You Can’t Trap Me With Necromancy!
Examining themes of Obeah and Spirituality within and through Romare Bearden’s art.
As I continue to explore the art and artists that made me fall deeper in love with art, I find myself reaching back. I found the basis for this piece buried in my email. It was a final paper for an art history course, fourteen years ago. I’ve gone through it and edited it, strengthened some bits and bobs but for the most part, it remains a love letter to one of my all-time favorite artists, Romare Bearden, and his decades long exploration of spirituality.
Obeah wedding bells don’t chime
And you can’t trap me
With necromancy […]Carrying me name to Obeah man
All you do can’t get through […]
The amount of incense that you burn at night
Lard and garlic stinking up me place
So much different color candles that you light
Rubbing red lavender in you face” — Mighty Sparrow, Obeah Wedding, 1966
Growing up in a Caribbean household, even in America perhaps especially in America, there is a forced fusion, of sorts. This is a direct consequence of the immediate need to reconcile African tradition with contemporary ideals by assimilating ‘back home’ remedies and ideology into the conventional neatly packaged puritanical doctrine that is characteristic of the western world. This syncretism affects every aspect of life, particularly the realm of the spiritual.
At the intersection of culture and spirituality
In the Caribbean, seemingly western religions such as Catholicism and Protestant sects like Baptists have in many instances been adjusted to incorporate more African like customs. This is evidenced in the Spiritual/Shouter Baptist sect (primarily in Trinidad & Tobago) as well as the Yoruba faith (practiced in Nigeria, Cuba, Puerto Rico, Brazil and a large subsection of South American countries). In this culture, a person’s connection to the world around them is colored by their aura. This is usually, a reflection of their spirituality or lack thereof.
Spirituality, as a theoretic and/or ideological construct of modern society is, by its sheer nature, subjective. It can be manifested — interpreted — in a myriad of ways. In the minds of many, it is married to the concept of religion. For some, it is merely the ability to acknowledge that there is an unearthly presence that is larger than oneself or a divine order within nature. However, for a concentrated sub-culture within the world community it is a heightened awareness of the ritualistic nuances that life in this society inevitably embodies. In many instances, it is an ability to explain the seemingly inexplicable. In parts of the Caribbean and Africa, the latter is simply referred to as Obeah.
Dey Wukking Obeah
Obeah is very often portrayed in a negative light, as is demonstrated in the aforementioned excerpt from calypso singer, Mighty Sparrow’s Obeah Wedding. He attributes the practices of the mentioned woman with necromancy. This attitude of disdain expressed by Sparrow toward “obeah” has long been present. However, in the same vein, many things that were once attributed to black magic have come to be tacitly accepted as elements of the cultural norms. In contrast to the singer’s contention that he couldn’t be trapped by obeah, many art enthusiasts and collectors are gladly hypnotized by the obeah- like mysticism and imagery captured in the work of Romare Bearden.
In spite of the fact that the artist, himself was of African American descent, his wife was of Caribbean ancestry. Thus, the artist spent some time residing in the islands. The impact of this experience is quite clear within some of his work. Furthermore, in just reviewing the prolific body of work produced by the artist, one can easily deduce that the artist had an innate sense of spirituality that manifested itself in his renderings. One might even go so far as to assume that he donned an ‘Obeah man” persona of sorts. This title is justified in any assessment of the artist’s use of water and his natural inclination to particularly ambiguous shapes and images. Much of the work lends itself to spiritual interpretation.
Bearden relocated and established a second residence on the island of St. Martin with his wife in the 1970s. All, if not most of his subsequent work alludes to a connection to the ritualism of nature and spiritual nuance. The mere arrangement of a few drops of water on paper with the employment of the watercolor medium emanates and all knowing gaze- almost like that of a conjure and/or obeah person. His art stares at you, daring you to challenge its power. This is exemplified in his 1984 series, Rituals of Obeah.
Rituals of Obeah and their significance
This collection of work makes a declarative statement about the painter’s knowledge of Obeah. It is comprised of watercolor paintings including but not limited to: The Obeah’s Choice (le choix d ela sorciere: Choa Mambo-a), Obeah’s dawn, Obeah in a Trance II and Obeah’s trance. Other works along this exact theme are An Obeah princes; her Loa Leaves at Dawn.
The Obeah’s Choice as rendered in 1984 is a depiction of two women; one a full figured nude African woman in the foreground and a more modestly drawn (perhaps Caucasian/ ambiguous) woman in the background. One would assume by plain sight analysis that the figure in the foreground is of greater importance. If she is the person of power in this situation why is she naked? It begs the question, what is her significance?
She is in a non-assertive stance, kneeling almost subserviently to the whim of the lady in the background. Although this painting can and has lent itself to many interpretations, in my eyes it seems to be a political statement. It speaks volumes to the issue of inferiority that is constantly and consistently perpetuated within the African American Community. An African woman worshipping at the altar of mainstream society, patiently waiting for whatever treatment they deem acceptable to be bestowed upon her.
It is very possible that the negative personification of obeah is quite easily embodied by this pale faced figure in the backdrop. In terms of his use of water, this work is considerably more decipherable than many of the others within this particular collection and theme. However, a strong sense of mystery is maintained. The integrity of the work lies primarily in Bearden’s ability to sustain the essence of Obeah within the confines of his medium. The decipherability of the work does not detract from the smoke and mirrors that is paramount in Obeah rituals and proceedings.
