
Introduction
The pots and pans that were banged at night in Mozambique in late 2024 and early 2025 are now silent. However, their legacy is neither muted nor forgotten—reflecting similarly the trajectories of other forms of protest the last decades which has shaken Mozambique and, especially, its ruling party (see Bertelsen 2014).
What unfolded was extraordinary: The country’s heavily contested presidential and parliamentary election of 9th October 2024 was followed by loud street-based protests and riots across Mozambican cities which were often met with brutal violence by police and security forces. The clashes between young men and the police left around 400 dead and thousands injured.
Here I would like to draw attention to a form of protest that was somewhat eclipsed by the street-fighting, namely the banging of pots by female protestors in their homes and on the street. These female protestors engaged the collective sensorium of urban citizens and shifted the very sense of security and insecurity in this highly unpredictable political situation. Beating pots—on balconies, in courtyards, in kitchens with open windows and in the streets—mediated the population’s sense of insecurity, amounting to a gendered form of collective rejection of the violence of the state apparatus. For Mozambique, this marked a definite shift in terms of both the participation and the format of political opposition in the country, the noise also, crucially, instilling fear in the erstwhile security apparatus and the police
Maputo 2024 and 2025: Protests, rhythm, collective security
Centuries of Portuguese colonial rule and violence ended with liberation in 1975 at the hands of Frente de Libertação de Moçambique (Frelimo – Front for the Liberation of Mozambique). In the half-century that followed, Mozambique has seen ongoing civil war conditioned respectively by Cold War dynamics (1976/77-1992), experiments in Afrosocialism (1980s), and multiparty elections from 1994 onwards. Given the merging of the Frelimo party with the Mozambican state apparatus in this period (Bertelsen 2016), few were surprised when Frelimo won in October 2024, securing the party elite victory in both the parliamentary and presidential elections.
However, in Mozambique’s last election Frelimo attained a majority so improbable that it defied even the most cynical of expectations among experts and citizens alike. For instance, ghost armies of voters—politically loyal subjects conjured from the realms of both the living and the dead—were called up to attain majorities for Frelimo in districts widely known as opposition party strongholds. Rampant ballot-stuffing bolstered other draconian moves, including manipulation of the country’s complex vote-counting system and widespread voter intimidation.
Formal complaints by the opposition were initially quashed, deepening the unpopularity of Frelimo. Protestors rapidly took to the streets and engaged police and security forces in sustained battles. By 27 January 2025, 313 protestors were registered as killed. While there had been protests against previous elections, the scale, form and distribution surpassed these (Feijó and Chiure 2025a, 2025b).
Central to the protests unfolding over several months was how Venancio Mondlane—popularly called VM7 and the founder of a new opposition party—emerged to contest the result. His firebrand speeches drew heavily on his background as a pastor in the Pentecostal church Igreja Ministério Divina Esperança. VM7’s dramatic contestation included well-orchestrated social media broadcasts from his exile in South Africa and a dramatic heroic re-entry into Maputo on 9 January 2025 where he was greeted like a hero—all cast, recast and morphed on social media.
Revisiting such events in November 2025, these months of unrest and protests also assumed a new and, for Mozambique, unprecedented shape—or, better, shapelessness. Evading the violence of the streets and residing within their apartments, on balconies or in courtyards, every night, female citizens banged their pots and pans for hours, chanting slogans against the Frelimo regime and the stolen election, sometimes accompanied by blowing whistles. In many video clips circulating on social media, one may see that the officers from the police force and the security apparatus are visibly affected by the noise surrounding them, treading more carefully and being visibly nervous.
