Damian Msagula VII

Msagula began his painting career with the Tinga Tinga collective, and this work clearly reflects that influence.

You can compare this painting to the others displayed here in the lobby.

Take the zebra in the center foreground, for example. The bold blue line under its belly and around its neck and head adds an extra dimension, an effect also seen in many Tinga Tinga works.

According to researchers, these lines create a sense of depth and perspective.

Now look at the direction of the animals in both Tinga Tinga and Msagula’s paintings. In Msagula’s work, they often face in opposite directions, which led us to wonder, was he left-handed? It turns out, he was.

At the same time, we see early signs of his distinct style emerging. Unlike the Tinga Tinga tradition, which typically used plywood, Msagula begins painting on canvas. He also includes more interaction between animals, which is less common in classic Tinga Tinga works.

His approach to form and color, especially in the giraffe’s pattern and the background, marks a turning point. Here, he begins separating color from line—not to divide, but to connect the subject with its surroundings.

In the art gallery, you may have noticed how this approach develops further in later works, eventually moving away from coloring inside the lines entirely.

P.S. Keep these images in mind as you explore the shops and galleries of Stone Town. You’ll notice how Msagula’s school influenced much of the local commercial art, often overshadowing traditional Zanzibari forms like wood carving in particular the carved Quranic texts above the doors.