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This case study will examine Haitian art through its paintings, and with the beauty, history, roots, and the mark the art has made on the development of the country. An overview of the country's history, which paralelled the struggle and growth of her art will also be presented. Additionally, reference will be made to sculptures, handcrafts, the economy and the overall affect of tourism, as well as the environmental condition of the country.
Overview
Historically, Haitian art preceded the arrival of Columbus, before the colonization of the island and the arrival of slave ships. The Taino Indians created paintings on the walls of their huts, their caves and even on their bodies. Is it difficult to ascertain how much was handed down from Taino arts to the incoming slaves, with the exception of utilitarian objects. Why didn't the Taino pass on more of their arts to the slaves? Once the Spaniards started to brutalize and christianize the locals, the Taino culture, religion, art, and people were affected greatly, which in turn, diminished the prospect of a greater Taino influence on Haitian paintings.
As early as 1807, Henri Christophe, who succeeded General Jean-Jacques Dessalines, one of Haiti's founding fathers, encouraged the development of the arts in the newly independent republic. Christophe who crowned himself King Henry I in 1811, had a high regard for culture and a passion to make "Haitians the most civilized, educated and creative people on earth". In 1816 President Alexandre Petion helped French artists establish an art school in Port-au-Prince.
Haitian art burgeoned under the governments of Christophe, Petion, Boyer, and Soulouque, with artists and painters such as Thimoleon Dejoie, Numa Desroches, Colbert Lochard and his son Archibald Lochard. During King Christophe's rule in the early 1800's, several English artists taught at the Royal Academy of Milot. In the 1820's French artists were invited to promote and train Haitian artists. The beginning of the French oriented academies in the country began with Barincourt who started a school of art in Port-au-Prince.
The
artists who were trained and received schooling from the French-oriented academies were often commissioned
to paint and decorate public buildings and houses of the wealthy citizens. At this time, and throughout the nineteenth and twentieth centuries, the paintings were not representative of the people or any particular tradition.
The arrival of an American named Dewitt Peters in 1943 marked
the beginning of a true revolution of Haitian arts. Dewitt, a watercolorist
on a wartime assignment, wanted to open a centre to oversee the
genuine development of the Haitian artists. He observed that the country did not have any visible painting activity nor any art gallery. This was contrary to the great physical beauty of the country and with a people so gifted with
"pictorial language of color and form." Dewitt embarked on a mission that would modernize
Haitian arts and introduced it to the world. On May 14, 1944, the Centre d'Art was inaugurated in Port-au-Prince.
The founders of the centre were Dewitt Peters, Maurice Borno, Albert Mangones,
Raymond Coupeau, Geo Remponeau, Gerald Bloncourt, Raymond Mavelanette and
Philippe Thoby-Marcelin.
In the modernization process, talented but previously unknown atrists such as Hector Hyppolite, Philome Obin, Rigaud
Benoit, and Castera Bezile stepped forward to work with Dewitt. Hyppolite a "hougan", a priest
in the the voodoo religion, who wanted to start a new career was painting flowers with a
brush of chicken feathers on doors in his local community of Saint-Marc and
Mont Rouis. Hyppolite is better remembered as the father of the Southern
school of Haitian art. Obin, who painted Les
Bourgeois du Cap-Haitien vers 1900-1919, shown here, was a self-taught
master of architectural geometry and documented historicism. He was already
known for painting religious illustrations and scenes of the United States
Marine occupation, in which Obin depicted a violent struggle between the
American forces and the Haitian peasants in Northern Haiti. Obin went on to
found the Northern School of Painting, known for orderly composition and
narrative works. Benoit was more interested in illustrating his "barbed
vignettes of Haitian life", and Bezile, was concentrating on bringing forth
the miseries and the glories of the peasant existence.
The opening of the Centre D'art in 1944 forced Haitian art to address issues of contemporary history through (1) providing the artists with an opportunity to have their paintings exposed to the world; (2) the training and the discipline of the artists, which transcended beyond professionalism. This process reflected more than every day peasant life, or the life of the wealthy.
