As an introduction, three objects are presented that reveal the general orientation of the exhibit: a "magic stone", a cloud-like New Caledonian concretion of magnesia along with a zoomorphic sculpture and an engraved plate from Mexico. These three objects, together with a recording of rain sounds, beckon the visitor into the multicultural world of the exhibit and its "climatic" atmosphere.

Under the rain

The first section of the exhibit shows some of the devices created by Man to shelter and protect himself from the rain. Coats and rainwear, including accessories (hats, umbrellas, etc…) bear witness to a craftsmanship that can, at times, be very sophisticated.

Rain rituals

This section illustrates the vital need for rain and the importance given to means of assisting and controlling its coming. As related means to ensure the survival of social groups, soil fertility and the fecundity of women are often combined with rain rituals.

These rituals highlight the link that binds men, gods and their natural environment together. They are either based on the depiction or visual and sound evocation of the rain, or they are based on results by mimesis. They are used to make the rain come, to call it, or, on the contrary, to stop and control it.  A great variety of objects are used for rituals: masks, sculptures, offerings, musical instruments, etc. These objects are the vectors of this link, and the basis for the actions of men over nature.

Four main sets are shown in this section:

Finally, this section ends with a screening of documentary films on rain rituals by Jean Rouch.

Symbols and metaphors of rain

Rain is an element that becomes part of a whole cosmogonic thought system; in turn this system is the subject of representations that give it a material translation. Rain, along with the rainbow – its symbolic representation – is the link between the infraworld and the supraworld. This section allows visitors to explore animal representations associated with the rain either through their physical presence or through their symbolic value. It is mostly amphibians – frogs, toads – and reptiles (snakes, dragons, turtles, crocodiles) that are related to humidity and the rainy season, and appear on objects and textiles.

This section also grants special importance to minerals whose appearance evokes the rain or related meteorological phenomena: translucent "rainbow spirit" quartz, obsidian, New Caledonian concretions of magnesia… Some of these minerals were interpreted by men as having dropped from the sky in a similar way to rain, as evidenced by the names they are called: thunder- rocks, lightning stones. The final sub-section focuses on the divinities, myths and conceptions of the world associated with the rain. A selection of objects figuring divinities and mythological beings gives an insight into the different conceptions of the universe in various cultural contexts.

Rain, essentially a propitious occurrence, can also be evil: it is therefore necessary to earn the goodwill of higher entities. Some cultures have clearly identified rain divinities while, in others, rituals are aimed at maintaining a balance between the conflicting forces of nature, thus guaranteeing the survival of mankind. These rituals then become part of a global conception of the universe.

A series of bark paintings from Arnhem Land, in Australia, reflects the wealth of Aboriginal myths related to meteorological phenomena.

Conclusion

At the end of the exhibit there is a display of Nepalese kites which send messages to the gods to stop the rain.