Dogon

Intersection of Art and Death in Dogon Culture Video 1

1. Cultures Considered: Dogon of Mali and Asmat of Irian Jaya

   • Art reflects worldviews regarding death.

   • Objects, structures, and rituals act as agents in interacting with ancestors.

2. Dogon Environment and History:

   • Location: Republic of Mali, approximately 19,305 square miles within the Sahel.

   • Topography: Bandiagara Escarpment (125 miles long) near the Niger River.

   • Population: Over 600,000 Dogon in around 700 villages.

   • Historical Context: Dogon arrived in the 15th century, displaced the Tellem people (who interred their dead in cliffs).

   • Cultural Diversity: Dogon speak about 120 dialects; different migrations led to varied cultural practices.

   • Religious Context: Traditional animism challenged by Islam; maintained practices mainly within Bandiagara Escarpment.

3. Anthropological Study:

   • Marcel Griaule’s Work (1931-1963): Focused on Dogon masking traditions and cosmology.

   • Critiques of Griaule's Findings: Lack of representation of the broader cultural diversity and the evolving oral traditions.

4. Concepts of Dogon Spirituality:

   • Nyama: A fluctuating life force present in all living things. Connected to ancestral rituals and can be transmitted.

   • Balance: Essential for social and spiritual realms; represented by paired birth and dualities (e.g., living vs. dead, male vs. female).

5. Social Organization:

   • Extended patrilineage; leadership role of the ginna bana (patriarch) is pivotal in the community and ritual practices.

   • Hogon: Community leader and chief priest; responsible for spiritual wellbeing and justice.

Dogon Mythology and the Intersection of Art and Death Video 2

Overview

• This discussion explores Dogon mythology, divination practices, the Binu shrine, and the granary, focusing on the Dogon cosmos and its spiritual beings.

Creation in Dogon Belief

• The universe was created by a single god, Amma, who is immortal, omnipotent, and omnipresent.

• Dogon religious practices center on dead spirits acting as intermediaries between the living and supernatural forces.

Categories of Ancestors

1. Vageū: Recently deceased clan members, referred to as those who are "far away." Evoked in family altars by the ginna bana (lineage head).

2. Nommo: The first beings created by Amma, subsequently multiplied into four pairs of twins, serving as the original ancestors.

3. Binu: Immortal clan ancestors pre-dating the existence of death. "Binu yay" means "gone and come back."

Significance of Rituals and Art

• Rituals performed by the men's masking society, Awa, elevate deceased members to ancestor status before they are enshrined.

• The sculptures and altars used reflect Dogon spirituality concepts of Nyama (life force) and balance.

• Nommo is symbolized by a catfish, connected to water and lightning, and represents the dualities of life.

Art and Symbolism

• Alternating solids and voids in Dogon art reflect balance in the cosmos.

• Checkerboard patterns symbolize the ideal organization of society versus nature.

Divination Practices

• A divining table is characterized by six major squares with symbolic motifs, performed in liminal spaces between cultivated and bush territories.

• The structure of Ginna (family homes) features geometric patterns reflecting balance among multiple lineages.

Ancestor Altars and Shrines

• Altars in living quarters or the courtyard honor both recently deceased members and Binu ancestors.

• Shrines are marked by tower-like protrusions with offerings including animal sacrifices and various substances, all serving as vehicles of Nyama.

• Binu shrines require sacrifices to activate the ancestral presence and intercession in daily life rituals.

Granary as Cosmic Reference

• Granaries echo the cosmic ark that carried the first ancestors with essential life materials. They are heavily present in Dogon villages, often intricately designed with organic materials.

• Decorated with relief carvings, granary shutters may reference mythical beings and follow geometric motifs common in Dogon art, including anthropomorphic figures and animals.

Artistic Techniques and Variability

• The sculptures often embody the variability of creation myths and artistic interpretations, reflecting the specific context of their creation and the interests of patrons or artists.

• One prevalent form shows a lizard separating depicted ancestors, symbolizing connections to the creation myth, while figures often demonstrate simplified geometric forms typical of Dogon art.

Functional Art in Daily Life

• Locks securing granaries often carry symbols from the creation myth, embodying the concept of the Ark of the World, which holds offerings to Amma during harvest rituals.

• Artistically rendered objects like locks often symbolize mythic figures and reveal a connection to the culture's spiritual and social structure.

Togu Na (House of Words) Video 3

• The Togu Na serves as a meeting house for the Village Council of Elders and the Awa, the men's masking society.

• Only initiated adult males are allowed access; post-menopausal women can enter as they no longer bear children.

• Ancestors' spirits, both male and female, visit to balance the space and provide guidance.

• It is seen as a seat of ancestral wisdom, with decisions on community matters made here.

• Structure:

  • Rectangular with a flat roof made of logs and millet stocks for insulation, keeping it cool.

  • Togu Na is a low building designed for sitting only, to promote balance during discussions.

  • Built on sloping ground, often supported by sandstone or wood pillars.

• Traditionally aligned with four cardinal directions; usually consists of eight columns, corresponding to eight mythological Dogon ancestors (Nommo).

• Renovations occur every 10-25 years, leading to the decline of mythological references in decorative reliefs.

• Pillars reflect local sculptor style, featuring imagery of women, men, animals, and symbolic objects.

Menstrual House

• Positioned on the outskirts of the village, contrasting with the Togu Na's central location.

