Comparing Perceptions Of Race In Latin America And The United States, The Fundamental Question Posed

“Vodou means “spirit.” It’s a Fon [a people of Benin, formerly Dahomey] word. It’s like, in English you say “spirit”; in Spanish you say “espirito,” and in French you say “esprit.” But it’s all the same; this is what we are. Our bodies are made of pieces of dust, just made up of dust. Inside the body is a spirit. That’s the mystery. An ant is a mystery; the chicken is a mystery; plants are mysteries. All is spirit. Until we understand that and raise our consciousness to see that we are not only made of flesh, we remain prisoners. We must be conscious that we are spirit. That way we will know what possibilities we really have, what power we really have as people.”

— Mimerose Beaubrun, interview in Angels in the Mirror: Vodou Music of Haiti

The Gingerbread Houses of Haïti : Between Heritage and Community After the Haitian Revolution, a new architectural style emerged : the Gingerbread Houses. Designed to break away from French colonial architecture, these homes still drew inspiration from European styles, adapting and reinterpreting them to fit the Haitian climate and aesthetic. Initially, they were built for the elite, who resided in these grand homes, while the general population incorporated certain architectural elements into their own houses. However, beyond their elite origins, these homes have also become spaces of exchange, culture, and resistance. The iconic dancer and choreographer Viviane Gauthier transformed her Gingerbread house into a meeting place for artists, musicians, and dancers ; a space of sharing and transmission deeply rooted in Haiti’s popular and African heritage. This communal way of life, based on solidarity and collective support, has been present in Haiti since the forced arrival of enslaved Africans, particularly the Bossales, who maintained strong community structures. This same philosophy of home-as-community can be found in Edna Brodber’s novel Nothing’s Mat, which explores the idea of the house as a place of gathering, knowledge, and cultural continuity. It deeply resonates with me. When I return to Haiti, I dream of having a large house with a communal space ; a place for family, neighbors, and the village to come together for intellectual and creative activities. A home that is not just a shelter, but a living, breathing hub of culture and exchange. Would you live in a house like this ? How architecture shapes community life in your culture/place ?

Calao, oiseaux à cornes, production du peuple Sénoufo présent en Côte d'Ivoire et Mali.

i think it's important to archive our own images by integrateing the images of us made by the Others. Because their interpretation was/is made in relation to their perception. And we need to analyze it, we need to see the difference. Now the internet and visual ressources are a tool to disseminate our perception beyond their representation.

Welcome to my blog, Today I have had a strong desire to create a space where I can share my passion for Afro-diasporic cultural history, its critical reflection and cultural theories. I would also like to share my passion for art that is inspired by this world. I hope to build a community with which to exchange, discuss and learn.

Old and recent photos of UWI Cave Hill Campus, Barbados

The administration building was designed in the shape of an Akan stool, a West African symbol of cultural identity and ancestral wisdom. It was commissioned by Sir Hilary Beckles to reflect a collective will to reconnect with African heritage and envision future bonds rooted in that legacy.

Happy memory captured with my camera : friend who contemplates the city and walks in the streets of Santo Domingo passing by the Colmado corner.

Martinique contemporary art, yoruba material, vévé haitian vodou.