The early painters who worked with Dewitt were known as the "first generation" artists, included Obin, Benoit and Hippolyte. These three
individuals, with great talents and an uncanny ability for geniosity with
their brushes, were the pioneers of the modern development of Haitian paintings.
Their arrival from obscurity to the limelight stimulated other 
gifted youth
such as Castera Bazile, who's TheProcession
is shown on the left, Wilson Bigaud, Enguerrand Gourge, Micius Stephane
and Toussaint Auguste.
Many of those painters who have helped Haitian art flourish were illiterate and self-taught. However, their geniuses, vividness, and openness produced and represented the spirit of Haitian life. They have captured the essence of what Haitian art is, and many of the second, third and fourth generation artists used the concept known as the "naive" or "primitive" original style in their work. That is embedded in their work is folk art expression of spontaneity and simplicity. Stories, through the paintings, sculptures, handcrafts and wood carvings are told in vivid realism. These stories are as rich and diverse as the Haitian people.
The local Arawak Indians who inhabited the country, prior to Columbus, called
it Quisqueya, Bohio (vast country), or "Hayti", (mountainous land). When Columbus landed from the Santa Maria on Mole Saint Nicholas on December 6, 1492, he named the island "Ysla Espanola", and called Haiti "La Navidad." The arrival of Columbus marked
the near extinction of the Arawaks and other Indians on the island. In a
short period of time half of the island 250,000 Indians of 1490 were dead
through murder, mutilation, disease, or suicide. By 1515, just about 50,000
Indians were left on the island. In 1697, over two hundred years after Columbus
landed, Haiti became a French possession that was known as Saint Domingue
under the Treaty of Ryswick, signed between France and Spain. In 1804, Haiti became
the world's first black republic, after a long rebellion by descendants
of African slaves. The starting point of the revolution is August
14, 1791 with a voodoo ceremony at Bois Caiman. Hayti now occupies the
western third of Hispanola, and shares the remainder of the island with
the Dominican Republic.
The drive toward independence was led by Toussaint L'ouverture,who in 1801, proclaimed the declaration of independence from France. However, Napoleon Bonaparte who portrayed himself as a liberator in Europe, ordered General Leclerc to crush the rebellion. L'ouverture was kidnapped and imprisoned in France, where he died on April 7, 1803 at Fort Joux. However, the drive toward independence continued, and under the leadership of Henri Christophe and Jean-Jacques Dessalines, the movement triumphed on November 18, 1803 with the defeat of French troops at Vertieres, on the outstretch of Cap-Haitien.
After
gaining independence from France, the new republic was besieged with problems, such as internal strife
and continued division between the North and the South.
The newly independent country was torn into two factions, one of the North and the other of the South.
The struggle between the North and the South continued for almost two decades, and out of that, emerged the division of the color line within the population between dark skinned and mulattoes. Equally, a contributory factor to the growing division, was the unequal distribution of wealth. Haiti at that time could be termed as two countries, one led by dark-skinned of the North and Artibonite and with Henri Christophe in charge versus the mulattoes of the South and the West, led by Alexandre Petion. J.E.Gourgue PAYSAGE
This division was a product of colonization, but was energized in the post independence years, and during the administration of President Alexandre Petion. Thus division has remained for almost two centuries after independence. The results have led to unstable, despotic governments, and a sense of alienation toward civic duties. The U.S. occupation from 1915-1934 later re-energized this division. The occupation for its part introduced racial segregation in governmental operations as well as forced labour.
As a wealthy and prosperous former colony, the new leaders inherited a productive and rich country. However, after the reunification of the North and the South, Haitian leaders made one of the numerous blunders that is synonymous with leadership of the country. In 1825, Haiti agreed to pay a massive indemnity of approximately 150 million francs($24,150,311 US; 1$US=6.21 francs) to France. While the process to pay France this large sum of money was under way during the Petion presidency, the architect of Haiti's economic ruin, the final decision was made under the administration of President Jean-Pierre Boyer, the last ruler of the island of Hispaniola.
The payment was intended to gain Haiti recognition from France.
