Most Africans brought to the Americas as slaves came from the central West African regions, and the beliefs, artistic traditions, and aesthetics of that region became a primary cultural resource for New World Africans. Even as American slaves adopted Christianity, they retained African concepts and cultural preferences. Indeed, to this day, African American arts have retained a number of these beliefs and preferences. Hear, a protective figure from Mary T. Smith’s decorated yard, is clearly informed by African practices and sensibilities. The decorating of a yard with protective figures or watchful faces is itself a West African form, and Smith’s intimidating figure is created in accordance with African aesthetics, in which strong color contrasts are favored and colors carry specific meanings. The predominant red and black of this figure are the colors of the Yoruba god Eshu-Elegba, who presides over crossroads and thresholds. Smith activates the figure’s intellectual and procreative powers with dots that can be read as ashe, or flashes of the spirit, which represent “the power to make things happen.” Above the figure’s head, Smith painted “Hear,” which could also mean “here.” The guardian figure’s eyes remind any would-be trespasser that the eyes of the spirits (and the community) are watching.

Cheryl Rivers, "Hear," in Stacy C. Hollander, American Anthem: Masterworks from the American Folk Art Museum (New York: Harry N. Abrams in association with American Folk Art Museum, 2001). 398.