The Kankurang, a traditional Mandinka masquerade, forms an instrumental part of the cultural heritage of that ethnic group. While for some it serves as a symbol of entertainment, for others, it serves as a source of spiritual security. One such moment is during circumcision periods, when the circumcised are put under the spiritual guidance of the unknown Kankunrang.

However, the influence of modernity, coupled with neglect, have seen the near disappearance of this and a host of other Gambian cultural values. This is what has prompted efforts geared towards the preservation, promotion and development  of the spirit of arts and culture in the country, Africa and the world at large. And the Kankunrang is at the centre of this crusade. An idea for the establishment of the first Kankurang centre in the historical settlement of Janjanbureh, otherwise called George Town, in the Central River Region (CRR), has been conceived.

The decision was unanimously adopted at the end of a four-day workshop on Kankurang traditions, held from 8 to 11 May 2008, in Janjanbureh. That discussion was convened under the auspices and sponsorship of the united nations education scientific and cultural organisation (UNESCO).

According to a definition given by  Honorable Foday Jiman  Manka, the national assembly member (NAM) for Janjanbureh,  in  his  book on  traditional cultural norms and values, the  word kankurang means a mask worn by individuals during ritual ceremonies. This mask is said to conceal the wearer’s identity, and that the hidden identity establishes that no ordinary man has the right to judge others. Therefore, the mask disguising the human form is believed to have the authority to act in the name and place of spirits. The non-human form of the masquerade has become the most important traditional cultural practice retained by the community.

The four days workshop drew participants from all the administrative regions of the country, where different kinds of kankurang traditions are found. These regions are believed to be the custodians of the tradition, dated back centuries ago.

Many qualifications have been advanced as  reasons for the establishment of  the centre in  Janjanbureh. But chief among these are the strategic location of the Island in terms of accessibility for all the administrative regions of the country; the Janjanbureh Town as a tourist attraction centre (with the famous Freedom Tree, the Underground slave house located right on the river bank, among a host of other landmarks reminiscent of the colonial era).

The workshop participants brainstormed on many issues bordering on the origin of the different types of Kankurang that exist in countries that have it, the need for their preservation, development and as well as the promotion of their spirit from our traditional cultural perspective.

The participants subsequently agreed that the following types of kankurangs exist in the Gambia and beyond: Kaabu kankurang, Jamba kankurang, Maamo, Jamba Jabali, Fanbondi, Wulen wulengo, which is widely believed to have its origin from Kaabu in Guinea Bissau, among others.

The workshop was characterised by presentation of papers on topical issues such as the history and origin of kankurang, their cultural significance, role and functions, with special reference to the rites of passage, etc..

A Kankurang  is said to have a judicial function  apart from its traditional cultural role. The participants believe that it helps greatly towards enforcing discipline and punishing transgressors in the community. To a large extent the kankurang is perceived and accepted as the embodiment of spiritual and moral values of traditional societies, and as such it commands the admiration and respect of the community. By exhibiting wisdom in judicial process, people are tolerant of its actions when it metes out punishment on transgressors. In our traditional society people have the believed that a kankurang was an incarnate spirit that had come from the spiritual world called  Furulung, his unseen world of spirit is male dominated, called  Kewulo, where women and the uninitiated are excluded.

The proposed kankurang centre, when completed, will serve as the main centre on the tradition in the Gambia, and it is hoped that it would be used for research purposes by both national and international students. The centre will also house the various kinds of kankurang that exist in the Gambia, Senegal, Guinea Bissau and beyond. In addition to that, the centre will be run and managed by a national committee with members drawn from all regions of the Gambia, especially in communities where the kankurang tradition exist.

Mr Momodou Joof, Executive Director of the National Centre for arts and culture (NCAC), speaking at the opening ceremony of the workshop, said the discussion was aimed, among other things, at documenting the significance of kankurang  to the communities which continue to maintain the tradition, to find ways and means of preserving and ensuring the transmission of this tradition to future generations, to lay foundations for the establishment of a kankurang centre, which he said would serve as focal points for research, information dissemination, preservation, promotion and development.

The NCAC boss said, the workshop was a follow up to the proclamation of the kankurang tradition as a masterpiece of oral and intangible heritage of humanity under the UNESCO convention for the intangible cultural heritage. He added that the Gambia and Senegal had developed a project and action plan that involved the organisation of workshops with stakeholders in their respective countries, with the ultimate aim of safeguarding the tradition for posterity.

For his part, Honorable Foday Jiman Manka, expressed delight and sincere heartfelt  appreciation to the National Centre for Arts and Culture (NCAC), for choosing Janjanbureh  as the venue for the first ever workshop on UNESCO convention on the preservation of the kankurang tradition in the Gambia.

Honorable Manka described masquerade as a very old Mandinka tradition but he was quick to say that the tradition was fading. Bakary Jam Jawo, head chief of Janjanbureh, also expressed sincere thanks to the National Centre for Arts and Culture (NCAC) for choosing Janjanbureh as the venue for the workshop. He hoped that the centre, when completed, will serve its purpose.