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Riding with DeathVodou Art and Urban Ecology in the Streets of Port-au-Prince$
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Jana Evans Braziel

Print publication date: 2017

Print ISBN-13: 9781496812742

Published to University Press of Mississippi: May 2019

DOI: 10.14325/mississippi/9781496812742.001.0001

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PRINTED FROM Mississippi SCHOLARSHIP ONLINE (www.mississippi.universitypressscholarship.com). (c) Copyright University Press of Mississippi, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSSO for personal use.date: 26 October 2021

“Riding with Death”

“Riding with Death”

Chapter:
(p.3) Introduction “Riding with Death”
Source:
Riding with Death
Author(s):

Jana Evans Braziel

Publisher:
University Press of Mississippi
DOI:10.14325/mississippi/9781496812742.003.0001

This introductory chapter provides an overview of the Grand Rue sculptors. Although not formally trained in high-art institutions, the Grand Rue sculptors are highly autodidactic, self-aware, and fully mindful artists who are cognizant of art traditions—Haitian, US, African, and European—and their self-designed locations and locatedness within these traditions. The chapter then presents three central, interrelated theses: the first thesis is social and asserts that the artist collective is the product of historical, economic, political, geographic, and complex fields of cultural circumstance, literally “produced” in, of, and from Haiti; the second thesis is art historical and contends that the artists “produce” art that reflects and reproduces Haitianness even as they simultaneously participate in artistic self-technologization; and the third thesis is urban geographic and asserts that the artists aesthetically “produce” Port-au-Prince and an artistic right to the city.

Keywords:   Grand Rue, Grand Rue sculptors, art traditions, artist collective, Haiti, cultural circumstance, Haitianness, artistic self-technologization, Port-au-Prince

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