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Face of the Gods-Voodoo.1
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| 01.02.2009, 11:06 |
Face of the Gods
Art and Altars of Africa and the African Americas
The following information © relates to the exhibition Face of the Gods,
conceived by Robert Farris Thompson, professor of Afro-American Art at
Yale University and curator of The Museum of African Art in New York
City, where this traveling show originated. The exhibition links the
visual grammar of altar traditions of West African (Yoruba) and Central
African (Kongo) civilizations with those of Yoruba and Kongo descendants
in Haiti, Cuba, Brazil, Puerto Rico and in Black and Latino North
America. Face of the Gods can be seen up to February 19 at University
Art Museum, Berkeley and March 19-May 4 at The Museum of Fine Arts,
Alabama.
Click here to see a photo of an altar called Face of the Gods
------------------------------------------------------------------------
Altars everywhere are sites of ritual communication with the
supernatural. They mark the boundary between heaven and earth, the
living and the dead, the ordinary and the world of the spirit. Elevated
or grounded, simple or elaborate, communal or personal, altars focus the
faithful in worship. They provide an arena for offerings and requests
they act to channel positive and negative forces. The Yoruba term for
altar, "face of the gods," and the Kongo concept of altar as a
"crossroads" or border between worlds, are the operative metaphors used
throughout the exhibition.
Using the altar as a vehicle for historical reconstruction, the
exhibition explores how, despite the destruction and disruption caused
by the slave trade and the imposition of Christianity and foreign
culture, African people and their descendants in the Americas maintained
the essential elements of African religious traditions through
improvisations and adaptations to local context.
Face of the Gods presents approximately 18 altars made up of more than
one hundred examples of African and African American works of art. Some
of the altars are reconstructions, based on field photos, using loan
objects from altar artists, national and international museums, and
private collectors. Altars have also been installed with the assistance
of distinguished artists/traditional leaders like Josй Bedia of Cuba,
Balbino de Paula from Brazil, Felipe Garcнa Villamil of Cuba (now in the
Bronx), K. Kia Bunseki Fu-Kiau of Zaire, John Mason, Yoruba priest from
Brooklyn, Amira Lepore and her son, Anadeau, Umbanda specialist from New
York City, Alberto Morgan, Yoruba specialist from New Jersey and C.
Daniel Dawson, special curator consultant.
Prelude: Kongo syncretism
Face of the Gods begins outside the museum where Palo Mayombe
ground-drawing, or firmas, have been applied to the pavement. Palo
(stick in Spanish) is a Kongo-based religion in Cuba; Mayombe, a
location in Western Zaire. These signs are considered the signatures of
spiritual entities associated with the Palo religion. Drawn on chalk or
sometimes gunpowder, they are used to attract and incorporate those
powers for protection and health.
A procession of multicolored, sequined flags dedicated to the Haitian
deities of sevi lwa, commonly known as Voudou, lead the visitor. This
national religion is composed of many strands: from Dahomey came the
worship of a pantheon of gods and goddesses (called lwa) under one
supreme Creator; from Kongo and Angola beliefs in the transcendental
powers of the dead and in the effectiveness of minkisi (charms used for
the healing and social harmony); from Yorubaland a pantheon of deities (
orisha). In Haiti these flags are paraded at the beginning of ceremonies
to herald the coming of a god or goddess. They are flags of mediation
between our mundane world and the world of the lwa and represent a
Creole variation on the Kongo theme of the ritual dancing of the cloth.
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