This agreement turned out to be a financial disaster. At
the time, the country was already hit by an economic embargo imposed
by the United States and its allies. The embargo, which started under President Thomas
Jefferson, lasted for sixty years. It ended after the American Civil
War and the abolition of slavery in the States. The embargo was in
retaliation to Haiti's independence. The fear was such uprisings
in the island might spur on the slaves in the United States. Because
the payment had to come from the treasury the economy was crippled for another century.
If the leadership in the 19th century was marked by poor economic decision making, constant struggle between the North and the South, with the Dominican Republic, and inept monarchies, the 20th century has not been any kinder to this once luxurious nation, known for its forests, and famous for its mahoganies and hardwood. The 20th century is highlighted by the American occupation, 1915-1934, the Duvalier era of dictatorship which lasted twenty-nine years, 1957-1986, the post-Duvalier years of conflict,1986-1990, and 1991-1994, and Haiti of today.
In 1990, a priest named Jean Bertrand Aristide became the first democratically elected president of Haiti. Aristide, seen as the savior of Haiti's abyss and a man of the people, amassed 67% of the popular vote. However, on September 30, 1991, eight months after his rise to the presidency, a military coup led by none other than Aristide's appointed Chief of the Army, General Raoul Cedras, ended his presidency. In response, the Organization of American States imposed economic and diplomatic sanctions on the country, although the United Nations Security Council did not regard the situation as a threat to international peace and security. Several days later, on October 3, 1991, the Security Council called for the reinstatement of the elected government of Haiti.
In June 1993, the U.N. Security Council passed Resolution 841, effectively freezing the government's financial assets, and imposing a worldwide oil and arms embargo on the country. After the military failed to abide by the Governors Island Agreement signed in July 1993 between Aristide and Cedras, the U.N. reimposed its embargo under Resolution 873. In May 1994, the U.N. passed Resolution 917, which banned noncommercial transportation and trade to Haiti. The prospect of being forced out militarily by the United States, and in contrast to earlier support for that regime, finally forced the military to surrender. Aristide was restored back to power in October of 1994. For their part in relinquishing power, General Cedras and his cadre, which included Brigadier General Philippe Biamby, and Port-au-Prince Police Chief Lieutenant Colonel Joseph Michel Francois received amnesty for their actions and alleged crimes against humanity.
The Arts: Naives and Moderns
Haitian paintings is generally divided into two categories: naives
and moderns. This division has been widely accepted in Haitian arts.
Why the distinction? The naive painters are known as primitives, and
it's been said that their style lacks artistic education and discipline. The
modern painters have come to view the term "naif" as a negative connotation on
the evolution of Haitian paintings. However, the term naive has more to do with
independence from academic tradition, and it is a style that suggested artistic
innocence. When in 1978 more than one-hundred works of Haitian art were
put on exhibition at the Brooklyn Museum, the moderns and collectors were
quick to note the exhibition had focused too much on untrained artists and
"their traditional depictions of voodoo or simple village and market scenes,
rendered in vivid colors. They argued that by omitting more experimental pieces,
the show fostered a stereotype of Haitian art as primitive and naive".
This division has not subsided, despite some changes,
such as moving beyond the traditional colors and themes.
Who are the moderns? They are painters with artistic education. They are artists who have been educated, trained, and learned from other masters on how to refine their crafts. From the history of Haitian arts, what is termed moderns today, dominated the early beginning of the country's artistic life. That is because most of those artists, some even learned their crafts abroad, were molded in the French tradition. However, Harriet W. Lesser, Curator of Exhibits at the Charles Summer School Museum and Archives in Washington, D.C., pointed out that although there is the European influence in those that went abroad, "the Haitian elements are also visible". Today, modernism transcends into vivid colours, renowned artistic styles such as surrealism, pointilism, and impressionism. For obvious reasons, these styles are a vast departure from the naives. The moderns could be termed as the classically trained artists who have been thought, molded, and shaped in certain schools of painting, while the naives looks to be creative and inventive. This takes nothing away from the moderns, who have featured the familiar subjects of Haitian arts. That is the landscapes, the people, and the culture.
