History of Haitian Vodou Flags (Drapo)

Haitian Vodou is a mixture of elements from the many African tribes that found themselves enslaved in Haiti, from European Catholicism and mysticism, and from native Taino beliefs. During Vodou ceremonies, priests call upon specific Iwas or deities to mediate between humans and God. Drapo featuring images or symbols evoking a specific Iwa are paraded at the temple at the beginning of the ceremony to attract the attention of the Iwa and marshal the energies of the devotees. Drapo act as both offering and invocation.

When Napoleon’s troops arrived in Haiti, they came with colorful standards embroidered in gold thread. Those colorful standards left an indelible impression and subsequently even the large Vodou pantheon was organized into military regiments.

Traditional drapo represent the Iwas in one of two ways: through anthropomorphic portraits or geometric representations called vevès. The former often make direct use of Catholic conventional depictions of saints whose attributes match those of a given Iwa. For instance, Erzuli Freda, the Vodou Iwa of love is often depicted as a direct copy of a Catholic chromolithograph of Our Lady of Sorrows.

Vevès are geometrical designs drawn upon the floor in flour, cornmeal, coffee or ash at the beginning of a Vodou ceremony to consecrate the space and open a gateway through which the spirits may enter. As the ceremony progresses, the vevès are obliterated by the congregation. Though many of the vevès look similar and may vary slightly from one practitioner to another, each also invokes a specific Iwa and may also be used instead of an anthropomorphic representation on the Drapo.

Drapo makers draw or trace their designs onto a piece of fabric which is stretched along with a stabilizing backing to a wooden frame. One piece is often worked on by multiple sewers and can typically be completed in about one week although the larger pieces can take several weeks and up to a couple of months. Sewers anchor each sequin to the fabric with a seed bead sewn to its center.

Though traditional flags use a set iconography, the flag makers presented here have brought this media to a new level. They are true contemporary artists. As you will see, particularly with Myrlande Constant, many Drapo makers now produce flags with non-religious themes.

In the aftermath of the devastating earthquake that further deepened the woes of the island nation of Haiti, we, at the Haitian Cultural Arts Alliance in Miami were left fumbling for a way to respond. Or more to the point, where could we effectively contribute to what was an immense outpour of sympathy and support for the wretched victims of the catastrophe. We certainly could not compete with the myriad of organizations that managed in record time to secure the medical and other essential needs of the afflicted population of the collapsed capital city of Port au Prince. Though initially at a loss in how to react, we also knew that this disaster, which is to put it plainly of “biblical” proportions, would require a much longer commitment than the initial relief efforts following this devastation. All in all, we felt that a long‐term approach is what is required by the situation in Haiti and in response to that, we organized what we now call The Haitian Art Relief Fund. Our aim as an organization dictated that course of action. Since our inception, with the staunch support of the Miami‐Dade Department of Cultural Affairs, we have been a support platform for the Arts of Haiti here in the South Florida region. We have mounted and organized events around Haitian culture including literature, visual arts, performance arts and music, in the Miami area as well as nationally and internationally. Thus, for us to come to the aid of the artists of Haiti that are bereft and victims to that major catastrophe seemed the right course of action.

We were more than surprised and profoundly touched by the outpour of sympathy from Miami based artists for their brothers and isters in Haiti. In truly altruistic fashion, many donated works of art that were initially put up for sale at the prestigious Arte America Art Fair in Miami Beach which had generously provided us an important booth in their fair. We are deeply grateful to all who participated. The list would be too long to individually thank them for their spontaneous generosity.

The sale was a success and the proceeds are the ones permitting this wonderful display here at the MIA.

The “Hands of Haiti” as an exhibit is truly a wish come true. Commissioning art from “artists in distress” for a display of this sort is exactly what we rooted for. Our aim is not only to provide funds to those artists in Haiti, but presenting their works in prestigious venues as to further their potentials is also part of our mandate. We jumped on the occasion when Ms. Yolanda Sanchez, MIA Cultural Affairs Department director contacted us to help her in this project. The gallery space she is providing for this exhibit is simply stunning and the duration of the exhibit warrants the efforts expounded. Millions of travelers who visit this city will be greeted in the gleaming lofty newly built arrival lobby by a display of some of the best production Haiti has to offer. Our organization’s contribution to this effort serves also to honor in a small way artists that we feel deserves attention not only for their wonderful work but for their rather particular stories.

Sculptor Serge Jolimeau’ s art stands on it’s own but we feel that his work as community leader is just as outstanding. He, through his work, has encouraged the whole village of Croix des Bouquets to continue in an ancestral tradition of ironworking that came from Africa with the slaves a few centuries ago. We have worked with him and introduced new technology in the production of his own work as to render it more versatile in application. This, in the hopes that his and his community’s efforts may reach new markets. The case of Lionel Saint Eloi is rather similar to that of Mr. Jolimeau’s but in a much broader fashion.

Considered a precursor in his use of urban discards, his work has influenced a myriad of younger artists that are now being exhibited and receiving much attention internationally. He is part of the countless victims living in tents in the very few parks the Port au Prince area has to offer. This is a small homage to his sculptural work. Pascale Theard is truly what we can call “une miraculée”. Caught in a supermarket in the Petion‐Ville area that collapsed into a heap of rubble she managed to survive the ordeal where many have disappeared. We felt that to encourage her was the way to go, for her delicate leather craft is of such high quality that we would feel remiss for not including her in this project. She has vowed to keep her atelier open and has provided her employees and their families ample place in the grounds of her family’s plant where she has kept on with her activities against all odds. We also felt that a venerable institution such as the Albert Sweitzer Hospital in Deschapelles needed to be included, for over the many decades of the existence of this hospital, they have systematically helped that community to engage in serious creative and commercial activities. They have opened furniture workshops worthy of mention and set up kilns where the ceramics presented here are created. We also wanted the viewers to have a glimpse of the resilience of the Haitian spirit. Hence we have included a series of carnival masks from the Jacmel region, which affirms with their marvelous colors and whimsy the indelibility of their love of life even in the face of overwhelming adversity.

Edouard Duval Carrié

Artist /Director HCAA