Nestled quietly along Tanzania's eastern coastline, Bagamoyo is more than just a sleepy fishing town — it's a living canvas of Swahili culture, layered history, and haunting memory. Once the final stop for thousands of enslaved Africans before they were shipped abroad, Bagamoyo is today reclaiming its story through art, architecture, and cultural renaissance.
As Tanzania experiences a growing global fascination with its heritage and wildlife, Bagamoyo offers travelers and art lovers an emotionally rich journey into the past — and an inspiring source of creative energy today.
In this article, we explore everything that makes Bagamoyo special — its history, culture, art, architecture, and modern-day significance — and how its story lives on in vibrant, expressive African paintings available at TingatingaArt.com, where Bagamoyo-style artworks give voice to the untold stories of Tanzania.
The name Bagamoyo is derived from the Swahili words “Bwaga Moyo,” which literally translate to “Lay down your heart.” Few place names in the world carry such a powerful emotional weight. At first glance, the phrase might seem poetic — even romantic — but when understood within its historical context, it becomes deeply tragic and profoundly symbolic.
This name was not chosen arbitrarily. It emerged from the lived experience of thousands of enslaved Africans who passed through Bagamoyo during the height of the East African slave trade. After enduring brutal journeys that spanned hundreds of kilometers — often on foot from the interior regions of Tanzania, Congo, Rwanda, and Malawi — these captives arrived in Bagamoyo as their final stop on African soil.
Imagine what it must have felt like to reach this coastal town after weeks or months of walking through dense forests, treacherous terrain, and punishing heat, all while chained together, under constant surveillance, and deprived of basic human dignity. Upon arrival at the shores of the Indian Ocean, the realization would sink in: there was no turning back. This was the end of their homeland, the end of familiarity — and the beginning of an uncertain, likely brutal, new existence across the sea.
It was in this moment — when the spirit broke and hope withered — that people whispered or wept the phrase “Bwaga Moyo” — “Lay down your heart.” The phrase became both a surrender and a mourning song, encapsulating resignation, fear, sorrow, and helplessness all in one. Bagamoyo was where dreams died and despair took root.
But the name “Bagamoyo” is more than just a tragic memorial. It also offers an entry point into understanding Tanzania’s complex cultural and historical identity. The town’s name acts as a portal, a symbol that communicates centuries of pain, resistance, cultural exchange, and spiritual endurance.
To the enslaved, it was the end of freedom.
To the traders, it was a lucrative port in the Indian Ocean economy.
To the missionaries, it was a frontier of salvation and reform.
To today’s historians and artists, it is a monument to memory.
This layered identity is exactly what inspires so many Bagamoyo-style paintings found on TingatingaArt.com. Our artists don’t just paint ships and figures — they paint emotions. Through expressive brushstrokes, they capture the weight of history, the sorrow in the eyes of mothers separated from children, and the fading footprints of chained caravans marching toward the sea.
During the 18th and 19th centuries, Bagamoyo emerged as one of the most significant and strategic ports along the East African coast, serving as the final transit point in a vast and brutal network of trade that spanned the interior of Africa to the global markets of the Indian Ocean world. At its height, Bagamoyo was not just a port — it was a nerve center for the East African slave trade, ivory trade, and commercial expeditions orchestrated by Arab, Swahili, and later European merchants.
The process of human trafficking in East Africa was chillingly systematic. Caravans — often organized by powerful Swahili and Arab traders — departed from the coast and moved deep into the African interior, reaching as far west as modern-day Congo, Rwanda, Burundi, and Zambia. These trading expeditions could last for months, sometimes more than a year, and were notorious for their violence and cruelty.
Captured individuals were forcibly taken from their villages, often during raids or as prisoners of inter-tribal warfare, and forced to march hundreds, even thousands, of kilometers on foot. These treks were grueling and inhumane:
Prisoners were bound with chains or wooden yokes.
Food and water were scarce.
The sick and weak were often left to die on the trail.
Bodies were not buried — left instead for animals or the elements.
The caravans didn't just carry people — they also transported ivory tusks, which were equally prized by traders in Zanzibar, the Middle East, and India. The enslaved people were often used to carry the ivory themselves, making them both cargo and porters.
Some of the most important waypoints on this inland route were:
Tabora – a major commercial hub in central Tanzania, where Arab traders organized supplies and temporary storage of slaves.
