Haiti

CUlture, Religion, and Revolution

We at Haiti Friends have some exciting updates!  In collaboration with the Latin American Cultural Center (LACC) in Pittsburgh, PA, we have established a year-long Haitian Art Exhibition titled Haiti: Culture, Religion, and Revolution. This exhibit gives Haitian artists a platform to express their artistic intentions, with works spanning four decades exploring themes of the Haitian Revolution, climate disasters, political interventions, the role of religion, and everyday life in Haiti. We are very excited to share this iconic compilation of paintings, sequinned flags, metal works, and sculptures from artists all around Haiti, with a special focus on the Artibonite. 

We hope that you will have the opportunity to come and learn about the complex and dynamic history of Haiti through the eyes of these artists beginning September 17, 2024. The LACC is located at:

4338 BIGELOW BLVD

PITTSBURGH PA 15213.

For more information and hours of operation visit the Latin American Cultural Center website: https://lacc.lasaweb.org

The Republic of Haiti

The Republic of Haiti (Ayiti), a nation with a rich and complex history, shares the western third (roughly the size of Maryland) of the island of Hispaniola with the Dominican Republic. Part of the Greater Antilles, Hispaniola is the second-largest island (after Cuba) in the Caribbean Sea. After a long and arduous struggle, Haiti gained independence from French colonial rule in 1804. The leaders marked this significant historical event by changing the name of the land from Saint-Domingue (its colonial name) back to the Indigenous placename Ayiti, meaning “mountainous populated land.”

Ninety-five percent of Haiti’s 11.5 million people are of African descent, emphasizing Haiti’s strong African heritage. The rest are of mixed European and African ancestry.  As with many other Caribbean and Latin American countries, the composition of Haiti’s population represents a long history of African slavery, colonialism, and migration.

Haiti recognizes two official languages: French and Haitian Creole, known as Kreyòl Ayisyen. Haitian Creole emerged between the 17th and 18th centuries through contact among different varieties of French and various Niger-Congo languages. In Haiti, while French tends to be the language of law and government, Haitian Creole is the language of everyday communication, literature, and music. It is the sole language of 90-95% of the Haitian people.

La Sirène

Darius Garu

La Sirène

Darius Garu

Croix-des-Bouquets Steel Drum Metal Work

La Sirène (Lasirenn or Mami Wata) is a powerful lwa (spirit) in the Haitian Vodou pantheon. She is typically depicted as a mermaid or water spirit, embodying the dual nature of water—both life-giving and potentially dangerous. The metalwork of the renowned artistic enclave of Noailles in Croix-des-Bouquets often features representations of La Sirène.

The roots of this metalwork tradition stretch back to the 1940s, when Georges Liautaud first began experimenting with the medium. What started as simple blacksmithing soon blossomed into an art form, with Liautaud's innovative sculptures paving the way for generations of artists to follow.

Slavery

Dumerlus Jeune

Slavery

Dumerlus Jeune

Haiti Friends Collection

The life of exploitation and oppression is captured in this painting. In the foreground, white colonizers are forcing enslaved individuals to extract gold. The enslaved workers are shown in various states of suffering, exhaustion and despair, highlighting the brutal conditions they endure. In the background, soldiers stand guard, adding a layer of intimidation and control and emphasizing the power dynamics at play. The overall composition of the painting illustrates the harsh realities and injustices faced by the enslaved people.

The Blessing (Benediksyon a)

Emilcar Similien (Simil)

The Blessing (Benediksyon a)

Emilcar Similien (Simil)

Haiti Friends Collection

This is a portrayal of a powerful spiritual encounter between a Vodou priest and a young woman. Standing tall in elaborate white ceremonial garments, the priest displays an aura of authority and wisdom. Before him, the young woman kneels in a posture of reverence, seemingly receiving a blessing or spiritual guidance. The vivid blue background creates a mystical atmosphere, accentuated by intricate decorative elements representing important cultural and spiritual symbols.

Haitian Art

Rooted in a blend of Indigenous, African, and European influences, Haitian art is characterized by its bold colors, intricate details, and spiritual themes. Despite facing economic trials, multiple natural disasters, and political instability, Haitian artists have continued to produce remarkable paintings, sculptures, and other pieces reflective of these challenges. On display in this exhibit are works representing many of the rich and innovative artistic movements and media in Haiti—paintings from diverse regions of the country; sculptures fashioned from recycled oil drums; Vodou flags made from intricately handstitched sequin patterns and images dedicated to religious spirits; and fine examples of a more recent art form, the Atis Rezistans. The latter consists of incredibly ornate sculptures made from found and recycled materials, most notably discarded baby dolls.

Haitian art has gained international recognition for its unique styles and cultural significance, with museums and galleries around the world featuring these artists. Through their art, Haitian artists not only preserve their cultural identity but also provide a window into the complexities and beauty of Haiti's past and present.

Colonialism and Revolution

Colonization

Inhabited by humans since at least 5,000 B.C.E., Haiti (Ayiti) was the earliest site of European imperialism and Indigenous resistance in the Americas. Soon after Columbus arrived in 1492, he set up a small outpost at La Navidad on the island’s northern coast. When Columbus returned, the Indigenous people had defeated all the settlers. However, the Spanish soon built a new settlement on the island’s southeastern coast, which they named Santo Domingo. The Spanish mining for gold brutally enslaved Indigenous Ayitians for that purpose. As Indigenous Ayitians died from brutal treatment and disease, the Spanish replaced them with enslaved Africans who began being transported to the island in 1501.

In 1625, French buccaneers on the nearby island of Tortuga seized the western part of Hispaniola. In 1697, the Spanish ceded the island’s western portion to the French. The French translated the Spanish name to Saint-Domingue, the current-day Republic of Haiti. Like the Spanish, the French relied on enslaved African labor to cultivate sugarcane and other cash crops. Saint-Domingue quickly became the most lucrative colony in the world. France’s profit came at a devastating human cost: between 25,000 and 40,000 enslaved Africans died each year from punishments, labor conditions, disease, and suicide.

Revolution

From 1791 to 1804, a series of successful slave rebellions, revolts, and revolutionary battles led to overthrowing French colonial rule in Saint-Domingue. In 1794, the Haitian Revolution brought slavery to an end in the colony and throughout the French Empire. However, in 1802, French military and political leader Napoleon Bonaparte reinstated slavery throughout France’s colonies, with the practice continuing until 1848. Even so, the 1794 emancipation decree was a significant step toward the elimination of slavery in the Americas. By 1804, the Haitian revolutionaries declared independence from France, and Haiti became the second independent country in the Americas (after the U.S.) and the first Black Republic in the world.

History through art

Haitian art is a powerful visual narrative portraying the nation’s history and revolutionary spirit.The artwork captures the intensity of the liberation struggle, showcasing scenes of battles, rebellions, and the courage of the Haitian people against colonial oppression and enslavement. Through their creations, Haitian artists pay homage to the sacrifices of their ancestors and emphasize the continued importance of freedom and sovereignty for Haiti.

The Battle of Vertière

Emmanuel Sainsilus

The Battle of vertière

Emmanuel Saincilus

Haiti Friends Collection

The Battle of Vertière, on November 18, 1803, marked the final major battle of the Haitian revolution.  The victory led to Haiti becoming the first country to stage a successful slave Revolution and the first postcolonial free state in Latin America.  Every year, on November 18th, the whole country celebrates with multiple patriotic events. 

From 1625 to 1803, Haiti was France’s most profitable colony supplying the world with sugar and coffee from plantations dotting the island and worked by thousands of enslaved people from Africa.  By the end of the 18th century, however, slaves began rebelling against the exploitation of their French plantation owners.  After many skirmishes, a deadly yellow fever epidemic, and reignited tensions with Britain, France lost ground. On November 18, 1803, Jean-Jacques Dessalines and François Capois led a persistent and fierce attack on a strategic French Fort, Vertières, in Northern Haiti which forced the French army to abandon their position and surrender. Two months later, Haiti declared its independence from France. 

