Haitian Art

National Art Education Association
Instructional Resources Haitian Art: Exploring Cultural Identity
Author(s): Anne Marie Hayes and Michelle Robinson
Source: Art Education, Vol. 54, No. 1, Focus on Secondary (Jan., 2001), pp. 25-32
Published by: National Art Education Association
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INSTRUCTIONA
I3
STRUCTIONAL
ART: EXPLOR
HAITIAN
IDENTITY
ClLTlRAL
FlorvilHyppo/ite
FlorvilHyppolite),
ca.1945-47.
HectorHyppolite
(Haiti,1894-1947),LePresident
(President
Friendsof ArtPermanent
Endowment
Fundwithassistance
Oilandpencilon paper,30 x 24 inches.Museumpurchase,
fromtheBeauxArtsFundCommittee,
Inc.,92.13
JANUARY2001 / ART EDUCATION
ART:
HAITIAN
CULTURA
EXPLORING
IDENTITY
A
N
A_
A
_WAR
___EomMEMea
(Recommendedfor
High SchoolStudents)
Introduction and Historical Background
Haitiis locatedin the Caribbean,and alongwiththe
DominicanRepublicmakes up the islandHispaniola(Fig. 1).
Two-thirdsof the countryis mountainous.Most of the
population(95%)is Blackand poor.In the 15thcentury
Spanishexplorersand soldiers conqueredthe indigenous
peoples, and in the early 16thcentury,Spainbegan
transportingslaves fromAfricato search forgold. The French
took controlof Haitiin 1697andnamedthe colony Saint
Domingue.The Frenchcolonists establishedprosperous
sugar,cotton,and coffee plantationsthatdependeduponthe
Africanslaves for labor.
In 1791the Africanslaves rebelledagainstthe French,
whom they outnumberednearly11 to 1, andyears of fighting
ensued. AlthoughToussaintLouverture,the leaderof the first
successful slave revoltin history,was capturedby French
troopssent by Napoleonin 1803,Haitiachievedindependence
on January1, 1804.The only other republicin the Western
Hemisphereat thattime was the UnitedStates.From 19151934,U.S. troopsoccupiedthe islandafterconcerns over
politicalstabilityarose.This periodof U.S. occupationwas
followedby the brutaldictatorshipsof FrancoisDuvalierand
his son Jean-Claude.Electionswere subverteduntil 1990
when Jean BertrandAristide,a Catholicpriest,was elected
President.In 1994U.S. troopsreturnedto Haitito support
Aristide'sgovernmentfollowingyet anotherrevolution.
Haiti'shistoricalevents have influencedthe way in which
Haitiansview themselves. Haitianartistscome fromvaried
social backgroundsandhave differentlife experiences and
artistictraining.The fourpaintingsdiscussed here express
Haitianconcerns, includingpoliticsand the role of Vodouin
dailylife. Vodou,a religionthatis practicedby the majorityof
Haitians,is an importantaspect of Haitianculture.However,it
is perhapsone of the most misunderstoodreligionsbecause
of how it has been sensationalizedin Hollywoodmovies.
WEST INDIES
N
Wwe E
CARIBBEAN
SEA
PUERTO
RICO
0W
Figure1.
ART EDUCATION / JANUARY 2001
INSTRUCTIONAL
Hector Hyppolite
Haiti, 1894-1947
Le President FlorvilHyppolite
(President FlorvilHyppolite),ca. 1945-47
Oil and pencil on paper
30" x 24"
Museum purchase, Friends of ArtPermanent
Endowment Fund with assistance from the
Beaux Arts Fund Committee, Inc., 92.13
Discussion
DeclaringindependencefromFrancein 1804was a great
victory,but maintainingpoliticalstabilityhas been, and
continuesto be, a challenge for the governmentof Haiti.The
firstHaitianleaderwas assassinated2 years aftertakingoffice,
which resultedin the countrybeing dividedundertwo leaders
until 1818.From 1843-1915,Haitihad 22 heads of state, 14 of
whom were deposed by revolution.PresidentFlorvil
Hyppolite'sterm (1889-1896)took place duringthese decades
of instability.(The artistis not relatedto the President.)