Smoke and Mirrors
Obeah as a profession and/or shamanistic practice is shrouded in immense secrecy. It is a dying breed known and practiced only by a select few. Even fewer ever truly enter the ranks of Obeah and are able to successfully wield its power and emerge unscathed. Obeah men/women refrain from flamboyant showings of their ability they are sought out by and do not usually pursue people for the performance of any ritual associated with the practice. Ambiguity is a tool of this trade. It would seem that Bearden was especially gifted in his ability to translate that into his art.
The artist’s expert handling of the ‘smoke and mirrors’ of obeah is best illustrated in his pieces Obeah’s Dawn and The Obeah’s Trance. Both of the aforementioned works are visually vague, they cease to be about the tangible and take the audience into the realm of the elusive. The images are blurry and concrete forms are void but there is a definite countenance that lifts from the page. These works bring forth energy in symbolic color and wistfulness.
watercolor| Romare Bearden| 1984 image source: richandsally.net
Obeah’s dawn is drenched with vibrant colors that have been muddied by dark looming backdrop. Bright colors are often present at ceremonies of syncretic religious factions. Yellows, reds, green, and white are commonly seen, the exact significance of each color to said factions differs tremendously. So it would be quite difficult to ascertain why Bearden chose the colors he did but it is indeed a safe assumption to view them as an acknowledgement of these customs.
Obeah in a Trance, although, depicted in much the same color scheme and muddied manner as the aforementioned piece becomes so much more powerful. The work is saturated with the brightest tones of watercolor paint that are concentrated to form a quasi-tangible image. However, just as the artist has lulled you into a false sense of reality at first glance, he breaks the audience’s confidence in their initial assessment of the work. He accomplishes this by luring the eye in with a semi-recognizable shadow of a person but upon further examination it is abundantly clear that the image dissipates. The initial image graciously gives way to a bright countenance that transcends the page. The employment of such an illusion is a masterful adaptation of the quintessential obeah principles. However, he takes a different approach to the sequel of this piece.
Cultural Connections
In Obeah in a trance II, the artist employs a much more mundane palette of blues and an occasional warm color. Nevertheless, it is in this work that Bearden truly speaks to the connection of Obeah to West and Central African cultures. The face of the subject in both this work and the previous are illustrated in a mask form. Although the entire images are not completely recognizable or tangible the presence of the mask is dominant.
The utilizations of masks in Voodoo, Obeah, Santeria, and Yoruba is extremely important. The employment of any such prop is done so carefully and mindful of the universal equilibrium. It is a strong foundation of these practices that a balance of energy is always necessary. The vast majority of obeah people believe that energy (spell or action whether positive or negative) will eventually be balanced by an event of the same proportion. Thus rituals and customs are not arbitrarily performed, timing and understanding are significant.
A rhythmic understanding
Bearden’s interest in Obeah was not condensed within his series the Rituals of Obeah. In 1986 with the completion of An Obeah princess; her Loa leaves her at Dawn (pictured above under “smoke and mirrors”), he tackled the realm of obeah head on yet again. This piece truly speaks to the artist’s extensive knowledge on these practices. He depicts with surety the image of an obeah woman as her spirit or deity leaves her side. This is a powerful work primarily because of the confidence with which it is rendered. Much of that confidence is compromised in some of his other water colors that evoke a spiritual element but may not be directly related to Obeah. Amongst these works are Solo, 1987; Madame Celestine Comes to New Orleans, and Open Market, 1988.
Solo, is a cartoon-like rendering of a musician playing the saxophone. Despite, its cartoon quality the piece also carries a bit of eeriness with it. Perhaps it is simply the manner in which the artist handles the medium but each watercolor of seems to begging the audience to dig deeper than the obvious. Although, mildly true for Solo, this trait is amplified in the work entitled Madame Celestine Comes to New Orleans.
This work is flushed with vibrancy but the elements that successfully evoke a sense of spiritual chaos are the colors in conjunction with the image of Mme. Celestine. She is looming in a ghost / spirit like manner almost leaping out at the viewer. She is shrouded in darkness- a blues singer, floating amidst the sadness of her own melody.
The use of music and instruments in obeah rituals are vital. Sound reinforces as well as builds the power of the energy of those partaking in said ritual. In this work, Bearden utilizes this set principle to trigger emotion from the audience. Music is a universal custom, the artist is aware of this as well as its ability to pull forth power from a person’s soul and he employs it to lure in the viewer. His skillful use of water color coupled with an internal understanding of the sensuality and spirituality that it can evoke are married once again in his 1988 work Open Market.
Multidimensional portrayal
Outside of the realm of his watercolors, the artist had works in different media that also seemed to embody a spiritual or ritualistic tone. A prime example of this would be his oil\ on paper work, entitled The Vixen. This work is an extraordinary culmination of the seemingly supernatural and spiritual.
The subject in this piece appears to take on the persona of a fairy in the figure and line. However, the face as in the Rituals of Obeah series, take on African characteristics. It feels like a deity of sorts. The mere fact that in several different types of media the artist is able to inspire a spiritual essence speaks to the fact that his own spirituality was deeply rooted and like second nature.
Enchanting
Whether or not Bearden was truly moved by, simply fascinated with, and/or very knowledgeable on the teachings of Obeah, isn’t quite clear. However, he was extremely gifted at transplanting that wonder and mysticism within his prolific body of work.
When I conjure these memories, they are of the present to me, because after all, the artist is a kind of enchanter in time. — Romare Bearden
@Diary of An Extra Black Art Chick is an experiment by Melissa A. Matthews to write her way back to her art practice. Follow this account to follow that journey and follow her other account to see what else she’s into.
