We would like to invite you to a premier of Music for a World of Tomorrow, an original composition written by the pianist Theo Abelard alongside the spiraling and haunting, elegant, and metal sculptures of George Liautaud, foundational artist of the metal sculpting village - Croix des Bouquets.
In a global moment of uncertainty and abject worldwide implosions, the pillage of this historic village speaks to both a local and global twilight where violence becomes banal and at once permanent.
In a moment where language seems to escape any sense of decency or diplomacy, song and it’s reverberations with metal might be one form of resonance we can look to.
A first try, this concert moves through our first attempts at fielding resonances and any living languages that might come into existence between two artists born almost 100 years apart.
MUSEUM OF FREE ARTS OF THE AMERICAS AND THE WORLD
She guides and instructs the newcomers, welcoming varied offerings, with particular emphasis placed upon the palm tree. Presenting herself as an elderly woman, connected to ancient spirits, she often appears during rituals, although her subtly elusive presence is sometimes hard to grasp. Driven by a compassionate nature, she aims to right wrongs and rectify mistreatments, equipped with the power to purify and dispel negativity. She's revered for embodying an array of forces, encompassing fertility, rainbows, and elemental powers, symbolizing the unity and interconnection of existence. Often depicted alongside another entity, this figure represents harmony between masculine and feminine, the divine balance between heaven and earth, and the union of body and spirit. Celebrated in various forms, she's often portrayed as a serpent biting its own tail, adorned with white and colorful offerings during ceremonies. In ancient times, a colossal serpent coiled beneath the earth, shaping the world with its imposing presence. Sacred waters flowed from its depths, giving birth to life, and when the rain fell, a vibrant rainbow adorned the sky. This spiritual essence, often likened to milk and semen, represents the sacred vitality that animates all beings. An enigmatic figure, feared by many, lurks in the woods, dragging chains symbolizing strength and violence, yet with a ceremonial manifestation that draws crowds for communal gatherings and feasts. At the eternal crossroads stands a figure shrouded in perpetual blackness, presiding over transitions, evoking both fear and veneration as the spirit that commands the avoidance of other entities. Originally associated with a now obsolete craft, this entity has transformed into a warrior figure, symbolizing strength through prophetic and mystical abilities, navigating through the complexities of changing times. (A remix of myths from here and from those living at the edges of the world)
We don't intend these as rigid guidelines on how to interpret the exhibition; think of these as enhancing narratives. The artist didn't just depict old myths; they crafted new universes through steel. Myths, though rooted in specific tales, shape societies' futures. Fixating on one myth misses the trickster's play, where stories hold deeper meanings. While these myths contain truths, the essence lies in the steel bodies' shapes and motions through time. You can explore their forms, expressions, and layer different myths onto them as they evolve beyond their origins.I t's crucial to recall that the artist didn't simply portray existing myths; they forged entirely new speculative fictions and universes through these steel creations. Myths start as local, specific tales but also serve as mysterious foundations for the future of societies. Getting stuck on a single myth or a set of them means overlooking the trickster's game, where a story told is not the story meant. These myths hold truths, but what's most important are the shapes and movements of these steel bodies through time. You can interpret their actual forms, study their expressions, or even overlay different mythological contexts onto them as they transform into something beyond those initial myths.
Backstories (Music for the World of Tomorrows)
Ayezan: (Aizan, Ayizan)
This deity is Legba's spouse, known for safeguarding markets, public spaces, doors, and barriers while possessing profound knowledge of the spirit world. She guides and mentors certain apprentice houngans and receives offerings of black or white goats or russet-colored oxen alongside her husband. The palm tree holds special significance for her. Ayezan, originating from Dahomean beliefs, is symbolized by earth mounds anointed with oil and encircled by palm fringes, personified as an elderly woman. Being among the eldest gods, she receives primary offerings during rituals and typically manifests after her husband's appearance. Her possessions are gentle, making her presence sometimes challenging to detect swiftly. Loco (Loko) is her partner. As a Mambo, Ayezan is said to have numerous devotees whom she cherishes dearly, possessing a compassionate nature and a desire to correct mistakes rather than revel in cruelty. She administers discipline to rectify behaviors, punishing those exploiting the vulnerable or mistreating others. She is believed to possess the power to cleanse her surroundings and expel malevolent spirits from her followers.
