Annotated Bibliography

Averill, Gage. A Day for the Hunter, A Day for the Prey: Popular Music and Power in Haiti. Chicago: University of Chicago, 1997.

This book draws the correlation between music and power. Averill demonstrates the way in which music follows social issues and change. He does this in the time frame of 1915-1995 (the beginning of the first U.S. occupation to the end of the second), and divides this into four parts in relation to the Duvalier regimes( pre, Papa Doc, Baby Doc, post). This provides an interesting look at the social response to the changes and effects of the power play in Haiti.

In each section Averill employs case studies, such as the boat people, to allow for a more intimate perspective. This was effective in keeping my attention, and made the read a little easier.

The music jargon made the read a little difficult, but otherwise the book seemed like about anyone could read it. It really wouldn’t be worth the work, though, for someone who was no more than casually interested.

Barnett Alan W. “Report from Haiti: Revolution on the Walls, Street Murals.” Art in America v. 77 (July’89) – 67-69

Revolution on the walls, a journal article, follows the end of the Duvalier reign in Haiti and the beginning of street murals. Barnett clearly shows the direct connection between politics and Haitian art. The article begins describing the tyrannous rule of Baby Doc, and the rebellion that ended his rule. Immediately following Baby Doc’s departure, murals began appearing on buildings throughout Haiti. Barnett gives detailed descriptions of these murals and their relationship to the political uprising.

Accompanying the descriptions are numerous photographs. These represent a number of different types of murals, from those which evoke a unified spirit, to those that encourage revenge. The article is most likely intended for the researcher interested in Haitian art, political structure, and culture.

Brown, Karen McCarthey. Art and Resistance: Haiti’s Political Murals,
October. African Arts v.29 (spring ‘96) pg. 46-57.

This article begins with the election of Aristide in 1990, then tells the story of the political turmoil between the time he was ousted by General Cedras to his reinstallation by the U.S. Since most of Haiti can neither read nor write, murals provide the means for social and political commentary. Brown, focusing on the period just after Aristide’s return, organizes the work by the major themes of the murals and provides a background to what they mean to Haitians.

The article is very in depth, and with the organization along the lines of the themes previously set by the artists it is not hard to grasp.

Photos are the only resource provided, but these show the wide range in skill along each theme. This allows the reader to really get a grasp of how widespread these themes really are, and not so much just one person’s own views.

Brown gives enough socio/political background that anyone can grasp the ideas, while also providing insights into the genre that would provide those with knowledge of Haiti something of value.

Brown Karen McCarthy. Mama Lola. Berkeley: University of California Press, 1991.

Mama Lola is a biographical account of a Vodou priestess living in Brooklyn, New York. It is a mix of fiction, and truth, and historical accounts. Mama Lola is an expose on Vodou and its practices. It not only defies the myths that surround the religion, but also identifies the seriousness and the danger associated with the prejudice that follows Vodou. Mama Lola or Marie Therese Alourdes Macena Margaux Kowalski, agrees to have her story told for the very purpose of exposing the myths behind the beliefs and practices of Vodou. Starting before her birth, through to the present, the biography is a completely un-opinionated description of Haitian Culture and its religious practices.

The book is separated into various chapters dealing with specific events that characterize Mama Lola’s life. Suitable for any reader, the book would be entertaining even for those with no prior experience of Haiti and its culture. The new edition is complete with a bibliography, index and glossary of Creole terms. Pictures placed throughout the book are also helpful in obtaining a sense of Mama Lola’s cultural heritage. While not a specific resource for either the music or art of Haiti, this novel does acquaint one with the cultures and religious practices that influence the arts.

Brown, Karen McCarthey. Tracing the Spirit: Ethnographic Essays on Haitian Art. Seattle: University of Washington Press, 1995.