This paintingdifferssignificantlyfromtraditionalWestern
portraitsof heads of state, both in its intentand its appearance.
Haitianswould undoubtedlyrecognize thatthis portraitis
structuredafterthe Haitiancoat of arms (Fig. 2). President
Hyppolitereplacesthe palmtree thatappearsabovethe six
wings. The palmtree is an importanticon because it
representsthe strength and resiliencyof the Haitianpeople.
Red and blue, the colors of the Haitianflag, appearthroughout
the painting-as a
decorativeband
encirclingHyppolite,on
his clothing,andin the
floralelements. (Redand
blue are also symbolic
:_ m,i
colors of Ogou,a Vodou
espiritassociatedwith
militarypower.) Formal
portraitsof heads of state,
as a rule, do not have
2.
Figure
decorativeelements. In
this portrait,the colorfulhibiscus blossoms, layeredover the
red andblue band,enliventhe pictorialspace and compete for
attentionwith Hyppolite.Decorativeflowersappearin many
Hyppolitepaintings,but the symbolicmeaningis unknown.
The significanceof depictingHyppolite'seyes as those of a
snake ratherthan as humanis also unknown.The factthatthe
artistwas also a Vodou priestmay or may not be important.
Some arthistorianshave describedHectorHyppolite's
brightcolors, flattenedperspective,and simplicityof
technique as naive.However,Hyppolite'sexpressive style
appealedto DeWittPeters, the firstdirectorLe Centred'Art,
the Port-au-Princeartcenter establishedin 1944.The French
poet AndreBretonpurchasedHyppolite'swork in 1946when
visitingHaitiand subsequentlyorganizedan exhibitionof his
works in Paris.This internationalrecognitionwas quite an
r
i
accomplishmentfor a self-taughtartistwho also had
supportedhimself by workingas a cobbler,house painter,
and innkeeper.
Activity
Have students researchhistoricalportraitsof leaders or
politicalfigures and discuss how artistshave used symbols to
representaspects of the person'spersonalityor politicalviews.
Includea discussion of Hyppolite'ssymbols, in particularthe
significanceof the palmtree. Have studentscreate a portraitof
a currentor recent politicalleader,emphasizingthe
individual'spersonalcharacterthroughhis or her facial
expression and othervisualelements. Using the Hyppolite
portraitas an example,the studentsmay incorporateelements
of the country'sflag and "frame"the individualwith
meaningfulsymbols.
Evaluation
Critiqueportraitsas a group.How did the studentscapture
the characterof the politicalleader?How did the students
incorporatesymbolicelements into the portrait?How are the
students'personalfeelings aboutthe politicalleader
demonstrated?
Edouard Duval-Carrie
Haiti,b. 1954
Azaka, Agro Rex (Azaka, Kingof Agriculture),1979
Oil on canvas
48" x 108" (triptych)
Giftof Beaux Arts Fund Committee, Inc.
80.26
Discussion
Unlike most Haitianartists,Duval-Carriehas spent most of
his life abroad:firstin PuertoRico,then Canadaand France,
and finally,the UnitedStates.He currentlyresides in Miami
Beach. Despite his broadknowledge of arthistoryand current
trends in art,he chooses to painttraditionalHaitiansubjects,
folklore,and legends. Azaka,AgroRexis the firstin a series of
Vodou spiritsthat Duval-Carriehas painted.(Severalyears
afterthis paintingwas completed,the artistwas pleased to
discoverthata poster of it had made its ways to the walls of a
Vodoutemple in Haiti.)