Ujiji – located near Lake Tanganyika, and one of the oldest trading posts in East Africa. It’s also where famous explorers like Henry Morton Stanley and Dr. David Livingstone intersected with this horrific trade.
Kigoma, Mpwapwa, Kondoa, and smaller settlements were also key pit stops.
Eventually, the caravans would arrive at Bagamoyo, the coastal endpoint. For the enslaved, it was the last place they would see on the African mainland — a place synonymous with despair, finality, and loss.
Upon reaching Bagamoyo, the enslaved were processed like commodities. The town had developed an infrastructure to facilitate this trade — horrifying in its efficiency.
Once in Bagamoyo, enslaved people were:
Several holding cells, sometimes referred to as “slave pens” or masikini, existed near Bagamoyo’s old stone market. These cramped, airless rooms were often underground or enclosed with coral stone walls, providing no sunlight, minimal ventilation, and little regard for human comfort. Men, women, and children were packed together with no bedding, poor sanitation, and under constant surveillance by armed guards.
Some were held for days or weeks, waiting for dhows (traditional sailing vessels) to arrive from Zanzibar or other coastal islands.
Much like livestock or ivory, enslaved Africans were publicly displayed and sold at markets in Bagamoyo. Potential buyers, including traders from Zanzibar, Oman, India, and the Persian Gulf, would inspect them for physical health and “desirability.”
Prices varied depending on:
Age
Gender
Physical strength or condition
Skills (e.g., domestic work, farming)
Families were separated without a second thought. Children sold apart from parents. Spouses divided. Names stripped. Identities erased.
At TingatingaArt.com, you’ll find Bagamoyo-inspired paintings that depict these historical scenes with solemnity and truth. Painted in the bold, expressive style of African folk art, these pieces are both aesthetic statements and emotional storytelling tools.
In the mid-19th century, as the slave trade reached its peak on the East African coast, a new kind of presence arrived in Bagamoyo — one that would leave a lasting spiritual, cultural, and architectural imprint. Around the 1860s, a group of Catholic missionaries from the French-based Holy Ghost Fathers (Congregation of the Holy Spirit) established a mission in Bagamoyo. Their arrival marked a turning point in the town’s trajectory, introducing not just Christianity, but also education, medical care, and the early documentation of the inhumanity of the slave trade.
While not without controversy — missionaries were still agents of European influence during the colonial era — the Holy Ghost Fathers played a critical humanitarian role during a time of immense suffering. Their mission compound in Bagamoyo became a sanctuary for freed slaves, a center for religious and academic instruction, and a symbol of moral resistance to the injustices taking place just beyond its walls.
The missionaries were among the first outsiders to witness the slave trade firsthand, and they were horrified by what they saw. Although they did not possess military or political power to stop the trade, the Holy Ghost Fathers used their influence in several ways:
Documenting atrocities: They kept journals, letters, and reports describing the brutal treatment of enslaved people. These documents later helped fuel anti-slavery sentiment in Europe.
Providing refuge: Many escaped or liberated enslaved people — including orphaned children — were sheltered within the mission’s walls. Some were baptized and raised within the Christian faith, while others were trained in basic skills like reading, farming, and carpentry.
Preaching a message of compassion: In contrast to the dehumanization of the slave trade, the missionaries offered a doctrine of human dignity and salvation. For many Africans, this new religious worldview provided hope in a time of despair.
The mission became a place of transition — from bondage to freedom, from fear to faith. It was here that new African Christian communities began to form, rooted in Tanzanian soil but informed by European theological traditions.
Today, the legacy of the Holy Ghost Fathers is still visible in Bagamoyo, especially through several key landmarks that have become historical sites and symbols of resilience:
Built in the 1870s, this was one of the first stone-built Catholic churches on the mainland of East Africa. Its architecture reflects a mixture of European missionary design and coastal Swahili building materials, including coral stone and timber.
Today, the church compound has been converted into a museum, offering a powerful walk through Bagamoyo’s layered history:
Exhibits on the slave trade, featuring photographs, missionary letters, and testimonies.
Displays of early Christian evangelism, liturgical items, and local converts.
Documentation of German and British colonial rule, including records of missionary activity during periods of tension.
For visitors, this museum offers more than facts — it provides an emotional journey through the intersecting forces of religion, resistance, and remembrance.
Located near the coastline, just a short walk from the church, stands the simple yet iconic “Cross by the Sea.” This weathered monument marks the spot where the body of famed missionary and explorer Dr. David Livingstone was laid in state on its journey from the African interior to England.
