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Pilgrimage to the Holy Land in the 16th-17th centuries: disconnectivites and the shaping of cultural imaginaries

chiara di carlo
  I want to show how pilgrimage to the Holy Land helped mitigate Europeans’ fear of the Turks and the Ottoman world. Especially the accounts of the Holy Land produced between the 16th and 17th centuries are valuable testimonies that show us not only a real journey, but an inner journey as well. These accounts reveal how fragile the popular imaginary was, made up of the pilgrims’ own fears, highlighting the dynamics of cultural disconnections and reconnections, especially between Italian-Christian and Ottoman-Islamic popular culture. Starting with the European popular context, I will show the common imaginary of ‘the Turk’ and how pilgrimage, along with other factors, eased collective fears.

The European imaginary

Between the fall of Constantinople in 1453 to the Christian defense of Vienna in 1683, the Turkish question was one of the most debated topics in European society. Thanks to the advent of movable-type printing, publicity, diaries and the Itinera Terrae Sanctae (i.e. pilgrims’ travelogues) contained news about the Turkish world, culturally distant but geographically now at the gates of Christian Europe.[1] From the 15th century, knowledge about Islam was increasing, especially under Pope Pius II (1458-1464), who encouraged the study of Muslims. According to the pope – and this view became common over the years – the success of Muhammad’s religion was mainly due to the supposed licentiousness of the Turks’ sexual mores, as they were perceived as lustful and sodomites. This narrative aroused concern among European publics.[2] An example is found in I cinque libri della legge, religione, et vita de’ Turchi et della Corte, et d’alchune guerre del Gran Turcho by Menavino. The author writes: ‘The vice of lust is still present among Muslims, considering it a completely abominable behavior. According to their law, everyone is obliged to legitimately take a wife to eradicate this sin and all other forms of fornication. Women are so strongly tainted by the vice of sodomy that it is impossible for many of them to abstain from it. Since all are tainted by this stain, they do not punish each other and it is stated in their Quran that those who practice this vice are lost’.[3] Europeans’ images of the Turks were largely influenced by prints and news stories. A clear example is found in a graphic work by the Bolognese artist Giuseppe Maria Mitelli (fig.1). The print depicts passers-by, scandalised and frightened, fleeing, refusing to take in the news, as the seller holds a portrait of a man wearing a turban – an image that was widespread as early as the mid-16th century.[4]

Fig 1. Giuseppe Maria Mitelli, Compra Chi Vuole / Avisi Di Guerra / Carte Di Guerra / À Buon Mercato, À Due Bolognini / L'una, 1684, Etching, 193 x 270 mm, Gonnelli Firenze, sale 31 / grafica & libri, 29 October 2021, lot 17.

In Central Europe, more so than in Italy, images of the Turk were aimed at terrorising the people. In Germany, Erhard Schön’s 16th-century engravings are among the crudest. One example is the woodcut depicting a fragment of the Turkish invasion of Hungary, where in the foreground a procession of Turkish soldiers is led by mounted officers holding spears with impaled heads (fig. 2).

Fig. 2 Erhard Schön, Fragment of a broadside on the Turkish invasion of Hungary, 1532, print, 42.32 x 29.17 cm, © The Trustees of the British Museum. Shared under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) licence.

Contra Turcos images and writings all had the same function: to question the reputation of the Sultan’s government, falsely promoted as welcoming and tolerating Christian communities that had accepted his rule. The purpose was also to show the dangers of the Ottoman world through bloody scenes, grotesque portraits and tales of abuse.[5] However, during the same period, the Church’s anti-Turkish campaign was met with reactions beyond fear and irritation. Numerous Italian intellectuals, in an anticlerical attitude, wished for the arrival of the Turks. Niccolò Machiavelli is an example for this. In his historical-political writings, he expresses deep esteem for the sultan, while despising Christian propaganda that aimed to spread fear and misrepresent the Turk.[6]

Pilgrimage and travel reports

The cultural and figurative context described up to this point represents the frame of reference for the pilgrims and those who read their travelogues. Despite the temporal and cultural distance, the Itinera ad Loca Sancta[7] allows us to ‘re-enter’ those lands thanks to another important aid: images. The writers were the same pilgrims who, between the 16th and 17th centuries, set out for spiritual reasons, but also for ‘entrepreneurial’[8] and ‘political’ ones. Their reports often reflected what the powerful in Christendom expected to hear. Especially Bartholomeo Georgijević[9] spoke of the Holy Land as ‘alienated and doomed, pervaded by dissensions and neglected by the principles of the Christian Republic, it is a barbarian land now under the rule of the Turks.’[10] He told of holy places in and around Jerusalem, sadly damaged by the ‘infidels’ who ruled and guarded it. He also tells of the terror they instilled in the traveller-pilgrims, who were forced to endure numerous restrictions. For example, they were confined to the monastery where they resided lest they be robbed or killed, and they were not allowed to possess any kind of weapon.[11] However, even this fear proved fallacious; some writers, such as Aquilante Rocchetta,[12] recounted that they had never seen or heard of pilgrims killed by the Turks,[13] thus proposing an alternative image. Again, Georgijević regretted not only the cost of living, but also a kind of slavery due to the toll required to enter the Holy Places. Zuallart’s[14] text contains an exemplary print, showing pilgrims stopped on their way to pay the fee (fig. 3).[15] However, the Croatian author’s regret was the same felt by a Muslim pilgrim visiting Jerusalem in late 900 AD, when the Arab geographer Al-Muqaddasi recounted the disadvantages of visiting the city in Catholic hands. Among his complaints were the cost of living, the prices of public baths and hostels, and the oppressive vigilance of the guards at the city gates that curtailed trade.[16] ‘Then again, how could it be otherwise,’ Muquaddasi wonders, ‘given the prevaricating manner in which Christians behaved in public places’.[17]

Fig. 3 Seritz in Jean Zuallart, Il devotissimo viaggio di Gerusalemme, print, 1586, 60 x 85 cm. © Bibliotheca Terrae Sanctae. Shared under a Creative Commons Attribution-NonCommercial- No Derivative Works 3.0 Unported (CC BY-NC-ND 3.0)

