An Imposing Presence

Belkis Ayon (1967–1999) was one of the most prolific Cuban artists of her time. Known for her large-scale, predominantly black-and-white prints, she formulated an arresting pictorial language that was rooted in West-African cosmologies and Afro-feminisms and responded to pertinent socio-political issues of the time.

Mokongo is both the name of the domineering, stately figure and the title of this large calligraphic print which is over six feet in height by Ayon. Mokongo’s animal-skin cape, dark halo, and direct gaze add to his monumental, reverential aura. Ayon often created this sense of imposing presence by assembling smaller sections of paper together, which enabled her to create more expansive works without sacrificing detail.

The Mokongo figure is one of many repeated characters in Ayon’s work and is a highranking figure derived from the Abakua Secret Society. Abakua is a religious fraternity in Cuba whose spiritual roots are connected to Nigeria and Cameroon. Though Ayon was atheist, she was intrigued by the Abakua universe and how the only woman, Sikan, who was Mokongo’s lover in the origin story, was made mute and sacrificed for a greater good. This silencing is one of the many reasons that Ayon’s figures seldom have mouths.

Hence, Abakua, with its correlation with the African slave trade, and oral traditions, seemed a fitting departure point to reflect on Cuban society and the changing global politics of her time.

Ayon’s meteoric career was very brief but impactful. She passed away at age thirty-two, at the height of her practice. Mokongo entered the collections at ROM in 1997. It was printed in 1992 and is made of four assembled sections. It is also part of an edition of four. Other editions of this work are housed at the Tate in the U.K., the Ludwig Forum for International Art in Germany, and the Daros Latin america in Switzerland.

Tandazani Dhlakama is Curator of Global Africa at ROM.