The Generals (General yo)

Jean-Baptiste Jean,

The Generals (General yo)

Jean-Baptiste Jean, 1953-2002

Haiti Friends Collection 

This compelling painting captures a pivotal moment in Haitian history, depicting a high-stakes meeting led by the general of the Haitian army. The scene unfolds in the aftermath of Haiti's hard-won independence in 1804, as the nation's leaders brace themselves for the potential return of French forces. The image serves as a testament to the foresight, courage, and strategic acumen of Haiti's early leaders, who understood that independence, once achieved, must be vigilantly maintained.

Political Interventions

The Haitian Revolution did not end France’s quest for influence and domination over Haiti. In 1825, France sent warships to Haiti and forced the government to agree to “compensate” former colonists a price of 150 million francs (roughly 3 billion U.S. dollars in today’s currency). This debt contributed to limiting Haiti’s investments in infrastructure and economic development until it was eventually paid off in 1947. By the early 1900s, the United States replaced France as a new force seeking to dominate Haiti economically and politically. In 1915, to protect its economic interests after the assassination of President Guillaume Sam, the U.S. invaded Haiti and occupied the country until 1934.

In 2004, after a coup deposed President Jean-Bertrand Aristide—Haiti’s first democratically elected president—the U.S., Canada, and France sent forces into Haiti purportedly to restore order. From 2004 until 2017, the United Nations Stabilization Mission in Haiti (MINUSTHA) led a controversial peacekeeping mission to maintain the “rule of law.” Currently, Haiti is facing another U.N.-backed occupation after the turmoil following the 2021 assassination of President Jovenel Moïse, whom the U.S. helped to install to the Haitian presidency in 2017. This long history of international involvement underscores Haiti’s suppression by foreign powers.

Transfer of Power (Twansfè Pouvwa)

Grand Pierre Virginie

Transfer of Power (Twansfè Pouvwa)

Grand Pierre Virginie

Haiti Friends Collection

This painting offers a potent critique of political corruption in Haiti and its complex relationship with foreign powers, particularly the United States. By portraying the first Black U.S. president in this scene, the artist underscores the message that despite his African heritage, he continued long-standing U.S. foreign policies that have historically exploited Haiti. Haitian President René Garcia Préval is portrayed as a willing participant in this interaction, highlighting how internal corruption often facilitates external exploitation.

Haiti itself is symbolized by a weakened female figure draped in the national flag, representing the country's vulnerability in the face of these political machinations. The artist does include a hopeful element: an angel (or loa in Vodou tradition) watching over this transaction. This spiritual presence suggests that despite current hardships, there is divine protection for Haiti, implying that the country will ultimately persevere and overcome these challenges.

Flag Day (Fèt Drapo)

Grand Pierre Virginie

Flag Day (Fèt Drapo)

Grand Pierre Virginie

Haiti Friends Collection

This vibrant artwork depicts the celebration of Haiti's Flag Day, observed annually on May 18th, in the town of Petite-Rivière de l'Artibonite. The gathering of students in their colorful uniforms adds to the festive atmosphere. The Palace, dating from 1820, was initially intended to serve as a royal residence, reflecting the grandeur and ambitions of Haiti's early post-independence era.The juxtaposition of the youthful celebration against the historic palace creates a powerful image, connecting Haiti's proud past with its hopeful future through the annual tradition of Flag Day.

The Return of President Aristide in 1994 (Le retour du président Aristide en 1994)

Maxan Jean-Louis

The Return of President Aristide in 1994 (Le retour du président Aristide en 1994)

Maxan Jean-Louis

Haiti Friends Collection

This painting depicts the controversial return of Jean-Bertrand Aristide to Haiti in 1994, following his forced exile after a 1991 coup. Aristide, often cited as Haiti's first democratically elected leader in the post-Duvalier era, is represented symbolically by a prominent rooster - the emblem of his political party. U.S. Marines, charged with escorting the president back to power, help control crowds of onlooking Haitians. The people's mixture of curiosity and uncertainty is evident, reflecting the complex emotions surrounding Aristide's return to a nation grappling with its future after decades of dictatorship.

Jean Jacques Dessalines’ Response to Haiti’s 2010 Earthquake

Emmanuel Sainsilus

Jean Jacques Dessalines’ Response to Haiti’s 2010 Earthquake

Emmanuel Saincilus

Haiti Friends Collection

Jean Jacques Dessalines, the leader of the Haitian Revolution of 1803, is poignantly depicted experiencing profound sadness in the aftermath of the 2010 earthquake. The devastation caused by the earthquake left the country in ruins and vulnerable to foreign forces who exploited Haiti for financial gain. Dessalines, with a heavy heart, is asking for Justice for the country and its people who continue to face unimaginable hardships. His expression reflects the pain of a nation seeking solace and restoration.

Natural Disasters

In addition to foreign political and economic interference, Haiti has been affected by numerous natural disasters. Two major fault systems on the island have caused devastating earthquakes. The 7.0 magnitude earthquake that struck near Port-au-Prince, Haiti’s capital, killed an estimated 300,000 people in 2010. Like other countries in the region, Haiti is also frequently affected by hurricanes and deadly and damaging tropical storms. Areas with significant deforestation and soil erosion are particularly prone to severe flooding during these hurricanes and tropical storms. With climate change, there is evidence that these storms are becoming stronger and more intense. In 2021, as Haiti was recovering from Tropical Storm Grace, another major earthquake occurred, this time in the southwest part of the country.

Natural Disasters in Art

It is not surprising that these natural disasters feature prominently in the work of Haitian artists.Although much of media coverage focuses on the impacts on major cities, the effects in rural towns and villages are often more devastating. Several of the paintings in this portion of the exhibit focus on Gonaïves, a city in northern Haiti. Surrounded on three sides by mountains and hills, and the Caribbean Sea on the fourth, the area experienced deadly flooding and mudslides following torrential rainfalls in 2004 and 2008.  

The Echoes of Destruction January 12 Earthquake (1) (Tranbleman tè 12 Janvye)

Joseph Augustine

The Echoes of Destruction January 12 Earthquake (1) (Tranbleman tè 12 Janvye)

These two paintings depict the catastrophic aftermath of the January 12, 2010 earthquake in Port-au-Prince, Haiti. Painting number (1) portrays a grim scene of the capital, with victims lying on the streets and trapped beneath collapsed structures. The iconic National Palace is shown in ruins, while international rescue teams work tirelessly to provide aid. Painting number (2) illustrates similar widespread destruction, highlighting the swift arrival of international humanitarian assistance in the wake of this devastating natural disaster.

The Echoes of Destruction January 12 Earthquak (2) (Tranbleman tè 12 Janvye)

Joseph Augustine

The Echoes of Destruction January 12 Earthquake (2) (Tranbleman tè 12 Janvye)

These two paintings depict the catastrophic aftermath of the January 12, 2010 earthquake in Port-au-Prince, Haiti. Painting number (1) portrays a grim scene of the capital, with victims lying on the streets and trapped beneath collapsed structures. The iconic National Palace is shown in ruins, while international rescue teams work tirelessly to provide aid. Painting number (2) illustrates similar widespread destruction, highlighting the swift arrival of international humanitarian assistance in the wake of this devastating natural disaster.

