Author: Polly Richards
Source: African Arts, Vol. 38, No. 4 (Winter, 2005), pp. 46-53, 93
Published By: UCLA James S. Coleman African Studies Center
JSTOR URL: http://www.jstor.org/stable/20447734
Accessed: 14/02/2015
Discussion on Dogon masquerade at a lecture in 1998.
Shock from the audience due to modern changes in Dogon masquerade, including the wearing of trainers and writing on traditional masks.
Critiques on the defamation of traditional masking practices.
Historical significance of Dogon masquerade established since 1930s studies by Marcel Griaule.
Key Changes Over Time:
Urban Exodus: Young men migrating to cities for work.
Tourism Influence: Increased number of tourists affecting local culture.
Desertification: Environmental changes impacting traditional practices.
Religious Shift: Penetration of Christianity and Islam altering cultural identity.
Political Changes: Development in national politics influencing societal structures.
The Dogon masquerade tradition has historically adapted to changes in society.
Pre-existing Performances:
Originally linked to post-burial rites for elders, agricultural protections, and corrective rites for behaviors.
Recent studies show diversity in the types of events where masks are performed today.
Ancient fertility rites are still performed in remote areas.
Use of masks in urban contexts has evolved, such as ceremonial functions connected to Christianity and Islam.
The expansion of masked performances to cater to European tourists began post-colonization (1920).
Scholars note the open system for accumulation and changes in Dogon traditions as essential for survival.
Outsiders often perceive these changes as a decline in tradition.
Contradictory External Views:
Griaule viewed the secularization of mask performances negatively.
Other scholars noted the importance of local engagement in maintaining performance qualities.
Traditional vs. Adapted Performances,
Terms commonly used in literature include:
Traditional vs. Ethnic
Theatrical vs. Sacred
Authenticity may not align with how Dogon people actually categorize their performances.
Local Terminology: All performances are referred to as imina go within the mask association.
Area: Dogon country spans approximately 50,000 square kilometers in southeast Mali, hosting a population around 400,000.
Cultural Dominance: Indigenous religions still prevail in many Dogon communities, particularly in villages like Sangha.
Local distinctions between performances:
Location: Tourist performances occur on village perimeters to avoid invoking bad luck in traditional contexts.
Duration and Participation: Tourist dances are typically shorter and less participatory.
Aesthetic Condition: Masks for tourists often appear less maintained than those for traditional rituals.
Views of masks by Christians and Muslims show an ideal of separation from indigenous practices.
Many individuals, despite conversion, still participate in masquerade events.
Function of Masks: Serve as displays of Dogon identity and cultural heritage.
Young Dogon men returning from urban centers might incorporate new materials and styles into traditional masks.
Example: Use of items like pill packets or sardine cans in masks.
Evolution of visible identity in performances (e.g., wearers showcasing their names or education).
Scholars may view the adaptation of styles as evidence of decline.
Contrarily, local observations reveal an improvement in craftsmanship and aesthetic preference.
Stylistic Evolution: Some masks show increasing naturalism and complexity compared to historical pieces.
Ongoing changes in performances challenge predictions of cultural extinction.
Future adaptability may signify resilience rather than decline.
Cultural pride and identity promotion through mask traditions remain vital, with local audiences increasingly participating in events.
The Dogon masquerade exemplifies a tradition actively negotiating contemporary challenges while highlighting a commitment to cultural identity amidst religious and environmental shifts.