This work consists mainly of explanation of the Haitian art collection at the Davenport Museum of Art, but contains plenty of other information as an introduction to the topic as well as interviews with several contemporary Haitian artists. The social introduction goes into quite some depth explaining the world view which surrounds most of the spiritual art shown, before going into explanations of individual pieces in the collection. The interviews are quite valuable in getting an idea of pre editing ideals. Also included is a section on Haiti’s political murals, which play a major role in the social structure of the country.

The work seemed simple at times, but contained enough moments of insight to make it worthwhile. The organization was easy to follow, allowing the information to flow quite smoothly.

Very valuable additions to the work are the interviews with the four artists. These provide an insight that cannot usually be attained by commentary from an outside observer. The photographs of the works also made a great addition to the quality of the work.

This work seemed targeted at those with interest in Haitian art and culture, but not necessarily those with any real background in the topic.

Cosentino, Donald. “From the heart of Ogun: Steel Drum Sculptures of Haiti.” African Arts v.26 (Oct. 93) p 720-724.

An exhibition review, this article by Donald Cosentino gives the reader a solid background on the steel art being produced in Haiti. The exhibition referred to is by Susan Tselos, and is comprised of steel work from Croix-des-Bougues, a town north east of Port-au- Prince.

The popularity of steel works is paralleled to the rise of popularity in other mediums of Haitian Art. A full background is given on the beginnings of steel work, those most prominent in the field, as well as the cultural values that the works represent. The influences of Vodou on the art are discussed at length. Vodou was said to have played a role in every piece in the exhibition. The article also speaks of the surrealism behind the art, and the irony of the jovial quality of the art given Haiti’s tumultuous past. Commercialization and its effect on the artist’s integrity is also a major part of the review. This article is most effective at describing a specific genre of Haitian art, as did Barnett’s article on murals, and describing its relationship to the outside world. This article especially is useful in understanding the globalization of Haitian art. In the words of the author himself, “This fine exhibition reminds us that in Haiti, the development of art is conditioned by the unpredictability of world events beyond the artists control” (Cosentino 274).

Included in the piece are numerous illustrations. The article is most likely intended for the researcher of Haitian art, but suitable for all those interested in world art. While short in length, many examples of steel art and artists are mentioned. The piece is a concise overview of the field and its relationship to the global market.

Cosentino, Donald. Lavilokan. African Arts v.29 (spring ‘96) pg. 22-29.

This article covers a broad spectrum of Haitian art, but does so through the unifying element of vodou. The major focus is work which deals in some way or another with Lavilokan, the creole name for the mystical world on the other side. Representations of this other world, as in most other religions, are a major theme of many artists. Some of the artist highlighted such as Pierrot Barra use wild mediums including such items as dolls, eating utensils, or bottles in assemblages that are symbolic representations of the spirits of Vodou. Others, such as Hector Hyppolite use more conventional mediums like oil paints and canvas for their works.

The article is an easy way into the ideas, which show up in Haitian art. Cosentino slides into the Lavilokan ideas without drowning the reader in something beyond their comprehension by slowly building on the information he has just presented, building a base for the reader to work from.

The photographs allow this work to flow fairly well by giving a reference point for the readers to play off of. Cosentino also uses enough quotes to make his points quite clear.

As stated above, this work is a gentle introduction to some complex ideas in Vodou, making it a viable read to about anyone other than the well informed.

Cosentino, Donald, ed. Sacred Arts of Haitian Vodou. Los Angeles: UCLA Flower Museum of Cultural History, 1995.

This book is an aide to the exhibition of the same name. Along with a stunning presentation of Haitian/ Vodou art, it provides a detailed explanation of much of the belief system behind the art. The information is extremely well presented alongside art which serves as both visual aid to the text as well as being the center piece to the book. The entire spectrum of Vodun spirituality seems to be covered in this work making it an invaluable read for anyone who wants to know as much as possible.

With the amount of information provided, and the target audience being a naïve American audience, this work could serve to enlighten even the least knowledgeable. Due to the amount of information however, it would be a daunting challenge to any but the most interested in the subject matter. This book does not have to be read in the least, the pictures are reason enough to examine it.