Gonaïves Flooding by Hurricane Jeanne (Inondasyon Gonayiv pa Cyclone Jeanne)

Absolu Jean Daudet

Gonaïves Flooding by Hurricane Jeanne (Inondasyon Gonayiv pa Cyclone Jeanne)

Absolu Jean Daudet

Haiti Friends Collection

This scene depicts residents of Gonaïves who were forced to seek refuge on rooftops after Hurricane Jeanne caused severe flooding in 2004. In the sky, helicopters can be seen, representing the arrival of international aid and rescue efforts to assist the stricken population.

Flooding in Gonaïves (Inondasyon Gonayiv)

Elphabe Dieudonne

Flooding in Gonaïves (Inondasyon Gonayiv)

Elphabe Dieudonne

Haiti Friends Collection

This painting illustrates the aftermath of Hurricane Jeanne’s impact on Gonaïves. The artist highlights the devastation in the communal areas outside the city. This is evident in the depiction of houses with tin or banana leaf roofs. The scene is set in the countryside, featuring mountains and trees in the background.

Life in the Camp After the 2010 Earthquake

Dumerlus Jeune

Life in the Camp After the 2010 Earthquake

Dumerlus Jeune

Haiti Friends Collection

Temporary camps were constructed following the devastating 2010 earthquake. Makeshift shelters made from tarps and metal sheets illustrate the crowded conditions. People are engaged in their various daily activities, showing that life must continue amidst the chaos. Electrical wires stretch precariously across the scene, hinting at efforts to provide utilities. This painting captures both the hardship and the enduring spirit of the people in the aftermath of the disaster.

Erzulie Freda

Jean Camille Nasson

Metal and Wood

Erzulie Freda

Jean Camille Nasson

Haiti Friends Collection

This intricately crafted statue portrays a revered female figure in Haitian spiritual tradition, associated with love, beauty, and abundance themes. The sculpture's fine details and adornments capture the essence of feminine grace and elegance traditionally linked to this spiritual entity.

A distinctive feature of this representation is the inclusion of a sword, which symbolizes an aspect of strength and protection not typically emphasized in portrayals of this figure. This element adds depth to the statue's symbolism, suggesting a multi-faceted nature encompassing gentle and formidable qualities.

A circular, halo-like structure behind the head enhances the figure's divine status. This element underscores the profound reverence of this spiritual presence in Haitian culture.

Through its thoughtful design and symbolic elements, this statue offers insight into Haiti's complex spiritual beliefs. It illustrates how traditional iconography can be reinterpreted to convey nuanced aspects of a revered spiritual entity, inviting viewers to contemplate the depth and richness of Haitian spiritual traditions.

Haiti Friends and the Haiti Timber Reintroduction Program

Founded in 2005 by Haiti Friends, the Haiti Timber Reintroduction Program (HTRIP) has become a cornerstone of community-based agroforestry initiatives in Haiti. Operating in the Artibonite region, HTRIP supports over 10,000 farmers spanning more than 60 communities, empowering them to rejuvenate and manage their land sustainably. In partnership with Hôpital Albert Schweitzer, HTRIP addresses pressing issues such as malnutrition, poverty, soil erosion, and deforestation, aiming to restore Haiti's landscapes while improving community health and resilience.

HTRIP adopts an innovative approach known as agri-silviculture, integrating timber species like Spanish cedar and Honduras mahogany, fuelwood such as Bloodwood and Siris, and a variety of fruit trees including mango, lime, orange, coconut, papaya, and soursop. These trees complement staple crops like beans, corn, and sorghum, tailored meticulously to meet the specific needs and preferences of each community and their local environment.

Every year, community members engage in extensive training that spans nine months, involving hands-on activities such as constructing nurseries, collecting and preparing seeds, composting, and caring for saplings. Guided by dedicated community leaders, participants immerse themselves in these agroforestry practices, gaining practical skills and knowledge that ensure sustainable land management practices endure for generations.

Once planted, the trees cultivated through HTRIP become the property of the participants, empowering them to make decisions that best benefit their families and communities as the trees mature. This holistic approach not only fosters environmental stewardship but also promotes long-term prosperity and resilience among Haiti's farming communities.

Deforestation

Deforestation in Haiti increased rapidly after Hurricane Hazel downed trees throughout the island in 1954. At that same time, concessionaires stepped up logging operations in response to Port-au-Prince’s intensified demand for charcoal. Deforestation had already become an issue because of unsound agricultural practices, rapid population growth, and increased competition for land.

By 2000, 98% of Haiti had been deforested due to logging. Most of the rich topsoil has washed into the sea, where it chokes the reefs and marine life. Haiti’s mountains have eroded to bedrock and its aquifers are drying up. The habitat loss for wildlife is staggering, with many native plants and animals on international registries of endangered species. The deforestation and resulting desertification is Haiti’s single largest ecological problem, which has had a negative ripple effect on the overall ecology of the country and its surrounding waters.

The Collection

Haiti Friends is a Pittsburgh-based 501c3 non-profit organization that has focused on the arts in Haiti to expand awareness of the culture and tenuous situation of the Haitian people. Over several decades, Haiti Friends has supported and encouraged artists in Haiti and has acquired, through donations and purchases, a significant number of works by Haitian artists.  Through art sales events and special exhibitions throughout the US, Haiti Friends has raised funds and friends to help support health and ecological restoration projects in collaboration with Hôpital Albert Schweitzer Haiti. Our inventory of artworks will be for sale to support these endeavors following this LACC exhibition.  For more information contact Haiti Friends at info@haitifriends.org or www.haitifriends.org.

Picking Fruit (Kove)

Pierre Joseph Valcin

Picking Fruit (Kove)

Pierre Joseph Valcin

Haiti Friends Collection

This image evokes a powerful visual commentary on the pivotal role of women in Haitian society, particularly within the context of family life and agricultural labor. The artist has employed a striking compositional technique to convey this message, rendering the female figures significantly larger than their male counterparts. The women dominate the canvas, drawing the viewer’s immediate attention and underscoring their importance. This tribute to Haitian women acknowledges their irreplaceable role in nurturing both the land and the people. 

The Morning Braid (La Tresse Matinale)

Ismer Sainsilus

The Morning Braid (La Tresse Matinale)

Ismer Saincilus

Haiti Friends Collection

A mother carefully braids her daughter’s hair, readying her for the day’s journey to school or the solemnity of church. This tender portrayal of a daily ritual is a snapshot of familial bonds and cultural traditions, woven together like the strands of hair in the mother’s skilled hands.

The Tailor (La Couturière)

Pierre Joseph Valcin

The Tailor (La couturière)

Pierre Joseph Valcin

Haiti Friends Collection

This poignant painting by Pierre Joseph Valcin offers a intimate glimpse into rural Haitian domestic life, capturing a moment of quiet connection between a mother and daughter. The scene unfolds in what appears to be a modest home, with muted tones of blue and beige in the background hinting at simple walls or weathered wooden surfaces.The mother, seated on a wooden chair, is sewing a piece of blue cloth. She is dressed in a red top with her hair styled upwards. The daughter, wearing an orange dress, stands nearby, watching her mother work.

The Laundry Day (Jou Lessiv la)

Gervais-Emmanuel Ducasse

The Laundry Day (Jou Lessiv la)

Gervais-Emmanuel Ducasse

Haiti Friends Collection

A laundry day by the river in Haiti is a picturesque and communal activity, reflecting the simplicity and camaraderie of rural life. The sound of water splashing and rhythmic scrubbing fills the air as women work together, chatting and laughing.Children play nearby, sometimes helping with smaller tasks. As shown here, the river is a lively social hub, where news is exchanged, stories are told, and bonds are strengthened.

Preparing Cassava in the Village (Preparasyon Kasav)

Elphabe Dieudonne

Preparing Cassava in the village (Preparasyon Kasav)

Elphabe Dieudonne

Haiti Friends Collection

The preparation of cassava in a rural Haitian setting is carried out in several stages, with some people peeling and washing the cassava roots, while others transport the roots in baskets. Overall, the painting emphasizes community involvement and the use of traditional methods in a rural setting.

