Xigubo, known as a typical dance of the districts of Matutuíne and Namaacha (Maputo province) since the 16th century, was used as a demonstration of readiness to fight against Portuguese occupation, particularly in the south of the country.

Today, it is one of the main artistic and cultural attractions throughout the country, as a result of its widespread use through interaction between groups from various provinces.

In their performance, Xigubo dancers stand in one or two lines, dressed in animal skins, with feathers and plumes on their heads, armbands made of thread, and rattles tied to their ankles, wielding a shield also made of animal skin and a staff. All in the form of a warrior.

In the past, the only skins used to make dancers' costumes were cheetahs, an animal whose hues resemble those of leopards. Today, skins from antelopes, monkeys, and other animals are also used.

The dance, through the dancers' bodily expressions, who strive to demonstrate their physical abilities, expresses warrior strength, conveying greater confidence to the audience. Fur clothing is a symbol of power and strength.

History has it that Xigubo has been practiced in southern Africa since the Zulu settled in South Africa. The dance spread to neighboring territories as a result of the expansion of this warlike people into the areas of other Bantu peoples.

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In Mozambique, for example, the history of dance dates back to the 16th century, when Mozambicans from Matutuíne, then part of the Maputo District, began to emigrate to neighboring South Africa in search of work.

Abel Eduardo Machango, born on July 8, 1958, in the town of Bela-Vista, headquarters of the Matutuíne district, said that Xigubo was brought to that region by Mozambican miners working in South Africa.

“Xigubo is a warrior dance, but it was popularized in mining companies in South Africa, during workers' rest breaks.”

“Our fellow citizens brought this dance to the country, but with a different cadence than that practiced in the mines.”

Machango also reveals that the use of a certain type of animal skin is a demonstration of supremacy in relation to other cultural groups or other dancers.

He explains that the designation of Xigubo as a warrior dance is not related to the national liberation struggle, but to the wars of resistance to colonial occupation and domination.

The warriors were preparing for battle, so during the dance, there are movements of strength, attacks and defense made by the dancers, which is a demonstration of readiness for war.

History reveals that, often at the end of great historical battles, the Xigubo was danced to prepare the warriors, but also to celebrate their victories, hence the name "warrior dance."

In Mozambique, the Xigubo began to spread from the south, with the districts of Matutuíne and Namaacha becoming prominent, particularly after national independence. Its rapid expansion was also due to cultural festivals.

Despite having acquired Mozambican characteristics, Xigubo has similarities and differences in the countries where it is practiced.

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Mozambique, South Africa, and Swaziland are the three southern African countries where Xigubo is danced. The common feature is that the dancers stand in one or two lines facing a conductor, with percussionists behind or to the sides. There are similarities in the costumes.

The differences are only noticeable in the cadence. The dancers' movements in Xigubo, as danced in Mozambique, are executed more quickly, and the dancers don't lift their feet higher than their waist.

In neighboring South Africa and Swaziland, dancers raise their feet to head height and stamp on the ground with great force, sometimes throwing themselves to the ground, but always with a shield and staff in hand.

In these two countries, dance is also practiced by women, in some cases in groups separate from the men.

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Xigubo da Bela-Vista is the most prominent cultural group in Matutuíne, perhaps in the entire southern region of the country. It was founded by master Judas Mandalaza Tembe in 1974 and 75. He was a renowned dancer who traveled the world to dance and teach.

Judas Mandalaza Tembe was born and lived his entire life in Matutuíne, where he would die on June 25, 2010, marking the 35th anniversary of national independence. He stood out among the South African mine workers who gathered to dance.

Tembe began dancing exclusively with his family. His wives were instrumentalists, and his children, cousins, and other close relatives served as dancers to avoid being accused of promoting acts that offended morals.

Later, Judas Tembe began to include other people outside his family, namely master Santaca and Nwaxihazi, with whom he danced.

The Xigubo da Bela-Vista has always stood out and been a reference in cultural festivals, given the perfection, determination and mastery with which its members perform this dance.

Information from the Institute of Artistic and Cultural Research (ARPAC) indicates that Xigubo in Mozambique originated in the Matutuíne district. It expanded to other regions as a result of cultural exchanges, just as Makwayela and Xingomana, expressions originating from other parts of the country, are now danced in Matutuíne.

To preserve Xigubo, district authorities encourage cultural groups to include younger dancers to ensure the passing of the baton and, therefore, perpetuate the dance.

“The ideal would be to create a community center for cultural development, which can encompass other cultural expressions, including historical research.”

“Unfortunately, we have not yet secured the resources to implement this initiative”, laments Abel Eduardo.

Monkey

The only way to preserve dance is to bring together cultural groups that practice it for collective rehearsals and to organize song and dance festivals in the district, where practitioners exchange ideas and share experiences on the subject.

In Matutuíne, for example, 18 groups are registered as practicing Xigubo. But only 13 dance regularly, performing at festivals.