Cosentino, Donald. Vodou Things: The Art of Pierrot Barra and Marie
Cassaise. Jackson: University Press of Mississippi, 1998.

This work covers the influences, lifestyle, and the world view of Pierrot Barra, and his wife Marie Cassaise. The work is organized along the lines of a particular work leading to commentary and explanations of the work and many of the relevant topics. The work is very specific with its focus, which allows for great detail. At first glance, I got the impression of a work just slapped together with no real order. However, on further analysis, it has an underlying consistency similar to that of Barra’s work. Even though Barra is on the outer edges of Haitian art, his eccentricities illustrate many of the influences driving much of Haitian art. This makes this work very useful.

Photographs play an essential role in this work. Barra’s work seems to be well beyond words, and text would in no way be able to convey what the photographs can.

This work caters to those with some amount of knowledge about Haiti. It delves into the specifics and would leave those without background knowledge of Haitian culture in the dark.

Cullman, Brian (1997). “Vodou Rising: Boukman Eksperyans Build the Rhythm of Resistance.” The Village Voice 6-695 40:33 – 37.

Cullman features Lolo Beaubrun and the Boukman Eksperyans band of Haiti. The article discusses the political oppression affecting the populace of Haiti and the censorship that follows. A brief history of the band and of the members is given. Cullman discusses their life in exile away from Haiti and how it served to strengthen their music. The man purpose of the article however, is to show the effect Boukman Eksperyans has on the people.

The article was published in the Village Voice, a weekly newspaper of articles on national news, including news on sports, motion pictures, and book and music reviews. The article is suitable for a general audience, but caters to those with a love of music. And is also a good resource for those interested in studying Haitian culture.

Elder, Dennis (1999). “Mother of Haiti: Carole Demesmin is using her Spirituality Determination and Music to save her Beloved Island Country.” New Pittsburgh Courier v. 90 N. 79: A1.

Dennis Elder introduces the Haitian musician Carole Demesmin. Demesmin, who describes herself as Haitian first, and American second, moved to the states at the age of 15 to escape the political instability in her country. Rediscovering her roots as an adult, Demesmin became a Vodou priestess and is now a political and environmental activist for her homeland. Elder’s purpose in this article is to expose Demesmin’s work as a musician. He concentrates on Demesmin’s ability to incorporate her spirituality in music and her popularity with the people of Haiti.

The article is from the Pittsburgh Courier, an esteemed newspaper. This article targets a general audience. Because of this generality, however, the article lacks detail. It is beneficial in introducing a Haitian artist to the novice reader, and in sparking interest in those interested in Vodou and Haitian music.

Mullin, Corinna Joan (1999). “Haitian’s Lifeblood is Visual, Performance Art.” Caribbean Today, 10 - 2: 13.

This article is more of mild biography of the artist Jude Thegenus, or Papaloka, than a discussion of overall Haitian art or music, but with the telling of the his influences it allows for insight into the driving factors in many artists’ works. The description covers much of the artists life from his first influence of the rara parades to his works in the U.S.

The information given in this article is understandable to nearly anyone with any knowledge of reading. Although the depth is quite shallow, it allows for a more personal view of the hardships and lifestyles of a Haitian artist. Given that Papaloka’s work is very politically motivated, it also provides a brief glimpse at the political structure of Haiti during much of the last several decades.

Newport, Mark. “Haitian Vodou Banners, A Living Tradition.” Fiberarts v.23 (mar/ april’ 97) p.11.

From the periodical Fiberarts, this article by Mark Newport introduces Haitian Banners to a novice reader. The article begins by giving a general description of Vodou, its derivations and its basic the tenants. The purpose of the banners is to be apart of the greeting of a Vodun ceremony. The banners welcome guests, participants and the Iwa (a god responsible for protecting children). The main purpose of the piece is to present the drapos (sequined banners) as culturally significant representations of Haitian Vodun culture. The article ends on much the same note as other articles as it suggests the art is becoming commercialized and the artist’s integrity is sacrificed as a result of the popularity in the Euro-American world.

