Art is a well-established field of inquiry for anthropologists and art historians working on Haiti. Some recurring issues addressed by contemporary scholars are art's origins and the role of external influences in its emergence and development. It is now accepted that the development of Haitian art began before the creation of the Centre d'art, a training and exhibition space developed by the United States artist Dewitt Peters in 1944, and is not limited to the art naïf that came to epitomize the country's artistic production in the minds of art historians, art dealers, and artists themselves. A continuing issue, however, is clarifying the relationship between different types of artistic production and Vodou, the Haitian vernacular religion. “Vodou art” has come to define, not so much a specific range of works produced for the practice of Vodou, but artwork whose manufacture is inspired by a Vodou worldview, whether used for a...
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Winter 2018
November 01 2018
Producing, Collecting, and Exhibiting Bizango Sculptures from Haiti: Transatlantic Vodou on the International Art Scene
Catherine Benoît,
Catherine Benoît
Catherine Benoît is a professor of anthropology at Connecticut College (New London, CT). Her scholarship focuses on the embodiment of space, be it from a creative perspective through the experience of gardens in the development of Creole cultures or a coercive one through the experience of (im)mobile migrations. Her last book, based on twenty years of fieldwork in Haiti and St. Martin, Au cœur des ténèbres de la Friendly island: Migrations, culture et sida à Saint-Martin (2015) explores the use of Vodou in the transnational healing strategies of Haitian migrants living in St. Martin. She currently works on border reinforcement and statelessness in the Caribbean region. [email protected]
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André Delpuech
André Delpuech
André Delpuech is the executive Director of the Musée de L'Homme in Paris. From 2005–2017, he was the Senior Curator, Head of the Collections of the Americas (Archaeology and Ethnography) at the Quai Branly Museum Jacques Chirac (Paris). Currently, his research focuses on the history of the archaeology and anthropology of the Americas, specifically on cabinets of curiosities and ancient collections from the Caribbean and Amazonia. He most recently coedited Les années folles de l'ethnographie: Trocadéro 28–30 (2017) about the story of the Musée d'ethnographie du Trocadéro between 1928 and 1937. [email protected]
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Catherine Benoît
Catherine Benoît is a professor of anthropology at Connecticut College (New London, CT). Her scholarship focuses on the embodiment of space, be it from a creative perspective through the experience of gardens in the development of Creole cultures or a coercive one through the experience of (im)mobile migrations. Her last book, based on twenty years of fieldwork in Haiti and St. Martin, Au cœur des ténèbres de la Friendly island: Migrations, culture et sida à Saint-Martin (2015) explores the use of Vodou in the transnational healing strategies of Haitian migrants living in St. Martin. She currently works on border reinforcement and statelessness in the Caribbean region. [email protected]
André Delpuech
André Delpuech is the executive Director of the Musée de L'Homme in Paris. From 2005–2017, he was the Senior Curator, Head of the Collections of the Americas (Archaeology and Ethnography) at the Quai Branly Museum Jacques Chirac (Paris). Currently, his research focuses on the history of the archaeology and anthropology of the Americas, specifically on cabinets of curiosities and ancient collections from the Caribbean and Amazonia. He most recently coedited Les années folles de l'ethnographie: Trocadéro 28–30 (2017) about the story of the Musée d'ethnographie du Trocadéro between 1928 and 1937. [email protected]
Online ISSN: 1937-2108
Print ISSN: 0001-9933
© 2018 by the Regents of the University of California.
2018
Regents of the University of California
African Arts (2018) 51 (4): 8–19.
Citation
Catherine Benoît, André Delpuech; Producing, Collecting, and Exhibiting Bizango Sculptures from Haiti: Transatlantic Vodou on the International Art Scene. African Arts 2018; 51 (4): 8–19. doi: https://doi.org/10.1162/afar_a_00429
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