Vodou(also spelled Voodoo)is a religionthat developed
among the slave populationsin Haiti.It is based primarilyon
west Africanreligions.Notableelements includeancestor
worship,spiritpossession, andthe use of song, drums,and
dancingin ceremonies.To preserveAfricanbelief systems
and adhere to coloniallaw (whichforbidslaves to practice
their own religions), Saint Domingueslaves blended elements
of west Africanreligionswith RomanCatholicism,the religion
of the Spanishand Frenchcolonists. For example,Catholic
prayersare recitedat the beginningof Vodouceremonies, and
chromolithographsof Catholicsaintshave been appropriated
for manyVodou spirits.
(continued)
JANUARY2001 / ART EDUCATION
1979.Oilon canvas,48 x 108 inches(triptych).
Giftof BeauxArtsFundCommittee,
Edouard
Duval-Carrie
Inc.,80.26.
(Haiti,b. 1954),Azaka,
AgroRex(Azaka,
Kingof Agriculture),
ART EDUCATION/ JANUARY2001
INSTRUCTIONAL
PaulClaude
b.1944),Madonna
Gardere
1983.Acrylic
onmasonite
(Haiti,
(Madame
Duvalier),
33/4 inches
panel,
by48inches.
E.Neiswanger,
Giftof Dr.Walter
M.D.,94.12.
JANUARY2001 / ART EDUCATION
I
Vodouspiritsare called Iwa.Lwa are similarto Catholic
saintsbecause people ask them for assistance or favor.Like
Catholicsaints,Iwahave particularattributesand symbolic
colors.Azaka(PapaZaka)is the patronof agriculture.He is
typicallyrepresentedas a peasantfarmerwho wears denim
andcarriesa woven strawsack over his shoulderto hold his
creationlooks
lunch and his seeds. However,Duval-Carrie's
more like a Frencharistocratthana peasantfarmer.Azaka's
ruffledshirtandfittedjacketwouldbe too hot for Haiti'shot,
humidclimateand certainlyunsuitableforfarming.Azaka
andhis fancifulpinkhorse are surroundedby the Haitian
countrysidethatappearsfertile.Yet, overpopulationand
continueddeforestationhave made Haitian ecological
disaster.Duval-Carrie
gave Azakaone blindeye for a reason.
The palmtree and serpent (inthe side panels) also have
religioussignificance.The palmtree is a naturalpoto-mitan,
the sacredcenter pole foundin Vodoutemples.Spirits
invokedthroughceremonies arebelieved to arrivethrough
the poto-mitanthatconnects the landof the living (people)
with thatof the dead (ancestors).The serpentwrapped
aroundthe palmtree is Papa Danbala,the ancientVodou
spiritrepresentingthe past andthe continuityof generations.
Activity
Havestudentsresearchartistswho have affectedchange in
the areas of politics,ecology, women'srights,or other social
issues. Includea discussion of Duval-Carrie's
representation
of PapaZakaas a commentaryon the environmentalcrises in
Haiti.Havestudentscreate an artworkaboutan ecological
issue thatconcerns them. Studentsmaywork on individual
pieces or create a groupproject.Studentsmay incorporate
slogans or otherwords to communicatetheirmessages.
Evaluation
Critiquethe individualpieces as a group.Whatdid
studentslearnaboutthe environmentalproblemthrough
research?Whatdid studentslearnaboutpotentialsolutions
forthe problem?How did students communicatethe need
for concern and actionon the partof the viewer?
Paul Claude Gardere
Haiti,b. 1944
Madonna (Madame Duvalier), 1983
Acrylicon masonite panel
333/4"x 48"
Giftof Dr. Walter E. Neiswanger, M.D.
94.12
Discussion
PaulGardereis interestedin culturalidentity.While living
in the UnitedStatesas a young man,he wasn'tsure whether
to definehimself as "Black"or "White"because he is a lightskinnedmulatto(a term used in Haitito describe a person
withAfricanand Europeanancestry).Some artgallerydealers
also thoughthis work did not fit into the categoryof AfricanAmericanart.In 1978,afterlivingin the UnitedStatesfor 19
|ART EDUCATI ON / JANUARY 2001
years, Garderereturnedto Haiti.Six years laterin 1984,he
moved back to Brooklynbecause he was concernedwith
Haiti'spoliticalsituation.