Among the difficulties pilgrims faced on arrival in the Holy Land were the language barrier and obstacles to their travel. The Itinera Terrae Sanctae, such as Zuallardo’s, suggested getting an interpreter, often a local Christian who would also act as a guide and mediator. Some travellers even recommended hiring a Janissary (Yeni Ceri), a kind of bodyguard, to accompany them on the journey while also serving as an interpreter. A crucial aspect of economic-cultural mediation concerned the ‘rental’ of animals and negotiations with the ‘muccari’ (ar. Mukari).[18] Despite obvious difficulties, these were the first interactions with the native population, including, of course, the Turks. Over the course of the pilgrimage to the Holy Land, fear gradually faded as the pilgrims progressed through the narrative and the journey. This change is evident in the positive descriptions of Turk territories, as in the case of Ramla as described by Jean Zuallart. Giovanni Francesco Alcarotti,[19] recounting the beauty of Tripoli, also challenges his preconceived beliefs. His enthusiasm peaked in Jerusalem, a cosmopolitan city full of temples from different religions. The stories go beyond descriptions of the city, detailing local culture, including dishes, markets and practices such as tattooing. Initial forced interaction with the Turk turns into appreciation, with pilgrims praising the loyalty of the Janissaries as escorts: ‘Although the Turks are enemies of our faith, they would rather be cut to pieces than allow mistreatment of those they protect and have in their custody’.[20] The pilgrimage lasted years, allowing travellers to become accustomed to and integrated into the Turkish world. Especially Alcarotti’s text, initially critical, changed perspective, recognising positive aspects in the people and cultures encountered. One example is the observations about how Muslims attended to Christian shrines and pilgrims’ dwellings. The author also recalls a dinner he attended with Turkish officers from the local garrison: eating while sitting on a carpet, 'according to their custom', he was happy to converse with the guests and to learn how many places sacred to Christians were also sacred to Muslims.[21] Upon returning, the experiences of each pilgrim-cum-writer became the experiences of each reader, each listener. Far more pilgrimage texts were in vernacular Italian than in Latin, which expanded their readership, and the images opened their contents even to the illiterate. The battle of Lepanto – when in 1571 the Holy League defeated ‘the unbeatable Turk’ – would further assuage the fear of an Ottoman invasion, but the encounters – as well as the clashes – in the Holy Land between pilgrims and Turks contributed to an image devoid of fears and preconceptions. By reflecting on these texts, the experience of Christian pilgrims of the past can be contextualised, offering insights into a broader reflection on the confrontation between Christianity and the Islamic world and the intertwining of histories and cultures.
[1] Massimo Moretti, 'Dalle “pancacce” ai piatti. Percezioni e rappresentazioni del Turco nella cultura popolare del Cinquecento', in Storie intrecciata. Rappresentazioni e conoscenza dell'Islam nell'Italia moderna, ed. Serena Di Nepi (Rome: Edizioni di storia e letteratura, 2015), 131-32. [2] Moretti, 'Dalle “pancacce” ai piatti', 136. [3]l vitio della Lussuria hanno anchora i mahomettani per cosa in tutto abominevole. Perché secondo la lor legge, tutti sono costretti di pigliar legittima sposa, per tor via questo peccato, et ogni altra fornicazione [...]. Conciosia che oltra le donne, sono molto imbrattati del vitio della sodomia; in modo tale, che non è possibile per alcuna via, se ne possano astenere. Et perché tutti sono macchiati di questa pece, fra loro non ne danno punitione, et hanno nel loro coran, che quelli che usano questo vitio, sono perduti’. Giovanni Antonio Menavino, I cinque libri della legge, religione, et vita de’ Turchi: et della corte, & d'alcune guerre del Gran Turco (Venice: Vincenzo Valgrisi, 1548). Unless otherwise indicated, all translations are by the author. [4] Moretti, 'Dalle “pancacce” ai piatti', 139. [5] There are numerous texts expressing negative views of the Turks, especially the writings of Bartholomew Georgijević. See: Profetia de i Turchi, della loro rovina, o la conversione alla fede di Christo per forza della spada Christiana; Specchio de' lochi sacri di Terra Santa, che comprende quattro libretti, si come leggendo questo seguente foglio, potrai intendere. [6] Niccolò Machiavelli, Opere di Niccolò Machiavelli cittadino e segretario fiorentino, vol. VIII (Florence: Piatti, 1813), 60. [7] Most of the books analysed here date from the 16th and 17th centuries. Some of the texts were covered in my 2019 dissertation as part of a project coordinated by Prof. Massimo Moretti (University of Rome La Sapienza) on reconstructing the image of the last Duke of Urbino, Francesco Maria II della Rovere through the study of his ‘Libraria.’ [8] Bernard von Breydenbach's Peregrinationes plays a fundamental role in the modern age, anticipating the volumes examined in the text. It is the first illustrated travel book, a mix of diary and guidebook, representing a path of culture and knowledge. Breydenbach's pilgrimage was selective, with a mystical experience complementing the primarily commercial purpose: an opportunity to bring his pamphlet to life. He set out intending to write a book on his return, to include illustrations that would reinforce the words, and hoping to have it published. That is, he grasped the possible outcomes (including commercial ones) of printing, bringing the painter Erhard Reuwich along to create the illustrations. Gabriella Bartolini and Giulio Caporali, Peregrinationes. Un viaggiatore del Quattrocento (Rome: Vecchiarelli, 1999), 12-18. [9] Georgijević was born in Croatia around 1505 and was captured by the Turks after the Battle of Mohács in 1526. He spent time in captivity, working as a farmer and shepherd, and escaped in 1535. In Rome from 1540 to 1560, he published works and received a modest pension as a 'humiliated'. The veracity of his experience as a prisoner and pilgrim is in doubt, as he may have imagined part of it. [10] ‘Alienata e biasimata, abitata da discordia e negligenza dei principi della Repubblica Cristiana e terra di barbarie occupata dai Turchi. ' [11] Bartolomeo Georgijević, Specchio de' lochi sacri di Terra Santa, che comprende quattro libretti, si come leggendo questo seguente foglio, potrai intendere (Rome: Bolano, 1566). [12] Rocchetta, a Calabrian traveler, wrote a report about his pilgrimage to the Holy Land in 1598. This diary offers a detailed account of his experiences at holy sites, providing valuable information for future pilgrims. [13] ‘On this Voyage, we have rarely heard of Pilgrims being killed by Arab thieves or captured by Turks. On the contrary, at sea, the boats we pass belong to Turkish merchants who do not carry out acts of capture or theft. On the contrary, many times they provide us with assistance when we need it, supplying us with wood and water when there is a shortage’. Aquilante Rocchetta, Peregrinatione di Terra Santa e d’altre provincie di Don Aquilante Rocchetta Cavaliere del Santissimo Sepolcro. Nella quale si descrive distintamente quella di Christo secondo gli Evangelisti (Palermo: Alfonzo Dell’Isola, 1630). [14] Zuallart was born in 1541 in Ath, Belgium. After a trip to Germany and Italy with Philippe de Mérode, the latter suggested to Zuallart that he make a pilgrimage to Palestine to compile a guidebook on his return. With great will, Zuallart learned the art of drawing in a few months and was thus able to illustrate the story with realistic images, besting other works’ figurative art and becoming very successful. [15] Jean Zuallart, Il devotissimo viaggio di Gerusalemme fatto, & descritto in sei libri (Rome: Francesco Zannetti and Giacomo Ruffinelli, 1587), 118. [16] Attilio Brilli, Il grande racconto del viaggio in Italia. Itinerari di ieri per viaggiatori di oggi (Bologna: Il mulino, 2019), 72,23. [17] Brilli, Il grande racconto. [18] Lucia Rostagno, 'Pellegrini italiani a Gerusalemme in età ottomana: percorsi, esperienze, momenti d’incontro', Oriente Moderno 17, no. 1 (1998): 82. [19] Alcarotti, born in Novara in 1535, was a composer and organist. He spent much of his youth in Rome studying. Belonging to a wealthy family, he had the opportunity to visit Italy's major cities and made the pilgrimage to the Holy Land in 1588. On his return he wrote a guidebook. See: Giovanni Francesco Alcarotti, Del viaggio di Terra Santa. Da Venetia à Tripoli, di Soria (Novara: Francesco Sesalli, 1596). [20] ‘Tutto che siano i Turchi, nemici di nostra fede, più tosto si lascerebbero tagliar a pezzi, che lasciar maltrattare quelli, che esse prendono in guardia e sotto la loro protezione’. Rocchetta, Peregrinatione di Terra Santa. [21] Rostagno, 'Pellegrini italiani', 99.
bibliography
Alcarotti, Giovanni Francesco. Del viaggio di Terra Santa. Da Venetia à Tripoli, di Soria Novara: Francesco Sesalli, 1596. Bartolini, Gabriella and Giulio Caporali. Peregrinationes. Un viaggiatore del Quattrocento. Rome: Vecchiarelli, 1999. Brilli, Attilio. Il grande racconto del viaggio in Italia. Itinerari di ieri per viaggiatori di oggi. Bologna: Il mulino, 2019. Georgijević, Bartolomeo. Specchio de' lochi sacri di Terra Santa, che comprende quattro libretti, si come leggendo questo seguente foglio, potrai intendere. Rome: Bolano, 1566. Machiavelli, Niccolò. Opere di Niccolò Machiavelli cittadino e segretario fiorentino. Vol. VIII, Florence: Piatti, 1813. Menavino, Giovanni Antonio. I cinque libri della legge, religione, et vita de’ Turchi: et della corte, & d'alcune guerre del Gran Turco. Venice: Vincenzo Valgrisi, 1548. Moretti, Massimo. 'Dalle “pancacce” ai piatti. Percezioni e rappresentazioni del Turco nella cultura popolare del Cinquecento'. In Storie intrecciata. Rappresentazioni e conoscenza dell'Islam nell'Italia moderna, edited by Serena Di Nepi,  Rome: Edizioni di storia e letteratura, 2015. Rocchetta, Aquilante. Peregrinatione di Terra Santa e d’altre provincie di Don Aquilante Rocchetta Cavaliere del Santissimo Sepolcro. Nella quale si descrive distintamente quella di Christo secondo gli Evangelisti. Palermo: Alfonzo Dell’Isola, 1630. Rostagno, Lucia. 'Pellegrini italiani a Gerusalemme in età ottomana: percorsi, esperienze, momenti d’incontro'. Oriente Moderno 17, no. 1 (1998): 63-157. Zuallart, Jean. Il devotissimo viaggio di Gerusalemme fatto, & descritto in sei libri. Rome: Francesco Zannetti and Giacomo Ruffinelli, 1587.
citation information:
Di Carlo, Chiara, 'Pilgrimage to the Holy Land in the 16th-17th centuries: disconnectivities and the shaping of cultural imaginaries', Ben Kamis ed. global dis:connect blog. Käte Hamburger Research Centre global dis:connect, 6 February 2024, https://www.globaldisconnect.org/02/06/pilgrimage-to-the-holy-land-in-the-16th-17th-centuries/.
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Religion, African socialism and pan-African dis:connections in the Cold War era