The format, scale and space of these protests and how they affect also those meant to exert control on the streets, mark a shift in the Mozambican political landscape as the rhythms of protest were also emitted from areas of Maputo inhabited by segments of the population often characterised as wealthy or upper middle class—groups commonly perceived as allied with or integral to the Frelimo-state and not previously having been important parts of protests. Further, it is equally surprising, therefore, that Taela (2025: 6) and others suggest that it was initiated in Eduardo Mondlane University’s student housing—where banging pots was accompanied by throwing books and papers out of the windows onto the streets. Clips of protests have continuously filled the pluriverse of social media and across Maputo residents were informed about what was happening, including both wealthy areas downtown, as well as poorer areas, such as in the bairros Mafalala, Maxaquene, and Chamanculo. Some of the first images and clips surfaced immediately after the election and soon came to visually and graphically dominate several of the popular digital channels Mozambicans follow.
In the weeks and months to follow, the banging of pots rapidly turned into a massively popular mode of protest, mobilising especially women and girls and inserting them into a politics of resistance against the stolen elections. As Taela notes (2025: 6, my translation from Portuguese):
The pots and pans only came out of the cupboards at night, after protesters faced extreme police repression on the streets during the day. Banging pots and pans, known as panelaço, emerged as a strategy for those who wanted to protest but did not want to do so on the streets.
As shown in the many clips on social media, noise started after dark and the rhythms churned out from households were often rapid and intense — rhythms sometimes layered, with sounds ranging from the metallic drum of cheap aluminium pots to the deep humming of cast iron kitchenware. Many clips capture entire neighbourhoods banging in synced rhythm—but, crucially, with few of the protestors being visible.
The repeated banging of pots generated a sense of unification, collectivity, and participation mirroring the mass congregations that usually define street protests but in this case often marked by becoming heard, not seen, as well as being nocturnal, not diurnal. On the street in the same clips, one may see the heavily armed state security forces moving uncertainly through the dimly lit streets, navigating endless cascades of drumming and humming being poured over them. In some clips, the same forces nervously fire teargas grenades against balconies only to be met by a more massive wall of noise.
In many respects, Maputo’s panelaço of 2024 and 2025 constituted an act of resistance that transcended electoral and party-political registers: By amplifying and transmogrifying the soundscape of food-preparation from the individual households and into the public sphere, also collectivizing the sounds, what was repelled by noise was not only ghostly voters but also ossified politics, societal structures, and the gendering of space. This was also an explicit subtext in the many items on social media, namely that women were banging pots to be audibly present as a collective and that women’s politics should be recognized. In many of the acts, including during daytime, women set up kitchens in the streets where they cooked for protestors— extending the private realm of the kitchen onto the violently contested public spaces. Thus, these protests and practices may also be seen as extending care for others in its most inclusive sense. The symbolic importance of the pots should not be underestimated, as noted in a Facebook post by Zito Ossumane that was widely shared in Mozambique (translated from Portuguese):
The pots and pans, in a desperate gesture, decided to speak. They sacrificed themselves, banging against each other in a metallic hymn, invoking the god of kitchens and stoves. It was a collective prayer, a cry for help that spread throughout Mozambique, as if the noise of one neighborhood could travel through the bowels of the entire country. […] The revolution of the pots and pans has already begun. May the revolution of everything else come.
Panelaço: Shifting timespace, generative noise, sonic agency
The nocturnal banging of pots and their rhythm—synchronicity and non-synchronicity, collectivity and not—is not unique to Mozambique nor to postcolonial Africa. Writing on Paris and the 2016 nocturnal Nuit Debout protest—a form of charivari protest well-known from across Europe and North America—Shaw (2017: 117) notes “that the move to the night might be seen as an attempt to find a timespace in which a more open and creative politics is possible, strategically responding to the reduction in the freedom to protest in the more heavily surveyed day.”
Precisely the evasion, the slipping away into the night, the search for other than a securitized and striated space, is central here; in Paris the hypersurveilled urban spaces and in Maputo the security forces and their oftentimes indiscriminate diurnal violence exacted on protestors and civilians. Both index long-standing practices of evading statist domains of control, surveillance and, ultimately, notions of security defined by a central government. Further, in such evasion there is also a blurring of the public and private as protestors would often be confined to homes due to the imposed nightly curfew, left to consume news on TV or social media. Engaging in banging pots and pans may, in some sense, be interpreted as an inclusive, low-stakes form of protest, reflecting other social media activism as a facile way to “vent frustration” by protesting from the comfort of your home. However, here the Paris and Maputo cases diverge somewhat as in the latter those banging the pots were constantly fearing teargas grenades and shots launched at their balconies—as well as the volatility and violence of the situation being underscored by the number of casualties in daytime street protests.