Preparing Cassava in the Village (Preparasyon Kasav)

Elphabe Dieudonne

Preparing Cassava in the village (Preparasyon Kasav)

Elphabe Dieudonne

Haiti Friends Collection

The preparation of cassava in a rural Haitian setting is carried out in several stages, with some people peeling and washing the cassava roots, while others transport the roots in baskets. Overall, the painting emphasizes community involvement and the use of traditional methods in a rural setting.

Artibonit Workers Planting Rice (Travayè Latibonit kap Plante Diri)

Ismer Sainsilus

Artibonit workers planting rice (Travayè Latibonit kap plante diri)

Ismer Saincilus

Haiti Friends Collection

The painting depicts laborers meticulously planting rice in the Artibonite Valley, a region renowned for its vital rice cultivation. The scene captures the essence of this crucial agricultural activity that sustains the valley’s reputation for producing rice.

The Woodcutters (Travayè kap fè Planch)

Louis Gumcy

The Woodcutters (Travayè kap fè Planch)

Louis Gumcy 

Haiti Friends Collection

In rural areas of Haiti, traditional craftsmanship persists in the art of house construction. Far from modern sawmills, skilled workers collaborate in the labor-intensive task of transforming a massive tree trunk into usable boards. Armed with hand saws, these artisans carefully slice through the wood, their movements synchronized in a display of teamwork and precision.

The School Recess (Rekreyasyon Lekòl la)

Louis Gumcy

The School Recess (Rekreyasyon Lekòl la)

Louis Gumcy

Haiti Friends Collection

A school recess in the countryside of Haiti is a lively and heartwarming scene. As the bell rings, children rush out of their classrooms, eager to enjoy their break. The schoolyard comes alive with the sounds of laughter and playful chatter. Teachers stand at the periphery, watchful but allowing the children this precious time of free play. The air is filled with a mix of Creole and French, a linguistic dance reflective of Haiti's rich cultural heritage.

Splendor of the Haitian Countryside

Larimer Sainsilus

Splendor of the Haitian Countryside

Charles Larrimer Saincilus 

Haiti Friends Collection

An ode to Haiti’s pastoral charm, this painting captures the essence of nature’s grandeur. It portrays the splendor of one of the serene landscapes of Haiti. Central to this visual symphony is the Poul dlo, a bird known to many as the Moorhen. This avian symbol embodies the harmonious balance of the region’s flora and fauna within the lush countryside.

Family

T.W. Midiel

family

T.W. Midiel

Haiti Friends Collection

Everyday Life & Culture in Rural Haiti

Haiti's cultural landscape is a mosaic of African, Indigenous, and European influences. Everyday life features a deep sense of community, with extended families often living together and providing a solid support system for one another, fostering a strong sense of unity and inclusivity. The rhythm of daily life is accompanied by colorful and lively marketplaces where people buy and sell goods and street vendors peddle an array of traditional Haitian cuisine, such as griot (fried pork) and diri ak djon djon (rice with black mushrooms). Music is an integral part of the culture, with the moving beats of kompa (a modern méringue music genre) and rara (musical parading bands that mix carnival and religion) filling the streets and providing a soundtrack to daily activities. The streets are adorned with colorful murals and sculptures, showcasing the country's unique artistic expression. Religious ceremonies are vibrant communal affairs that reflect the deep spiritual connection of the Haitian people. A palpable sense of pride permeates everyday life as Haitians continue to celebrate their culture, preserve their traditions, and face the future with determination and strength.

Cockfighting

Cockfighting (called gaguere) is an important part of sport and social life in Haiti, particularly in the countryside and in rural areas. Although it is becoming more controversial in some circles, cockfighting is a deeply ingrained part of life. The matches are well-attended spectator attractions, and many people bet on the results. The importance of cockfighting is reflected in the many representations of roosters and cockfighting in Haitian art.

Mermaids in Art

Mermaids figure prominently in Haitian art. In Haitian Vodou, mermaids are called Lasirèn, derived from the French word meaning siren. Usually depicted as half-human, half-fish, they are considered powerful spirits associated with the ocean. Lasirèn are often called upon to cure illnesses because they are believed to have healing powers. They are also thought to be able to bring good luck to those who honor them.

Recycled Steel Drums

One of the most unique genres of Haitian art uses recycled steel drums. Metal drums, once used for transporting oil or other products, are purchased by artists near the port in the capital city of Port-au-Prince. They are brought by hand cart or on top of a taxi to workshops in the neighboring town of Croix-des-Bouquets. When driving through the streets, one hears the rhythmic sounds of metalworking from the homes of various artists.

The Harvest (La Rekòlt)

Simeon Michel

The Harvest (La Rekòlt)

Simeon Michel

Haiti Friends Collection

This image captures the essence and rhythms of rural life, and the communal effort involved in harvesting crops. Through its composition and subject matter, the painting highlights the dignity of agricultural work and the deep connection between people and the land they cultivate. It serves as a reminder that agriculture plays a foundational role in the Haitian culture and economy. 

Market Scene in the City (Mache la Vil)

Absolu Jean Daudet

Market Scene in the City (Mache la Vil)

Absolu Jean Dodet

Haiti Friends Collection

In the heart of a bustling Haitian city, the market is a dense, frenetic hive of activity. Narrow alleys are crammed with makeshift stalls and tables, creating a maze-like environment. The air is thick with the mingling scents of exhaust fumes, spices, and grilled street food. Vendors, mostly women known as Madan Sara, compete for space and attention. Their stalls overflow with a mix of local and imported goods.

Shaved Ice Merchant (Machan Fresco)

Seymour E. Bottex

Shaved Ice Merchant (Machan Fresco)

Seymour E. Bottex

Haiti Friends Collection

This Haitian street life scene centers on fresco (shaved ice) vendors. The cart itself is a visual feast adorned with intricate floral patterns that burst with color. This artwork highlights the resourcefulness of local entrepreneurs and the simple pleasures that form the fabric of daily life in Haiti, inviting viewers to appreciate the beauty in these everyday moments.

Market Scene (Sèn Mache)

Louis Gumcy

Market Scene (Sèn Mache)

Louis Gumcy 

Haiti Friends Collection

Haitian markets are vibrant and bustling displays of daily life and community spirit. Vendors sell a variety of goods from colorful stalls and women with baskets balanced on their heads walk through the crowd offering fresh fruits, vegetables, spices, and handmade crafts. As these paintings show, the market is not just a place for commerce but a social hub where people come together to share news, stories, and a sense of community.

Croix des Bossales Market in Port-au-Prince (Marche Croix des Bosal port-au-prince bord de mer)

F Lamille

Croix des Bossales Market in Port-au-Prince (Marche Croix des Bosal port-au-prince bord de mer)

F. Lamille

Haiti Friends Collection

The Croix des Bossales market teems with life, depicting a diverse array of figures engaged in the daily bustle of commerce. Originally known as "Place des Bossales," this site was once one of the largest slave markets during Haiti's colonial period. The term "bossale" referred to newly arrived Africans who had not yet been forcibly acculturated or 'creolized'. Today's lively market stands in stark contrast to its origins. The transformation of this space from a site of oppression to a center of community and commerce reflects the broader narrative of Haiti's struggle for independence and its ongoing cultural vitality.

The Orange Merchant (Machan Zorang)

Seymour E. Bottex

The Orange Merchant (Machan Zorang)

Seymour E. Bottex

Haiti Friends Collection

A candid moment in Haiti's countryside is captured here, showcasing the interaction between a man who has paused on his way to a cockfight and an orange merchant (machan zorang). This vignette offers viewers a glimpse into daily life and commerce in rural Haiti, highlighting the importance of small-scale vendors and the cultural significance of activities like cockfighting in local communities.

