Traditional art
In Madagascar, traditional creations are inseparable from handcrafted objects. Materials of natural origin are favoured, notably wood, horn and plants. Recycled materials such as iron are also used, as are skills such as textile and lapidary art.
The motifs and themes found in all forms of creation reflect Malagasy beliefs. These vary from one ethnic group to another. For the entire population, the Cosmos is the work of the God Zanahary, and the ancestors are the link between God and the living. As such, it is essential to obtain the blessing of the ancestors through offerings and prayer.
Zafimaniry traditions
The last guardians of a woodworking culture, the Zafimaniry have lived in the mountains since the 19th century, passing on their techniques for generations. The Zafimaniry use some twenty species of tree for specific functions. Their invaluable knowledge of forestry and woodworking has been declared a UNESCO World Heritage Site. Discover the Zafimaniry country.
Wood is used in every aspect of their lives, from housing and furniture to religious objects. Wood is decorated with codified motifs, some of which are inherited from Arab culture. Among the most common, the spider's web, or tanamparoratra, represents the family unit; the cells of the beehive, or papintantely, symbolize the community.
Funerary art
Malagasy statuary is essentially dedicated to ancestor worship.
Funerary art took off at the end of the 18th century, when wealthy families abandoned stone in favor of carved wood. Initially, the themes depicted on burials concerned love and death. Gradually, the clans incorporated emblems of their power, motifs that were later swept away by the colonists, who preferred to exalt wealth and success. To this end, families commissioned local artists, who displayed an unprecedented imagination.
By the end of the following century, funerary art was attracting the interest of collectors. This was accompanied by a devastating wave of looting. Today, several sites are listed as World Heritage Sites by Unesco. These include the Sakalava tombs (between the Tsiribihina and Mangoky rivers in the Menabe region) and, further south, the Mahafaly tombs between Tuléar and Fort Dauphin. The peoples of the south are famous for the carved and painted wooden posts that stand on their tombs.
L'Aloalo
Icons of Malagasy culture, these sculpted posts were originally reserved for the royal family. Now a symbol of wealth, they can be seen atop graves. The number of totems represents the social status of the deceased. The most recent totems are decorated with scenes illustrating the life of the deceased. Few artists are qualified to make these totem poles, and their skills are handed down from father to son. All sculptors work away from the village, in the forest, using the rare wood nendoravy.
The aoalo is made up of two parts: the lower part is decorated with geometric motifs topped by a full moon, the "volamiratse". The upper, figurative part tells of the deceased's good fortune. Each element is chosen to represent the journey of the deceased. For example, the number of zebu horns corresponds to the number of cattle owned.
The sculptor Efiaimbelo (1925-2006) renewed the aloalo genre. A member of the Temaromainte clan, he inherited his knowledge from his grandfather Soroboko. His desire to modernize this ancestral technique by introducing a variety of colors and more contemporary motifs caught the eye of specialists. In 1989, Efiaimbelo presented his sculptures at the "Les Magiciens de la Terre" exhibition at the Grande Halle de la Villette in Paris. In 2018, New York's Galerie Perrotin paid tribute to his work.
The beginnings of Malagasy painting
The art of painting, introduced by Europeans in 1826, developed in tandem with colonization. The first Malagasy painters were forced to conform to colonial cultural policy. James Rainimaharosoa (1860-1926) is considered one of the earliest known Malagasy painters. The British missionary William Johnson taught him the basics of drawing and painting. At an early age, he received his first commissions, portraits of soldiers. The best-known are of General Galliéni and his family. In 1900, Rainimaharosoa was invited to the Paris World's Fair, where his work received an honorable mention.
The next generation is represented by Henri Ratovo (1881-1929), considered one of the great classical painters. An orphan, Ratovo Ramboafiringa (real name) grew up with the Jesuit brothers. He showed artistic talent from an early age. He became chief of the canton of Ambatolampy, but his success as a portraitist soon enabled him to devote himself exclusively to his art. All the great names of his time flocked to his studio. Ratovo also practiced religious art. His Stations of the Cross can be admired in the chapel of Collège Saint-Michel in Antananarivo, as well as representations of the Calvary on the walls of Hell-Ville Cathedral in Nosy-Be.
