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chromolithograph |
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The second grouping of photographs is titled "Repozwa (Sacred Spaces)," and features indoor and outdoor active shrine settings, often with painted wall mural backdrops and sometimes accented with chromolithographs, other ritual paraphernalia, as well as painted messages and/or other pertinent information. Henry Drewal (Art History, University of Wisconsin-Madison) reprises his writing about chromolithographs depicting a nineteenth-century Samoan snake charmer performing in a German circus as the basis for images of Mami Wata, goddess of west African capitalism; Catherine Hodeir (a historian in Paris) reviews her consideration of how French colonial expositions demonstrate that "Africa was the aphrodisiac of the unknown" (p. I surmise that during this period, the missionary's hat and its image in art, like the chromolithographs of Catholic saints used by Haitian vodouistes, became a subversive device: outwardly fine, acceptable, and of the dominant ideology, but having undercurrents of something altogether quite different. |
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