SOCIAL CONTEXT OF REBIRTH OF TRADITIONAL KURUMB’S ART FROM BURKINA FASO

ABOUT AUTHORESS

Katarzyna Podyma, history, art’s history degree, museologist, vice-principal and main stock taker of the Municipal Museum in Żory. Authoress of exhibitions and cultural-educational projects concerning non-European cultures. Participant of scientific-exploratory expeditions in countries of Western Africa. She helds researches concerning traditional, African arts.

PURPOSE OF RESEARCHES

Programme is focused on determining and descripting changes in understanding of a function and matter of traditional arts of Kurumb people (Burkina Faso), which evince in a way of treating cultural artefacts, as well as new, artistic possibilities in terms of daily life. It is also an attempt to exemplification new needs – on one hand an instance of own, ethnic identity and artistic universalization on the other.

EXPLORATORY RANGE

Programme grasps researches concerning traditional Kurumb’s art from XX/XXI century, including comparison with the state of art of neighbouring people (Dogon, Somba people).

An important element of work will be an attempt of redefining of traditional art, description on African antiquated market and description of changes, which have place in approach to cultural artefacts and practical usage of museology in terrain.

Programme is realized basing on own terrain researches held on Kurumb’s territory in 2009 – 2012. Methodology of work assumes usage of experience of art historian and ethnologist.

TIME OF REALIZATION

In progress.

STATE OF RESEARCHES

Processes that have place at the moment in local society of Western Africa under influence of intensification of outer contacts leave a mark on every forms of social life. Dynamics of such processes is this big that it doesn’t miss such petrified elements as traditional art. Analyzing changes, which have place on the level of function and form of traditional art’s objects, in relation to characteristics of interests of touristic market, certain accuracy can’t be unnoticed. They close in a new approach to determined, the most representative elements of tradition, which becomes a body of economical speculations in this manner. Only the changes, which had place under influence of local art market, connected with a development of touristic movement in a distinct way, cause distinct changes in consciousness of local makers and in approach to items, which are a part of religious part of life until now.

Kurumb’s art, being a dense, closed system, gained (under Islamic influence) a status of one of the historic, cultural descriptions. Its appearance saved only in a partial form, in the shape of sepulchral stele, posts that keep up sheds or few examples of figurative sculptures. Perfectly made work  concerning Kurumb’s art, made by Annemarie Schweeger-Hefel and Wilhelm Staude seem to admit that everything has been already analyzed and described. Indeed, state of knowledge recorded by Austrian duo is a systematic, but closed study of knowledge about traditional art of Kurumb people. In the meantime, researches held contemporarily seem to differ from such an outright thesis. Process of resignation from traditional forms of religious expression, directly connected with changes in consciousness of local society, had place since ‘30s XXth century. Development of touristic market after WWII only intensified it, even though the most used trails and visited touristic places excluded Kurumb’s land. Intensive development of antiquated market (not only in Ouagadougou, but also beyond Africa – in Europe and America) caused “purification” of these areas from the most of objects of traditional art. Interest of European antiquated market into Kurumb’s art caused serious changes in form and technique of making artefacts. However, such changes never had to find its direct justification in antiquated market’s dictate. Variety of form may be caused by factors relevant to local, workshop preferences and specified, external impulses. Result of such changes was rising of local markets of traditional art in a natural manner. The most precious (from the tradition’s point of view) artefacts are protected until now by their owners due to respect for the passing world and probably due to faith in ancestor’s strength, despite Islam’s influence.