katharina wilkens
  Richard Wright, the African American journalist, former communist, strict secularist and pan-African observer of the independence movements in late-colonial Africa, travelled to the Bandung Conference in Indonesia in 1955. His report from one the founding meetings of the Non-Aligned Movement, which was attended by many leaders from Asia and Africa, intertwines the themes of racism, colonialism, imperialism and communism in the Cold War era. The title The Color Curtain borrows its imagery from the so-called ‘Iron Curtain’, dividing the Western from the Eastern bloc.

Fig. 01: Carl Van Vechten, Richard Wright, 1943, photograph, Van Vechten Collection at the Library of Congress, https://commons.wikimedia.org/w/index.php?curid=1430629

The USSR and People’s Republic of China were vying for hegemony in the communist world. A question raised, but also skilfully skirted at the conference, was how many of the newly emerging nations would be interested in allying with China or the USSR rather than the USA.
‘But is there not something missing here?’ asks Wright. ‘Weren’t all these men deeply religious? Christians? Moslems? Buddhists? Hindus? They were. Would they accept working with Red China? Yes, they would. Why? Were they dupes? No, they were desperate. They felt that they were acting in common defense of themselves. Then, is Christianity, as it was introduced into Asia and Africa, no deterrent to Communism?’ He answers his own question quite succinctly: ‘Obviously, religion, and particularly the Christian religion, was no bulwark against Communism’.[1]
Among the delegates in Bandung was Kwame Nkrumah, then prime minister of the Gold Coast which was still under British control. Richard Wright had visited him a few years earlier during his first journey through a continental African country, when Wright began to weave his own personal pan-African consciousness spanning both sides of the Atlantic. Nkrumah, together with Sékou Touré from Guinea, Léopold Sédar Senghor from Senegal, Julius Kambarage Nyerere from Tanganyika, Modibo Keïta from Mali and others, was a founding figure of African socialism.[2] All of these leaders, however, insisted on the religious nature of their version of socialism. And they were not afraid to defend their religiosity against Chinese and especially Soviet accusations that they were violating the ‘true teachings’ of Marx and Lenin.[3]

How to grasp the role of religion in African socialism

Wright’s confusion is understandable. Karl Marx famously criticised religion, particularly the Christian church(es), as part of the superstructure of capitalism. Both Lenin and Mao implemented atheist regimes and vigorously popularised atheist attitudes. Many African labourers and students in France and Great Britain in the 1920s and 1930s founded organisations combining pan-African and communist ideas.[4] This earlier generation of freedom fighters often followed atheist ideals unlike the later, more pragmatic leaders of the African independence movements. Nyerere and Senghor were both practicing Catholics, Touré and Keïta Muslims, Nkrumah and others were Protestants. None were shy about it. Indeed, they argued that their anti-atheist position was a distinction between African socialism from Soviet-style communism.[5] Nkrumah writes: ‘Insistence on the secular nature of the state is not to be interpreted as a political declaration of war on religion, for religion is also a social fact and must be understood before it can be tackled’.[6] For all leaders, Christianity and Islam were essential moral underpinnings of African socialism while also vital aspects of modernisation, progress and development. In the words of Senghor, ‘it is false to claim with the Marxists that Christianity and Islam scorned, or even neglected, the sciences’.[7] While Wright might have balked at a sentence like this, the socio-political place of religion in the colonies differed from that in the metropoles.

Fig. 02: President Leopold Senghor Viewing African Art at the Musée Dynamique, During the Festival mondial des arts nègres (FESMAN), Dakar, 1966, African Art After Independence, 1957-1977, College of Literature, Science, and the Arts, University of Michigan, https://sites.lsa.umich.edu/maa/research/art-of-a-continent/senghor-dakar-1966/.

Dis:connecting religion and civilisation

Studying the global spread of the concept of ‘religion’ (as opposed to church institutions), scholars of religion have noted its immense impact on the discursive construction of ‘civilisation’ and thence on the colonising strategies of European empires. Only ‘civilised humans’ have religions, so the Spanish argued, conversely implying that non-Christian ‘barbarians’ in South America in the early 1500s, for example, could be exploited.[8] A couple of centuries later, Hegel dismissed Africans as ‘immoral barbarians’ without law, as ‘cannibals’ and as ‘fetishists’ without proper religion or even self-awareness. He argued that they ‘were not part of history’ because they were not ‘capable of development’.[9] His arguments were often repeated in political and missionary discourse of colonial imperialism and occasionally resonate even today.[10] But even when academics, policy makers and colonial officials grudgingly began to accord African religion a place in history, the prevailing evolutionary theory placed ‘fetishism’, ‘animism’ and ‘ancestor worship’ on the lowest rung of religious development, thus denying Africans any indigenous civilisation. In their minds, civilisation could only be established alongside Western (and mostly Protestant) Christianity – David Livingstone’s three C’s of the colonial and missionary enterprise: Christianity, Civilisation and Commerce – held well into the first half of the 20th century.

Fig. 03a: Steve Evans, 9–10-year-old boys of the Yao tribe in Malawi participating in circumcision and initiation rites, 2005, Wikimedia Commons, https://commons.wikimedia.org/w/index.php?curid=5246384.

Fig. 03b: Digr, St. Joseph’s Cathedral in Dar es Salaam, 2009, Wikimedia Commons, https://commons.wikimedia.org/w/index.php?curid=38285920.

In the 1930s, Western anthropologists were bent on salvaging indigenous cultures in books and museums because they thought them doomed under imperialism and secular modernity. Edward E. Evans-Pritchard, government anthropologist in southern Sudan and leading scholar of indigenous African religions among the Azande and Nuer. In the 1940s, South African anthropologist Meyer Fortes, himself a son of Russian Jewish refugees, was among the first to discuss the impact of colonialism on the religio-political-juridical system of ancestor veneration among the Talensi in northern Ghana.

