The passing of a legend, artist and visionary Jean-Claude "Tiga" Garoute
Tequila Minsky, Heritagekonpa Magazine
After a long struggle battling cancer, artist Jean-Claude "Tiga" Garoute passed on December 14th just days after family and friends joined with art lovers, artists, performers, and others from the Haitian community to celebrate his life and work. This public acknowledgement was held on his 71st birthday, December 9, at the Queens Museum of Art, and Tiga, who was gravely ill and unable to attend, was never the less aware and delighted that this event was held to honor him.
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Tiga's art, strongly rooted in Afro-Caribbean culture, has been exhibited internationally. He works in many disciplines: from music to painting, from sculpture to drawing. The harmony of earthy tones in his recent paintings brings forth elusive forms and figures, suggesting a state of transition and change.
During his life, Tiga has also been a facilitator for creative development. In 1972, with Maud Robart, he went into the mountains above Port-au-Prince and worked with peasant artisans with the intention of bringing forth styles expressive of their spirits. Going there not to make them artists, the two thought that art could rehabilitate and that Haitians still carried with them the effects of colonization. Through art they could become free.
When one peasant artist saw a painting by Tiga, he said, "It is Saint Soleil!" and the name for the movement stuck. In the movement's tradition, undulating forms (for water, hair, and limbs) are filled with varying patterns, a multitude of vibrant colors, which express deep feelings, dreams, the gods or spiritual journeys.
Tiga's strong commitment with this community influenced countless artists and paintings by artists who emerged from this group are in the Museum's exhibition, Celebrating Tiga, A Lifetime of Devotion to the Arts and Youth. In conjunction with this tribute, the show is up until January 10, 2007.
Tiga has been involved with countless community of artists and associations throughout his life including those in Haiti--Simbi, Calfou, and Poto-Mitan. He continued his art center "Fondation" for children in Haiti until a few years ago when he left Haiti for health reasons.
He developed a method called the "artistic rotation" where creators use clay, painting, and drumming for different intervals during an "art session." Tiga believes that this method helps adult or children alike find inner peace and balance in everyday life.
During the 2004 Smithsonian Folklife Festival in Washington DC highlighting Haiti, an entire "hands-on" exhibition tent was devoted to artistic participation for children using this method. During this wonderful bi-centennial tribute to Haitian artisans and crafts folk, Tiga provided a chance for the children to actively create art in addition to visiting the more passive exhibitions and demonstrations.
Three weeks ago, Tiga received the Haitian Presidential Certificate and Medal of Honor at his bedside, which was presented by a delegation that came from Haiti representing President Preval.
At the Queens Museum event, a Citation for Tiga's vision and contribution to Haitian society was presented by Theresa J. Osborne of the Office of the Borough President of Queens and was received by his daughters, Klode and Pascal. This was followed by presentations of a myriad of other citations and awards. The following day, Sunday the 10th, Tiga happily received these awards from his daughters.
The Queens Museum event was filled with everything that Tiga would appreciate. Over 30 Haitian artists who have been influenced by Tiga are exhibiting along side his work in the community wall/gallery on the museum's ground floor. The forms, patterns, and brilliant colors of the works of Dieuseul Paul, Antilhomme, Saint Fleurant, St. Jean, Levoy Exil, Payas, Prosper Pierre-Louis and St. Pierre reveal their direct descendancy of the Saint-Soleil movement. Four paintings from daughter Klode's work are also on view.
The Queens Museum of Art has worked with the Consortium for Haitian Empowerment and the Haitian community previously and this exhibition is in line with the mission of the community exhibition space--to partner with groups the museum has long-standing relationships with. Additionally, "Tiga is about influence with youth," commented Queens Museum events director Prerana Reddy. "Saint-Soleil is about dedication to freedom of expression and Tiga helped so many artists through his school. This exhibition is homage to his work and philosophy."
Those who came to pay homage--over 300---were also treated to numerous music presentations, song from Carole Dememin, artistic performance by Syto Cave, an address from art historian Gerald Alexis, and some brief statements from filmmaker Arnold Antonin who traveled from Haiti to screen his documentary, Tiga: Haiti, Dream, Possession and Creation, Folly.
Alice Blanchet one of the volunteer organizers of this event said of the occasion, "This was such a meaningful evening; you could see so many people whose life was touched by Tiga. This was our way to pay tribute to someone, a true humanist who has given so much to the Haitian community. Also, this celebration and acknowledgement was such a big comfort to his children."
Videographer Magali Dumas with technology by Haitixchange.com broadcast live over the Internet from the Queens event the outpouring of love and expressions of appreciation from community live. The hope was that Tiga could experience the event in his hospital room but unfortunately, he was too ill to watch.
The all-volunteer effort was the joining together of C.H.E., United Haitian Artists, and the newly formed Center for Haitian Arts and Culture, established this year to foster the understanding and appreciation of Haitian and Haitian American art, history and culture in he United States. CHE's Harry Fouche's message to Tiga: Through your work, you have taught us to believe. Through your deeds, you have taught us that dreams come true only when you believe in yourself and in your dreams.
Etienne Telemaque spearheaded this homage to Tiga, keenly aware of a need to recognize this Haitian treasure and knowing time was of the essence. Tiga was aware of this tribute.
