George Lilanga di Nyama, 1934–2005
George Lilanga was born in 1934 in Kikwetu village in southern Tanzania. Like most Makonde youngsters, he learned to carve on soft *cassava* roots before progressing to the hard black wood (*mpingo*) under the guidance of Mzee Sumaili.
In 1974, Lilanga moved to Dar es Salaam, where he joined a group of carvers. His breakthrough came when he was hired as a watchman at “Nyumba ya Sanaa” (now the Nyerere Cultural Centre). There, he showed his carvings to the management, who immediately recognized his talent and reassigned him to artistic work. He later expanded into drawing, producing batiks, murals, canvases, and paintings on goatskin. His work still adorns the painted metal gate and cement decorations of Nyumba ya Sanaa.
A major turning point came in 1978, when a group exhibition in Washington, D.C. featured 100 of his works. The *Washington Post* compared Lilanga’s art to Jean Dubuffet’s *Art Brut*. From then on, he enjoyed international exposure, exhibiting widely across Europe, Japan, and the United States. Celebrated by Western audiences, Lilanga became one of the most important representatives of contemporary African art.
Despite his international success, Lilanga remained deeply connected to his homeland. His work helped sustain his community and brought global attention to Makonde culture. His canvases — filled with vibrant colors, rhythmic movement, and swarming figures — depict the mythology and cultural life of his people, especially the Mapico dance.
source: “Tribute to George Lilanga” (2001) – Yves Goscinny; CAAC; “George Lilanga” (2005) – Enrico Sarenco