After Livingstone died in present-day Zambia in 1873, his African companions carried his body over 1,000 miles to Bagamoyo — a powerful gesture of loyalty and reverence. The body was temporarily held at the Holy Ghost Fathers’ mission before being shipped to Zanzibar, and eventually buried in Westminster Abbey in London.
The Cross stands not only as a tribute to Livingstone, but also as a symbol of cross-cultural respect, the interconnectedness of Africa and Europe, and the role of Bagamoyo as a spiritual waypoint.
This powerful story often appears in Bagamoyo-style paintings, including several pieces at TingatingaArt.com, where artists depict the carrying of Livingstone’s body, the Cross by the Sea, and missionary scenes with reverence and artistry.
In Bagamoyo, churches are not just places of worship — they are monuments to human endurance, cultural fusion, and historical memory.
Unlike many churches in other parts of the world, these religious structures sit directly atop the old slave routes. Their proximity to the sea, the slave market, and colonial forts gives them a unique aura — they are silent witnesses to centuries of transformation, from slavery to freedom, from violence to peace.
Their enduring presence makes them powerful motifs in African art, especially in the Tingatinga and Bagamoyo painting traditions.
At TingatingaArt.com, our artists regularly incorporate:
Church spires rising over coastal landscapes, symbolizing hope and endurance.
Missionaries offering help to chained figures, juxtaposing spiritual compassion with human suffering.
Traditional Swahili architecture blended with Christian imagery — a visual metaphor for Tanzania’s complex religious and cultural history.
These paintings not only honor the role of the church but also document a chapter of African history that is too often overlooked or oversimplified.
While Tanzania is a religiously diverse nation — with Islam, Christianity, and indigenous beliefs coexisting — the influence of early missionary activity in Bagamoyo continues to be felt. Today, the churches of Bagamoyo are active centers for:
Worship and spiritual growth
Community education
Historical tourism
Interfaith dialogue
Visitors to Bagamoyo often report a sense of peace and reflection when walking through these religious sites, particularly the mission museum and the Cross by the Sea. They feel a connection not just to history, but to humanity — a shared yearning for redemption, memory, and meaning.
Bagamoyo’s missionary legacy lives on not only in churches and monuments but also in art. At TingatingaArt.com, we believe that every canvas tells a story, and many of our paintings reflect the spiritual depth and architectural beauty of Bagamoyo’s Catholic sites.
Whether it's a depiction of the old church at sunset, or a symbolic piece featuring the Cross by the Sea, or a surreal representation of a freed slave finding sanctuary within mission walls — these paintings are rich in meaning and rooted in history.
They are not just beautiful — they are sacred visual testaments to Bagamoyo’s enduring soul.
Walking through the winding streets of Bagamoyo’s old quarters is like stepping into a living museum, where every building stands as a silent witness to centuries of rich history and cultural exchange. The architecture of Bagamoyo is a unique fusion that reflects its role as a historic trading port and a crossroads of diverse civilizations.
Key Architectural Influences:
Swahili Coral-Stone Houses:Â These homes are hallmark examples of Swahili architecture, built from coral stone and mangrove timber. Their distinct, hand-carved wooden doors showcase masterful craftsmanship, often adorned with intricate floral and geometric patterns. These elegant houses were designed to blend practicality with beauty, providing cool interiors suited to the coastal climate. They represent the indigenous coastal culture that has thrived through centuries of trade and interaction across the Indian Ocean.
Arab and Omani Design: From the 18th century, the influence of the Sultanate of Oman is unmistakable throughout Bagamoyo. The graceful arches, elaborately carved wooden window frames, and enclosed courtyards speak to this Arab heritage. Stucco decorations and domed structures reflect a blend of Islamic aesthetic principles adapted to the East African environment. This architectural style tells of Bagamoyo’s importance as a key outpost in the Sultanate’s trading empire, linking Africa with Arabia and beyond.
German Colonial Legacy:Â The late 19th and early 20th centuries saw Bagamoyo fall under German colonial rule. The Old Boma (administrative headquarters) and the Customs House stand as imposing reminders of this era, with their solid, austere structures and large windows. These buildings combine European architectural elements with local materials, symbolizing the tension and blending of colonial authority with indigenous culture.