Reconnecting with the African past

The counter movement followed from the early 1950s, when Christian theologians, both Western and African, began writing about indigenous religions in a new style. African religions were cast as ‘natural religions’ (rather than ‘heathendom’).[11] In this argumentation, the god of Christian salvation worked through the gods and priests of African cosmology prior to Christianisation, allowing pious Africans into salvation history. Under the rise of nationalist ideology, religion as a marker of civilisation was thus restored to indigenous peoples. The image of ‘African Traditional Religion’ (ATR) created by these scholars was free of cannibalism and violence, instead emphasising community, beauty, natural philosophy, spirituality and unity across seemingly heterogenous traditions. Prominent writers in this vein from the 1940s to 1970s include Ghanaian politician and theologian Joseph Boakye Danquah, Ugandan theologian John Mbiti and Nigerian theologian Bolaji Idowu. However, despite their celebration of traditional religion, they agreed that it was passé. With the coming of Christ (through the colonial missionaries), Christianity was the way forward, albeit in thoroughly Africanised garb.[12] The leaders of African socialism were aware of these discursive positions in the disciplines of anthropology, history and theology, in which many held PhDs. In their publications, they consistently maintained that Africans had been ‘civilised’ people prior to the advent of the European colonisers; that their culture was morally advanced; and that their ancestral religions had the same worth as mission Christianity. In 1943, Eduardo Mondlane, leader of the Mozambiquan liberation movement with a doctorate in anthropology, wrote in a letter to former Swiss missionary teacher and close friend André-Daniel Clerc:
I think that the beliefs placed in my heart by my grandmother about our ancestors had something to do with my spiritual progress. I believed that there was another life after death because my grandparents live in spirit (even though they are bodily dead). And from this when I heard the story of Christ and God I immediately accepted.[13]
Mondlane later added a further thought to his reflection on religion: ‘Our indigenous religion could have remained and continued to thrive if there had not been another which offered better answers to the questions of the future’.[14] In emphasising the ancestral lineage of faith in God, Mondlane sets the indigenous way of life on par with Christianity-as-civilisation. Simultaneously, he concurs that the universal church (or rather, Africanised church and neither a specific national nor denominational church) was best suited to modernisation and national independence. While ancestral religion was seen positively there, it belonged to the past. African scholars and independence-era writers tried hard to counter the Hegelian trope of African a-historicity. Notably, Cheikh Anta Diop, a Senegalese Egyptologist argued in his 1954 thesis Nations Nègres et Cultures that ancient Egyptian civilisation was derived from the same black civilisation as that of West Africa. His contemporary Léopold Senghor pits the concept of Négritude against the French anthropologist Lucien Lévy-Bruhl’s theory of ‘pre-logical mentality’ and similar theories.[15] He also emphasised that African religion was based on both reason and idealist ontology; it touched on life and meaning beyond the everyday, perceiving beauty and searching for the divine in nature.[16] However, he opposed ‘magic’ to ‘animism’ (the Francophone alternative to ‘African Traditional Religion’, not the primitive religion of evolutionary theory). He considered ‘magic’ and particularly the so-called secret societies, or mask societies, who ostensibly practiced it, to be ‘a superstitious deformation, too human’.[17] In the discursive framework of Africanist history, anthropology and theology, ‘religion’ was a pre-condition of ‘civilisation’, which in turn was a pre-condition for independent rule, free of colonial paternalism. Though I am oversimplifying the complex economic and political negotiations of the independence movements, of course, the strategic role of the discursive figure of religion as the basis of civilisation – and thus modernity – must not be underestimated.[18]

Disconnecting religion and culture

In Europe, however, public interest in religious and church matters declined steeply in the 1950s and 1960s, while theories of secularisation-as-modernisation abounded. Christianity and Islam had lost their discursive weight as harbingers of modernity while outright atheism, general agnosticism and New Age spirituality gained ground. Instead, culture and art (rather than Christianity) became arenas of communication about contemporary values, morality and visions for the future. In socialist states cultural propaganda became a preferred method of education and indoctrination. In the nascent African nations, religion was not controversial. In contrast to Europe, however, Islam and Christianity (not indigenous religions) were seen positively because they offered global networks of moral support, education and development aid. Conversion accelerated in these decades, especially in urban areas. Political leaders, however, preferred the discursive formation of ‘culture’ when talking about the necessity of Africanisation as part of de-colonialisation and independence. Across the continent, presidents and ministers celebrated African culture, created ministries of national culture, instituted festivals and held dance, art and music competitions.[19] Soviet-style realism in art, however, never outshone the policy of Africanisation, which favoured more abstract and expressionist styles.[20] In true socialist fashion, Nyerere, Touré, Senghor and other leaders combatted ‘backwardness’, ‘traditionalism’, ‘superstition’ and ‘witchcraft’. While Marx saw these forces reflected in Christianity and feudalism, the African leaders associated them with indigenous religion only. Ancestors were thus separated from their rituals. Mondlane, Senghor, Nkrumah and many others praised the tradition of African ancestor veneration as symbols of proto-socialist communalism, but never addressed them as spirits afflicting people through sickness and demanding bloody sacrifices as a remedy. The latter was ‘magic’.

Fig. 04: Leaders of the non-aligned movement, 1960 in New York (Jawaharlal Nehru, Kwame Nkrumah, Gamal Abdel Nasser, Sukarno, Yosip Tito), Intellivoire – Portal ouverte sur l’Afrique, Sommet Asie Afrique 60 ans après la conférence de Bandung, avril 20, 2015, https://intellivoire.net/sommet-asie-afrique-60-ans-apres-la-conference-de-bandung/.

In Guinea, Sékou Touré went furthest of all presidents in fighting so-called superstition, which he found in indigenous religions in mystical Sufi brotherhoods alike. Soviet Africanist I. Bochkarev supported this approach: ‘The Democratic Party [of Guinea] is aware of the need to dispel the religious myths with which the minds of the people are befuddled, and is taking steps in this direction’.[21] In an effort to break the power of the local chiefs and sheikhs and to subsume them under party politics and national integration, Touré initiated a cultural revolution (modelled on China) and a programme of ‘demystification’. Ancestral mask dances were summarily forbidden in order to de-legitimise the chiefs’ power.[22] This violent incursion into rural social structures (heavily aided by party secret service agencies) diverged from the celebration of annual pan-African festivals of art and culture that attracted performers from the Americas and throughout Africa.

