Traditional African art for the most part was more closely integrated with other aspects of life than those which might be described as purely esthetic. Art for art's sake — as a governing esthetic concept—seems not to have existed in Africa. Indeed, the more closely an art form is related to a major non-esthetic aspect of culture such as religion, the more distant it is from such separatist philosophical concepts.

In fact traditional Africati sculpture might best be described as based on a concept of art-for-life's sake. It was, in most cases, closely allied to those cultural mechanisms dedicated to the maintenance of order and well being. In short, sculpture was oriented to those social values upon which depended the sense of individual and tribal security.

These values were often formalized in exceedingly practical and commonsense terms, as is demonstrated in this Bambara prayer addressed to the ancestors:

I sacrifice this hen to you in the name of my children and myself. Protect us from all evil. Give us rain at the time the rains begin; give us a good harvest, a happy old age, women, children and the health to cultivate our fields. Do not be angry with us. We love you, we honor you. Be happy during your sojourn in Lehara, the realm of the invisible. (Kjersmeier 1935: 15).