A short guide to some of the tribes of the Ivory Coast

To help you plan better, to help you make a more informed decision and get some insight in how a visit to the Ivory Coast can unfold, I’ve put together this short guide. It’s not supposed to be the definitive guide, but it’s real, non-commercial and, ultimately, objective.

Komiane Fetish Dancers

Chances are this will take place in the famous Aniassue village and fetish school.  It’s easily accessible from Abidjan and, contrary to a lot of other places (as you’ll read further down) it’s actually set up with tourists in mind.

The school itself is like a small compound around a central courtyard where the actual performance takes place.  Surrounding the courtyard are 2m high walls painted ochre yellow and decorated with pictures of the dancers and various titles and inspirational sayings.  On one end is a covered area (with cement pillars and ceiling) with half assigned to the music players and half allocated to the tourists (who are expected to sit in rows of plastic chairs).  The view to the courtyard is not the greatest, especially as immediately behind (and across from the seating area) are the entrance to the kitchen and rooms for the people living in the compound - this means that throughout the performance you will watch, people will be crossing in the background and even stand there chatting.  Attempting to move to another view point, while allowed, means you will have walls with paintings on them, also creating visual distractions.

The performance itself is actually quite nice and you will need to leverage both a wide angle and a telephoto lens to make the most of it.  Also, moving around will help (but please be conscious of any other visitors - I was very specific in demanding, in advance, the performance to be only for me, so that was not a problem) but bear in mind the following:

  • the dancers will move in a circular fashion, so no angle will always be safe

  • the dance is supposed to be very spiritual, so the dancers will mostly express themselves in ways not really conducive to photography

  • position yourself low (think sit on the floor) to get the best expressions

  • there are moments during the performance where a fine white powder is being used to purify the area.  While visually impressive, do not count on taking any meaningful images - the powder is thrown by an “assistant”, usually dressed in modern clothing, and he (it is usually a man) will almost certainly obstruct your point of view or even spoil the overall image

Once the performance is finished, you will have time to take pictures (assuming you have negotiated that time well in advance) - there is however a significant chance that, unless you’ve made your requirements clear, the moment the performance is done the dancers will disappear.

If you want a somehow “better” location for shots, there are a couple of corners around you can use: deep red walls with surrounding foliage, a small storeroom where the powder is kept and so forth.  Do not expect mystical locations - including any nearby - but the good news is that the dancers and the matron are happy to work with photographers, pose and help you get the images you want - you just need to be prepared.

Overall, you can find videos of the performance easily online and you should be able to prep yourself.

Baoule Tribe

These are the grass-suit wearing dancers performing the famous Goli dance.  Now, there are many places where you can experience this as there are a number of Baoule villages and, frankly, you cannot be sure where your guide will take you.  My experience was in the Condo Yaokro village (which is one quite frequently visited as it also features the famous weavers, so for a lot of guides, this is a two-for-one situation).

First, let’s talk location.  Not ideal but at the same time much better than a lot of the others.  The performance area is a newly-built structure made out of cement, about 100m2, supported by a lot of cement columns.  The ceiling is actually relatively low.  The structure is surrounded by greenery but nothing really interesting.  It is however clean (which is a rarity in the Ivory Coast).

The dancers come in pairs, led by one or two “minders” for the simple reason that the suit and mask do not allow them to see and therefore rely on their guides/minders to walk from the preparation area to the performance area and also to reset their position after each dance move.  I can imagine this being quite complex and you have to admire the performers for being so powerful and graceful in their movements while being effectively blind.  The dance itself is nothing amazing - it’s short bursts of intense acrobatic activity followed by the performers hitting their backs really hard with their sticks (don’t worry, their backs are protected with a thick dried pelt over a thin layer of wood - appears harsh and painful but is completely safe).

There are traditionally three (3) sets of dancers, each sporting a different mask: first, the animal mask, meaning Purification, second is the red oval mask meaning Blessing and finally the crocodile mask which denotes warrior/hunter spirit.  Each pair comes in sequence and unfortunately, you cannot photograph two groups together (I pleaded, I begged but to no avail - apparently the spirits do not want the different manifestations to share the same space.  Personally I think that there are usually the same dancers performing, but depending on the village you visit, you may have a different experience).