The dis:connected legacy of African socialism

Today, after the Cold War and in an era characterised by religious resurgence, indigenous religious leaders are rallying and claiming their own public space while Pentecostal Christians and Salafists compete for political attention. What then is the legacy of African socialism, an ideology classified by Sabelo Ndlovu-Gatsheni among the pre-eminent epistemologies of the Global South?[23] The nationalist nostalgia for a unified ‘African culture’ was heavily critiqued by later generations. Nonetheless, ideas of ancestral communalism live on in Ubuntu, African Renaissance, Afrotopia and other post-colonial visions of Africa’s future. By focussing on secularity and the negation of atheism in African socialism, the complexity of scholarly, political and activist networks with their attendant ideological dis:connections emerges. Mobile and well-educated pan-African activists managed the independence movements across three continents. They had to argue against Western orientalist and colonial scholarship that insisted Africans were not civilised because they had ‘no religion’, while simultaneously shaping smart alliances according to Cold War logics. Marxism and socialism were not born out of class struggle in an age of industrialisation, as Soviet commentators often criticised. The pan-African fight against racism and imperialism, however, lent itself easily to Marxist rhetoric, but without needing to declare war on Africanised Christianity and Islam. Beyond these global discourses, political leaders in the nascent nations of Africa had to contend with local politics, rival chieftains, party opponents and eminent religious leaders. What emerged was a pan-African ideal of African socialism refracted in local implementations that differed widely across nations and over time. Connections on one level of discourse coincided with disconnections on other levels, even if the results might surprise astute contemporary observers, such as Richard Wright.     [1] Richard Wright, ‘The Color Curtain’, in Black Power. Three Books from Exile (New York: Harper Perennial, 2008), 429–630. For a historical and contextual re-evaluation of Wright, see Michael E. Nowlin, Richard Wright in Context (Cambridge: Cambridge University Press, 2021). [2] William H. Friedland and Carl Gustav Rosberg, eds., African Socialism (Stanford: Stanford University Press, 1964). I focus here on the 1950s and 1960s, when African leaders developed pre-independence arguments for self-rule and formulated early rules for national integration. These discourses had two audiences: the colonial governments in Europe and the local people who lived in these artificially created territories but spoke dozens of different languages and had previously lived in completely different kingdoms and chieftaincies. Ghana (the former Gold Coast) gained independence from the UK in 1958. Guinea followed in 1958, when it refused to join a new French constitutional arrangement in the colonies. Most Francophone and Anglophone countries were granted independence in 1960, while the Lusophone countries were involved in years of separatist wars through the 1960s and 1970s. At the height of the Cold War, independence required the African leaders to identify with and implement either socialism or capitalism — a fierce binary that most leaders overcame through their personality cults and that gave rise to distinct political atmospheres. African socialism, as described in this article, dominated continental public discourse at the time. [3] Julius Kambarage Nyerere, ‘The Varied Paths to Socialism’, in Freedom and Socialism. A Selection from Writings and Speeches 1965-1967 (Dar es Salaam: Oxford University Press, 1969), 301–10. [4] Hakim Adi, Pan-Africanism and Communism: The Communist International, Africa and the Diaspora, 1919-1939 (Trenton, NJ: Africa World Press, 2013); Holger Weiss, Framing a Radical African Atlantic: African American Agency, West African Intellectuals, and the International Trade Union Committee of Negro Workers (Leiden: Brill, 2014). [5] Léopold Sédar Senghor, ‘The Theory and Practice of Senegalese Socialism’, in On African Socialism, trans. Mercer Cook (London: Pall Mall, 1964), 105–65; Nyerere, ‘Varied Paths’. [6] Kwame Nkrumah, Consciencism: Philosophy and Ideology for De-Colonization (London: Heinemann, 1964), 13. [7] Senghor, ‘Theory and Practice’, 164. [8] Jonathan Z. Smith, ‘Religion, Religions, Religious’, in Critical Terms for Religious Studies, ed. Mark Taylor (Chicago: Chicago University Press, 1998), 269–84; for a discussion of humanness, religion and Oxford scholarship before and after the Zulu wars in South Africa during the 19th century, see also David Chidester, Savage Religion: Colonialism and Comparative Religion in Southern Africa (Charlottesville: University Press of Virginia, 1996). [9]  Georg Friedrich Wilhelm Hegel, Lectures on the Philosophy of World History. Introduction: Reason in History, ed. Johannes Hoffmeister, trans. Hugh Barr Nisbet (Cambridge, MA: Cambridge University Press, 1975), 173-190. [10] This enduring view of African religion, culture and civilisation was repeated by the French president Nicolas Sarkozy on a state visit to Senegal which in turn triggered student protests and a wave of post-colonial debate. To take just one example, see the reaction by Achille Mbembe, ‘L’Afrique de Nicolas Sarkozy’, Mouvements 4, no. 52 (2007): 65–73; Holger Weiss, Framing a Radical African Atlantic: African American Agency, West African Intellectuals, and the International Trade Union Committee of Negro Workers (Leiden: Brill, 2014). [11] In the 18th century, Enlightenment philosophers and deists such as David Hume began critising the teleology of church history as the only salvation of mankind. They disrupted the binary of Christendom and heathendom by including a category of ‘natural religion’, in which morality, spirituality and the knowledge of God were just as manifest as in the gospels (Smith, Religion, Religions, Religious). [12] Katharina Wilkens and Mariam Goshadze, ‘Indigenous Religions in West Africa’, in Oxford Research Encyclopedia of Religion (Oxford: Oxford University Press, 2023), https://doi.org/10.1093/acrefore/9780199340378.013.1133. [13] This and the following letter are cited in: Robert N. Faris, Liberating Mission in Mozambique: Faith and Revolution in the Life of Eduardo Mondlane (Cambridge: Lutterworth Press, 2015): Robert N. Faris, Liberating Mission in Mozambique: Faith and Revolution in the Life of Eduardo Mondlane (Cambridge: Lutterworth Press, 2023), 18. [14] Faris, Liberating Mission, 20. [15] Léopold Sédar Senghor, ‘Vues sur L’Afrique noire ou: assimiler, non être assimilés’, in Liberté I: Négritude et Humanisme, ed. Léopold Sédar Senghor (Paris: Éditions de Seuil, 1964), 36–69: 43. This essay was written in 1949. [16] Léopold Sédar Senghor, ‘Éléments constructifs d’une civilisation d’inspiration négro-africaine’, Présence Africaine 24/25, no. 1 (1959), 249–79. [17] Léopold Sédar Senghor, ‘Ce que L’homme noir apport’, in Liberté I: Négritude et  Humanisme, ed. Léopold Sédar Senghor (Paris: Éditions de Seuil, 1964), 22–38: 36. [18] There are many other reasons why Christianity and Islam continued to play important roles in African socialism. For religious biographies of the leaders, missionary education in general and the problem of the economic monopoly of Sufi brotherhoods in various trades and plantations, see Katharina Wilkens, ‘African Socialism: A Blueprint for Secular State Formation at the Time of Independence’, in Working Paper Series of the CASHSS: Multiple Secularities – Beyond the West, Beyond Modernities (. University of Leipzig, open access (forthcoming), n.d.). [19] Julius Kambarage Nyerere, ‘President’s Inaugural Address’, in Freedom and Unity: A Selection from Writings and Speeches 1952-1965 (London: Oxford University Press, 1967), 186–87.; Léopold Sédar Senghor, ‘Fonction et Signification de Premier Festival Mondial Des Arts Nègres’, in Liberté III: Négritude et Civilisation de L’Universel (Paris: Éditions de Seuil, 1977); Sékou Touré, ‘A Dialectical Approach to Culture’, The Black Scholar 1, no. 1 (1969); for an overview of pan-African festivals, see Yair Hashachar, ‘Guinea Unbound: Performing Pan-African Cultural Citizenship Between Algiers 1969 and the Guinean National Festivals’, Interventions 20, no. 7 (2018), https://doi.org/10.1080/1369801X.2018.1508932. [20] Léopold Sédar Senghor, ‘L’ésthetique négro-africaine’, in Liberté I: Négritude et Humanisme (Paris: Éditions de Seuil, 1964). [21] I. Bochkarev, ‘The Guinean Experiment’, New Times, no. 29 (1960): 28, quoted in Arthur Jay Klinghoffer, Soviet Perspectives on African Socialism (Rutherford: Farleigh Dickinson University Press, 1969): 107. [22] Ramon Sarró, The Politics of Religious Change on the Upper Guinea Coast: Iconoclasm Done and Undone (Edinburgh: Edinburgh University Press for the International African Institute London, 2009). [23] Sabelo J. Ndlovu-Gatsheni, Epistemic Freedom in Africa. Deprovincialization and Decolonization, Rethinking Development (London/New York: Routledge, 2018): 19-52 and Chapter 4, in which African Socialism is discussed under the broader term of African nationalist humanism.