The work of the naives derived from an ingenuous blend of reality with
heroic imagination. It is this blend which has attracted acclaimation for
Haitian arts. The power of expression derived from the painters, and with
the stroke of their brushes. Art
Historian, Gerarld Bloncourt, wrote, "naif painting should signify purity.
Original purity." It should not be reflected upon as a mark that the
painter had no discipline or knowledge governing perspective and composition.
Should a genius such as Obin, who has contributed much to Haitian arts,
be judged any differently because he was a naive? To do so is tantamount
to berating Shakespeare inspite of his greatness for not writing his works
in modern day english. Bloncourt wrote that "To be 'naif'should not, furthermore,
imply non-mastery of features, material, or proportions,but to be sure
should refer to this authentic purity, practically virginal,necessary for
the nonpolluted transcription of the 'interior me'".
Sense of Joy
One of the components of Haitian paintings is the joy that is depicted.
This is a great paradox. Despite the misery and poverty, Haitian artists seemed
to constantly find a way to include the joyfulness of the people in their artistic presentation.
Much of the credit for this genre goes to Montas Antoine who revolutionized
the idea that joy was to be an essential part of the development of the
artists. His Street with Flowers typified that essence with
"The joy of natural beauty! The joy of art!" The unique approach of celebrating beauty in color and with a brush became a popular trend among the artists. Even Hyppolite, who was much more focused on
celebrating dreams and legends of the voodoo, found time to paint "still
life" and tributes to Haitian women. In the later generation of artists,
great artists such as Prosper Pierrelouis, Levoy Exil, and Louisiane St.
Fleurant, would express joy in their painting by celebrating the spirits
as symbols of joy.
One reason for the expression of joy in Haitian paintings, despite so much
misery in the country, is the fact that there is always a "joie de vivre".
The average Haitian, no matter what, will find satisfaction with the little
he/she may possess. Secondly, a drive and a pride to find
satisfaction no matter the circumstances. Some of this conviction, rightly or wrongly,
goes back to the long rebellion against colonization and slavery and culminating
with independence in 1804, which was achieved with incredible
suffering and great resiliency. Third, the color
division and a chaotic political culture have forced some to shun politics,
and withdraw from their civic duties to find another satisfaction in their daily lives.
Thus the painters, and in some aspect as well as the Haitian musicians, are the ambassadors of
the people, and exhibited that same joy in and through their artistic creations. 
Jean
Cadet Islands II
Historicism
Historicism is another main aspect of Haitian art. This feature became a fact after the art
passed on from the French oriented academy to the people. Two aspects of this
art emerged: (1) a sense of history of the past dealing with fantasy and
comedy; (2) the importance of incorporating contemporary history in the art. In the first case, the paintings may
draw from a historical event, or an individual. At the heart of such
paintings are legends, and folklore myths created by the artists. The second case strictly deals with current events, but from a historical perspective.
The artists will either paint from memory or from the observation of the
present.
Diedonne Cedor and Pierre Augustin, and Obin as well, have been given credit for this development. Cedor introduced this feature in Haitian paintings with the Ceremony at Bois Caiman, 1791. The ceremony at Bois Caiman is a historical fact and the painting adds to the legend that grew out of that historical events. Cedor's work showed a band of slaves lead by Boukman, a hougan, and a name that remained synonymous in Haitian history, drinking the blood of a sacrificed pig. This ritual became one of the defining moment that led the slaves to revolt against French planters in the region.
In a historical sense, some paintings are reflective of past events, and contemporary happenings, but without much fanfare. These paintings deal with realism. For example, Philome Obin, who witnessed the American occupation, years later would paint what he witnessed. Some of his work depicted skirmishes, and the struggle between the local guerillas (the Cacos) and the American Marines. One of his paintings depicted Franklin D. Roosevelt on a battleship lifting the marine occupation. In one of his masterpieces, Obin paid tribute to Charlemagne Peralte, the leader of the resistance movement, by painting his funeral in the street of Cap-Haitien. The work of Enguerrand Gourgue and Celestin Faustin dealt symbolically with events in the political arena. However, under the Duvalier regime, contemporary work did not symbolically deal with the corruption or the barbaric nature of the Duvalier regime. This was born out of fear of retribution from the regime.
