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Masterpieces of Haitian Art by Candice Russell Pdf
From painting and sculptures to papier-mache and gorgeously embellished Vodou flags, Russell's book is a celebration of the best examples in each medium produced in Haiti in the last seven decades. The misunderstood religion of Vodou informs much of the art. Learn about the diverse history of Haitian artistic schools, including the depiction of ordinary life in the Cap-Haitien style, and the mysterious and haunting images that make Saint Soleil so appealing. This mixture of work by masters like Hector Hyppolite and younger, emerging artists, demonstrates the importance of the bond between past, present, and future generations. Irreplaceable artworks, as well as hundreds of thousands of lives, were destroyed in the 2010 earthquake. In this historically important book, see how this resilient nation rebuilds itself while thoughtfully preserving its heritage and culture through art.
it awakens an appreciation for the imagination and creativity of the Haitian artists even in those whose provincialism would limit their preferences to the Western artistic tradition. Professor Leslie Desmangles Professor of Religion and International Studies Trinity University Modern Haitian art has for decades enthralled aficionados and general art lovers alike. In Arts and Religions of Haiti: How the Sun Illuminates Under Cover of Darkness, Haitian Scholar, LeGrace Benson presents a rich examination of the artists and arts of Haiti, and the complex history and religious practices of the Haitian people through the creative productions of its craftsmen, painters and sculptors. In departing from the usual Haitian Art or Haitian Religion books, Benson explains the relationship of Haitian art to the culture and uniquely describes the intersection, interrelation and influence of Judaism and Christianity as well as Taino and Islamic traces and the effects of both Masonic and Rosicrucian orders in shaping Vodou s belief system and rituals. In the face of mainstream media s titillating depictions of an imagined Voodoo, Benson presents Haiti s deeply spiritual artists bringing forth energetic visions of healing, liberation and tranquillity through fascinating art works which manifest the creativity and undaunted hope of this complex nation. Heralded by scholars as an important addition to Haitian Studies, Arts and Religions of Haiti: How the Sun Illuminates Under Cover of Darkness is the culmination of years of research and field study. It opens new areas of study and scholarly research and is a remarkable source of information on Haitian culture and religion but also an invaluable resource for art historians, anthropologists, historians and sociologists interested in Caribbean and African religions. "
History and Culture of Haiti by NICOLE JEAN-LOUIS Pdf
My name is Nicole Jean-Louis. My maiden name is Nicole Faublas. I was born in Port-au –Prince, Haiti. When I was nine years old, my grandfather, Luc Beauboeuf, inspired me to discover my artistic talent. Every sketch I’ve made was greeted with abundant praises by my grandfather. “Draw me some more”, he would say to me. Every day after school, I would rush to draw more and more for him. Then, he would help me with my math problems. In my early schooling at Sacred Heart, my favorite subjects were Math and Drawing. As an artist, I love to incorporate Geometry and Physics in my drawings as much as I can. For example, when I paint my landscape, I want to align the horizon with the sea level as straight as possible. In Haiti, we were five siblings growing up: Gladys, Nicole (myself), Micheline, Edith, and Serge Faublas, our only brother. One day, my father, Jean Faublas, gathered us all to go hiking in a mountain surrounding Port-au-Prince. The mountain’s name is “Morne de l’Hopital”. My father told us that we would go to the top where there is a hotel at “Boutilier”. This was a memorable experience. We met farmers working on the fields. Some farmers build terraces. We met women descending the mountain with baskets on their heads, loaded of farm products. The women wore blue denim dresses, with a colorful piece of cloth wrapped around their waist. There were naked children playing by their thatch houses. At the age of ten, it was fascinating for me to see the children’s skin and hair of similar color, red-brown like the soil. The air smelled like Haitian soda. In the late 1955’s era, the mountain sides located near Port-au-Prince were not constructed. They were invaded by outsiders as in this modern day era. In 1964, my whole family migrated to Zaire, Africa, to flee from the Duvalier Regime. I spent a year in Zaire, completing my terminal secondary class. Then, my father sent me to Hampton, Virginia. I attended Hampton Institute; presently known as Hampton University, majoring in Biochemistry. I spoke little English. The following year, I stayed in New York with my older sister, Gladys. I did not pursue Art in college. Instead, I choose Science. After many intermissions, (e.g.)