“I am interested above all in questioning everything human, that fleeting feeling, the spiritual.”

Belkis Ayón

Belkis Ayón was born in Havana, Cuba on January 23rd, 1967 and passed in 1999 at her own will. From an early age, Ayón’s artistic talent was very evident, she was enrolled in art programs and her work quickly made it to international competitions. For university, she studied at the Instituto Superior de Arte in Cuba and began teaching there once she graduated. Ayón specialized in collages and collography, which some would describe as printmaking. She had various residencies outside of Cuba including ones in Europe, North America, and Japan. Her art is widely known for depicting the practices and mythology of Abakuá, which is an all male Afro-Cuban secret society. She has done extensive work based on Abakuá, giving a voice to those silenced by its classified nature.

The irony of a woman, shedding light on an all male religious secret society is something that distinguished her greatly. She was brave enough to create a narrative, and was criticized for doing so. This made Ayón even more of an unstoppable force. Her work is also controversial due to its juxtaposed images and the connections it makes between Abukuá and Christianity, as seen in her piece “La Cena.” This was a take on Da Vinci’s infamous “Last Supper.” However, the center of the piece is not Jesus; instead, it is Princess Sikán, who played a huge role in the Abakuá myths. Historically, the Cuban authorities are not very keen on religious art, but she was never targeted by the government. In fact, she was granted permission to travel for her art time and time again despite how seldom the Cuban government allowed international travel from the island.

“People are intrigued because the eyes look at you directly […] I believe that you cannot hide — wherever you go they are there, always looking at you, making you an accomplice of what you are seeing.”

Belkis Ayón

The printing methods used in Ayón’s collages include applying different textures and materials onto a cardboard with precision. When it is ready, paper is gently laid over it and is then wielded into a large press to create a crisp finish. Her work usually consists of many shades of blacks, greys and white; creating an eerie ambiance in its presence. It’s almost as if you are seeing something you shouldn’t be seeing, and the art comes alive with its bright white eyes as they stare at you. A secret world exists within her work, all of the characters lead their own lives and are frozen in time when they are trapped beneath Ayón’s printing plate. At least one aspect of the alternate world is aware of this dimension, it looks at us, and brings us into their reality.

“It is the way, the manner, the solution that I found to say what I wanted.”

-Belkis Ayón, Revolución y Cultura Magazine in February 1999.

Belkis Ayón leaves behind a legacy, for all of us to bask in and interpret at our own leisure. As a Black Cuban woman, Ayón made sure to unveil the African roots ever-present in Cuban culture through her art. Abakuá originated in 1836 as an act of rebelling against enslavement; it was derived from the Ékpé Society in the Cross River region of West Africa (southern Nigeria and Cameroon), and made its way to Cuba during the transatlantic slave trade. Some of its rituals and ceremonies include dancing, chanting and drumming – which are all characteristics of African tribal customs and traditions. Members of Abakuá are sworn to secrecy, some have recorded popular music in their own secret language so the public is made aware of its presence, yet such little information is actually known about this religious society. Ayón’s abstract artwork is the product of her intense research of Abakuá, illuminating the mystery of it all. Telling us everything without saying a word.

Works Cited:

Garcia, S. (2018, March 08). Overlooked no More: Belkis Ayón, a Cuban Printmaker inspired by a Secret male society. Retrieved March 16, 2021, from https://www.nytimes.com/2018/03/08/obituaries/overlooked-belkis-ayon.html

NKAME Belkis AYÓN. (n.d.). https://www.elmuseo.org/nkame-belkis-ayon/

Miller, Ivor. “A Secret Society Goes Public: The Relationship Between Abakua and Cuban Popular Culture.” African Studies Review 43.1 (2000): 161.

https://www.ayonbelkis.cult.cu

Prepared by Stephanie Ferreyra