While most countries have copyright laws that protect their artists and ensure that they are rewarded for their creations, this is not the case in Haiti. Article 38 of the Haitian Constitution recognizes that artistic property are protected by the law. However, the copyrights and inventions are only protected as long as they are filed with the Ministry of Interior and National Defense. Effective enforcement of this law means official registration of every single art work produced on the streets of Haiti. Unfortunately this is almost an impossibility, thus the little known artist's work can be sold in the streets on Port-au-Prince and then reproduced and featured for nothing.
The art market in Haiti, as else where has two major components: the primary market and the secondary market. The artists profitted from the primary market because of their participation, involvement in the selling and distribution of the products. The secondary market is depended on the major transactions which involved resale and auction houses. The secondary market is problematic for the Haitian artists. The most renowned artitsts may profit by virtue of the works going to major art collectors, and being exhibited in art galleries and museums. However, given that the streets of Port-au-Prince is a secondary market, the work of the well-known artists can be reproduced and sold, this constitute a major problem. With no enforcement mechanism of copyright laws, the original artist is not compensated, whether or not the street vendor or other less talented street artists benefit from an increase in the works' value.
Haiti needs to establish legal mechanism with regard to the art industry as well as to demand cooperation from foreign countries that are ultimately displaying or reselling the art of Haiti. The nature of Haitian art is common, it expresses the culture of Haiti, in that way many of the painting and sculpture are indistinguishable from one another which may leads to problems identifying the artists. Nevertheless, the country needs to be more proactive in protecting the rights of all its artists.
Haiti's obligation derived vis-a-vis its membership at the World Trade Organization, and under the agreements of the Trade-Related Aspects of Intellectual Property Rights (TRIPS) and the World Intellectual Property Organization (WIPO). One of the main features of the recent TRIPS Agreement is the issue of enforcement. This requires members of the WTO and signatory to the Berne Convention to complied with the enforcement mechanism as set forth in the recent agrement. In the case of Haiti, as signatory to the Berne Convention, it has an obligation to enforce adequate standard of copyrights protection. This means that Haiti would have to enforce a process that creates a deterrence on infringing on intellectual property rights. To create a deterrence there must be laws on the books that are enforceable and there must remedies for the violations of existing copyrights laws.
Protection of the artists creations and contributions to the culture and market is a must for Haiti. Haiti should enact and enforce laws that protect and encourage artistic creation and geniality.
This case involves Haitian Law. Article 38 of the Haitian Constitution deals with scientific, literary, and artistic property that are protected by the law. Furthermore, Haiti is signatory to the Buenos Aires Convention of 1910 and the Paris Convention of 1883 with regard to patents; the Madrid Agreement with regard to trademarks. Haiti has also participated in the Universal Copyright Convention (UCC) Geneva September 16, 1955,Berne January 11, 1996, WTO January 30, 1996.
b. Geographic Site: Southern North America
c. Geographic Impact: Haiti
The political instability over the last decade has crippled the Haitian economy. The hardship of the populace have not lessened with the restoration of democracy. Many promises to the population are yet to be delivered. In the midst of the constant turbulence, the soul of Haiti is still strong, but the artists have suffered. When political instability lead to sharp decrease in tourism, so is the opportunity for the artists to sell their arts.
In modern times the political problems of Haiti have been more surreal. Economically, the
instability has dramatically curtailed the tourist industry, which, directly
impacted the art industry. Generally, tourism impacted
Caribbean economies because of its employment generating capability. Income for those economies are generated from accomodation in hotels, apartments, villas, beaches, etc. However, tourism is an integral part in the producing
and selling of art commodities for hard currency. The paintings that are being
sold on the street of Port-au-Prince are not sanctioned trade per se, for
there are no data to show the number of of paintings sold to tourists. However, it is a form of trade that involves hard currency.
