Audio Stop 960

NARRATOR:
These Oxê of Shango were made in Nigeria by Yoruba artists, possibly commissioned by a priest for use in religious activities. The priest would brandish the wand as part of a ritual that might be performed to request assistance from Shango, the deity of fire, lightning, and justice. Though it originated in Africa, Shango made its way across the Atlantic with enslaved Africans. Steven Nelson, co-curator of the exhibition.

STEVEN NELSON:
In terms of its movement to Brazil, Shango figures prominently in Candomblé, which is a religion made up of beliefs of the Yoruba, the Fon people of the Republic of Benin, Bantus peoples from Central Africa, and they’re fused with aspects of Catholicism.  And it’s very popular.  Some suggest there are two million followers, and they live primarily in the Northeastern part of Brazil.  

Shango was venerated by many enslaved people in Brazil in the 18th and 19th century. And in part it’s because of the power that was invested in the deity. Shango had the ability to work strange miracles.  It was thought that Shango had the ability to kill someone who overstepped authority. And so he’s very popular in context of slavery.

NARRATOR:
Shango’s influence spread outside the borders of Brazil.

STEVEN NELSON:
The image of Shango serves as inspiration for artists working throughout the Afro-Atlantic, as you can see in neighboring pieces in the gallery. The image of Shango has been used by artists in Latin America, in the States, throughout the Black Atlantic in terms of articulating a Diasporic connection with the continent. In terms of looking at images of Black power. And so, we see that in work throughout the region.