Viewing and photographing the dances in the structure is, frankly, completely crap in terms of photography.  You’re seeing a tribal dance inside a concrete box and the two simply do not mix. 

But even if you manage to ask them to perform just outside, on the ground before the foliage, it still does not look amazing.  However there are small corners and tiny areas where, depending on what you want to do photographically, you may create something interesting.  The weather will play a huge part into what you end up producing - I had to battle the sun for about 20’ and that was a veritable lighting nightmare - but overall, you should be able to create interesting images.  Of course, you may try to capture interesting shots during the performance, but I would not count on it.

Pottery Village

While not a tribe, a stop at one of the more famous pottery villages is something a lot of guides will include it in any itinerary and, frankly, photographically speaking, it’s worth an hour or two of your time.  There are quite a few visuals you can create from the potters which would complete your travelogue through the Ivory Coast.  The village we visited was called Katiola.

The pottery village has a number of small workshops - usually one or two potters crafting different types of clay items - and a few, more centrally placed, makeshift kilns where said items are coloured and baked.  Both are worth your time and, mostly, the people are happy to be photographed and there’s a lot for you to shoot.  For me, what was most photogenic was not the actual pottery making process (even though that was really nice and the people lovely) but the baking process - the smoke and fire will always generate amazing atmosphere for photography and, coupled with the people and their finely honed actions can result in some lovely images.

Fakah “painting” village

This is the village Picasso visited during his visit to the Ivory Coast in the 1970s.  Of course, very little remains from the sleepy village filled with small artists - it is now an enclosed area of small cement huts (complete with thatched roofs) where “artists” display hundreds of paintings most of which are almost identical to each other (with minor differences) hoping tourists will purchase some.  Some of them will hold showcases of how they make the paintings (which is interesting for about 5’) but honestly, that’s pretty much it.

Now, don’t get me wrong, some of the paintings are actually quite nice (we bought two) and there may be a picture or two to be had, but that’s about it. Would I recommend you avoid it? I think, honestly, I would - for purely photographic purposes.  If you’re looking for a bit of shopping, absolutely, go nuts.  Thing is the village is a little out of the way and it does take an hour or so to get there, so it’s not really “on the way”.

Koni Blacksmiths

Now that’s something I never expected to like but an experience - both personal and visual - which I enjoyed enormously.  Aside from the fact the people there will explain the entire process to you - from gathering the ore from the ground all the way to the final finished product - all done with really primitive methods - there are some really interesting photos to be taken there.  They do have an enormous challenges - from space to lighting to timing and everything in-between - but depending on what you’re looking for and how you may try and approach it, you may come away with some good shots.

First a bit of “bad” news: Traditionally, the “excavate” the earth containing the ore from holes dug deep into the ground - this process is extremely photogenic - but these days it’s extremely difficult to get access to these holes, even if you specifically request it in advance.  You’ll get different excuses (from the Ivory Coast favourite “it’s inside the sacred forest” to “we cannot take you there because it’s Monday” and everything in-between) but ultimately, you must be extremely lucky to get that.

But, if you put that aside, the whole process is great - from the closeups you can take from the ore-separation process (using a magnet) to the smelting and then forging processes there’s loads to allow you to go nuts.  Things to keep in mind:

  • the smelting process takes 24hrs, so you will be able to see the beginning of it and then be presented with an end result.  Do not go for the dual visit (where you visit one day to see the start and then visit again the following day to see the second part) - it’s not what you want to be doing on your visit through the Ivory Coast.  The finished product will be perfectly fine, trust me on that.

  • the smelter is essentially a fully covered clay oven, only accessible from the bottom (where you add wood) and the top (a hole where you can monitor the progress).  The process of adding wood is slightly interesting if you go low but I would not recommend going to the top to shoot into the kiln.  An interesting image may be capturing one of the ironworkers as they monitor the progress.

  • the forging process is the most interesting and they have created a small hut to ensure you get the most of it.  The only two small issues with it are (a) the size - it’s small, barely big enough for 3-4 people with all the challenges this creates and (b) the fire generated is actually quite weak and not bright enough so do not expect gorgeous fire and sparks shots - they simply will not materialise.

