African Art...transitions!

While viewing a short BBC documentary on Dogon masks I am reminded of a African Proverb that states, "Go the way that many people go; if you go alone, you will have reason to lament". On the face of this proverb, one may get a sense that following the majority of a people embraces a positive connotation, however in the sense of the preservation of a culture; movement by a majority of people may indicate a loss of historical culture. The transition from animism to Islam provides a direct contradiction in the function and use of Dogon masks and sculptures. The prohibition of human representation worship was the beginning of the end of the skilled artisans. Chapter 16 in the text Africana Studies (Asevedo) indicates a concerted effort by many African nations to preserve the traditional African artistry.
Changes in art based upon a change of people are nothing new in any culture. One only has to look at the Greek and Mayan ruins to reflect this. Art is a representation of the life and community of its and with the disruption of the African people, through the slave trade, religious influences and colonialism, the changes in traditional art was inevitable. What was interesting and provided by the lecture of Dr. Mikelle Smith Omari Tunkara was the strategic break of many indigenous and Diasporic Africans to purposely distance themselves from traditional work and to not associated with traditional African art or art with a colonial influence. They attempt to forge a new contemporary art form.
There is something however to be said about the form and function of traditional African art. In Accra, the commercial appeal of African art is fulfilled by artists that mimic traditional artistry (albeit good representations). Ceremonies are also mimicked as performances for a market of tourism. There is something somewhat sad about this practice. The true beauty of the art and customs of African art (clothes, jewelry, sculptures and carvings) is the functionality of the art. But if compared to other cultures, the same thing exists when tons of tourists desecrate the Mayan ruins in Mexico or when one sees swarms of tourists walking the Acropolis.
Does the loss of traditional art predict the loss of community and culture in Africa? There is the argument that Western influences mold the practices of African youth and the perception that practices such as animism are equitable to pagan practices denotes a negativity that is common to anything African. It is ironic that a recent conversation that was overheard about African Art (more than likely mass produced) within an African-American family hinged on witch doctor (or voodoo) practices and a request to remove all of it was made despite arguments of its artistic values. Go figure….