Ana Magaia

Magaia was born in Lourenço Marques (now Maputo), Mozambique, on 27 December 1958. She is the daughter of José Francisco dos Remédios and Judite João Baptista Machalele. From an early age she participated in local community performances in Bairro do Aeroporto, where she developed an interest in music, dance and acting. ==Career==

Theatre Magaia began her artistic career in theatre shortly after Mozambique’s independence in 1975. She was a member of the cultural troupe Tchova Xita Duma and appeared in post-independence stage productions such as Xiluva (1983), Rosita até Morrer by Luís Bernardo Honwana (1983), A Boa Pessoa de Sezuany by Bertolt Brecht (1986), and A Revolta da Casa dos Ídolos by Pepetela (1984). In 2002, she participated in the Lusophone co-production Vim-te Buscar in Lisbon, Portugal, promoted by Cena Lusófona. Magaia continues to perform and direct in Maputo, often focusing on socially conscious and educational theatre. Film and television Magaia made her screen debut in the 1985 co-production O Tempo dos Leopardos, directed by Zdravko Velimirović. She gained national recognition with the 1994 television series Não é Preciso Empurrar, considered Mozambique’s first telenovela. She has also worked behind the scenes as a casting director and assistant director in films such as África Dreaming (1997) and Terra Sonâmbula (2007). Her later film roles include: • Mosquito (2020) – directed by João Nuno Pinto, as Namuku. • Granma Nineteen and the Soviet’s Secret (2019) – directed by João Ribeiro, as Grandmother Catarina. ==Awards and recognition==

Magaia is an advocate for arts education and for the professionalisation of the Mozambican film industry. She has welcomed the introduction of the country’s new Cinema and Audiovisual Law as a positive step toward greater stability and opportunity for artists. ==Selected filmography==

Magaia is widely recognised as a pioneer of post-independence Mozambican cinema and theatre. Her career spans more than forty years, during which she has mentored younger artists and contributed to the professionalisation of the Mozambican arts industry. ==References==