  • If you have lights with you, go small.  Use the smallest modifier you have and target it as much away from the main area as possible.  Due to the size of the hut light will bounce everywhere and you’ll end up with a bland image.

  • my recommendation is to avoid the temptation of using a wide-angle lens and going low (which seems to be a trend these days).  Because the hut is circular the distortion will result in truly unusable shots (I tried and it was laughable)

Senufu Tribe - the Virgin Girls dance

Sometimes people confuse the Senufu virgin girls’ dance with the jongleurs (see below) simply because there’s not enough information about both, so hopefully this little article can help clarify things. Just to clarify, the Virgin Girls:

  • perform a dance with the accompaniment of older women and other men in a group dance

  • do not have any facial painting or other decorations

  • are naked from the waste up

  • have additional performance elements like plant “pom-poms” and grass skirts fanning up behind them

  • dance is part of a larger performance involving a “chief”, a leader with a whip (who also lies on burning coal) and a group of musicians

First things first: the location is, as most locations in the Ivory Coast, completely unimaginative and, frankly, crap.  Modern buildings, telephone/electricity poles and wires, modern fences - the works.  It’s better than some - clear of garbage etc, but about as photogenic as, well, a clump of cement buildings. 

The only sliver lining is the massive tree in the middle.  While you cannot use it as part of the performance (simply because the spectators’ seats are just below the tree), subject to your arrangement with the tribe, you should be able to take photos beneath and around the tree, facing away from the buildings.  Not that it’s going to be 100 times better, but facing the other way presents you mostly with greenery and trees and little else. 

It’s a cleaner background even if not particularly great.  (Note: from the four operators I met at different stages of my trip, all visit the same village, but I was also informed there’s another village where the Senufu can be visited - maybe that one is better, I wouldn’t know)

The performance itself is comprised of four parts:

  • the arrival of the musicians and the chief (which includes a tiny wooden horse effigy to allude to the times long gone when the chief would arrive on a horse).  This part is mostly procedural and while the chief is dressed in really impressive attire (complete with massive hat almost completely covering his head and face) and may possibly result in a nice photo or two

  • the arrival of the girls and their group.  While sometimes they arrive doing a small set-dance, this is by no means guaranteed and is extremely easy to miss and, again, photographically does not amount to anything really.  The girls themselves are dressed very simply but the pom-poms and the skirts create a really nice look, both simply visually and photographically.  Their dance is really not something to write home about to be honest - very simple, probably simpler than all the other performances I’ve seen throughout the Ivory Coast

  • the arrival of the ceremony master (that’s the one with the whip).  He uses the whip to generate a cracking noise (a remnant of the old days when the performance involved slaves and horses and was intended to intimidate visitors from other tribes) and while the sound is indeed impressive, it does happen very quickly so capturing it photographically requires a lot of patience and coordination.  Do not expect to simply grab it by shooting 50 frames per second

  • the ceremony master will then light a small fire, create embers and then sit and lay on them multiple times to showcase how the religious fervour makes him impervious to pain and heat

I would recommend, now that you’re armed with this knowledge and details, to think carefully whether you’d like to shoot before or after the performance - it makes a difference.

Dozo tribe - the Boundiali Hunters

You have to admit that the Dozo do not appear at the top of any Ivory Coast itinerary and this is very unfortunate.  While the Dozo do not have masks or intricate tribal attires or elaborate performances, but they are a tribe still very close to their roots and, in more ways than one, much more “real” than a lot of the other tribes.  The Dozo still live and hunt the same way day-in and day-out, they still wear, every day, their leather shirts and trousers and carry their rifles with pride.  They have a very rich musical tradition including both music and singing (and, I have to say, from all the tribes, the Dozo songs were the ones I liked the most) but they do not have dances or performances.

Photographically speaking though, they are amazing - they are really easy to photograph, the forrest area where they traditionally gather before going on a hunt is an exceptional area to shoot (pun intended) at under any conditions.  All in all, a morning or afternoon with the Dozo is more likely to produce amazing photos than any performance - all you need is (and that’s my recommendation) a light - doesn’t need to be very powerful as you’ll be shooting under a tree canopy - and a medium-sized modifier.  We met the tribe members and shot at the Anionso forest and the experience was flawless and very pleasant.