Portrait of Lucy Rawson

Jonas Soulou Que

Portrait of Lucy Rawson

Jonas Soulou Que

Haiti Friends Collection

La Sirène

Serge Jolimeau

La Sirène

Serge Jolimeau

Haiti Friends Collection

Noa’s Arc

Julia Balan

Noa’s Arc

Julia Balan

Haiti Friends Collection

Toussaint Louverture

Metal work

Toussaint Louverture

Haiti Friends Collection

Toussaint Louverture

Mario Normil

Metal work

Toussaint Louverture

Mario Normil

Haiti Friends Collection

Angel with Trumpet

Pierre Garry

Angel with Trumpet

Pierre Garry

Haiti Friends Collection

Cockfight Scene (Gagère)

Absolu Jean Daudet

Cockfight (Gagère) Scene

Absolu Jean Daudet

Haiti Friends Collection

Portrayed here is the exciting scene of a cockfight. Spectators and onlookers are placing bets while the intense cockfight unfolds. Outside, merchants use the opportunity to sell their goods amidst the excitement. 

Journey to the Gagère  (Depa pou Gagè a)

Ismer Sainsilus

Journey to the Gagère  (Depa pou Gagè a)

The canvas captures a man laden with anticipation as he traverses the path to the Gaguère arena. His countenance is etched with concern, a silent testament to the high stakes riding on the impending rooster fight. The Gado, guardian and trainer of the combatant bird, often invoke the spirits, seeking their favor to fortify the rooster’s might. This poignant scene is more than a mere depiction; it’s a narrative of hope and anxiety, of man and beast, all converging upon the battleground of the Gagère.

The Rooster Keeper (GADO)

Fritzner Lamour

The Rooster Keeper (Gado)

Fritzner Lamour

Haiti Friends Collection

This self portrait of Fritzner Lamour, who paints chickens as people, shows him gently tending to a rooster presumably used for cockfighting. The setting appears to be in his studio, evidenced by the paintbrushes, paint tubes, and the easel with a horse painting.

Rooster Fight (Batay kòk)

Ismael Sainsilus

Cockfight (Batay kòk)

Ismael Sainsilus

Haiti Friends Collection

The cockfight takes place in an arena known as a “Gagère,” however, the painting depicts no spectators at this event. Instead, the artist intends for the artwork’s viewers to assume the audience’s role, placing them directly into the scene as virtual attendees of this intense avian combat.

Tire Kont

Carol Jean-Jacques

Tire Kont

Carol Jean-Jacques              

Haiti Friends Collection

Portrayed here is the rich cultural tradition of tire kont (communal storytelling and riddle-sharing) in a Haitian courtyard. Despite historical challenges and limited resources, communities find joy, wisdom, and unity through traditions like tire kont.

The Wedding (Maryaj la)

Louis Gumcy

the Wedding (Maryaj la)

Louis Gumcy

Haiti Friends Collection

At weddings in the Haitian countryside, the entire community gathers for the ceremony, with everyone dressed in their best attire. Highlighting the solidarity of the community, every person is ready to contribute whatever it takes to make the day special for the newlyweds. For example, the person with the most beautiful car lends it to the newlyweds as a sign of respect.

The Bride's Return to the Village (Retou Lamarye nan Vilaj Li)

Grand Pierre Virginie

The Bride's Return to the Village (Retou Lamarye nan Vilaj Li)

Grand Pierre Virginie

Haiti Friends Collection

The return of a newlywed couple to their village after their wedding celebration is a joyous moment. Beside the bride, still resplendent in her wedding attire, her husband sits atop a majestic white horse. The white horse, associated with purity and nobility, enhances the ceremonial atmosphere of the scene. Family members, friends, and neighbors all welcome home the newlyweds and extend the celebration of their marriage.

The Wedding (Maryaj la)

Louis Gumcy

the Wedding (Maryaj la)

Louis Gumcy

Haiti Friends Collection

At weddings in the Haitian countryside, the entire community gathers for the ceremony, with everyone dressed in their best attire. Highlighting the solidarity of the community, every person is ready to contribute whatever it takes to make the day special for the newlyweds. For example, the person with the most beautiful car lends it to the newlyweds as a sign of respect.

Rara

Ismer Sainsilus

Rara

Ismer Saincilus

Haiti Friends Collection

Rara is an annual street festival for followers of Vodou. This ensemble from Fort Saint Benoit is playing rara festival music. The band, known as “Lave zon,” is famed for its ability to uplift any community with its music, ensuring that wherever it performs, joy and merriment abound.

Rara in a Lakou (Rara nan Lakou a)

JF

Rara in a Lakou (Rara nan Lakou a)

JF

Haiti Friends Collection

The essence of a Haitian rara celebration within a traditional lakou (courtyard) is captured on this canvas. The scene is alive with a swirling mass of figures, their bodies rendered in bold, dynamic strokes that convey the energy of the rara procession. This painting captures not just the visual spectacle of rara, but also its spirit – the sense of community, the preservation of tradition, and the joyous celebration of Haitian culture and resilience.

Titre Rara Léogâne

Florestan

Titre Rara Léogâne

Florostant

Haiti Friends Collection

The vibrant atmosphere of a rara festival is captured in the town of Léogâne, Haiti. The scene is bustling with revelers and musicians dressed in colorful, striped clothing and hats. Drums and wind instruments are prominently featured. In the background, there are flags and banners in bright colors along with market stalls or booths displaying goods for sale. The multitude of colors and the density of characters effectively captures the essence of Haitian culture and the joyous spirit of the rara festival.

Rara

Metal work

Rara

Haiti Friends Collection

Rara Instruments

Hand Made Rara Instruments

Rara Instruments

Haiti Friends Collection

Wooden Fish Boat

Nelio Jeantu

Wooden fish Boat

Nelio Jeantu

Haiti Friends Collection

Nature’s Messenger (Mesaje la Nati)

Avril Forest

Nature's Messenger (Mesaje la nati)

Avril Forest

Haiti Friends Collection

The body of this bird is depicted as a lush forest landscape, representing nature's restorative power. As the bird soars, it seems to carry this verdant ecosystem to far-flung, possibly troubled regions. People are portrayed attempting to climb aboard the avian figure, suggesting a desire to escape hardship for a better life. The imagery evokes themes of migration, renewal, and human yearning for peace and prosperity. The overall composition invites viewers to contemplate the possibility of a more harmonious existence and the role of the natural world in fostering such a reality.

Vodou: History and Cultural Significance

Vodou is a syncretic religion with African and Catholic roots that is widely practiced in Haiti. Like Santeria in Cuba and Candomblé in Brazil, Vodou developed under colonialism between the 16th and 19th centuries and combines the beliefs and rituals of West African origin with Catholic elements. In Haiti, it's common for people to practice Vodou and Catholicism side by side. Many Vodou practitioners consider themselves good Christians, finding no contradiction between their Catholic faith and membership in a Vodou family and community. Often misrepresented and vilified in Western media, Vodou is, in fact, a democratic, life-affirming, and functional religion that promotes a sense of belonging and solidarity among its followers. Like members of other faiths, Vodou practitioners believe in creating social harmony and cultivating values such as justice, goodwill, kindness, patience, forgiveness, cooperation, and mutual respect.

Vodou ceremonies, marked by vibrant music, dance, and rituals, serve as communal gatherings where individuals connect with their ancestors, seek guidance from the spirits, and participate in a shared cultural experience that fosters a sense of connection and inclusion. Many Vodou gatherings occur in a peristil—the main shelter where the ceremonies and dances occur. At the center of the peristil is the poto mitan (center post), which is decorated in vibrant colors. The poto mitan is not only the center of ritual dance, but also the path taken by the spirits.

