture in Tanzania
    (University of Dar es Salaam, 2011) Enock, Dinnah
    This study examines the evolution of modern Makonde sculpture styles in Tanzania from the 1930s to 2010. The emphasis is to identify new styles and sub-styles that grew out of the eight established styles, factors that influenced their creations as well as to determine guiding principles that lead to its production. The study is significant in that it acts as a reference to stylistic evolution that may help modern Makonde sculpture’s admirers, dealers, galley owners, and scholars to further their appreciation of this particular art in Tanzania. Both purposive and snowball sampling were used to select a sample of twenty one (21) respondents. Data collection methods included interview, participant observation and a documentary review. The study found out that, fifteen styles and twenty-one sub-styles evolved, evidence which shows that modern Makonde sculpture styles are not as staric as some scholars used to think. This evolution is a complex phenomenon that was influenced by the need for artistic identity and decisive patronage. Furthermore, the study found out that the production of modern Makonde sculpture is not confined to one ethnic group, but many ethnic groups are currently involved in creation of this art. The study recommends that more publicity on the evolved styles is needed and the Tanzania Sculptors Association (TSA), National Arts Council (NAC) and other relevant institutions should work together to promote original styles among local sculptors through annual competitions and exhibitions. Furthermore, more research is needed to find out the impact of Mozambican sculpture’s styles on current modern Makonde sculpture styles made in Tanzania so as to clarify the motion that sculptures made in Tanzania are copies of what is being produced in Mozambique.