A Dogon horserider

Estimated price  800 - 1.000 €

A Dogon horserider, collected in the region of the "Bandiagara Plateau" close to Sangha, around 2004. Sangha isn´t a single village it is a conglomerate of many small villages, situated on top and along the edge of this escarpment, making it part of both in physical and cultural terms, the extremly hard and dense wood is weathered, with remnants of blackened, oxidized oil or a former sacrification patina, which was once probably covered most of the sculpture.

The Dogon horse rider is a sculptural motif found in the material culture of the Dogon people of Mali, typically rendered in wood and characterized by an upright figure mounted on a stylized horse. These sculptures are not simply decorative but carry layers of symbolic meaning rooted in Dogon cosmology, history, and social hierarchy. The presence of the horse—an animal not native to the Bandiagara region where the Dogon live—signals a connection to status and power, reflecting both historical encounters and spiritual dimensions.

Historically, the figure of the mounted warrior or noble is likely a reference to the era of cavalry-based dominance in the Sahelian regions, especially following interactions with Berber or Islamic powers from the north. Horses were introduced into the area via trans-Saharan trade and became associated with military and political elites. In this context, the equestrian figure stands as a visual marker of authority, perhaps echoing the prestige of foreign or pre-Islamic warrior lineages. The Dogon, although relatively isolated geographically, maintained oral traditions and artistic forms that reference such historical layers of contact and memory.

In the spiritual domain, the horse rider may embody an ancestral figure or a mythological entity. Dogon religious systems are built around a complex pantheon of deities, spirits, and ancestors, with cosmological narratives that structure both ritual and everyday life. The rider is occasionally interpreted as a psychopomp—a guide for the soul into the afterlife—or as a representation of the ancestor's return or presence in the material world. These interpretations align with the broader West African theme in which the horse serves as a liminal vehicle between worlds, reinforcing the figure’s ritual efficacy.

Stylistically, Dogon equestrian figures conform to the formal language of Dogon sculpture, with elongated proportions, geometric simplifications, and a frontal, hieratic composition. Such figures may be placed in family or communal altars, where they participate in cycles of ritual interaction, offerings, and renewal. They function not only as representations of status or myth but also as active participants in religious practice, embodying principles of mediation, continuity, and protection.

Interpretations of Dogon horse riders must be situated within the broader context of African equestrian iconography, where the mounted figure serves as a potent symbol across cultures—from the Senufo and Mossi to the Bamana and Hausa—each adapting the motif to its own cosmological and political schema. Yet in the Dogon context, the figure is uniquely embedded in a symbolic system that integrates historical memory, ritual function, and formal abstraction.

1. Ezra, Kate. Art of the Dogon: Selections from the Lester Wunderman Collection. New York: The Metropolitan Museum of Art, 1988.

2. Griaule, Marcel. Conversations with Ogotemmêli: An Introduction to Dogon Religious Ideas. London: Oxford University Press, 1965.

3. LaGamma, Alisa. Heroic Africans: Legendary Leaders, Iconic Sculptures. New York: The Metropolitan Museum of Art, 2011.

4. Imperato, Pascal James. "Dogon Equestrian Figures." African Arts 6, no. 3 (1973): 32–39.

The different types of Horseriders in the Dogon country.

The horse rider figures found in different regions of Dogon country exhibit notable variations in form, function, and symbolism, reflecting the cultural and environmental diversity within Dogon society. While they all share a basic typology—a mounted human figure on horseback—their stylistic execution and contextual meanings differ according to local sculptural traditions and religious practices.

In the western and southwestern regions, such as around Sangha, equestrian figures tend to be more abstract and geometric, in line with the broader formal aesthetics of Dogon sculpture in that area. These figures often emphasize verticality, with elongated limbs and simplified horse anatomy. The rider may appear rigid and hieratic, underscoring his symbolic function rather than naturalistic movement. In this context, the rider is typically linked to ancestral veneration or mythological narratives, serving a primarily spiritual role within household or community shrines.

By contrast, in the northern and northeastern areas—closer to the plains and historic trade routes—equestrian figures are sometimes rendered with more attention to anatomical detail and realistic proportions. This stylistic shift likely reflects greater exposure to external influences, including those from neighboring peoples such as the Fulani or Tuareg, who historically maintained a strong equestrian culture. In these regions, the horseman may carry connotations of historical memory, referring to past conflicts, alliances, or migrations. The figure might also be tied more directly to social status or warrior identity, rather than purely cosmological functions.

Furthermore, certain subgroups within Dogon society—such as the Tomo Ka or N'Duleri—developed distinct sculptural vocabularies, with unique iconographic features in their representations of riders. These include variations in the depiction of bridles, posture, or headgear, which may encode local myths, clan identities, or ritual roles.

Thus, while the horse rider remains a common motif across Dogon territory, its artistic and symbolic interpretation is far from uniform. Rather, it reflects the decentralized and heterogeneous character of Dogon cultural production, shaped by geography, lineage systems, and degrees of intercultural contact.

The upward-raised arms in Dogon horseriders

are a recurring motif and carry multiple symbolic meanings, rooted in ritual practice and cosmological belief. Most commonly, the gesture is interpreted as one of invocation or ritual prayer. The figure, with arms lifted skyward, addresses the gods or ancestors to request blessings, rain, fertility, protection, or healing. In Dogon religious life—shaped by offerings, ancestor veneration, and a highly structured cosmology—such a gesture is deeply significant.

Height: 40 cm
Width: 38 cm
Weight: 2,4 kg