NEW HAVEN, CONN.— For Christians, the crèche is the most beloved of all Christmas decorations for its commemoration of Jesus’ birth. Many people, though, know only of the one St. Francis of Assisi created hundreds of years ago with Mary and Joseph in a stable strewn with hay, gazing at the baby Jesus lying in a manger. Sheep and oxen often stand nearby along with shepherds and the wisemen.
This image is not a universal one, however, as other cultures depict the birth of Christ in various forms, such as the nations of Africa. And throughout this holiday season and into early February, the Blessed Michael McGivney Pilgrimage Center in New Haven (formerly the Knights of Columbus Museum) is showcasing “Christmas in Africa,” an exhibit featuring more than 50 works representing 23 countries across the continent.
Bethany Sheffer, the center’s curator, said they aim to share how the Nativity is depicted throughout the world, with displays changing each year.
“Most crèches have a European flair with the same look we think of as traditional. These from Africa look a little different, showing that the Nativity can be displayed in a variety of ways. It’s not the cookie cutter image we all think of,” she said.
An aspect of that “cookie cutter image” typically depicts the Holy Family in a stable or cave, though several displays in the collection from Africa present them inside or assembled around rudimentary huts, such as ones from Kenya and Ghana, where the traditional stable may not be so common.
In the same vein, the figures’ clothing are not reminiscent of the commonly seen mantles and tunics but instead representative of these sub-Saharan cultures. In a display from the Massai tribe of Tanzania, the Blessed Mother and St. Joseph are dressed in bright red cloaks, with Mary wearing a beaded necklace and bracelet in vibrant yellows and blues. According to the description that accompanies this tableau, the tribe is known for their colorful clothing and jewelry.
Additionally, the Kente Nativity from Ghana includes tiny figures dressed in silk and cotton fabric. All, however, retain the sacredness and reverence of the Christmas story known worldwide.
In a traditional crèche, Mary is kneeling beside the baby Jesus with her hands in prayer, though one Ghanaian display shows her resting beside him, exhausted from giving birth. For hundreds of years, this is how she was portrayed until St. Francis’ influence changed the depiction in the 15th century. This interpretation by Ghanaian artisans gives viewers another perspective on the Nativity.
The materials used to create each crèche, such as clay, straw, and soapstone, are abundant and accessible to individual regions, as well as unique to those accustomed to primarily seeing those made of wood. One scene from the Shona tribe in Zimbabwe even includes pieces of recycled metal for the angel’s wings and a palm tree and star.
“Many have used natural and native materials unique to their areas,” Sheffer said. “They represent what is available in their own nations and tribes.”
Though the majority of the crèches came from the collection of Father Timothy J. Goldrick, others are commissioned for a specific purpose.
“We often look to individual artists and free trade groups and want to be sure they are getting a fair wage to create these,” she said, adding that the crèches in this exhibit were handmade in Africa during the 20th or 21st century.
In addition to the creches with multiple figures, the exhibit also includes seven large sculptures from Zimbabwe, all made of springstone and black serpentine stone. Three of them depict only the mother and child while four include the Holy Family. These, Scheffer said, are all hand carved and stand at eight feet tall.
“We hope visitors will come to learn more about the Nativity and how it is represented around the world,” Scheffer said. “This is for all those interested in experiencing the religious aspect of Christmas.”
The Blessed Michael McGivney Pilgrimage Center, at 1 State St. in New Haven, is open Wednesday through Sunday from 10 am to 4 pm. The “Christmas in Africa” exhibit runs through February 2.
By Emily Clark