Tourism
In the mid 1980's tourism in Haiti totaled 208,092, with tourists coming from the United States and Canada accounting for the majority of that total. The tourism industry was the second largest source of foreign exchange. As previously stated, the end of the
1980's and for a major part of this decade, the country has seen a major
decline in the number of cruise ships visiting the country. Therefore,
the number of foreign visitors has considerably dropped during that same
period of time. The numbers vary from different statistical records,
however there was a great decline from 1989 to 1994, and a rebirth that
started in 1995.B(See Table 1 below)
The year 1994 marked the lowest output for tourism and expenditures, and that is not a coincident. That year marked the imposition of sanctions by the United Nations, as well as the threat of a military showdown between U.S. forces and the Junta. The year 1995 marked the return of democratic rule as President Aristide was restored to power. This process was expedited by United Nations resolution 930, which called for member states to use all necessary means to facilitate the return of constitutional rule and the departure of the military regime. With this kind of instability tourism declined, and that to some extent, affected the daily lives of the lesser-known artists and also million of Haitians.
The rebirth of 1995 is an indication that the country could prosper with tourism. The return of political stability and economic growth could serve as catalysts in that development. The country could once again generate income from tourism. The improvement of the basic infrastructure of the island would also spur on tourism. This influx of tourism in the country would greatly help the art industry and the home grown artists.
| 1989 | 1990 | 1991 | 1992 | 1993 | 1994 | 1995 | |
|---|---|---|---|---|---|---|---|
| Tourists (thousands) | 122 | 120 | 119 | 90 | 97 | 70 | 145 |
| Tourism Rec. (millions $) | 50 | 46 | 71 | 38 | 78 | 46 | 81 |
| Expenditures (millions $) | 33 | 32 | 33 | 25 | 20 | 15 | 35 |
b. Indirectly Related to Product: NO
c. Not Related to Product: NO
d. Related to Process: Yes. Deforestation
Haiti is one of the poorest countries in the world and the poorest in the Western Hemisphere. Some of the country's economic woes can be attributed its continued underdevelopment. Specifically, the reliance on outdated modes of technologies, declining GDP, high inflation, high unemployment rates that is more than sixty percent of the population, and the flight of its most promising individuals are the core of this underdevelopment.
The other part of the problem is the continual political infighting which has dominated the country since the restoration of democracy in 1994. This turmoil has crippled an already downtrodden economy, and worsened the plight of seven million people. The
inability of the government to agree on reforms and direction to take the country have impeded
the expected economic recovery after the commercial embargo
of 1991-94. As it stands, potential investors have shied away, and investments in both the private and the public sector have suffered and continue to lag behing other countries in the region. Table 2 below is an economic indicator of Haiti's economy, which heavily relied on the agricultural and service sectors for most of its output.
Table 2. Economic Statistics
(source:http://www.state.gov/www/regions/ara/cp_haiti_0497.html)
GNP (1996): 2.5 billion (un ajusted for inflation) Per Capita GNP (est.) $340 Natural Resources Beauxite, copper, calcium carbonate, gold, marble Agriculture (44% of GNP) Products: coffee, sugarcane, rice, corn, cacao, sorghum, pulses, fruits, vegetables Industry (12% of GNP) Types: apparel, handicrafts, electronics, food processing, beverages, tobacco products, leather goods, chemicals, steel, cleaning products Services (44% of GNP) Types: commerce, government, tourism
17. Impact of Trade Restriction: Low
There is no data available to analyze the output of paintings sold on the market and to tourism, and there is no restriction on the art market. A number of paintings and sculptures
are sold to tourists, but no data is available on the percentage of tourism
expenditures that goes to the arts. Although Haitian art benefited greatly from the impact of tourism, it is difficult to determine the actual economic gain and losses in real numbers. The only
conclusion one can point to, stemmed from the decline in tourism, which then
create a sharp reduction in the amount of receipts and expenditures that
the country benefited from the tourism industry. Ultimately, this has affected the art industry.
18. Industry Sector: Many
19. Exporters and Importers: Many and Haiti
Haitian paintings and other sculptures are also exported through the
tourism industry and the well known artists who have their work featured or sold
abroad.