Scene from the Latin American Cultural Center

Vodou Art

Scene from the Latin American Cultural Center

Vodou Art

Erzulie Mapyang

Gabriel Alix 

Erzulie Mapyang

Gabriel Alix (1930-1998)

Haiti Friends Collection 

Erzulie Mapyang is a powerful and fierce lwa (spirit) in Haitian Vodou. She is often associated with justice and revenge, particularly in cases of severe wrongs and injustices. As well, Erzulie Mapyang is a protective spirit, especially towards women and children. She is known to share in the pain of childbirth and is often invoked for her protective and nurturing qualities. Erzulie Mapyang is also recognized for her role in righting wrongs and avenging those who have been mistreated. Her presence is both formidable and compassionate, embodying the dual aspects of protection and retribution.

Guardian of the Gates (Papa Legba)

Mireille Delice (Delismé)

Guardian of the Gates (Papa Legba)

Mireille Delice (Delismé)

Haiti Friends Collection

The religious symbol (veve) on this Vodou flag represents Papa Legba, the guardian of the gates and the spirit who facilitates communication between the human and spirit worlds. The central cross-like figure and intricate designs symbolize Legba’s role as the barrier between the two realms. The presence of stylized serpents and other symbols further emphasizes his importance in Haitian Vodou rituals and ceremonies.

The Asòtò Ceremony (Seremoni Asòtò)

Ismael Sainsilus

The Asòtò Ceremony (Seremoni Asòtò)

Ismael Sainsilus,

Haiti Friends Collection

The grand drum, Tambou Asòtò, stands as the pivotal instrument at the heart of Haitian Vodou rituals. This drum emits resonant bass sounds that lay the rhythmic groundwork for sacred ceremonies. Adherents of Vodou revere Asòtò’s sonorous beats for their ability to forge a conduit between the tangible and the ethereal. During these spiritual gatherings, adept percussionists employ the Asòtò to play intricate beats that beckon and converse with the spirits. Historical accounts also suggest that the Asòtò drums once served as a means of long-distance communication among the enslaved, playing a strategic role in the revolutionary struggle that culminated in Haiti’s independence in 1804.

Bosou Criminel

Atis Rezistans

Bosou Criminel

Atis Rezistans

Haiti Friends Collection

This sculpture powerfully represents “Bosou Criminel,” a formidable war deity in the Vodou pantheon. The artist has ingeniously crafted the piece in the form of a cross, blending traditional Vodou symbolism with Christian iconography, a common syncretic practice in Haitian spiritual art. At the heart of the sculpture, where the vertical and horizontal pieces intersect, lies a mesmerizing face covered in blue and green beads. This intricate beadwork serves as the piece's focal point, drawing the viewer's gaze and evoking a sense of the deity's penetrating presence. The use of blue and green symbolizes Bosou Criminel's connection to both sky and earth or his influence over life and death.

Two red daggers tied across the horizontal piece form an 'X' shape underneath the beaded face, adding a dramatic element to the sculpture. Red is associated with blood and war in Vodou symbolism, reinforcing Bosou Criminel's role as a war god. The 'X' formation represents the crossroads, a significant spiritual location in Voodoo's belief. It also serves as a warning sign, hinting at the deity's dangerous nature.

Marasa Dosu Dosa

Pierrot Barra

Marasa Dosu Dosa

Pierrot Barra

Haiti Friends Collection

This striking sculpture embodies the essence of Marasa Dosu Dosa, the revered divine twins in Haitian Vodou. The artist has masterfully captured the complex duality and unity of these powerful spirits. The two figures are seamlessly joined at the torso, a physical manifestation of their spiritual interconnectedness. This fusion symbolizes the inseparable nature of the Marasa, who are believed to possess heightened spiritual power due to their twinned existence.

Crossroads (Kafou)

Atis Rezistans

Crossroads (Kafou)

Atis Rezistans

Haiti Friends Collection

This piece centers on a cross adorned with various materials, including beads and fabrics. This central motif represents the meeting point between the tangible world and the realm of spirits.

The artist's use of recycled and found objects in the creation speaks to the ingenuity often seen in traditional practices, where creativity flourishes even with limited resources. A striking red section dominates the middle of the work, possibly symbolizing vitality, spiritual energy, or the presence of unseen forces.

Through its intricate design and thoughtful composition, this sculpture invites viewers to contemplate the deep connections between the material and spiritual aspects of life in Haitian society.

Ogou

Atis Rezistans

Ogou

Atis Rezistans

Haiti Friends Collection

This artwork features a bottle wrapped in a striking combination of red and black fabric. The piece is a tribute to a powerful spiritual entity revered as a guardian and warrior figure in Haitian tradition.

The vibrant red fabric evokes notions of strength, energy, and life force, while the black elements introduce an air of mystery and otherworldliness. The fabric's arrangement, creating wing-like forms around the bottle, suggests a protective and commanding presence.

This carefully crafted object serves as more than mere decoration. It stands as a tangible connection to deeply held spiritual beliefs, embodying the essence of a revered protective force. The artwork beautifully illustrates how everyday items can be transformed into potent spiritual symbols, reflecting the rich cultural tapestry of Haitian spiritual practices.

Through its thoughtful design and symbolic colors, this piece invites viewers to contemplate the intricate relationship between the physical and spiritual realms in Haitian culture.

Damballah

Atis Rezistans

Damballah

Atis Rezistans

Haiti Friends Collection

This sculpture presents a captivating interpretation of Damballah, a significant deity in Haitian Vodou. Traditionally depicted as a serpent, Damballah is intimately linked with creation and life forces. The artist has reimagined this deity in an upright, anthropomorphic form, merging traditional symbolism with modern artistic expression.

The vibrant green, white, and yellow colors reflect Damballah’s connection to nature, fertility, and cosmic energy. Intricate patterns cover the sculpture, symbolizing the complexity of creation and the scales of Damballah’s serpent form. In its left hand, the sculpture holds golden bracelets, representing fertility, wholeness, or the cyclical nature of existence. These bracelets also symbolize the world itself, reinforcing Damballah’s status as a creator deity.

Ti Jean Danto

Pierrot Barra

Ti Jean Danto

Pierrot Barra

Haiti Friends Collection

This sculpture is a representation of “Ti Jean Danto,” a revered figure in Haitian Vodou, captured in a state of deep meditation. The figure's posture conveys authority and serenity, reflecting the dual nature of many Vodou spirits as powerful entities and accessible guides. The sculpture's attire is a visual feast, with elaborate garments created in a vibrant blue, red, and gold palette. These colors are not merely decorative but deeply symbolic in Vodou tradition.

The intricate beadwork, sequins, and patterns adorning the garments demonstrate the meticulous craftsmanship involved in creating ritual attire for Vodou ceremonies. Each element carries specific meaning within the context of Ti Jean Danto's attributes and domains.

Spirits

Thomas Petit

Spirits

Thomas Petit

Haiti Friends Collection

Vodou Flag (Drapo Vodou)

Jean-Baptiste Jean-Joseph

Vodou flag (Drapo Vodou)

Jean-Baptiste Jean-Joseph

Haiti Friends Collection

This intricate textile flag is a vibrant and stunning representation of Haitian Vodou culture. Composed of several distinct sequined panels, each section features different symbols, figures, and abstract designs that represent various Iwa (spirits) or significant concepts within the Vodou religion. Each panel in this complex layout offers potential insights into Vodou cosmology and practice. It stands as a remarkable example of how spiritual beliefs can be transformed into tangible, visually arresting art.

