Newcomb Art Museum - Zina’s Trials, Tribulations and Triumphs

Image of Zina’s Trials, Tribulations and Triumphs

Zina’s Trials, Tribulations and Triumphs
Costume

2018
77 x 26 x 15 in. (195.58 x 66.04 x 38.1 cm)

Cherice Harrison-Nelson (New Orleans, LA, 1959 - ) Primary
Zina Mitchell
Herreast Harrison

Object Type: Textile

Medium and Support: Formal Nigerian fabric, velvet, Czechoslovakian glass seed beads, Swarovski rhinestones, silk gimp, metal charms, glass bugle beads, cabochons, ostrich plumes, ostrich Nadu feathers, cowrie shells, satin ribbon, rhinestone appliqués

Credit Line: Newcomb Art Museum of Tulane University

Accession Number: 2020.14.1

Artist Statement

Statement by Cherice Harrison-Nelson, on the artistic response to Zina Mitchell’s experience:  “Zina’s Trials, Tribulations and Triumphs” is inspired by the distinct ceremonial attire created by people of African descent from New Orleans, debuted on carnival morning and worn during ritual neighborhood processions. Resistance and self-actualization are hallmarks of the tradition. The attire is characterized by narrative beaded images, feather design art and aurora borealis Swarovski rhinestone design embellishments. 
The suit is the culmination of positive visioning, reflections and artistic brainstorming focused on experiences that include: rights-of-passage, loss, regret, triumph, redemption, sorrow and joy. In other words, the human experience.

The end result not only meets the tradition standard of being “pretty,” it tells Zina’s story through African symbolism, metaphors and narrative beadwork. The story is told primarily on the shoulder stole and the feathered headdress, referred to as a crown. Zina was involved in every aspect of the suit’s creation. After all, it is her story. Initially, I was going to wear the suit. But, during the process, it was mutually decided Zina should wear the stole and crown because they depict her STORY. As Queen Cherice, I wore the dress and shoes which serve as the foundation for the suit and the collaboration between the three of us. Also, suits are created to be worn in the community and not debuted on a mannequin. Wearing it serves to put good medicine/Juju in it for Zina, but also for those who are fortunate enough to interact with it by viewing it during the exhibit run.

The suit includes ancient Adinkra symbolism, a butterfly beaded by the Flag Boy Isaac “Ike” Edward, a Christian Cross, a caged bird charm, cowrie shells, padlock, star, flame, crystal teardrop among other images of significance.

The suit will be ceremoniously placed on the mannequin by Zina herself at the exhibit opening, following a ceremonial procession. Thus, bringing the traditions of a uniquely New Orleans community-based culture to the Newcomb Art Museum of Tulane University.  

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