Skin color has alwaysbeen an issue in Haiti.Before
independence,mulattoshad more rights thanBlackslaves
because they were affranchis("freedmen"),but were still
denied the politicalrights of the Whitecolonists.After
independence,mulattosbecame the elite-both politicallyand
economically.Despite representingonly about5%of the
population,mulattoswere responsiblefor promotingFrench
norms and models:Frenchbecame Haiti'sofficiallanguage,
and RomanCatholicismbecame Haiti'sofficialreligion.
Mulattosstillcontrolwealthand politicalpowerin Haiti.
This satiricalpainting,loosely based on Christianmadonna
andchild images, illustratesthe artist'sconcerns aboutBaby
at age 19 by his
Doc's leadership.AppointedPresident-for-Life
father,BabyDoc did not like politicsandwas initiallyhappyto
let his motherSimoneand a circle of advisorsgovern Haitifor
him. (Simonewas expelled fromHaitiin 1980,reportedlyat
the request of Jean-Claude'swife, Michele Bennett.) Here,
BabyDoc appears,literally,as a babyon the lap of his wife.
Garderealso incorporatedreferencesto Vodoubecause Papa
Doc understoodthe powerof Vodou andused it to his
advantage.The artistknew that Haitianswouldrecognize a
Vodouspirit
Blackmadonnaas Ezili Danto,a mother-warrior
knownfor her fierce protectiveness.In contrast,Michele's
relaxedpose andjewelryis associatedwithEzili Freda,a
mulattoVodouspiritassociatedwith sensualityandwealth.
(Michele'sextravagantspendingmade her unpopularwith
the Haitianpeople.)
The white dog symbolizesthe UnitedStates.In 1962the
UnitedStatescut off aid to Haitidue to increasingconcerns
aboutPapaDoc's repressiveand authoritarianrule.Aidwas
restoredin 1971when BabyDoc assumed office.In 1986,
however,U.S. aidwas cut offagain,and the Duvalierswere
forcedto flee to France.
Activity
Havestudents discuss how one wouldfeel to be pressured
to make a certainkind of artbecause of one's race and cultural
backgroundand to know that one could not displaya
controversialpainting(such as this one) in one's own country
forfearof punishment,even death.Have studentscreate a
mixed mediapiece abouta politicalleader,professional
athlete,or entertainerwho has been corruptedby powerand
wealth.The studentsmay incorporatedrawings,paintings,
photographs,symbols, and other mediato drawattentionto
the individual'scharacterflaws.
Evaluation
Critiquethe works of artas a group.How did the students
use collage elements and symbols to emphasizethe
individual'spersonalityand characterflaws?How are the
students'personalfeelings aboutthe individual
demonstrated?
INSTRUCTIONAL
'
?
O
Bien-Aime Sylvain
Haiti,b. 1936
Le Cimetiere (The Cemetery), n.d.
Oil on masonite panel
36" x 48"
Giftof Dr. Walter E. Neiswanger, M.D.
85.33
Discussion
Haitiancemeteries have two specialgraves:the oldest
graveof a male,andthe oldest grave of a female.BawonSamdi
(the male) and GranBrijit (the female) are the "parents"of
the familyof the dead, knownas the Gede.The large cross
(the kwa Bawon,or "Baron'scross")marksa specialplace in
the cemetery:the crossing pointof two cemetery paths.
BaronSamdidresses in black,andwears a blacktop hat.
Someone has placeda blacktop hat on the kwaBawon.The
cross, itself,is an importantVodou symbol. It representsthe
intersectionor crossroadsof the horizontalplane (the mortal
world) and the verticalplane (the spiritualworld).