Marassa ak la Siren

Mireille Delice (Delismé)

Marassa ak la Siren

Mireille Delice (Delismé)

Haiti Friends Collection

This striking painting delves deep into the mystical realm of Haitian Vodou, presenting a fascinating fusion of symbolism through its central figures. The composition is dominated by two extraordinary entities, unmistakable representations of lwa - the revered spirits or deities that form the cornerstone of Vodou practice. These particular figures are unique interpretations of the Marasa Twins, a powerful and significant presence in Vodou tradition.

The lwa are portrayed with an intriguing hybrid form: the upper bodies resemble horses, while their lower halves transform into fishtails, creating a chimera-like appearance that bridges land, sea, and spirit. This unusual combination of equine and piscine features offers a rich tapestry of symbolic meanings:

The horse elements reference the Marasa Twins' traditional association with these animals in Vodou iconography, symbolizing strength, freedom, and the ability to traverse between worlds.

The fish tails introduce an aquatic aspect,  alluding to Lasirèn, the mermaid-like lwa of the sea, or symbolizing the fluid, adaptable nature of the spirits.

This hybrid form emphasizes the lwa's liminal nature - beings that exist between realms, embodying the confluence of different elemental forces.

The Sirèn's Courtier (Koutisan la Sirèn)

Seymour E. Bottex

The Sirèn's Courtier (Koutisan la Sirèn)

Seymour E. Bottex

Haiti Friends Collection

A captivating encounter between a man attempting to woo or impress a mermaid is portrayed here. The mermaid, known in Haitian Vodou as "La Sirène" or "Mami Wata," is depicted not just as a fantastical creature, but as a powerful spiritual entity. Her presence in the painting evokes the rich tapestry of Haitian folklore, where these aquatic beings are revered as formidable water spirits with the ability to bestow fortune upon those who encounter them.

Erzulie Baliann

Roudy Azor

Erzulie Baliann

Roudy Azor

Haiti Friends Collection

Erzulie can also appear as Erzulie Balliann, the woman who keeps secrets, and thus the one to which a petitioner can confide in confidence, and receive advice about issues of love. Roudy Azor was born in 1980 and typically shows his detailed sequin art pieces in Port-au-Prince.

Vodou Flag

Jean-Baptiste Jean-Joseph

Vodou flag

Jean-Baptiste Jean-Joseph

Haiti Friends Collection

This intricate textile flag is a vibrant and stunning representation of Haitian Vodou culture.

Vodou Ceremony (Seremoni Vodou 21 Nanchon)

Charles Lucien

Vodou ceremony (Seremoni vodou 21 nanchon)

Charles Lucien

Haiti Friends Collection

Here we see a Vodou ceremony taking place in a peristil (temple), a building central to Haitian Vodou practices. The scene captures a significant event where two distinct groups are shown drawing veve (intricate religious symbols) on the ground to invoke lwa (spirits). Vodou spirituality encompasses the "21 nations" (nanchon), a concept that represents the diverse origins of the lwa, including African, Indigenous, and European influences. Each nation embodies a different group of spirits with unique characteristics.

Vodou Flag

Jean-Baptiste Jean-Joseph

Vodou flag

Jean-Baptiste Jean-Joseph

Haiti Friends Collection

This intricate textile flag is a vibrant and stunning representation of Haitian Vodou culture.

The Sun Queen (La Rèn solèy)

Ramphis Magloire 

The Sun Queen (La Rèn solèy)             

Ramphis Magloire

Haiti Friends Collection

La Reine Soleil (The Sun Queen) is a spirit that embodies the fusion of Indigenous and Haitian Vodou traditions. While not a widely recognized figure in mainstream Vodou pantheons, La Reine Soleil represents the enduring influence of Indigenous cultures on Haiti's spiritual landscape. The Indigenous reverence for nature spirits harmonized with African and European beliefs, thereby contributing to the rich tapestry of Vodou lwa (spirits).

The Sun Queen with Dambala (La Rèn solèy ak Dambala)

Ramphis Magloire 

The Sun Queen with Dambala (La Rèn solèy ak Dambala)

Ramphis Magloir

Haiti Friends Collection

When combining the symbolism of La Reine Soleil and Dambala (serpent god spirit), we see a powerful representation of life, creation, and the interconnectedness of all things. The sun, as a life-giving force, aligns with Dambala’s role in creation and fertility. Both symbols emphasize the importance of harmony with nature and the cyclical nature of existence.

La Sirène

Evelyn Alcide

La Sirène

Evelyn Alcide

Haiti Friends Collection

La Sirène, or Lasirenn or Mami Wata, is a powerful lwa (spirit) in the Haitian Vodou pantheon. She is typically depicted as a mermaid or water spirit, embodying the dual nature of water - both life-giving and potentially dangerous.

The Suns in our Life (Prezans Solèy la Nan Lavi Nou)

Qienne Louis

The Suns in our Life (Prezans solèy la nan lavi nou)

Louisiane Saint Fleurant

Haiti Friends Collection

This painting explores humanity's relationship with the sun. The composition centers on a unique figure with two distinct faces surrounded by intricate patterns and designs. The figure's arms stretch upwards in a gesture of reverence, cradling a large, dominating yellow circle in the upper portion of the canvas. This circle, representing the sun, emphasizes its paramount importance in our existence. The face looking upward symbolizes humanity's constant search for enlightenment and guidance from the sun, while the forward-facing visage represents our grounding in the tangible world. This duality captures the essence of human existence, a balance between the celestial and the terrestrial.

Vodou Flag

Jean-Baptiste Jean-Joseph

Vodou flag

Jean-Baptiste Jean-Joseph

Haiti Friends Collection

This intricate textile flag is a vibrant and stunning representation of Haitian Vodou culture.

Gran Bwa Celebration (Seremoni Gran Bwa)

Serge Francois

Gran Bwa celebration (Seremoni Gran Bwa)

Serge Francois

Haiti Friends Collection

The ceremony depicted here honors Gran Bwa, a revered lwa (spirit) in Haitian Vodou. Gran Bwa, the guardian of forests and master of herbal medicine, is celebrated for his healing powers and role as nature's protector. The artist employs a powerful visual metaphor: the central pathway to a sacred pool, where pilgrims gather, is depicted as a tree trunk. Branching from this trunk are roads leading to various villages, symbolizing Gran Bwa's far-reaching influence and importance in the lives of the people.

Departure for Saut d'Eau (Depa Pou Saut Do)

Alix Dorleus

Departure for saut d'eau (Depa pou saut do)

Departure for Saut d’Eau (Depa pou saut do)

Alix Dorleus

Haiti Friends Collection

This work captures the essence of the sacred pilgrimage to Saut d’Eau, a site of deep spiritual resonance for Vodou practitioners. This hallowed place, nestled in the heart of Haiti, is where the physical and spiritual realms converge, offering a space for purification, renewal, and connection with the divine.

The Tour (LaTounen)

Alix Dorleus

The Tour (LaTounen)

Alix Dorleus

Haiti Friends Collection

Prior to a Vodou ceremony, practitioners traverse the neighborhood, informing the entire village of the impending celebration for the loa (spirits). This announcement serves as an invitation and a call to communal participation. Animals are sacrificed and prepared as part of the ceremony, their meat destined for both spiritual and physical nourishment. Farmers who have enjoyed bountiful harvests also contribute a portion of their produce. This enduring tradition not only honors the spiritual realm but also fosters a sense of unity and shared prosperity in the community. 

