The Business of Traditional African Masks: Production, Trade, and Authenticity in Osun State

Traditional African mask production has become entangled with complex questions of commercial authenticity, cultural heritage, and ethical trade as local artisans navigate tourist, collector, and ceremonial markets that place conflicting demands on their production decisions. This study examines the business of traditional mask production and trade among artisan communities in Osun State's South West zone, focusing on Ife and Oshogbo as sites where ceremonial, tourist, and art market demand coexist. Primary data are gathered from 35 mask carvers, 15 traders, and 10 cultural festival administrators through structured interviews and market observation. The study assesses production volumes by market type, pricing structures, the adaptation of designs for different buyer markets, and the social and economic consequences of commercialised production for the ceremonial functions of masks. The theoretical framework draws on the cultural commodification literature, the heritage ethics discourse, and the political economy of craft in postcolonial Africa. The study examines whether the existence of a tourist and international collector market has created economic opportunities that support the survival of carving skills, or whether commercial pressures have distorted traditional forms and knowledge systems. The Oshogbo art tradition, with its internationally recognised Yoruba heritage art school, provides a rich contextual backdrop. Findings are expected to benefit the Osun State Ministry of Culture, craft heritage institutions, and researchers in African art markets. Keywords: traditional masks, cultural commodification, Osun State, artisan trade, heritage ethics