Visual Archive

Toussaint Louverture Portrait (via The Atlantic Slave Trade and Slavery in the Americas: A Visual Record)

The Richard and Erna Flagg Collection of Haitian Art, Milwaukee Art Museum, WI

An extensive collection of significant Haitian painting and sculpture from the 20th century.

Haitian/Caribbean Folk Art Collection, Waterloo Center for the Arts, Waterloo, IA

Significant collection of Haitian art; the center also includes a children’s “Caribbean Kinder Island” themed gallery.

Haitian Collection, Figge Art Museum, Davenport, IA

Significant collection of Haitian art; hosted the retrospective exhibition Edouard Duval-Carrié: Migration of the Spirit (2006)

 

Vè-Vè Bibliography


 

 

Flying Over Dikenga : The Circle of New Life
Bárbaro Martínez-Ruiz, Assistant Professor at Stanford Art and Art History Department.

The varied cultures of the contemporary Caribbean are bound by many common threads, not least of which is the enduring legacy of their African heritage. Such pedigree is manifested in countless ways across and beyond the region and much further study is needed before any comprehensive understanding of its origins, influences, adaptations, and present forms is revealed. Hoping to contribute in however small a way to that goal, this essay addresses a mode of graphic writing used among the Bakongo people in central Africa and their descendents in Cuba, Haiti and Brazil. In demonstrating the continuity in the form and meaning of graphic writing systems through time and across space, I aim to highlight both the richness of Kongo visual culture and its lasting role in shaping spiritual and artistic life in the Diaspora.

 

 

Vladimir Cybil
Jerry Philogene, BOMB, 90/Winter, ART, 2005.
Her drawings, paintings and installations are realistic, fantastic, humorous and expressive. Juxtaposing culturally specific objects and materials, Cybil creates a “visual bilingualism” that draws on the duality of her own experience as a child in Haiti and an adult in the U.S.

 

 

African Cultural Contribution in Haiti
J. B. Romain

Paper presented at the UNESCO’s Meeting of experts on “African Negro Culture Presence in the Caribbean and North and South America”,  Bridgetown, Barabado, April 9-13, 1979.

 

Finding Identity with Cultural Protected Areas: The Vevé of Afá Palma Soriano, Cuba.
Maria Ayub,  Florida International University, Miami, Fl, USA.

 

 

 

 

 

Vèvès, Ritual Symbols

A Vèvè is impermanent: it is made of powder, drawn horizontally from the pinched fingers of a skilled practitioner standing spread legged, meant for a specific spirit invoked during a specific ceremony. Having served its purpose, it is erased without a thought by the succeeding dancers.

 

 

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