Bibliography

  Adi, Hakim. Pan-Africanism and Communism: The Communist International, Africa and the Diaspora, 1919-1939. Trenton, NJ: Africa World Press, 2013. Bochkarev, I. ‘The Guinean Experiment’. New Times, no. 29 (1960). Chidester, David. Savage Religion: Colonialism and Comparative Religion in Southern Africa. Charlottesville: University Press of Virginia, 1996. Faris, Robert N. Liberating Mission in Mozambique: Faith and Revolution in the Life of Eduardo Mondlane. Cambridge: Lutterworth Press, 2023. Friedland, William H., and Carl Gustav Rosberg, eds. African Socialism. Stanford: Stanford University Press, 1964. Hashachar, Yair. ‘Guinea Unbound: Performing Pan-African Cultural Citizenship Between Algiers 1969 and the Guinean National Festivals’. Interventions 20, no. 7 (2018). https://doi.org/10.1080/1369801X.2018.1508932. Hegel, Georg Friedrich Wilhelm. Lectures on the Philosophy of World History. Introduction: Reason in History. Edited by Johannes Hoffmeister. Translated by Hugh Barr Nisbet. Cambridge, MA: Cambridge University Press, 1975. Klinghoffer, Arthur Jay. Soviet Perspectives on African Socialism. Rutherford: Farleigh Dickinson University Press, 1969. Mbembe, Achille. ‘L’Afrique de Nicolas Sarkozy’. Mouvements 4, no. 52 (2007): 65–73. Ndlovu-Gatsheni, Sabelo J. Epistemic Freedom in Africa. Deprovincialization and Decolonization. Rethinking Development. London/New York: Routledge, 2018. Nkrumah, Kwame. Consciencism: Philosophy and Ideology for De-Colonization. London: Heinemann, 1964. Nowlin, Michael E. Richard Wright in Context. Cambridge: Cambridge University Press, 2021. Nyerere, Julius Kambarage. ‘President’s Inaugural Address’. In Freedom and Unity: A Selection from Writings and Speeches 1952-1965, 186–87. London: Oxford University Press, 1967. ———. ‘The Varied Paths to Socialism’. In Freedom and Socialism. A Selection from Writings and Speeches 1965-1967, 301–10. Dar es Salaam: Oxford University Press, 1969. Sarró, Ramon. The Politics of Religious Change on the Upper Guinea Coast: Iconoclasm Done and Undone. Edinburgh: Edinburgh University Press for the International African Institute London, 2009. Senghor, Léopold Sédar. ‘Ce que L’homme noir apport’. In Liberté I: Négritude et  Humanisme, edited by Léopold Sédar Senghor, 22–38. Paris: Éditions de Seuil, 1964. ———. ‘Éléments constructifs d’une civilisation d’inspiration négro-africaine’. Présence Africaine 24/25, no. 1 (1959): 249–79. ———. ‘Fonction et Signification de Premier Festival Mondial Des Arts Nègres’. In Liberté III: Négritude et Civilisation de L’Universel. Paris: Éditions de Seuil, 1977. ———. ‘L’ésthetique négro-africaine’. In Liberté I: Négritude et Humanisme, 202–2017. Paris: Éditions de Seuil, 1964. ———. ‘The Theory and Practice of Senegalese Socialism’. In On African Socialism, translated by Mercer Cook, 105–65. London: Pall Mall, 1964. ———. ‘Vues sur L’Afrique noire ou: assimiler, non être assimilés’. In Liberté I: Négritude et Humanisme, edited by Léopold Sédar Senghor, 36–69. Paris: Éditions de Seuil, 1964. Smith, Jonathan Z. ‘Religion, Religions, Religious’. In Critical Terms for Religious Studies, edited by Mark Taylor, 269–84. Chicago: Chicago University Press, 1998. Touré, Sékou. ‘A Dialectical Approach to Culture’. The Black Scholar 1, no. 1 (1969). Weiss, Holger. Framing a Radical African Atlantic: African American Agency, West African Intellectuals, and the International Trade Union Committee of Negro Workers. Leiden: Brill, 2014. Wilkens, Katharina. ‘African Socialism: A Blueprint for Secular State Formation at the Time of Independence’. In Working Paper Series of the CASHSS: Multiple Secularities – Beyond the West, Beyond Modernities. University of Leipzig, open access (forthcoming), n.d. Wilkens, Katharina, and Mariam Goshadze. ‘Indigenous Religions in West Africa’. In Oxford Research Encyclopedia of Religion. Oxford: Oxford University Press, 2023. https://doi.org/10.1093/acrefore/9780199340378.013.1133. Wright, Richard. ‘The Color Curtain’. In Black Power. Three Books from Exile, 429–630. New York: Harper Perennial, 2008.
citation information:
Wilkens, Katharina. ‘Religion, African Socialism and Pan-African Dis:Connections in the Cold War Era’. global dis:connect Blog (blog), 25 July 2023. https://www.globaldisconnect.org/07/25/religion-african-socialism-and-pan-african-disconnections-in-the-cold-war-era/.
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Atis Rezistans at documenta 15: St. Kunigundis meets Haitian Voodoo

peter seeland

Fig. 01: André Eugène: Gede Sekey (2009), here in the St Kunigundis Church in Kassel (while d15). while d15. Image: Čedo Dragomirovic, 21.06.2022.

A human skull opens its jaw. Maybe in an obscene laugh? Metal, cables and wire form its body, which is erect in a coffin. A metal phallus protrudes from the lap. It is a scene that is difficult to reconcile at first with the clearly Christian motifs in the stained-glass windows in the background. A skull without a reliquary in a church? On top with a huge phallus? We are on the periphery of documenta 15 in the Bettenhausen district of Kassel, in the Catholic church of St Kunigundis. We are looking at Gede Sekey, a sculpture of the Haitian collective Atis Rezistans, which is exhibiting here (figure 01). The church was consecrated in 1927 and is made of quarry stone and prestressed concrete. Built in the architectural style of the Heimatschutzarchitektur, the interior is decorated with mosaics and the exterior above the doorway with sandstone figures. The building has been renovated, and it reopened for the first time in 2022 for the d15 exhibition.[1] Atis Rezistans was founded in the 1990s in Port-au-Prince.[2] Today, members from all over the world create art from diverse media and forms. The central themes are Haiti's role in the global postcolonial liberation struggle and conditions in contemporary Haiti. The formal language is influenced by everyday Haitian culture, the social landscape and Haitian Voodoo.[3] The exhibition takes extends throughout the church grounds. An overarching theme is the Haitian Voodoo. A YouTube video gives an impression of the exhibition while the collective performs: https://www.youtube.com/watch?v=kDr3_PjcyWI&ab_channel=documentafifteen But what do Voodoo and Haiti have to do with a church in Kassel? The artworks guide us through the exhibition for answers. Two cross-shaped sculptures by Andre Eugéné made of stacked oil drums flank the entrance to the church (figure 02). The sculptures bear the names Bawon Samedi and Gran Brijit. They stand in front of the figures of Mary and the saints under the entrance.

Fig. 02: André Eugenè: Bawon Samedi (2022), here in front of the St Kunigundis Church in Kassel (while d15).
Image: Čedo Dragomirovic, 21.06.2022.