V. Environment Clusters
20. Environmental Problem Type: Habitat
Haiti is a party to several international agreements that relate to the environment. These agreements include Biodiversity, Climate Change, Desertification, Law of the Sea, Marine Dumping and Marine Life Conservation. In addition they have signed, but have not yet ratified agreements on Hazardous Wastes and Nuclear Test Ban.
Little remains of Haiti's once luxuriant forest cover, cut down for fuel or to make way for farming. With soil erosion and deforestation, increased irrigation, salination, flooding, and drainage deficiencies, the country is an ecological disaster. The overuse of forest and shrub resources for fuel and other materials have been a source of concern. Each year ten thousand hectares, equivalent to nearly forty million tons of soil of arable land are lost through erosion.
It is estimated that 30 million trees are cut down every year for charcoal and farmland. There is a big market for charcoal, and farmers thrived on selling their charcoals. The alternative were the creole pigs, which were home grown and a source of income for the peasants. However, the eradication programme in the early 1980's, from fear that the pigs were infected with diseases, negatively affected the economy. Thus, the peasants now rely heavily on charcoal, which provides 71 percent of Haiti's energy, and thus is a huge market.
The result of the deforestation and soil erosion is simple: as trees continuously disappeared, the top soil washes away and contributes to the deterioration of the land. As the quality of the crops diminishe, the farmers with no other means, continue to cut down trees to produce more charcoal. Peter Burtchell, a Cousteau Society lecturer, stated bluntly to the Boston Globe in 1993 that, "Haiti is a worst-case scenario. The saddest...resources overused. Its trees are lost, cut down for charcoal. The mountains - that's what catches the rainwater- are deforestated, so the water washes off in flash floods. The top soil is burying the reefs alive. The ecosystem is on the verge of total collapse".
When Columbus arrived in Haiti, seventy-five percent of the land was covered with deep forests. In 1923 during the occupation, a study commissioned by the U.S. government found that 60 percent of Haitian land was covered with forest. In 1994,when American troops reappeared in Haiti, it was reported that less than 3 percent of the land was still covered with forest. The Haitian government and foreign agencies have estimated that four percent of the land is covered by forest and only 30 percent is suitable for farming. In a span of 431 years, from 1492 to 1923, Haiti had only lost fifteen percent of its forests of 1492. However, from 1923 to the present, a span of only 75 years, Haiti has lost fifty-six percent of its forests. Table 3 is an indication of the devastation of Haiti's forest.
Table 3. Forests Devastation
Environmentalists have noted that Haiti's deforestation started in the early
1900's in order to cope with the pressure to export natural rubber. In the
1950's and 1960's under the Duvalier regime, the problem worsened as
thousands of acres were destroyed under the guise of providing no shelter
for the enemies of the State. In the process, a country that was once thickly wooded is almost without trees.
Haiti's population of 7 million is growing at a rate of over 2 percent annually,
and is expected to double by 2025. Given this growth rate and if there is
no end to the cutting down of trees, it is clear that the land will not
be able to support the population. Recently, the United Nations Development
Program (UNDP), noted that 6 percent of the country's land is completely
stripped of arable soil. This means that nothing can grow or develop from
the land, and worse yet, that large percentage of land may not be capable
of supporting life ever again.
From the arts standpoint, the process involved in creating paintings and craftwork, is minimal in terms of the annual
destruction of Haiti's forest. Nevertheless, the Haiti is plagued with many environmental problems which go much deeper than what the artists have used from the trees being cut down.
But the current issues which include extensive deforestation, soil erosion and inadequate supplies of potable water cannot be ignored.
