Port-au-Prince is a city of make-do tactics, get-by strategies, ad hoc tools, and craftily wrought machines—a city, like so many in the underdeveloped slums of the global capitalist planet, that seems to marvelously, imaginatively scrape by using the discards and still-ripe refuse of the overdeveloped, those who possess so abundantly one discards simply from boredom, or when one tires of an object still useful, finding it no longer necessary or attractive, though very much still alive and vital, use still lingering within its material remains. And in Port-au-Prince, the Grand Rue neighborhood, like so many other poor neighborhoods in and around the capital (Lasaline, Belair, Kafoufe, Pele, and Sitey Soley), resourcefully lives off the too-often heaping mounds of thrown-off objects (donated or simply discarded) by North American neighbors and perhaps even more affluent, adjacent countries in other parts of the Caribbean. The Grand Rue, like so many impoverished neighborhoods in Haiti’s capital, survives through the willed intelligence and creative production of local bricoleurs, those wily workers and indefatigable daylaborers who frequently produce without pay and grab what is available or near at hand in order to optimistically (or desperately) build what is needed. Infused as it is with the lore and lyric, proverbs and rituals, symbols and myths of Vodou, a syncretic religion born of the cataclysmic yet creative “new world” clash of African slaves (of Ibo, Yoruban, Congolese, and Fon origin), of the “master’s” French Catholicism, and the Tainos’s and Carib’s indigenous beliefs, this process of creative production is a wildly resourceful tool for survival in the daily perilous encounters confronted by those living precarious lives in spite of poverty, despite disease, with hunger, and too often, also, against the odds. It is a will to thrive through an imaginative Vodou bricolage. And the Grand Rue Sculptors are Haiti’s bricoleurs par excellence.

中文翻译：

---

Atis Rezistans（抵抗艺术家）：太子港 Grand Rue 的 Vodou 街雕塑

太子港是一座充满凑合战术、临时策略、临时工具和精巧制造的机器的城市——一座城市，就像全球资本主义星球上不发达的贫民窟中的许多城市一​​样，似乎奇妙地、富有想象力地通过使用过度开发的丢弃物和仍然成熟的垃圾来刮擦，那些拥有如此丰富的丢弃物的人仅仅是因为无聊，或者当一个物体仍然有用时厌倦了，发现它不再必要或有吸引力，尽管它仍然活着和有生命力，使用仍然在其材料遗骸中挥之不去。在太子港，Grand Rue 街区，就像首都内外的许多其他贫困街区（Lasaline、Belair、Kafoufe、Pele 和 Sitey Soley）一样，机智地靠北美邻国甚至加勒比其他地区更富裕的邻近国家经常堆积的垃圾堆（捐赠或简单丢弃）为生。Grand Rue 与海地首都的许多贫困社区一样，依靠当地的聪明人、那些狡猾的工人和不知疲倦的临时工的意志智慧和创造性生产而生存，他们经常无偿生产并抓住可用或近在咫尺的东西，以便乐观地（或拼命地）构建所需的东西。注入了传说和歌词、谚语和仪式、符号和神话 Vodou，一种融合的宗教，诞生于非洲奴隶（伊博人、约鲁班人、刚果人和丰族人）的灾难性但创造性的“新世界”冲突中， “大师”的法国天主教，以及泰诺人和加勒比人的土著信仰，这种创造性的生产过程是一种资源丰富的工具，他们在每天面临的危险遭遇中生存，尽管贫困、疾病、饥饿，而且往往还与赔率。这是一种通过富有想象力的 Vodou 拼凑而成的意志。Grand Rue Sculptors 是海地最杰出的 bricoleurs。