  To grasp the sculptures, a look at the structure of Voodoo helps. The world of Voodoo is divided into two parts: a mundane world with humans, animals and objects and a transcendent world of spirits and the dead. Homage is paid to the Lwa, the spirits. They were given to people to connect them to the transcendent world. The Lwa are divided into families, called Nasyon.[4] In the case of Bawon Samedi, the stamped patterns indicate his position. He is the head of the Gede, the Nasyon responsible for death and fertility. Through him, one can communicate with the deceased. As one of the popular Lwa, he is a popular motif in Haitian art.[5] In Voodoo, the shape of the cross stands for the crossroads between life and death. Bawon Samedi decides at the crossroads which path the faithful have to take. [6] Death occupies a special position in voodoo. When ancestors pass into the realm of the dead, it becomes possible to communicate with them. It enables a spiritual connection and transmission of tradition through the generations. Gran Brijit, Bawon Samedi's wife, is the guardian of graves and cemeteries.[7] Eugéné thus marks the exhibition site through Bawon Samedi and Gran Brijit as the Ounfo, or cult site, of the Gede. The location of the sculptures in front of a Christian church is reminiscent of Plaine du Nord in Haiti, a Voodoo pilgrimage site whose entrance is lined with a large cross. Colonial powers once forced Catholicism upon the enslaved people there and placed its symbols on Voodoo places of worship.[8] There is a striking reference to this past in front of St. Kunigundis: Haitians displaying Voodoo symbols in front of a church. It’s perhaps more an invitation to dialogue than an act of suppression. There is a transfer of ideas from contemporary, lived Haitian Voodoo to the middle of Europe. A transfer that surely displays aspects of dis:connectivity: just as the common, echoing colonial history connects, spatial and cultural distance simultaneously disconnects.

Fig. 03 : Lafleur & Bogaert: Famasi Mobil Kongolè (2019-2022), here installed in the Lady chapel of St Kunigundis, Kassel (while d15).
Image: Čedo Dragomirovic, 21.06.2022

Entering the church, we come to a Lady chapel with a wooden Virgin Mary flanked by two sculptures of Lafleur & Bogaert, an artist duo (figure 03). Plastic buckets were connected with tape and covered with coloured pills. Congolese flags are stuck between the pills. The title Famasi Mobil Kongolè reveals yet more: the artists allude to the mobile pharmacies of street vendors and so to Haiti's fragile health system. These vendors provide medical care to many Haitians in place of an intact health system. But what does the reference to Congo mean? The answer lies in colonial history. After the island was conquered by the Spanish, the western part, today's Haiti, was left to the French and the indigenous population was almost wiped out by epidemics and forced labour.[9] In order to continue operating the plantations, millions of enslaved people from Africa were forced to Haiti. At the end of the 18th century, 90 per cent of the population were enslaved Africans,[10] most of them from the Congo.[11] Famasi Mobil Kongolè thus refers to the historical connection of modern Haiti to the Congo but also to the disconnection through the diaspora. Objects of health are installed here as in a shrine around the Virgin Mary. Do they represent a plea for relief from the current misery in Haiti and the Congo caused by the colonialism? However, the Haitian reality is here juxtaposed with a Christian-European context. Where otherwise Catholics present petitions, here it is followers of Haitian voodoo who erect a shrine. Leaving the Lady chapel behind and entering the nave, we gaze upon an abundance of sculptures and paintings. Anthropomorphic figures populate the space usually occupied by the pews where the congregation attend services (figure 04, figure 05). At second glance, one sees that the figures are formed from human bones held together by recycled wire, cloth, mechanical objects and plastic. At third glance, one notices artworks in the side niches and a floating platform between the ceiling and the floor.

Fig. 04: View into the St. Kunignudis Church while Atis Rezistans exhibition at d15.
Image: Čedo Dragomirovic, 21.06.2022

Fig. 05: View into the St Kunignudis Church while Atis Rezistans exhibition at d15.
Image: Čedo Dragomirovic, 21.06.2022.

Turning to the niches, we see a sculpture floating in the air at eye level (figure 07). There, where the Passion of Christ is usually depicted, hangs a doll sitting on a horse. Dressed in dark robes and laughing, the right hand wields a cardboard sword. Sen Jak Maje, Saint James the Great, is the title Katelyne Alexis gave to her work in 2015. How is this childlike knight connected to Saint James, who is known as a pilgrim with a dog and a cape? If we look deeper into the Christian-European iconography of Saint James, similarities emerge. According to legend, James stood by Iberian Christians as a warrior against Muslims.[12] Bringing the depiction of George the dragon-slayer and this legend together, the depiction of James as a riding warrior developed in ninth-century Spain.[13] Named Santiago Matamoros, he was invoked primarily in confrontations with Muslims or in the conquest of America,[14] for example, in the sculpture above the main altar of the Church of Santiago in Logroño , which can be compared with the Sen Jak Maje in Kassel. However, Sen Jak Maje does not point his sword at Islam but swings it towards the altar.

Fig. 06: Katelyne Alexis: Sen Jak Maje (2015), here in the St. Kunigunis Church, Kassel (while d15).
Image: Čedo Dragomirovic, 21.06.2022.

But how did a Catholic Saint end up in the title of this work? And how does its iconography relate to an Ounfo? The history of Haitian Voodoo may helps to understand its relationship to Catholicism. Haitian Voodoo has two main origins, both in Africa: The Rada Cult, originated in Dahomey and the Petro Cult, which originated in the area of modern Congo. Neither cult is not clearly defined, and local varieties can differ greatly. These cults came to Haiti on slave ships. There they met in a confined space and syncretism occurred. The new cults synthesised in the melting pot, forming the basis of Haitian Voodoo and differing from each other as much as from their origins.[15] The Catholic colonial powers used the strategy of cultural amnesia to break the people and make them submit. Before being abducted to Haiti, they had to circumvent the so-called tree of oblivion to turn their backs on their cultures.[16] The Christian mission entailed imposing Catholicism by using laws and religious prohibitions to compel the slaves.[17] But instead of mere Christianisation, the cults developed under this repression. It led to some standardisation of the cults and the formation of identities.[18] But violence led also to the adaptation of Catholic elements in Voodoo through forced estrangement and complying with new rules as a means of survival.[19] The cults thus include Catholic saints in their pantheon, merge them with African-rooted deities and incorporate Catholicism into cult practice. In doing so, the Catholic is complementary and superficial rather than dominant.[20], However, iconographic or attributive similarity also often promotes a synthesis rooted in compulsion and steers it in certain directions.[21] This explains Sen Jak Major: Ogún, a Yoruba war divinity, who is considered one of the oldest and most popular West African deities.[22] He is depicted as a warrior on horseback.[23] Thus, he resembles Santiago Matamoros and is associated with him under the name Ogou Feray by early Voodoo, which is also contains Yoruba influences.[24] Sen Jak is thus a syncretism of Santiago Matamoros and Ogún. [25] So, an African god, wearing a Catholic mask through colonial history, turns his sword towards the altar. He points to the religion that committed crimes against his people and culture. Is he drawing attention to the fact that colonialism has not yet been overcome? Is he encouraging the inexhaustible struggle for freedom? Throughout Haitian history, Voodoo consolidates and serves as a retreat and social identity in times of fear and misery.[26] It has also exerted great influence on Haiti's independence efforts and revolutions. Voodoo priest Dutty Boukman is said to have preached about ‘freedom or death’ in 1791 and thus instigated one of the first revolts.[27] Today, Voodoo still stands for the struggle for freedom. The society is still roughly divided into a small, wealthy, Catholic and Westernised elite and an impoverished majority with Voodoo beliefs. The Catholic Church continued its campaign against Voodoo into the 20st century, violent repression continued in 1942. [28] Today, most Voodoo believers are baptised Catholics, and Catholicism is an integral part of Voodoo. Since 2003, Haitian Voodoo has been the official national religion.[29] The altar area is unusually open. Where priests normally say mass, we encounter further sculptures by Jean Claude Saintilus. Notre Dame de Sept Doleurs (figure 07). To the left of the altar she sits on a plastic chair. Blue textiles veil the body, head and shoulders. Only the face of a human skull peers out from the headscarf. Her eye sockets are filled with metal. Around her neck she wears a clock In the lap lies a nest made of wire, on which an unclothed doll with dark skin is bedded. The doll wears a shell necklace. Between the watch and the doll is an open Bible. Matthew 27.20 to Matthew 28.6, the condemnation, mocking and crucifixion of Jesus until the resurrection, are visible. The sculptures immediately bring to mind representations of Mary and baby Jesus.