Though many of these buildings now bear the wear of time—weathered walls, peeling paint, and crumbling facades—they remain profound monuments to a layered past. Their faded beauty evokes memories of the bustling markets, diverse communities, and the ebb and flow of merchants, missionaries, and explorers who passed through Bagamoyo.
More than mere relics of stone and wood, these edifices inspire artists, storytellers, and historians, immortalizing the town’s spirit in vibrant African paintings and literature. The architecture of Bagamoyo thus serves not only as a physical link to history but as a continuing source of cultural pride and identity, reminding us that while buildings may decay, the stories they hold endure timelessly.
Explore the Bagamoyo architecture series at TingatingaArt.com, where local artists immortalize these structures in colorful, surreal, and evocative art.
In the late 20th century, Bagamoyo began a remarkable transformation from a historic port town to Tanzania’s dynamic cultural and artistic hub. This evolution has been driven by a deep-rooted commitment to preserving and celebrating Tanzania’s rich artistic heritage, while also embracing innovation and global influences.
At the heart of Bagamoyo’s creative renaissance is the Bagamoyo College of Arts, now known as the Tanzania State University of Arts and Design (TaSUBa). This national institution has become a beacon for aspiring artists across Tanzania and East Africa. Through rigorous training programs in dance, music, theater, and fine arts, TaSUBa nurtures new generations of creative talent. Students immerse themselves in both traditional and contemporary artistic practices, ensuring that the legacy of Tanzanian art continues to thrive while adapting to modern expressions.
Every year, Bagamoyo bursts into vibrant life with the Bagamoyo International Arts Festival, a flagship cultural event attracting performers, artists, and audiences from all over Africa and beyond. This festival showcases a dazzling array of music, dance, theater, and visual art, celebrating the continent’s diverse artistic expressions. It serves as both a platform for cultural exchange and a powerful reminder of Bagamoyo’s longstanding role as a crossroads of creativity and connection.
Bagamoyo itself is an enduring muse for many Tanzanian painters, particularly those working in the Tingatinga tradition—a bold and colorful painting style that originated in Dar es Salaam in the late 1960s. While Tingatinga art began as a distinctive genre characterized by vivid colors, playful motifs, and accessible storytelling, it has since evolved with strong regional variations. The Bagamoyo-style compositions are notable for integrating coastal themes, Swahili culture, and the natural beauty of the area. This style captures everyday life, folklore, wildlife, and the spirit of the sea in striking, imaginative visuals that resonate locally and internationally.
Beyond formal institutions and festivals, Bagamoyo’s streets, studios, and community centers are alive with artists working in diverse media—sculpture, textiles, printmaking, and contemporary installations. The town’s creative energy springs from a fusion of its history, cultural diversity, and the ongoing dialogue between tradition and modernity.
Today, Bagamoyo stands not only as a guardian of Tanzania’s artistic heritage but as a thriving incubator of cultural innovation—a testament to the power of art to inspire, connect, and shape communities.
While Tingatinga art is widely recognized for its bright colors, stylized animals, and bold outlines, Bagamoyo-style paintings introduce a distinct and nuanced tone that sets them apart. Unlike the playful and whimsical motifs typical of classic Tingatinga art, Bagamoyo-style works are more historical, symbolic, and deeply narrative-driven, reflecting the rich cultural and historical layers of the coastal town and its surroundings.
Slave Caravans and Dhows:Â These paintings often depict poignant scenes of historical significance, such as the somber journeys of slave caravans and the traditional dhows that sailed the Indian Ocean, symbolizing Bagamoyo's role in historical trade and the painful legacy of slavery. These works turn history into visual memory, evoking reflection on past suffering and resilience.
Coral-Stone Ruins and Arabic Doorways:Â Architectural elements like coral-stone ruins and elaborately carved Arabic doorways are prominent motifs, highlighting Bagamoyo's unique Swahili and Arab heritage. These symbols speak to both beauty and decay, as the ruins symbolize the passage of time and fading grandeur, yet also the enduring cultural identity.
Fishermen and Traders on the Indian Ocean: Scenes portraying daily life—fishermen casting their nets, traders engaging in commerce—celebrate the vibrant, ongoing relationship between the people of Bagamoyo and the sea. These images are imbued with movement and rhythm, capturing the coastal community's livelihood and cultural continuity.
Missionaries and Colonial Officials:Â Historical and cultural narratives also include the presence of missionaries and colonial administrators. These figures reflect complex encounters between indigenous traditions and foreign influences, illustrating themes of cultural exchange, conflict, and adaptation.
