Gulewamkulu

Gulewamkulu

Gulewamkulu dancing mask worn by Nyaus from Malawi and Zambia
Etymology	Healing dance
Genre	Traditional
Instrument(s)	Clapping Drums Bongos Shakers Congas Agogô Triangles
Inventor	The Chewa people (ethnic group)
Year	1700
Origin	Malawi, Zambia

The Gulewamkulu is a traditional dance performed by the Chewa people of Malawi, Zambia, and Mozambique.^[1][2] The name "Gulewamkulu" roughly translates to "the great dance.”^[3]

Its origin dates back to the 17th century. The dance was performed by the Nyau societies in Central and Southern Africa. The Chewa perform the dance to communicate with the souls of the deceased, their ancestors, and their gods.

The dance was performed to honor spirits who were believed to provide protection, guidance, and blessings. It is associated with the expression of Chewa cultural principles, faith, and traditional practices, including beliefs about their bond with the environment and the metaphysical.^[4][5][6]

The dancers wear elaborate animal costumes and masks and perform energetic movements; the Gulewamkulu dance is said to symbolize life's struggles and victories. The dancers usually move in rhythmic patterns with drumming and singing; the performance is often seen as facilitating a spiritual connection.^[7]

The Gulewamkulu traditional dance has its roots in the cultural heritage of the Chewa people, who trace their origins to the Bantu migration from central Africa. The dance is believed to have originated in the 17th century, during the reign of the Chewa king, Kalonga Chidzonzi. Kalonga Chidzonzi, also known as the "Great Python," is described as a ruler who united the Chewa people. He established the Nyau societies, secret fraternal organizations associated with maintaining social order, resolving conflicts, and preserving cultural traditions. One of the figures associated with the development of the Gulewamkulu dance is the Chewa chief and spiritual leader Mwali Chipingu. According to tradition, Mwali Chipingu is said to have received inspiration from the spirits to create a dance that would honor the ancestors and communicate with the spirit world.^[8]

Collaborating with other Chewa leaders, including Chief Kaduya and Chief Mkoko, Mwali Chipingu is said to have choreographed the dance, designed the masks and costumes, and composed the accompanying music and songs. The dance was initially performed by the Nyau societies, who wore the elaborate masks and costumes to represent various spirits, animals, and ancestors. Over time, the Gulewamkulu dance spread throughout the Chewa territories, with different regions developing their unique styles and variations. Despite the impact of colonialism, Christianization, and urbanization, the dance has remained an important part of Chewa culture, with efforts made to preserve and promote this cultural heritage.^[9]

The Gulewamkulu is more than just a dance performance; it is a ceremonial ritual that plays a vital role in Chewa community life and spirituality. Traditionally, Gulewamkulu ceremonies are held during major occasions such as initiation rites, harvest festivals, weddings, funerals, and the installation of chiefs.^[10] Notably, the dance is often performed in the dry season following the July harvest, when communities gather to celebrate and thank their ancestors. During these events, the Gulewamkulu serves as a bridge between the living and the spiritual realm, it is believed that the spirits of the ancestors take on corporeal form through the masked dancers, who dance among their living descendants.This is done not merely to entertain, but to inform, chastise, and guide the community according to ancestral wisdom.^[11] In Chewa belief, the ritual thus reinforces respect for ancestors and affirms the community’s connection to its heritage and the spirit world.

A Chewa Gulewamkulu mask from Malawi (late 20th century), made of wood, paint, feathers, and other materials^[12] Such masks and costumes represent various characters in the Nyau masquerade and are regarded not as mere props but as manifestations of ancestral spirits.

The performance of Gulewamkulu is marked by elaborate costumes, energetic dancing, and powerful drumming. Dancers (all of whom are initiated Nyau men) wear full-body costumes and carved wooden masks often representing animals, ancestral spirits, or even modern figures, each with a distinctive appearance and personality^[13] For example, masks might depict wild animals or spirit beings, and more recently some even portray modern objects (such as a motorbike or helicopter) or notable individuals, reflecting contemporary issues. Each character mask is rich in symbolism: it is typically associated with specific songs, drum rhythms, and dance styles, and it often embodies a moral lesson or cautionary tale.^[14] Many characters personify forms of misbehavior or vice (often in a comical or frightening way) as a means to teach the audience social and moral values.^[15] In this way, Gulewamkulu functions as a form of community education and social regulation, transmitting ethical principles and cultural knowledge to the younger generation through dance and storytelling.

Another key aspect of Gulewamkulu’s cultural importance is its role in addressing sensitive social topics and even providing social commentary. The masked dancers, believed to be spirits while in costume, have license to speak truth to power and tackle taboo subjects. During performances, they may use humor, satire, and dramatization to convey messages about issues that are otherwise difficult to discuss openly – for instance, public health concerns or critiques of misconduct in the community^[16] Because the dancers are considered spirit messengers rather than ordinary people, they can lampoon leaders or criticize immoral behavior without fear of personal retribution. Historically, even political figures recognized the influence of Gulewamkulu; Malawi’s first president Hastings Kamuzu Banda (himself of Chewa origin) famously leveraged Nyau dances at political rallies both to assert Chewa cultural identity and to intimidate opponents^[17] This illustrates how deeply ingrained the Gulewamkulu is in Chewa society – it has been a vehicle not only for spiritual expression but also for social cohesion and political influence.