Edward Saidi Tingatinga

The Artwork of Edward Saidi Tingatinga

Born in 1932, Edward Saidi Tingatinga was a  self-taught Tanzanian artist who developed a unique painting style that evolved into an urban traditional art form. Once established as an artist, he taught his style to many students, both local and foreign.

Edward Saidi Tingatinga was born in 1937 to a family of subsistence farmers at the small village of Mindu in southern Tanzania near the border of Mozambique. He left his village in 1957 and worked on a sisal plantation in the Tanga district. Tingatinga traveled in the latter part of 1957 to Dar-es-Salaam where he labored in construction jobs and as a gardener until 1961. He relocated to the Mikoroshoni district where he met and married his wife Agatha Mataka. After the birth of his son Daudi, Tingatinga became employed in 1968 as a ward attendant at the public Muhimbili Hospital.

Impressed by the number of tourists who purchased western-styled paintings from Zairian artists, Tingatinga began to paint in 1968 and soon developed his own particular style of colorful, crowded paintings of fantastic animals and dancing tribesmen, as well as scenes of village life. The paintings sold well and soon developed into a distinctly urban art form. Through the support of the National Arts of Tanzania (NAT), Tingatinga regularly sold his paintings and began to teach his technique to students.

The traditional Tinga Tinga style of painting most often depicted the native fauna and flora of Tanzania, rendered in both a naïve and surrealistic style on single-colored backgrounds. Due to their availability, masonite substrates and highly-saturated, brilliantly colored industrial paints were used to create the artwork. Current Tinga Tinga painters now paint a variety of subject themes on stretched muslim and canvas. Many of these artists still uphold the traditional use of bicycle enamel paints.

Edward Tingatinga, who had established himself as a successful artist, was shot in 1972 by police in a case of mistaken identity during the officers’ search for a gang of bank robbers. He died at the age of forty years on the way to the hospital. Six-year old Daudi Tingatinga and his younger sister Martina were left in the care of their mother, Agatha. Growing up in a state of poverty, neither sibling received any formal education. Edward Tingatinga’s fellow artists formed the Tinga Tinga Arts Cooperative in his honor; this cooperative later became a school for artists from Dar-es-Salaam and Zanzibar. The traditional art form of Tinga Tinga was passed onto Daudi and Martina by their uncle Salum Mussa, known as “Mzee Lumumba”, who had received his art education from their father.

Notes: The Tingatinga Arts Cooperative Society website is located at: https://tingatinga.ch/en/about.php

An article entitled “Tinga Tinga: An African Tale” written by feature editor Kate Bystrova for the Commonwealth Secretariat’s independent magazine, “Global: The International Briefing”, can be located at: https://www.global-briefing.org/2014/09/tinga-tinga-an-african-tale/

The Tinga Tinga Arts Cooperative has a biographical article on Edward Saidi Tingatinga in its January 2022 edition located at: https://www.tingatingaart.com/blogs/articles/edward-saidi-tingatinga 

Top Insert Image: Jesper Kirknaes, “Edward Saidi Tingatinga”, Date Unknown, Color Print, January 2022 Issue of Tinga Tinga Art

Second Insert Image: Edward Saidi Tingatinga, “Le Lion”, 1971, Oil on Masonite, 61 x 71.5 cm, Private Collection

Bottom Insert Image, Edward Saidi Tingatinga, Untitled, Enamel on Board, 61 x 61 cm, Private Collection

Bebe Backhouse-Oliver: “Take Me to the Ocean Where My Heart Once Drowned”

Photographers Unknown, Take Me to the Ocean Where My Heart Once Drowned

take me outside to the place we both knew so well
when i’d hold your hand while walking barefoot
even though the soil was littered with bindis
but i preferred the earth to know who i was
from the taste of my blood and the way it filled with grains of sand
than to have to speak my name in a language it could never understand
with a voice i was still discovering

take me to the mountain we would go to sit
and watch the stars fall past the edge of the earth
like they were always destined to do
let me think of the people i used to know when i was small
and remember the things i forgot about them
the pieces of gold that captured my heart into loving them
and the ways they hurt me that saw me quickly let them go

take me to the ocean where my heart once drowned
as people in barely-there swimsuits watched me stand
in waves that broke on the shoreline
as my bones shattered beneath the forceful hands of the sun
and all its reasons for keeping the world alive in a chorus of separate songs
let me dance in the sand one more time
while you take photographs of the footprints i leave behind
so i can remember their rhythm long after i’ve left them

take me to the tree outside the home where i grew up
and i’ll carve my name into its bark
beside the one i made at nine years old
i’ll climb its branches and stretch my arms out so
i’m taller than the leaves
and higher than the light that bleeds over them
i’ll feel the greatness of everything you’ve given me
the power of all i am
and i’ll know this to be a journey of infinite steps
that encase golden prayers in the face of a western wind
trusting i’ll be going home and knowing i’ll never be coming back

Bebe Backhouse-Oliver, the light that bleeds, more than these bones, 2023, Magabala Books, Broome, Australia

A descendant of the Bardi Jawi people of the Kimberley region of north-Western Australia, Bebe Backhouse-Oliver is a poet, writer, illustrator and leader of diverse community projects. His work embraces issues of love, loss, identity, sense of country, and both Aboriginal and gay existence. Oliver has for many years maintained his home in Naarm, the traditional Central Kulin Nation name for the specific area now known as Greater Melbourne.

In addition to studies in classical piano and composition, Bebe Oliver began writing at an early age,. His initial work was creative stories and, later, poetry and memoir-based journal-format stories. These written works served as an outlet for all the challenges he experienced as a young Aboriginal boy with a suppressed identity. Oliver’s first published work was a 2018 story he submitted for entry in author Anita Heiss’s biographical anthology entitled “Growing Up Aboriginal in Australia”.

Oliver relocated to Melbourne to study at the Victorian College of the Arts. After returning from a period of travel overseas, he became established as a producer and director of theater, festivals, and public art projects across Australia, New Zealand, France and Belgium. A leading designer of projects for diverse communities, Oliver is a co-chairperson of Melbourne’s biannual Blak & Bright First Nations Literary Festival; he is also a Board Director of the publishing house Magabala Books. Through his senior leadership positions, Oliver has fostered many opportunities for Aboriginal and Torres Strait Islander artists to showcase their work, thus allowing Traditional Culture to publicly thrive. 

In March of 2023, Magabala Books published “More Than These Bones”, Oliver’s debut collection of poems that details his journal through both heartbreak and self-discovery. Each poem is set in a different location and, often accompanied by a photograph or drawing, adds another dimension to his life story. Oliver’s writing is also featured in the anthology “Nangamay Mana Djurali”, a collection of voices from the Australian black queer community. Edited by Alison Whittaker and Steven Lindsay Ross, the anthology shows the diverse perspectives of life experienced by Aboriginal queer people in contemporary Australia. 

Bebe Backhouse-Oliver’s website is located at: https://www.bebeoliver.com

Notes Magabala Books is Australia’s leading Indigenous publisher. Committed to nurturing the talent of Aboriginal and Torres Strait Islander storytellers, the publishing house offers awards, creative grants and scholarships. Magabala Books also sponsors cultural projects including audio-visual installations, recordings of elders’ stories, and developing the book illustration skills of Kimberley Aboriginal artists. The Magabala Books website is located at: https://magabala.com.au

“Tadra / Buar (To Dream)”, a poem by Bebe Oliver and Fiji poet Daniel Sipeli, can be found, with a video recitation by Oliver, at the Red Room Poetry website: https://redroompoetry.org/poets/bebe-backhouse/tadra-buar-dream/