This is just one in a series in which Griff Rhys Jones travels to remote places around the world to find traditional art. Here he explore the ancient art of the Dogon people. Questioning what makes an “authentic” African artefact and the meanings the pieces hold.
The section I found most intriguing was that about the masked dancers and how their culture is mutating as a result of the introduction of tourism, education, modern religion and commerce. The ritualistic dance has now become some sort of commercial adaptation.
Griff Rhys Jones states, 'many of the masks in motion here are similar to those fixed to the walls if Western museums, but there is a huge difference because they only come into their full meaning if you watch them in the form of a dance.' The dance was traditionally performed in the dark of night to lead the souls of the deceased to their final resting place however now it is performed in broad daylight for tourists. Much of the purity and depth of meaning has been lost because of the demand from outsiders to see for themselves and take souvenirs to their homes.
Even the production of the masks themselves has altered over time. Traditionally the masks were carved by their intended wearer, from a specific type of bark. They are now carved by professional mask makers from any kind of wood for performance for tourists. The art and its traditions have lost their purity due to change of religion of the dogon people and because of the commercial pressures.
I found it quite amusing when in Ghana they were presented with some deliberately aged knock-offs as I have some African masks very similar in my room at home... they were bought in Greece! It just goes to show that even we change the way art develops by investing in it.
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