Joseph Ramanakamonjy, born around 1898, trained at an early age with Stephan Rabotovao and Ratrena. Despite the international recognition he achieved, the artist was always keen to preserve his Malagasy soul. A precursor of watercolor on silk and a naturalist style, he was hailed for his respect for Malagasy identity. In 1931, he represented his island at the Colonial Exhibition in Paris. After his death in 1984, a Ramanakamonjy prize is now awarded to a young Malagasy talent.
A disciple of Henri Ratovo, Georges Razanamaniraka (1900-1944) enjoyed great success during his lifetime. The work of his contemporary Roland Raparivo, who defines himself as a classical conservative, reflects European influences with African nuances.
Affirmation of Malagasy art
Most Malagasy painters are self-taught. Indeed, since the disappearance of the Beaux-Arts d'Antananarivo in 1920, and the Ateliers d'arts appliqués in 1930, the island has no official art school. A few cultural centers offer an introduction to drawing, taught by painters. Some attend the Beaux-Arts in Paris and take part in major French exhibitions.
Others, whose lives take them abroad, draw on their experiences to make a difference on their return. Victoire Ravelonanosy, born in Tananarive in 1910, learned to paint from a former student of the Beaux-Arts in Paris. Her first works were watercolors of peasants, sold at the market. Sent to France to marry, the artist then settled in Tunisia with her family. Back in Madagascar, she founded the Malagasy Cultural Art Center, then in Paris, a France-Madagascar Center designed to foster cultural exchange. Her third project is the creation of a contemporary art museum in Madagascar. At the first Festival des Arts Nègres in Dakar, she was chosen to represent Malagasy art. In 1974, she was behind the opening of the Museum of Contemporary Art in Tananarive.
The country's independence, formalized in 1960, led to a rejection of outside influences and a rebirth of Malagasy identity. In the 1970s, Malagasy culture was revived. The watchword became "Gasy ka manja" or "What is Malagasy is beautiful".
Contemporary art
A leading figure in Madagascan contemporary art, Joël Andrianomearisoa was born in Antananarivo in 1977. He lives and works between France and his hometown. In 2019, he is the first artist to represent Madagascar at the Venice Biennale. His art combines installation, performance, drawing, photography and video art. He enriches his approach with traditional Madagascan know-how (fabrics and plants), while developing a sensitivity to other materials, such as paper and plastic.
His creations question human relationships. He evokes sentiment, love, passion with Labyrinthe des Passions (Audemars Piguet Prize - ARCO 2016), hope and nostalgia.
In his Sentimental Products project, he has been turning everyday objects upside down with a sense of humor since 2010. In the spirit of Marcel Duchamp's ready-mades, he presents a bag of black clothespins entitled Sado Maso Party, or a bundle of kindling titled Les Feux de l'Amour. This project also overturns art venues. Whether exhibited in a pharmacy, a palace or a fashion boutique, these works are resolutely outside the traditional framework.
His encounter with art patron Yavarhoussen led to a collaboration as director ofHakanto Contemporary. Opened in 2020, the space aims to promote Malagasy contemporary art both nationally and internationally. This meeting place for artists and the public is free of charge.
A bright future
Revealed by the Madagascar exhibition held in 2018 at the Musée du Quai Branly, and by the first Madagascar Pavilion at the 58th Venice Biennale 2019, Madagascan culture is beginning to benefit from much-needed private initiatives, such as the Fondation H. Created in Antananarivo in 2017 by patron Hassanein Hiridjee, the foundation awards the Prix Paritana with a residency grant in France. In 2020, this prize was awarded to Madame Zo, a weaving artist committed to eco-recup', who recently passed away.
L'Is'Art galerie is a contemporary art gallery located in Antananarivo, in the Ampasanimalo district. Run by the association La Teinturerie, it is one of the best places to go out. The collective is behind the Antananarivo Urban Art Festival, created in 2014. Among representatives of Malagasy urban art, Naty Kaly founded the Taninjanaka (Children's Earth) collective to link the land of ancestors with future generations. For his part, Mat Li raises awareness of the environmental cause with his little cross-eyed character.
Winner of the Mother Jones - San Francisco competition, photographer Pierrot Men was born in 1954. In Fianarantsoa, he ran Labo Men, the city's largest photo lab. Early on, he asserted his preference for black and white. The themes of his series are fishing, peasants, reflections, rice paddies and the city. His lens reveals the very soul of Madagascar. A must-see before setting sail for the island of all talents.