Yacouba tribe - the Stilt Dancers

The Yacouba are a subset of the Dan tribe and we travelled all the way to the Silakouro village (which is quite far and over a really bad road).  The promise of the Yacouba and their famous stilt dance is indeed glorious and, in many ways, the whole experience delivers.  Of course, the usual Ivory Coast caveats fully apply - the less-than-optimal location, the myriads of people all over the place and so on, but overall, the experience is a lot better than many of the other places.  Why?  Let me explain:

First of all, while the location is still in the middle of the village with 3 sides taken up with concrete buildings and electricity poles etc, there is one side complete with traditional thatched roof huts so, if you’re extremely lucky, you might get some shots with a really nice background - I was not that lucky as 95% of the action ended up taking place at exactly the opposite end with a background of 200 people, three telephone poles and masses of other distractions, but hey, you never know.  But, let me explain how the whole thing goes and you can then plan accordingly.

In terms of location, there is - predictably - a covered structure under which the village elders will take most of the seats, along with their families and anyone else who gets there first. You are expected to sit on the front row (in the omnipresent plastic chairs).  Moving around here is a bit problematic as pretty much most available space around will be packed with people who, by the time the performance starts, will have swelled to over 200.  One idea (but not likely to actually help much) is to speak to the local organiser before so he can use a couple of people to try and stop people going towards an area you would like kept empty for photography purposes.  They will try but it’s like trying to stem the tide using your fingers…noble endeavour but ultimately kinda pointless.  But onto the performance…

First, the musicians arrive - usually one at a time until all of them are there, either 3 or 4, usually accompanied by dozens of villagers, some singing, some dancing, others just walking around.  The musicians are dressed in traditional attire and have really nice instruments, but the villagers accompanying them are dressed in Chelsea FC t-shirts etc.  By the time all musicians are there, you should expect around 100 people to have congregated around - just don’t expect any order.  The people will be all over the place, cross in front of the musicians, talk to them, children running all around etc.

Then the male dancers will arrive - again, one at a time - and perform a really slow step dance.  The dance itself is really, nothing much - slow walking in specific steps with arm movements (don’t get me wrong, it’s interesting to watch, just nothing to write home about - they are, after all, introductory and supportive to the main “event”.  Photographically, don’t focus on the dance itself, BUT please do keep in mind that there are some great physique shots to be had from the dancers either during or immediately after their performance - but again, please thing of prior agreement with your fixer and pre visualise what it is you want to get out of this.  Personally I was surprised by the range of images available at this stage of the performance.

Immediately after, the “most beautiful” girl in the village comes in with her traditional headpiece and attire.  Sometimes she’s accompanied with a few other female dancers, but sometimes she’s alone.  She does not do much to be honest, so do not expect a glorious extravaganza here, but it may be worth being aware and maybe take a few shots.  I personally did not find it enticing enough so I just enjoyed the performance and that was it.

Finally, we come to the main event - so to speak - the arrival and performance of the stilt dancer.  The stilt dancer is absolutely awesome - the costume, the stilts, the mask, pretty much everything works.  And the actual acrobatics are breathtaking - risky, fast, impressive.  Honestly, I could watch this for hours and enjoyed every moment.  What is absolutely not enjoyable is the group of support people standing, at all times, around the stilt dancer - dressed in flip-flops, t-shirts and jeans, this group of 5 people form a ring around the stilt dancer essentially making any photography impossible.  And yes, before you ask, I did ask, repeatedly if there was any way to have a small part of the performance without the “support crew”, but I was told it was impossible - once I saw the performance I sort of understood the why.

The stilt performance involves the dancer spinning very fast while jumping/switching from one leg to another - these are highly risky moves, especially when performed over uneven ground and through a mask you can barely see through.  The speed at which these moves are executed also increases the risk which is where the “support crew” comes in - if the unthinkable does happen (and sometimes even at the end of a spinning move) they jump in and stabilise the dancer.  I saw more than a few instances where without them the dancer would have most likely fallen down.

