Introduction

The War Memorial, located in Maputo, Mozambique, is a monument that carries two distinct stories, reflecting both an official narrative and a popular one. While the official story sees it as a tribute to the European and African warriors of the First World War, the popular narrative attributes its creation to a heroic local event, where a woman (locally known as Nwanhoka) is said to have killed a snake that terrorized the community. This article explores these two interpretations, revealing how a monument can acquire multiple meanings depending on the cultural context and collective memory.

The official story: honoring the warriors of the Great War and symbolizing colonial glory

The War Memorial was built in 1935 as part of the Portuguese colonial government’s effort to reinforce imperial identity in Mozambique. Designed by sculptor Ruy Roque Gameiro and architect Veloso Camelo, the monument was erected to celebrate Portugal’s participation in World War I and to immortalize the soldiers who fought for the homeland. The Commission of War Memorials, composed of former combatants, led the initiative, inspired by the French model of venerating war heroes.

The elements of the monument, such as the four commemorative plaques of the battles in Mecula, Quivambo, Quionga, and Mevala, are direct representations of this official narrative. The sculpted serpent symbolizes scientific knowledge and the protection that the Portuguese believed they had provided to their colonies. The female figure at the top represents the Portuguese motherland, holding a shield and sword, symbols of Portugal’s conquests over time.

The popular legend: nwanhoka, the local heroine of hot porridge

Parallel to the official story, a popular narrative emerged among local residents, offering an alternative explanation for the War Memorial. According to this version, the monument was erected in honor of a woman who saved the community from a deadly snake. It is believed that this woman, from Katembe, prepared a pot of hot porridge and, while passing through the area where the snake lived, managed to kill it, thus protecting the inhabitants. This story, widely spread through oral tradition, presents the woman at the top of the monument as a local heroine, celebrated for her courage and cunning.

This popular legend may have originated in a context of low literacy and limited access to the official history, allowing an alternative narrative to be constructed and kept alive in collective memory. The process of cultural appropriation transforms the memory of the monument, making the popular story as powerful as the official one.

The monument’s duality and the complexity of collective memory

The existence of two stories for the same monument illustrates how collective memory is susceptible to different interpretations and how these interpretations can coexist, shaping public perception. The legend of the woman who killed the snake, although not historically proven, resonates strongly with the local population, highlighting the power of popular narratives in shaping cultural identity.

On the other hand, the official story of the War Memorial, which emphasizes Portuguese achievements, reflects an attempt to perpetuate colonial dominance through enduring symbols. However, the ability of the popular narrative to rival the official one demonstrates cultural resistance and the importance of collective memory in post-colonial contexts.

Contemporary relevance and cultural resistance

Over time, the War Memorial has evolved beyond its original purpose, becoming a symbol of reflection on Mozambique’s colonial legacy. The coexistence of both official and popular narratives highlights the cultural resilience of the local community, with the popular legend acting as a form of symbolic resistance, allowing Mozambicans to reclaim and reinterpret a colonial symbol within their own cultural context.

This duality not only preserves the memory of a local event but also fosters an ongoing dialogue between the past and present. The monument serves as a powerful reminder of the role of collective memory in shaping national identity, illustrating how official histories can be contested and redefined by the people, thereby emphasizing the complex social and cultural dynamics within Mozambique.

Conclusion

The War Memorial is more than just a monument; it is a symbol of the complexity of memory and cultural narratives in Mozambique. The two stories associated with it, the official and the popular, reveal different ways of understanding and valuing the past. While the official story seeks to glorify colonial achievements, the popular narrative offers a local and heroic vision, re-signifying the monument for the community. Thus, the War Memorial continues to be a point of convergence between the colonial past and the living memory of a people reconstructing their own history.