Fig. 07 : Jean Claude Saintilus : Notre Dame de Sept Doleurs (2015), here in the St. Kunigunis Church, Kassel (while d15). Image: Čedo Dragomirovic, 21.06.2022.

The Catholic reference is obvious. One interpretation could be that the Bible passage and the Child (Jesus?) in combination with the clock are symbols of life approaching death. Many iconographic details seem to indicate that the specific role of death in Voodoo and the image of man linked to it are brought together with Christian ideas. This is also reflected in the synthesis of the formal languages: a Christian Mary made of classical Voodoo cult materials, like recycled material and human bones. The syncretism reaches a climax here. Voodoo iconography is in a constant state of change, and the Catholic influence is one of many.[30] Atis Rezistans are no exception, and they find their own formal language. They imbue bones and waste with spirit and religious ideas. By decorating the bones with objects of the present, they, like the Lwa, span a bridge between death and life, history and the present. That the exhibition, its works and artists inside have sprung from contemporary Haiti is also evident in the ceiling installation Floating Ghetto made of metal, cardboard boxes and cables. Church, sculptures and the installation intertwine in the shadows. It seems to run parallel to the artists intertwined with history, culture and Catholicism. Floating Ghetto depicts the area around Boulevard Jean-Jaques Dessalines in Port-au-Prince. The adjacent neighbourhoods are populated by the poor, and this is where the recycled material comes from. It connects different historical, geographical and social spaces and is understood as a symbol of the city. This is where Atis Rezistans and their works come from. Many of the people whose bones are used spent their lives on these streets. These bones are provided with recycled remains of a global and local economy, so the sculptures are placed in the Haitian history and a global present. The descendants of people who were exploited to generate the wealth on which the modern Western economy is partly built locate themselves in this world. Placed in the middle of Europe, they thus draw attention to their history and the present and invite us to broaden our perspective. On several levels, the exhibition reveals a global dynamic of ideas involving change and syncretism: slavery forces African cults into Haiti. A dis:connective relationship emerges: the cults are connected to their homeland through cultural tradition and religion and simultaneously disconnected through the diaspora and the pressure of repression. Haitian Voodoo emerges under this dis:connectivity. Atis Rezistans brings the contemporary lived Haitian Voodoo through art to Europe. The locally lived Voodoo is embedded in a local Catholic space as a result of global processes of dis:connectivity. Atis Rezistans proceeds cautiously, allowing cultural exchange and avoiding unilateral imposition. Africa, Haiti and Europe all find a place here under one roof. The Gede and St. Kunigundis are in lively dialogue.   [1] Georg Dehio, Handbuch der deutschen Kunstdenkmäler. Hessen 1, Regierungsbezirke Gießen und Kassel (München: Ernst Wasmuth Verlag, 2008), 103. [2] Detailed information can be found on the website of the collective: http://www.atis-rezistans.com/ [3] Rafael Camacho, ‘Photo Essay: Atis Rezistans: Preserving Haiti’s Anticolonial Resistance’, NACLA, Report on the Americas 50, no. 2 (2018): 188–93. [4] Turine Gael and Laennec Hurbon, eds., Voodoo (Tielt: Lannoo Publishers, 2010), 11, And:; Emmanuel Felix, Understanding Haitian Voodoo (Milano: Xulon Press, 2009), 54–56. [5] Gael and Hurbon, Voodoo, 182. [6] Gael and Hurbon, 182. [7] Gael and Hurbon, 221. [8] Gael and Hurbon, 100. [9] George Kohn, Encyclopedia of Plague and Pestilence. From Ancient Times to the Present. (New York: Infobased Publishing, 2007), 160. [10] C.L.R James, The Black Jacobins (New York: Penguin Modern Classics, 1963), 55; Andrian Kreye, ‘Napoleons Schmach: Die Wurzeln des Elends liegen in der Vergangenheit: Haiti bezahlt immer noch für seine Befreiung vor 200 Jahren: Auch damals nahmen die Wichtigen der Welt den Insel-Staat nicht ernst.’, Süddeutsche Zeitung, 19 January 2010. [11] Gabriel Debien, ‘Les Origines Des Esclaves Des Antilles’, Bulletin de l’Institut Français d’Afrique Noir, 1963, 396. [12] Klaus Herbers, ‘Politik und Heiligenverehrung auf der Iberischen Halbinsel: Die Entwicklung des „politischen Jakobus“’, in Politik und Heiligenverehrung im Hochmittelalter, ed. Jürgen Petersohn (Sigmaringen: Jan Thorbecke Verlag, 1994), 233–35. [13] Adám Anderle, Hungría y España. Relaciones Milenarias. Szegedi Egyetemi Kiadó (Szaged: Szegedi Egyetemi Kiadó, 2007), 16. [14] Claudio Sánchez-Albornoz, ‘La Auténtica Batalla de Clavijo’, Cuadernos de Historia de España 9 (1948): 94–139. [15] Luc de Heusch, ‘Kongo in Haiti: A New Approach to Religious Syncretism’, Man 24, no. 2 (1989): 290. [16] Gael and Hurbon, Voodoo, 11. [17] Rosa Amelia Plumelle-Uribe, Victimes Des Esclavagistes Musulmans, Chrétiens et Juifs. Racialisation et Banalisation d’un Crime Contre l’humanité. (Paris: ANIBWE, 2012), 112. [18] Katherine Smith, ‘Sean Jean Baptiste, Haitian Vodou, and the Masonic Imaginary’, in Freemasonry and the Visaul Arts from the Eighteenth Century Forward. Historical and Global Perspectives, ed. Reva Wolf and Alisa Luxenberg (New York: Bloomsbury Publisher, 2019), 243. [19] Daniel Douglas, ‘Pioneer Urbanities: A Social and Cultural History of Black San Fransisco’ (Philadelphia: University of California Press, 1980), 136. [20] Heusch, ‘Kongo in Haiti: A New Approach to Religious Syncretism’, 291. [21] Heusch, 291. [22] See: Baba Ifa Karade, The Handbook of Yoruba Religious Concepts (Maine: Weiser Books, 1994). [23] Hans Gerald Hödl, ‘Afrikanische Religionen II – Einführung in die Religion der Yorùbá’ (Lecture Summer Term 2003, Universität Wien, Wien: Memento Internet Archive, 2003), 10. [24] Hödl, 294. [25] Heusch, ‘Kongo in Haiti: A New Approach to Religious Syncretism’, 291. [26] Heusch, 290. [27] Ghetto Biennale Atis Rezistans, ed., ‘Booklet St. Kunigundis’, 2022 See: Haitian History. [28] Heusch, ‘Kongo in Haiti: A New Approach to Religious Syncretism’, 294. [29] Alfred Métraux, Voodoo in Haiti (Gifkendorf: Merlin Verlag, 1994), 291. [30] Smith, ‘Sean Jean Baptiste, Haitian Vodou, and the Masonic Imaginary’, 245.  
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citation information:
Seeland, Peter. ‘Atis Rezistans at Documenta 15: St. Kunigundis Meets Haitian Voodoo’. global dis:connect Blog (blog), 27 June 2023. https://www.globaldisconnect.org/06/27/atis-rezistans-at-documenta-15/.
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