While Western curators still use the very specific and mostly misused term „Voodoo“ — a term that often “is fraught with racist categories about black religious practice […]” (Desmangles 2012: 26) — to frame the multitude of spiritual practices, networks and epistemologies of Vodun, artistic and academic research starts to highlight the many meanings of Vodun in a globalized world. Contemporary institutions of displaying African spiritual and knowledge systems, like the Nkyinkyim Museum in Ada (Ghana), founded by artist Kwame Akoto-Bamfo, are rewriting those narratives, opening up international spaces between the sacred and the secular, leaving terminological and functional restrictions of the museum as well as the ones of a shrine behind.
Desmangles, Leslie G. “Replacing the Term ‚Voodoo’ with ‚Vodou’. A Proposal”, Journal of Haitian Studies, vol. 18, no. 2, 2012, 26–33. Web.
image: Nsiso or Nsodie (Akan), portrait-like memorial heads at the Nkyinkyim Museum. © Niklas Wolf 2022