Sylvain'spaintingdepicts manyof the social interactions
thattake place regularlyat Haitiancemeteries. In Haiti,
women are the principalritualizers.They light candles,leave
food offerings,plantflowers,attachmetalfloralwreathsto
tombs, say privateprayers,andhirepretsavan(bush priests)
to recite prayersin Latinor French.A sign on the back
cemeterywalls tells visitorsthatthe services of the pretsavan
(shownhere readingfrombooks) can be obtainedfor an
advancefee. The role of the bush priestdevelopedduringthe
firsthalfofthe 19thcenturywhen Romerefused to send
Catholicprieststo the new Blackrepublic.
In the foreground,three individualsoffersomeone a cup of
coffee. This smallgift, along with a piece of hardyellow soap
and a few pennies, marksthe opening of an elaborateVodou
ritualcalledthe manjepov (ritualfeeding of the poor).This is
an invitationto a sumptuousfeast in the home of the family
staging the ceremony.The poorare invitedbecause they can
bestow blessings obtainablefromno other source.
Activity
Have students research ritualpracticesconcerningdeath
and mourningin other cultures,and comparethem to ones
practicedin their country.Includea discussion of cemetery
ritualsrepresentedin the Sylvainpainting.Have students
research ritualobjectsassociatedwith death (reliquaries,
tombs, etc.) in other culturesand time periods.Have students
create an objectcommemoratingtheirlives using whatever
mediathey choose.
Evaluation
Have students critiqueobjectsas a group.Did the students
learnaboutother ritualpracticesconcerningdeath and
mourningin other cultures?Did the studentslearnaboutand
understandthe significanceof ritualobjectsassociatedwith
death?Did the students create an objectthatis an appropriate
representationof their lives?
!
Conclusion
Haiti'scultureis a fascinatingblend of African,French,and
Spanishinfluences.The fourworks discussed here show the
richness of the culture-how Haitiansview religion,politics,
and dailylife.Teachers and students are encouragedto
explorethe diverse and complex paintingsand metal
sculpturescreatedby Haitianartists,both in Haitiand abroad.
Ann Marie Hayesis curatorof education,DavenportMuseum
ofArt, Davenport,IA. MichelleRobinsonis curatorof
collectionsand exhibitions,DavenportMuseumofArt,
us;
Davenport,IA.E-mails:AMH@ci.davenport.ia.
MMR@ci.davenport.ia. us
Pronunciation Guide
doo-VAHLcar-ee-AY"
Edouard Duval-Carri&-"ed-war
Paul Claude Gardere-"paul-clodegahr-DARE"
Gede-"geh-day"
Hector Hyppolite-"ec-torIH-poh-LEET'
Lwa-"luh-wah"
Bien-Aime Sylvain-"bee-AHN-ah-MAYsil-VAN"
Vodou-"VOH-doo"
Resources
Avins,L.,& Quick,B. D.(1995).SacredartsofHaitianvodou:A
curriculumresourceunit.LosAngeles:UCLAFowlerMuseumof
CulturalHistory.
Brown,K.M. (1995). Tracingthespirit:Ethnographic
essayson Haitian
art.DavenportMuseumofArt,Davenport,Iowa,in associationwith
the UniversityofWashingtonPress,SeattleandLondon.
Cosentino,D.J., (Ed.) (1995).SacredartsofHaitianvodou.Los
Angeles:UCLAFowlerMuseumof CulturalHistory.
Truthandfantasy.Translatedfromthe
Hurbon,L. (1995).Voodoo:
Frenchby LoryFrankel.London:ThamesandHudson,Ltd.
JANUARY 2001
/ ART EDUCATION
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n.d.Oilon masonitepanel,36 x 48 inches.Giftof Dr.Walter
E.Neiswanger,
Bien-Aime
M.D.,85.33.
Sylvain(Haiti,b.1936),LeCimetire(TheCemetery),
-ART
EDUCATION / JANUARY2001
I