Unfortunately, as I’m sure you’ve sort of figured this out, this means the chances of a shot without the support people is almost impossible.  I was able to get 3 but only because (a) I kept pushing for the support crew to take greater and greater distances and (b) I moved around like a monkey on acid to find an opening (let me tell you, this is not something I recommend in the Ivorian heat - by the end of the performance I was sweating profusely).

The Jongleurs

For me, the jongleurs (frequently confused for the virgin girls) were the absolute highlight of the trip - both visually as well as culturally and experientially.  Both the mystical and the “performance” part of this visit were really impressive, visually beautiful and filled with meaning (which does come across - something not always so in the Ivory Coast).

First things first, we visited a village about 2 1/2 hrs north of Man, called Diourouzon.  It takes a lot to get there and the roads are not exactly great - probably worse during the rainy season - and, frankly, once you are there, the village is completely unassuming.  Looks way too modern (for its location) and quite widespread so you may wonder whether this is the right place, but it is.  Chances are you’ll be taken to meet the village chief - my advice here? Please be very prescriptive with what you want to do and specifically ask for what you want.  Niceties are all well and good, but just as you’re there to be nice, you are also there to experience something (and probably, if you’re reading this article, to photograph it) and he needs to know it and ensure his assistants will help you.  Do not simply count on your fixer for this - make sure you enlist the chief’s help as well.

Second, if you’ve planned this correctly, the performance will be just for you and, at least in the village we visited, there are 3-4 areas where the performance can take place, so please ask to walk around and choose the one you like the most.  We found a really good one within 5’ so it’s not that challenging, but don’t just accept the first location they show you - as with everything in the Ivory Coast, they will go for minimum effort and their first option will be whatever is available nearby which will most likely be filled with garbage and random distractions.  Luckily for you, the performance is really structured in a way that can be enjoyed from a single vantage point (please read more on this below) so once you choose a good overall spot, choosing your vantage point should be easy and should result in great images.

Depending on how many young girls you will have (we had 3, from 5 years old to 11), the performance itself has 3 general stages: first, each girl will perform a series of moves, from paying homage to a cultural artefact (the pelt of a sacred animal placed at a specific spot in the ground) to performing multiple acrobatic manoeuvres (pretty impressive ones too, let me tell you).  Once the set of individual moves is completed, one of the male performers (these are the jongleurs really) will join the girl and proceed to lift her and throw her high above his head, swing her all around and perform a number of quite risky moves using the girl essentially as a “prop”.  What makes these moves exceptional - and for me, mystical - are the expressions of the girls.  They are focused, almost in a trance, with elegant hand and arm positions which, together with the riskiness of the moves creates an almost magical experience (for me anyway).

The process is repeated for each girl, sometimes multiple times, with the complexity of the moves, the height of the throws and the riskiness increasing with each iteration, but - and this is serious - you should stay with the process completely.  They are doing this, essentially, for you and the least you can do is stay focused and be respectful.  I was told really horrible stories from other “groups” - unfortunately even photographers, even from famous companies, who grabbed what they thought the photos were and the simply switched off, turned to looking at their camera screens, chatting, looking at their phones practically ignoring the performers.  Don’t be that person - please.

After the acrobatic moves are done, one of the male performers will proceed to exhibit how the spirits protect him by trying to cut himself with a massive knife, including his tongue, his thigh, neck and other spots, each time showing how the knife simply does not penetrate his skin.  Personally I did not find this part interesting (even if it was, biologically, impressive) but it’s an integral part of the process.

And that’s pretty much it - after this you can take any picture you want and the people are more than happy for you to shoot to your heart’s content any way you want - and let me tell you, they are an absolute pleasure to shoot (and the photos will be amazing).

I’ll leave you with a simple thought/request for the photographers among you: I made a massive circular tour of the Ivory Coast and visited almost 10 different tribal and other groups in almost every single location possible: forrest, village centre, small and large huts, even larger cement structures.  Not once did I come across a darker than dark area where your subject would simply float in the emptiness and blackness of space.  The Ivory Coast - and Africa in general - is filled with light, from intense blasting sunlight to soft overcast to leaden clouds but above all, it’s open and outside and that’s where people live.  There are myriads of opportunities, even in the most challenging of locations (and I proved that during this trip) so please, don’t take the people away from their environment… keep it real.