O C H A S: Reclaiming The Divine Crown Through Lu Smith III’s Artistic Lens
For photographer Lu Smith III, the camera serves a purpose far beyond mere documentation; it is a potent tool for cultural reclamation. His ongoing series, O C H A S, initiated in 2015, aims to subvert the often pejorative and sensationalized imagery associated with Afro-Caribbean spiritual traditions like Santería and Lukumí. This artistic endeavor does not just critique the Western gaze; it reposition the narrative, offering a visual homage filled with regality and dignity.
The Essence of Reclamation
At the core of Smith’s work is a commitment to portraying the rich textures and complexities of Afro-Caribbean spirituality. He describes a growing movement: “One thing I’m super proud of is that more of us are coming back into this tradition,” signifying a broader cultural resurgence among Black Americans reconnecting with their ancestral roots. This reflects a profound understanding of his own heritage; being the son of an American father and a Trinidadian mother, Smith navigates his bicultural identity with acute sensitivity to its dual narratives.
His work illustrates a crucial understanding of spiritual longevity often missing in Western contexts. Reflecting on the traditions preserved in places like Cuba, Smith observes, “They still could go talk to three generations back on a Sunday.” This intergenerational connection fosters a resilience of spirit that has historically been denied to many in the U.S., highlighting the power of legacy and community in maintaining cultural continuity.
Beyond Misconceptions
In O C H A S, Smith consciously chooses to obscure human faces, intentionally shifting focus from the individual to the Orisha, the divine entities celebrated in these traditions. This artistic decision echoes the patience intrinsic to the faith itself, while countering the handy, but inaccurate labels often associated with these practices. Smith emphasizes, “They call it the religion of the Yorubas. It is not a Yoruba religion.” This distinction opens the conversation to a richer tapestry of influences that also include Dahomean, Fon, and Edo elements.
Lukumí, long classified under the colonial moniker of Santería, is a profound Afro-Caribbean religious system that emerged as a vessel for West African cultural retention. Each Orisha personifies specific forces of nature and aspects of human existence, creating a rich ecosystem of spirituality that fosters connection and community.
Confronting Colonial Narratives
Smith’s work also challenges the puritanical modesty enforced by colonialism on Black bodies. He articulates nudity in O C H A S as a return to understanding one’s sacredness. “You came into the world naked,” he reminds us, prompting questions about the cultural shame instilled through centuries of oppression. This perspective allows Smith to reveal a world where vulnerability is not only accepted but celebrated—a striking departure from the typical narratives surrounding these traditions.
The series serves as a high-level curation of Black life, inviting viewers into a realm that embodies sophistication, mystery, and ancestral reverence. “If you don’t know anything,” Smith asserts, “Black people are sophisticated and regal.” This declaration transforms the visual language of his work into an entry point for those keen to delve deeper into Afro-diasporic narratives.
Visualizing Oya and Oshun
In a stunning portrayal of Oya, the Orisha of winds and the marketplace, Smith captures an unyielding dignity. The machete across her shoulder signifies the sharpness and warrior spirit that characterize her essence, while the meticulously arranged white headwrap evokes a regal crown. The presence of efun, or white chalk, serves as a ritualistic signature, representing clarity and strength even amidst life’s tumult.
Conversely, the manifestation of Oshun, the river Orisha, encapsulates sensory beauty and sweetness. Cowrie shells draped across her back become symbols of wealth and divine voice, reflecting the luxury and richness inherent in African culture. The textures in Smith’s imagery, coupled with the nuanced portrayal of efun settling like stardust, paint a picture of regal calm, even amidst the passionate spirit of Oshun.
The Drumming Pulse of Ancestral Connection
Smith’s journey into the Lukumí tradition began not through books but through the resonant energy of the drum. His past as a jazz musician drew him to Cuban percussion, igniting a legacy rooted in community practices. “The music is what got me,” he notes, emphasizing how this visceral connection led him to sacred ceremonies that bridged childhood curiosities with significant cultural roots. “Ironically, I’m seeing these cats doing the same sh*t my grandmother and great-grandmother were doing,” he reflects, showing the cyclical nature of cultural practices passed through generations.
A Sanctuary for Sovereign Expression
In standing as a guardian of his culture, Smith’s art resists voyeuristic interpretations that seek to dilute or commodify Black spirituality. Instead, he crafts a sanctuary for ancestral practices that honors their complexity and dignity. His artistic lens acts not only as a mirror reflecting the past but also as a bridge guiding those seeking reconnection with their heritage.
In all, O C H A S is not merely a project; it is a profound exploration of identity, legacy, and the beauty within the spectrum of Afro-Caribbean spirituality. Through Smith’s lens, viewers are invited to contemplate their own understanding of these traditions, encouraging a deeper inquiry into what it means to honor the crown of the diaspora.
This article has been crafted by Keka Araújo, Senior Editor at Black Enterprise, a platform dedicated to exploring the intersections of the African diaspora through culture, education, and economic equity.