• Constructed by women and serves as a gathering place during women's menstrual periods.

• Contains unique cooking tools for use only in this space.

• Male spirits visit shortly after their deaths to honor their mothers, symbolizing the balance of genders in both sacred spaces.

Artistic Representation

• Art serves to correct gender imbalances; the depiction of female forms is prominent in Togu Na sculptures.

• Relief sculptures in Togu Na and menstrual house embody the interaction between the living and the ancestors, showcasing mythological and social narratives.

• Footprints on support posts symbolize the Nommo's first steps from the ark, connecting history and spirituality with the current living situation.

Intersection of Art and Death in Dogon Culture - Video 4

Overview of Key Topics

• Focus on funerary sculptures and their relationship to ancestors.

• Discuss the first funeral and the Dama ceremony.

• Rituals and sculptures facilitate communication with deceased ancestors and channel Nyama into the living world.

Role of Blacksmiths

• Blacksmiths craft agricultural tools and ceremonial art; crucial for sustaining life.

• Specified as the seventh ancestor in the creation myth for stealing fire from the sun.

• Two groups of Dogon smiths: Jemo (on plain) and Iru (former slaves living on plateau).

• Possess privileged social status; act as intermediaries and peacemakers in Dogon society.

Types of Sculptures

• Funerary Sculptures: Carried in funeral processions depicting the deceased, differentiated by their clean surfaces and lack of offerings, unlike altar or shrine pieces.

• Examples:

  • Male Figure: Depicted with muscular detail, marks of status (ornaments, clothing) representing participation in significant events.

    • Symmetrically designed with bilateral balance, embodying solid void rhythmic elements.

  • Female Figure: A woman in labor (pounding millet), exemplifying her vital role.

    • Detailed features typical of Dogon sculptures, reflecting memorialization of her contributions in life.

Equestrian Figures and Their Significance

• Equestrian statues symbolize prestige, with connections to Dogon beliefs about creation.

• Horses are associated with power and wealth, often reflecting the status of the Hogon.

• No direct evidence links these to mythological figures, but they maintain a connection to the ancestor theme.

Masks and Rituals

• Masks are integral to death-related rituals, with the Great or Mother Mask (Sirige) being a focal point for funerary rites and public mourning.

• Paintings and rituals are overseen by the Awa masking society, responsible for the community's spiritual engagements.

• The Dama ceremony occurs months to years after death, honoring the deceased and enabling their transition to ancestor status through elaborate performances.

• Aim: to restore order and balance within the community following a death, allowing ancestors to assist the living by channeling Nyama.

• Preparations involve refurbishing masks, dying fibers, and carrying out secret rituals leading to the Dama event.

Conclusion

• Dama ceremonies reintegrate the deceased as ancestors, with performances serving to renew community balance and honor mythic traditions.

• Concludes the mourning period and enhances the social dynamics associated with death and continuity of life.

Dogon Art and Death- Related Topics Video 5

Sigue Ceremony

• Occurs every 60 years; last held between 1967-1971.

• Celebrates generational change, moving between communities rather than simultaneous village occurrence.

• Next scheduled for 2027.

• New great mask (Sirige) carved for the occasion, used initially at funerals of important men.

Significance of the Sirige Mask

• Represents renewal and commemoration of an entire generation of elders.

• Initial funerals incorporate this mask to manage the forces of death introduced when one ancestor became the first to die (transformed into a snake).

Awa Society and Ritual Objects

• Utilizes natural shelters like caves for storing masks and ritual objects.

• The Dama ceremony focuses on death, while the Sigue commemorates the first Dama event.

Mythical Background

• Ancestors transformed and violated prohibitions leading to the inception of death.

• The Sirige mask created to control the loss of vida force (Nyama).

Types of Masks

• Over 70 different Dogon masks exist.

• Each Awa society holds a variable number; Satimbe is used widely, representing a female ancestor who played a role in the ritual.

Highlights of Specific Masks:

1. Satimbe

   • Carved wooden figure above the mask's face.

   • Symbolic accessories include a calabash and a fly whisk.

   • Origin of red raffia associated with the myth of Ogo's incest.

2. Kanaga Mask

   • Wooden structure with double barred cross, represents movement in creation by Amma.

   • Dance embodies transition from chaos to stability, restoring community harmony after death.

3. Walu (Antelope)

   • Represents cosmetics in mythology and is performed with imitative behavior linked to agriculture.

4. Rabbit and Hunter Masks

   • Perform stories from Dogon mythology, engaging the audience.

5. Sacred Clowns

   • Used humor to point out societal issues, with masks that portray animals like monkeys as oppositional societal behaviors.

Human Character Masks

• Depict outsiders and convey community messages; some are made from cloth rather than wood.

• Include Samana from the Samo ethnic group, involved in mock battles highlighting their role.

Cultural Adaptation

• Post-colonial changes noted in performances; adaptations to the audience, including tourists, have modified authenticity.

• Cultural performances remain central to funeral and Dama ceremonies, but contextual changes distinguish them from performances for outsiders.

• Annual mask festival established to showcase authentic local traditions while interacting with modern influences.

Function of Art in Dogon Culture

• Art serves to honor ancestors and channel Nyama back to the living, balancing societal interactions through spiritual guidance.

• Masks and sculptures play critical roles in escorting the deceased into the spirit realm, promoting societal roles, and reinforcing cultural identity through shared performance.