Vodou Ceremony (Seremoni Vodou)

Louis Gumcy

Vodou Ceremony (Seremoni vodou)

Louis Gumcy

Haiti Friends Collection

The yearly Vodou ceremony is held at the house of the Hougan, the Vodou priest. The red, white, and blue flag on the floor symbolizes the presence of three significant loa (spirits): Erzulie, whose white color represents love, beauty, and luxury; Ogou, whose red color signifies his warrior spirit, strength, and protection; and Danto, whose blue color reflects her fierce and protective nature as well as her connections to motherhood and justice.

Brav Gede

Edens Rousier

Brav Gede

Edens Rousier

Haiti Friends Collection

This ceremony honors Brav Gede, a powerful lwa (spirit) in Haitian Vodou tradition. Known as the vigilant guardian of the graveyard, Brav Gede's sacred duty is to maintain the delicate balance between the world of the living and the domain of the dead. As the cosmic sentinel, he ensures that departed souls remain at peace in their eternal resting place, while simultaneously preventing the living from trespassing into the realm of the deceased.

Vodou Ceremony in a Lakou (Seremoni Vodou nan yon Lakou)

Joseph Augustin

Vodou Ceremony in a Lakou (Seremoni Vodou nan yon Lakou)

Joseph Augustin

Haiti Friends Collection 

This glimpse into the spiritual world of Haitian Vodou captures a sacred ceremony taking place in a lakou—a traditional Haitian communal living space. At the heart of the scene is a white container holding a vibrant green liquid, symbolizing a potent herbal concoction prepared during the ritual with the aid of the lwa (spirits). The visible religious figures are the veves of Ougou Feray, the powerful lwa of war and fire; Ezili Danto, the fierce protector of women and children; and Agwe, the lwa of the sea.Through its detailed imagery, the painting offers a respectful portrayal of Vodou practice, highlighting its complexity, its deep roots in nature, and its integral role in Haitian culture and spirituality.

Baron of Barons (Baron des Baron)

D Magloire 

Baron of Barons (Baron des Baron)

Stivenson Magloire (1963-1994)

Haiti Friends Collection

Baron Samedi is the formidable lwa (spirit) known as the "Baron des Baron" (Baron of Barons) in Haitian Vodou. As the supreme figure among the Gede family of spirits, Baron Samedi commands a pivotal role in the spiritual landscape. The painting captures the essence of this powerful entity, who stands at the crossroads of life and death. As the master of the afterlife, Baron Samedi is portrayed with his characteristic blend of solemnity and mischief, reflecting his complex nature.

Saint Jerome Patronal Celebration (Fèt pawonal Saint Jerome)

Absolu Jean Daudet

Saint Jerome Patronal Celebration (Fèt pawonal Saint Jerome)

Absolu Jean Dodet

Haiti Friends Collection

This vibrant traditional celebration of Saint Jerome's Day in Petite-Rivière de l'Artibonite showcases the unique cultural fusion that characterizes Haitian spiritual practices. In Haitian Vodou, Saint Jerome is a representation of Ogou Balendyo, a powerful lwa (spirit) in the Vodou pantheon. This celebration vividly demonstrates the syncretic nature of Haitian spirituality, where Catholic saints and Vodou lwa coexist and often intertwine. 

Erzulie Baliann

Myrlande Constant

Erzulie Baliann

Myrlande Constant

Glass beads, cotton

Haiti Friends Collection

This painstakingly beaded tapestry depicts Haitians, Catholic saints, and Vodou spirits in intimate and universal scenes. Erzulie Baliane is a strong mother who protects her children. She wears a tangled necklace of vines reminiscent of the banyan fig, a tree sacred to her.

Going to the church- Nou pwal Legliz

Alexander Gregoire

Going to the church- Nou pwal Legliz

Alexander Gregoire

Haiti Friends Collection

This vibrant artwork captures a bustling moment in a rural Haitian community. At the scene's heart, a church stands as a focal point, drawing a diverse crowd towards its doors.

The painting pulses with energy, rendered in bold, lively colors that reflect the vitality of Haitian culture. A sea of figures fills the canvas, each uniquely depicted, creating a rich tapestry of communal life. Their varied attire and animated poses suggest a significant event, perhaps a religious celebration or community gathering.

Including vehicles alongside pedestrians adds a dynamic element, hinting at the blend of traditional and modern aspects in rural Haitian life. This artwork offers a window into a moment of shared purpose and cultural vibrancy, inviting viewers to witness the warmth and spirit of this Haitian community coming together.

The Soul’s Journey, Vwayaj nanm yo

Alexander Gregoire

The Soul’s Journey, Vwayaj nanm yo

Alexander Gregoire

Haiti Friends Collection

This vibrant artwork depicts a profound spiritual journey, illustrating the transition between the earthly realm and the world beyond. At its heart, a grand vessel carries multiple figures, each representing a soul embarking on this momentous voyage.

The boat itself is richly symbolic. Adorned with flags and bearing a structure reminiscent of a sacred building, it serves as a vessel of passage between realms.

The surrounding waters teem with life - fish dart through the currents while lotus flowers bloom on the surface. These elements evoke themes of purity and transformation, underscoring the profound change taking place.

This painting offers a mesmerizing vision of spiritual transition through its intricate details and vivid palette. It invites viewers to contemplate the mysteries of existence and the continuity of the soul beyond physical life. The artwork beautifully captures the awe and wonder inherent in beliefs about the journey of the spirit, presenting a visual narrative rich with cultural and spiritual significance.

Thank yous and Acknowledgments

Haiti Friends and Community Collaborators

Lucy Rawson, Founder and Board President, Haiti Friends

Edward Rawson, Executive Director, Haiti Friends

Erlantz Hyppolite, Executive Director, Fonkoze USA, Maryland DC

Gloria Blaise, Haiti Timber Re-introduction Program (HTRIP)

Darlène Dubuisson, Assistant Professor, Anthropology, University of Pittsburgh

Joel Aaronson and Claire Keyes, Collectors of Latin American Art

Rob Long, Clear Story

Robyn Hollingshead, Haiti Friends Consultant

Starry Sprenkle-Hyppolite, HTRIP Founder

LACC Exhibit Team

Sandra Budd, Assistant Director, Exhibit Designer, and Curator of LACC

Bill DeWalt and Sylvia Keller, Senior Advisors to LACC

Chris Smith, Grey Aria Design Studio

William Graves, Mount maker and exhibition installer

Ethan Marks, Exhibit installer

Sarah Erwin, Registrar

Samuel Stuart, Registrar

Lazaros Amanatidis, Director of Information Systems and Software Development

Anna Ruscalleda, Translator

Special Thanks

Lucy Rawson, founder of Haiti Friends, collected Haitian art over the last 60 years. She worked with artist in every department of Haiti with a special focus on the artists of the Artibonite. Over the decades of buying and selling Haitian art some of her favorite works ended up in her private collection culminating in this Haiti: Culture, Religion, and Revolution exhibition.

Erlantz Hyppolite, Executive Director of Fonkoze USA, wrote and recorded the interpretations of Haiti: Culture, Religion, and Revolution exhibition pieces. Fonkoze is a family of three organizations that delivers financial and non-financial services—including microfinance, education, and health support—to empower Haiti's most vulnerable communities, particularly women, to lift their families out of poverty and build sustainable livelihoods.

Darlène Dubuisson, crafted the narrative text of the Haiti: Culture, Religion, and Revolution exhibition leaning into her scholarly work on the History of Haiti, Black radicalism, feminism, social and political movements, imagination, migration and diaspora, and crises and futures.

Bill DeWalt and Sylvia Keller, Senior Advisors to LACC For worked closely with the Haiti Friends team to reimagine the Latin American Cultural Center to tell the story of Haiti: Culture, Religion, and Revolution

Sandra Budd, who worked tirelessly curating with the Haiti Friends team and creating the visual display for the exhibition and painstakingly caring for and honoring the art while designing and curating the museum.