While I posit that the art industry could be a valuable tool for increased
economic growth of the country, it should be a source of enlightenment about
these concerns, and not contribute to the environmental
degradation of the country. The arts are the soul of Haiti, for both beauty and ugliness can be reflected in one painting. Haitian paintings define the cultural creativity and a struggle to survive with the pride and joy of the Haitian people. It is also a source that brings to life some of the past as well as contemporary problems
of the country. This is all done throught the vivid pictures and images
of Haitian Art. Given its importance in the psyche of the population, Haitian
paintings could educate the farmers and the overall population on the
environmental disasters that stem from the continuation of cutting down
trees. This process only destroyed the same land that is needed for sustainable
agricultural growth. The same attraction that is given in terms of everyday
life on the Haitian culture must be able to deal with the environmental degradation
of the country. Haiti's environmental disasters are linked to the growing
population, poverty, education, and the issues of politics, but Haitian
artists must become involved in the environmental dilemma confronting
the country. Typically, Haitian people do not talk about environmental
problems, political and economic issues are usually more pressing than anything
else. With an ecological disaster at hand, it is pertinent for Haitian artists through their paintings, to foster environmental awareness and to educate the masses.
"Art Review: Haitian Art Bursting Out." Garry Pierre-Pierre. New York
Times. April 17, 1998.
"Can political peace help Haiti's ailing environment?" Jim Loney. Reuters.
March 13, 1995.
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August 1994.
Heinl, R.D. and Heinl, N.G. (1996). Written in Blood: The Story of the Haitian People 1492-1995.University Press of America, Inc.: London. 16 Hous. J. Int'l L. 213, Winter 1993.
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Georges S. Nader.
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"On Haitian soil; land condition." Mark Kurlansky. National Audubon Society.
January 1995.
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Reuters. April 22, 1995.
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1492: Arrival of Columbus 75% (covered with forests) 1923: The Occupation 60% (covered with forests) 1994: Arrival of UN Troops 3% (covered with forests) Net Loss: 1492-1923 15% Net Loss: 1923-1994: 
materials
that the artists use to create their art is a source of concern. Specifically,
the canvas' used for paintings and the wood that is used for carvings as
well as other art objects like paint brushes and frames. These paintings,
carvings and objects are generated from the wood collected by cutting down
the trees in the once abundant forest resources of Haiti.The materials
collected for wood carvings are to create both practical and fanciful crafts.
As always, these products are very colorful and decorative. This includes
not only carvings, but metal scupltures masks and serving trays. While this
shows the creativity of a people, the question is, given the environmental
dilemma of the country, at what cost. (The image seen here is a paper mache
Tiger Mask). Metals cut from oil barrels, paper mache molded in sand or
on hand made forms, and lovingly carved wooden sculpture are all illustration
of the inventiveness of the Haitian people. Whether the trees are being
cut down by the farmers to supplement his/her economic life, the problem
is the same when the artists used the same process to produced his/her artistic
creations.
21. Name, Type, and Diversity of Species: N/A
22. Resource Impact and Effect: High and Product
23. Urgency and Lifetime: Low and hundreds of years
24. Substitutes: Like Products
VI. Other Factors
25. Culture: Yes
Haitian art is rooted in the culture of the people. As described above,
Haitian art and artists are highly reflective of the everyday experiences and
life of Haitians. Paintings in particular express the history, the
landscape, the struggles and the joy of the people. The examples of
the paintings displayed on this web page, in fact provide great examples of
this phenomena in Haitian art. The painting at the very beginning of
this page by Valmidor titled Village Scene is a prime example. It
shows the beauty of a Haitian village. The vivid colors conjure up
feelings of vitality and spirit of the people who live in that village.
This is truly characteristic of the attitudes that Haitian peoples have who
live in small, close knit villages outside of the city. In addition the
painting by Jean Madsen Gilles shown above titled Market 2 clearly represents
a traditional scene in Haiti. The market is a staple of Haitian life
and everyday experience for Haitian people. These painting are just
two examples that are in actuality a multitude of paintings that detail
the culture and soul of the Haitian people. Furthermore, wood carvings
are primarily expressing the culture of the people.
On the left and below, are two wood carvings bought from a street artist in Port-au-Prince. The carvings are of a man and woman. The woman is carving a basket
on her head filled with goods she is bring to market to trade. The man
is playing a drum. Both carvings represent aspects of the Haitian
culture and are symbolic of the soul of the people.
26. Trans-Boundary Issues: NO
27. Rights: NO
28. Relevant Literature
American Journal of Comparative Law. Volume 41. 1993.