Spiritual Scenes Mixing Islam, Christianity, and African Belief Systems: Bagamoyo-style paintings frequently explore the spiritual tapestry of the region, portraying scenes that blend Islamic faith, Christian symbolism, and indigenous African spiritual practices. This fusion reflects the town’s rich, multi-faith heritage and the coexistence of diverse belief systems.
What makes Bagamoyo-style paintings powerful and distinctive is their ability to turn pain into beauty, memory into art, and history into a tangible, visual form. Each painting acts as a vessel that preserves stories not just for historical record but for emotional reflection and cultural pride.
Through their detailed, narrative compositions, these paintings invite viewers to reflect on the complexities of history—the trauma of slavery, colonialism, and spiritual encounters—while also admiring the resilience, vibrancy, and humanity of Bagamoyo’s people. The art transforms collective memory into something one can literally hang on a wall, making history accessible and personal.
Bagamoyo-style paintings tend to be less dominated by the bold outlines and whimsical animal motifs that characterize traditional Tingatinga art. Instead, they adopt a more symbolic and illustrative approach, with a focus on storytelling and historical context. The colors may still be vibrant but are often used to enhance the narrative and emotional weight rather than simply for decorative effect.
In essence, while Tingatinga art reflects the playful, imaginative, and colorful spirit of East African wildlife and culture, Bagamoyo-style paintings serve as a bridge between art and history, memory and identity—transforming collective experiences into visual poetry.
Visit TingatingaArt.com to browse original Bagamoyo-inspired paintings from Tanzanian artists.
Bagamoyo, long overshadowed by iconic Tanzanian destinations like Zanzibar and the Serengeti, is gradually reemerging as a compelling travel destination celebrated for its rich history, cultural authenticity, and artistic vibrancy. Visitors seeking a quieter, more reflective, and authentic experience find Bagamoyo’s blend of heritage sites, coastal charm, and creative spirit highly rewarding.
The Old Fort (Ngome Kongwe): Built by Arab traders and later used by German colonialists, this circular coral rag structure with a fortified roof served variously as a fortress and prison. It stands as a powerful symbol of Bagamoyo’s layered past, especially its role in the East African slave trade.
German Boma:Â This imposing colonial administrative building, constructed in 1897, was the regional headquarters under German East Africa rule. It offers insight into the colonial history of the region and is a key architectural relic of European influence.
Kaole Ruins: Located just outside Bagamoyo, the Kaole Ruins date back to the 13th century and consist of ancient coral-stone mosques, tombs, and a preserved cemetery with distinctive pillar tombs up to 7 meters high. These ruins offer a unique glimpse into early Swahili-Islamic civilization on the East African coast and the region’s role in historic trade and cultural exchange.
Fish Market: This vibrant, bustling market offers a living snapshot of Bagamoyo’s coastal culture. Visitors can witness daily life by the Indian Ocean, watching fishermen bring in fresh catches and local traders bartering—a sensory experience rich in color, sound, and tradition.
Art Galleries and TaSUBa (Tanzania State University of Arts and Design): Near this renowned art school, visitors encounter numerous galleries showcasing contemporary Tanzanian art, traditional crafts, and vibrant works inspired by Bagamoyo’s history and natural beauty. The town’s arts community is central to its cultural revival and draws artists and tourists alike.
Bagamoyo Museum and Caravan Serai Museum:Â Housed in former colonial buildings, these museums offer engaging exhibits on the history of Bagamoyo, including its crucial role as a trading post for goods and enslaved people. Artifacts, photographs, and historical records help visitors understand the complex trade networks and cultural interactions that shaped the region.
Catholic Church & Mission Museum: Home to the first Catholic Church in East Africa, built around 1868, this museum complex includes cemeteries (Catholic, German, and Indian), the Old Fathers’ house, and the Cross by the Sea—a monument marking the resting place of Dr. Livingstone’s body before it was moved to Zanzibar.
Saadani National Park and Mangrove Boardwalks:Â While just beyond the town itself, these natural attractions offer wildlife safaris and peaceful walks through diverse ecosystems, complementing the cultural exploration of Bagamoyo with opportunities for nature-based tourism.
Bagamoyo’s appeal lies not just in its historic sites but in the authentic and slower-paced cultural experience it offers compared to more commercialized tourist hubs. Walking through its old town, visitors encounter well-preserved Arab and Swahili architecture with intricately carved wooden doors and thick coral stone walls. The town’s narrow streets hold stories of traders, missionaries, colonial powers, and indigenous communities.