( wedding, travel, birth), I finally received a Bachelors in Science degree at Hunter College in 1978. From 1978 to 2007, I worked in Chemistry at different hospitals in the Bronx: North Central Bronx Hospital, Einstein, Jacobi, and Montefiore Hospital. I painted occasionally for dear friends, my sisters and brother, my granddaughter, Guenett (“Three 2 Generations”) painting. I also painted for my niece’s and nephew’s wedding presents, and for decors in my new house. When I retired in 2007, my husband and I went to live in Jacmel, Haiti, his hometown. Jacmel is a picturesque town by the beaches. Its environment inspired me to take my brushes again. Painting became my favorite past time. From 2007 to 2010, I painted over thirty paintings. I embrace all styles: landscape, personalized portrait, every day occurrence, folkloric dance, history. Haiti that I know before the earthquake of January 2010 will be beautiful again. I have to display Haiti’s panoramic scenery, everyday life, and its historic events such as: “Ceremony of Bois Caiman, 1791”, “Mad Dogs chasing fugitive slaves”. I have to exhibit some of Haiti’s heroic figures; for example, Toussaint Louverture and Jean Jacques Dessalines. My book is mostly about visual art. Visual art depicts everything that the eyes can see without embellishment. Reality is represented faithfully, truthfully, and accurately. Visual art is objectively real. My book illustrates Haiti’s history and culture through visual art. Haiti has a unique and glorious history. History is powerful and should be protected. Haiti is a country full of resilience. Documenting Haitian history and culture through art is my passion. It is important to instruct the young so they can make educated judgment by learning from the past. I
Author : Michael Largey Publisher : University of Chicago Press Page : 300 pages File Size : 42,5 Mb Release : 2006-05 Category : History ISBN : 9780226468655
While the Haitian musical tradition is probably best known for the Vodou-inspired roots music that helped topple the two-generation Duvalier dictatorship, the nation’s troubled history of civil unrest and its tangled relationship with the United States is more intensely experienced through its art music, which combines French and German elements of classical music with Haiti's indigenous folk music. Vodou Nation examines art music by Haitian and African American composers who were inspired by Haiti’s history as a nation created by slave revolt. Around the time of the United States’s occupation of Haiti in 1915, African American composers began to incorporate Vodou-inspired musical idioms to showcase black artistry and protest white oppression. Together with Haitian musicians, these composers helped create what Michael Largey calls the “Vodou Nation,” an ideal vision of Haiti that championed its African-based culture as a bulwark against America’s imperialism. Highlighting the contributions of many Haitian and African American composers who wrote music that brought rhythms and melodies of the Vodou ceremony to local and international audiences, Vodou Nation sheds light on a black cosmopolitan musical tradition that was deeply rooted in Haitian culture and politics.
Author : Donald Cosentino Publisher : University of Washington Press Page : 452 pages File Size : 54,7 Mb Release : 1995 Category : Art ISBN : UOM:39015016670039
Sacred Arts of Haitian Vodou by Donald Cosentino Pdf
This abundantly illustrated anthology brings together sixteen essays by artists, scholars and ritual experts who examine the sacred arts of Haitian Vodou from multiple perspectives. Among the many topics covered are the ten major Vodou divinities: Vodou's roots in the Fon and Kongo kingdoms of Africa and its transformation in the experiences of slavery, and the encounter with European spiritual systems; Vodou praxis, including its bodily and communal disciplines, the cult of St. James Major (Ogou), and the cult of twins.In the final section, essays by Elizabeth McAlister, Patrick Polk, Tina Girouard, and Randall Morris look at Vodou arts and artists, Oleyant, and the legacy of ironworker Georges Liautaud.The Envoi, by Donald J.Cosentino, is devoted to the Gedes, spirits of death and regeneration.
A New York Times Notable Book A Miami Herald Best Book of the Year In this deeply personal book, the celebrated Haitian-American writer Edwidge Danticat reflects on art and exile. Inspired by Albert Camus and adapted from her own lectures for Princeton University’s Toni Morrison Lecture Series, here Danticat tells stories of artists who create despite (or because of) the horrors that drove them from their homelands. Combining memoir and essay, these moving and eloquent pieces examine what it means to be an artist from a country in crisis. BONUS MATERIAL: This edition includes an excerpt from Edwidge Danticat's Claire of the Sea Light.
Bordering the Imaginary by Abigail Lapin Dardashti Pdf
Bordering the Imaginary: Art from the Dominican Republic, Haiti, and their Diasporas is an exhibition that investigates the complicated relationship between the Dominican Republic and Haiti—two nations that share a single island. The exhibition features work in a wide array of media by 19 Dominican and Haitian artists, based in both their native countries and in the United States. The artists draw on their experiences of difference, movement, and immigration to create a collective visual narrative that exposes inequalities and stereotypes of race, gender, and sexuality, which have plagued the island since the 15th century. Their work also displays the vitality of the visual arts in their communities. Through the exhibition and exhibition catalogue, Bordering the Imaginary reveals the complexities of a historically shifting transnational border space and the formation of distinct but intertwined nations.
Visualizing Haiti in U.S. Culture, 1910–1950 by Lindsay J Twa Pdf
From the 1910s until the 1950s the Caribbean nation of Haiti drew the attention of many U.S. literary and artistic luminaries, yet while significant studies have been published on Haiti's history, none analyze visual representations with any depth. This book argues that choosing Haiti as subject matter was a highly charged decision by American artists to use their artwork to engage racial, social, and political issues. Twa scrutinizes photographs, illustrations, paintings, and theatre as well as textual and archival sources.
