The Dogon people of the Bandiagara escarpment, Mali, have been described as the most studied and least understood tribal group in Africa. Their culture is exceptionally complex, owing to their long history and also their internal variability along their home range. They moved to this area in the 15th century, escaping the Mande kingdom and slavery at the hands of Islamic groups, and displaced a number of tribes that were living on the escarpment at the time. They are excessively prolific in terms of artistic production; masks/figures in stone, iron, bronze/copper and of course wood are all known, in addition to cave/rock painting and adaptation of more modern materials. While Islam is prominent in and around the Dogon area, they have remained defiantly figurative in their artistic expression, a tradition which of course is technically banned under Islamic law.

The Dogon sculpture is primarily concerned with the spirits responsible for the fertility of both land and people. While the exact functions and meanings of individual works often remain obscure, scholars agree that Dogon sculptures were created for shrines. For the Dogon the symmetry of their statues represents the concept of social order and harmony. Due to the arid climate of the Dogon land some of their wooden sculpture have survived for centuries, resulting in a classic style that depicts the human body in a manner that is realistic and abstract bringing to mind we are both flesh and spirit.