Bagamoyo’s cultural tourism focuses on the preservation of history while fostering contemporary artistic expression. The presence of the TaSUBa art college and the annual Bagamoyo International Arts Festival reinforces its position as a creative and intellectual center rooted in East African tradition yet open to global influences.
For travelers interested in history, art, and coastal culture, Bagamoyo presents an intimate, layered experience where one can explore the remnants of an ancient port, enjoy local music and dance performances, shop for handcrafted art, and reflect on the enduring legacies of multiple cultures.
This combination of historic monuments, living markets, artistic venues, and tranquil beaches makes Bagamoyo a quietly compelling alternative to Tanzania’s more famous destinations—one that rewards those seeking depth, reflection, and a genuine connection with the country’s coastal heritage.
In many profound ways, Bagamoyo stands as the very soul of African art — not through fame or widespread renown, but through the depth of feeling and history it embodies. It is a place where the echoes of resilience, survival, and cultural fusion reverberate through every brushstroke, every carving, and every performance, reflecting the complex narrative of the continent itself.
The stories that define Bagamoyo — tales of endurance amid hardship, encounters between diverse peoples, and the rich blending of traditions — are interwoven into the fabric of African art as a whole. Here, art is not merely decoration or entertainment; it is a living archive of memory and identity.
Imagine a fisherman, silhouetted against the soft blush of a pink coastal dawn, casting his net into the endless expanse of the Indian Ocean — a timeless ritual that honors sustenance, patience, and the intimate relationship between people and nature. Feel the weight of history in a slave caravan winding slowly toward the shore, each figure a testament to pain turned into strength, sorrow transformed into remembrance. See the stark beauty of a crumbling colonial facade, embraced by the shadow of a majestic baobab tree — a poignant symbol of nature’s endurance and the layered human stories embedded in stone and mortar.
Every scene that emerges from Bagamoyo’s artistic tradition captures an unvarnished Tanzanian truth — a moment that transcends time and invites reflection. These moments, once fleeting or forgotten, become tangible and shareable through art, enabling us to honor the past, acknowledge the present, and inspire the future.
To own a Bagamoyo-inspired artwork is to hold a piece of this emotional landscape in your hands — a powerful reminder that art is not only about beauty but about bearing witness, telling stories, and nurturing a collective soul that extends far beyond the canvas.
At a time when history is often forgotten or rewritten, Bagamoyo-style paintings preserve the truth through brushstroke and symbolism.
They serve as:
Educational tools for younger generations.
Decor pieces that spark conversation and reflection.
Cultural artifacts that bridge the past and the present.
At TingatingaArt.com, our mission is to amplify Tanzanian voices through authentic African art. We work directly with local artists — many from Bagamoyo, Dar es Salaam, and surrounding areas — to bring you original, museum-quality paintings.
Whether you’re decorating your home, starting an art collection, or looking for a meaningful gift, a Bagamoyo-style painting does more than fill a wall — it tells a story.
At TingatingaArt.com, we offer:
Original hand-painted artworks
Canvas and framed options
Worldwide shipping
Secure online checkout
Artwork from verified Tanzanian artists
Each piece is unique. Each one carries a piece of Tanzania — of Bagamoyo — into your space.
Bagamoyo is not just a place — it’s a memory, a metaphor, and a mirror. It reflects Africa’s deep wounds, but also its unbreakable spirit and boundless creativity.
Through the lens of Bagamoyo-style paintings, we are invited to see, feel, and remember. We are invited to learn — and to lay down our hearts.
Discover the art that tells these stories. Visit TingatingaArt.com and explore our exclusive collection of Bagamoyo-inspired African paintings — crafted with soul, shaped by history, and made in Tanzania.
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Centimeters (CM) |
Inches (IN) |
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50CM x 40CM |
19 11/16 in XÂ 15 3/4 in |
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50CM x 50CM |
19 11/16 in XÂ 19 11/16 in |
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60CM x 60CM |
23 5/8 in XÂ 23 5/8 in |
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70CM x 50CM |
27 9/16 in XÂ 19 11/16 in |
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80CM x 60CM |
31 1/2 in XÂ 23 5/8 in |
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100CM x 80CM |
39 3/8 in XÂ 31 1/2 in |
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140CM x 110CM |
55 1/8 in X 43 5/16 in |