The writing is simple, but contains lots of technical names and titles. It does provide two illustrations, one of which is enlarged so that the intricacy of the work is evident. It is a good concise overall background of this specific genre. Mark Newport is an artist and curator for “Heralding the Divine Horsemen,” a Haitian Vodou Drapo exhibition held at the Museum for textiles in Toronto, and Ontario Canada. The exhibition ran from December 1996 to April 97.

Fleurant, Gerdes  “The Music of Haitian Vodun.” in: African Spirituality. Olupone, Jacob. ed. Crossroad, New York: 2000. pp. 416-445

Fleurant gives the best view I’ve seen thus far in describing Vodun music. He goes to great depths describing the roots and sounds of ceremonial drumming, and the meanings which they carry in each ceremony. The drums are broken down between the different rites ( Kongo, Rada), and further into the individual sizes and sounds. Especially useful are the historical references given to illustrate the origins of the drums in African culture. Also included are the lyrical chants used in the ceremonies, both in Creole and English, to invoke or praise certain laws.

The background provided is good, but seems to leave a little to the reader to understand. This would not be an article that the casual student would be particularly interested in, due to the depth and specific topic being discussed. As far as imparting the information, Fleurant is clear and to the point. Some of the information is hard to understand if one is lacking in general musical knowledge however.

Pataki, Eva. Haitian Painting: Art and Kitsch. Chicago: Adams Press, 1986.

Haitian Painting is the best overall summation of the Haitian art world as a hole. Broken down into chapters, it describes every major facet of Haitian art. While it does include an extensive history it provides a nice foundation in the study of the art society in Haiti. Included are chapters on the DeWitt C. Peters and the Art Center, Hector Hyppolite, styles and subjects, murals, applied art and art reproductions. Also included is a list of Haitian painters, a bibliography and illustrations.

This book is successful in providing the novice reader with a firm knowledge base of the principles of the Haitian art world. An underlying theme in the work is that of primitive artists, and the fine line that is drawn between the naïve, primitive, surrealist and modern painters in Haiti. The only draw back to this work is that it lacks current information, as it was published in 1986. There is for instance, no mention of the murals that sprang up after the end of the Duvalier reign. It also leaves out the subject of political motivations in Haiti’s art.

Thompson, Robert Farris. Tap-tap, Fula-fula, Kia-kia: The Haitian Bus in the Atlantic Perspective. African Arts v.29 (spring ‘96) pg.36-45.

This article demonstrates the parallels between the art on the buses of Haiti and those in Africa. The buses are shown, not to merely be painted for decoration, but rather as a continuation of the tradition of blessing the vehicle, or as socio/political commentary. The article begins by racing the roots of painting or blessing vehicles back through African culture, and then brings that into the present where this practice exists on both sides of the Atlantic in very similar forms. While discussing the buses in Haiti Thompson also covers Haitian veve, paintings which call and honor gods in complex patterns.

The organization is good, although the section on the Haitian veve would probably been more appropriate sooner in the work. Thompson makes very clear ties, and leaves very little room for confusion.

The photographs of the buses do a lot in illustrating the similarities across the Atlantic. This work would be a quality read for just about anyone interested in the subject. It is simple enough for most while showing the correlation strongly enough that more involved persons might get something from it.

Tselos, Susan Elizabeth (1996). “Threads of reflection: costumes of Haitian Rara.” African Arts 58-6 29: 58-65.

Threads of Reflection, is a narrative description of the Rara tradition, focusing mainly on the dress. Tselos gives background information on the celebration impart from her own personal experience of the festival. However, the main purpose of the article is in its description of the costumes worn by the participants. She describes in detail the origins of their unique design. She speculates, as the traditional garb has evolved from the first beginnings of slaves in Haiti, it will continue to change with incoming influences, “…the visual drama and artistry of this celebration including its spectacular costumes, will continue to evolve paralleling the Christian celebration of death and resurrection” (Tselos 65).