Within contexts that are increasingly conditioned by non-democratic forms of securitization—including places like Mozambique—we, as anthropologists, also need to shift our attention to include the full sensorium: our own and of the fellow humans we engage. This includes exploring also what is entailed by “radical listening”, as Brandon LaBelle has called it. He also notes that “from an insurrectionary urgency, gestures and acts are made that force into being a heterogeneous space of social becoming, whose weakness or invisibility, whose transience or strangeness upset or elide established structures to produce what I think of as unlikely publics” (LaBelle 2018: 14-15).
Arguably, the nocturnal beating did produce what we might, with LaBelle, call “unlikely publics” with noise, rhythmicity, and the rearticulation of the quotidian kitchenware into powerful messages of distrust, assertiveness, collectivity. These forms also carved out yet another terrain for a gendered and classed form of political agency in a violent, state-orchestrated security state environment, instilling fear in the powers-that-be and their agents in the streets
Noise against the nocturnal body of democracy
The political theorist Achille Mbembe connects the nocturnal to various capacities and dimensions of the postcolony in many of his writings (Mbembe 2003). Crucially, he draws our attention to what he calls “the nocturnal body” of democracy. This is a form of organ constituted by the (often hidden) violent parts of democracy and statecraft, exemplified by the plantation and the penal colony.
The image of the nocturnal body aptly captures the shape of the postcolonial state of Mozambique and its long-standing impulse to deploy violence against its citizens—both at day and night (see Machava 2025). However, what is spectacular about the protests in Maputo in 2024 and 2025 and the many incarnations of citizen-led uprisings before that (Bertelsen 2014; de Brito 2017), is that the body of the populace unites through rhythms the source of which is invisible yet tangibly, corporally, and sensorially experienced.
The paradoxical combination of tangible and elusive in the nocturnal acts of panelaço showcase protests that are multivocal, yet highly gendered through transforming quotidian objects into vessels for resounding, collective rhythms of resistance and protests. Crucial here is also the enshrouding in darkness of protestors, effectively obscuring the waxing and waning numbers of those who beat the pans—although the many deformed pots and pans are there for everyone to see during daylight. It also underscores the possibilities inherent in the pliability of the political that is attained via collective (but not organized) efforts, indexing also the forms of articulation available in the restrictive political ontology dominating Mozambique (cf. Sumich and Bertelsen 2021).
This in situ generation of a sensorium of security beyond both the state and the marketized commodity form of metal gates, guards, guns, and alarms is significant and is a form of protest with long historical roots that has become globalised—from Argentina to France, from Canada to the Philippines. In Mozambique, its collective format is poised against the massive nocturnal body of the one-party state and its street-level presences. Finally, if noise should be approached as generative, as suggested by Serres (2007 [1980]), then the nocturnal beating pots, the rhythmic banging and its endless recursivity, as reproduced and shared by digital channels, generates an enduring, common sonic space of collective security against the violence of the state’s nocturnal body.
Bjørn Enge Bertelsen is professor of social anthropology at the University of Bergen. He has published on political violence, postcolonialism, urban transformation, and socio-cultural dynamics, most of which is based on his long-term research in Mozambique since 1998.
References
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Cite as: Bertelsen, B. E. 2025. “Pots that go bang in the night: Noise and rhythm as enacting popular security amidst political protest in Mozambique” Focaalblog December 24. https://www.focaalblog.com/2025/12/24/bjorn-enge-bertelsen-pots-that-go-bang-in-the-night-noise-and-rhythm-as-enacting-popular-security-amidst-political-protest-in-mozambique/








