Abstract
The decades between the World Wars comprise a critical period for the history of West African tourist art. Within the milieu of colonial domination, various demands were made of African artists. Motivations of Westerners were varied, with many assuming the role of “ animateur”. This worldwide phenomenon is based on outsiders promoting artistic revivals because of their concern for the perceived demise of indigenous arts. In Africa, artists responded with a high degree of experimentation as they adapted to new patronage systems and canons of acceptability. These were to prove unusually deterministic in the development of subsequent structures of production and exchange throughout sub-Saharan Africa.
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