Ayida-Weddo holds significant reverence as a potent loa spirit within Vodou, esteemed in areas spanning Africa and the Caribbean, notably in Benin and Haiti. Often referred to as the "Rainbow Serpent," Ayida-Weddo governs fertility, rainbows, wind, water, fire, wealth, thunder, and serpents. Revered alongside Damballa, Ayida-Weddo is considered one of the oldest and most paramount loa spirits. Ayida, the counterpart to Damballa and his companion, embodies the maternal presence, symbolizing the rainbow and the essence of unity in human sexuality. Revered as the force alongside Damballa, her symbol, like his, is that of a serpent. She is described as gentle and yielding. Erzullie stands as her fellow consort. There's a belief that whoever grasps Ayida's diadem will find assurance in wealth. Also known as Ayida Wedo, she bears the responsibility of upholding the earth. In various narratives, she is wedded to Damballa, sharing him with his paramour, Erzulie Freda. Alternatively, she's depicted as an integral part of Damballa, together representing a singular entity with dual spirits. Their union signifies vitality, life, creation, and the intertwined balance of masculine and feminine, heaven and earth, and the union of body and spirit. Ayida-Weddo's symbolism encompasses the rainbow, serpent, thunderbolt, and the sacred white paquet congo. Art often portrays her as a serpent consuming its own tail. In veves, she consistently appears alongside Damballa, depicted as intertwined serpents in a dance. The purity of white represents her in ceremonies. During rituals, Ayida-Weddo adorns herself in white cloth and an adorned headdress, embodying the serpent by gliding across the ground. Offerings honoring her include white chickens, eggs, rice, milk, and various other white items adorned in rainbow hues, in alignment with her sacred colors. Cotton stands as her favored plant. In ancient times, a colossal serpent coiled beneath the earth, safeguarding it from the depths of the abysmal sea with its seven thousand coils. As this titanic creature stirred, it gradually raised its immense body from the earth, stretching to encompass the sky. Stars scattered across the firmament as its form wound down mountains, carving out riverbeds, and cast thunderbolts to create sacred stones. From its deepest core flowed the sacred waters, birthing life across the earth. When the initial rains fell, a rainbow arched the sky, and Danbala took Ayida Wedo as his wife. Their spiritual essence flows through all beings as milk and semen, a sacred nectar. The serpent and the rainbow imparted to humanity the profound connection between blood and life, the correlation of menstruation with birth, and the sacred Voodoo ritual of blood sacrifice.
Bakulu, also known as Bakulu-baka, is a fearsome spirit who trails chains behind him. He's so formidable that no one dares to summon him. His abode lies within the woods, where offerings are left for him. However, he does not possess anyone. Because of the reluctance to invoke him, offerings intended for Bakulu are merely placed in the woods without any direct invocation.
On the other hand, Bosou Koblamin is a violent petro loa revered for his capability to overcome adversaries, particularly esteemed during periods of warfare. He safeguards his followers during nighttime travels. Bosou embodies the appearance of a figure with three horns, each symbolizing strength, wildness, and violence. While he aids his devotees at times, he's considered an unreliable loa. During ceremonies in his honor, Bosou manifests by breaking the chains that bind him, immediately receiving a pig, his favored food. These ceremonies please congregations as they allow communal feasting, attracting a significant number of attendees.
Ghede, also referred to as Papa Ghede, embodies the perpetual figure draped in black, presiding over the timeless crossroads where all must eventually traverse. His emblematic symbol is the cross atop a tomb. Renowned as the spirit of death, he instills fear in other spirits, compelling them to evade his presence. He operates under the guidance and direction of Baron Samedi.
Ogoun, also known as Ogorin or Ogubadagri, represents the traditional warrior archetype in Dahomehan religion, drawing parallels to the revered figure of Zeus in Greek mythology. Historically mighty and triumphant, Ogoun has evolved in contemporary times, assuming a new persona that diverges from his African origins. This updated portrayal reflects a crafty and influential political leader, symbolizing the challenges of modern Haiti. Originally associated with blacksmithing, a trade now obsolete, Ogoun has transformed into a warrior Loa. He holds the ability to bestow strength through prophecy and mystical powers.