ABSTRACT
The existence of an objectified 'folklore' is often used by Baga interviewees not only to proudly show that Baga do have a cultural heritage but also to argue that whatever is seen in public performances is just the tip of the iceberg. But, to understand this present-day situation, it recalls the rudiments of Baga cultural history. Here it uses the notion of 'folklorisation' as a self-conscious objectification of what people perceive to be their folklore or tradition and its display in cultural performances. The fate of Baga cultural heritage is inevitably linked to such entanglements between secrecy and display. While in the demystification campaigns state monitors were sent to the villages to police ritual activity and to make sure that nothing 'irrational' happened, in post-socialist Guinea ressortissants often aim at reintroducing such practices and logics and make sure that nobody is punished for that. If they do not meet this challenge, they will not be reclaiming their heritage.
