When one first hears the word Vodou, immediately images of curses and little model dolls come to mind. We tend to synonymize it with words like sinister, evil and revenge. However, Vodou is nothing like what mainstream North American media has brainwashed people into believing. As best put by Patrick Bellegarde-Smith, “Vodou is far more than [a religion] it's a spiritual system” (Tippet and Bellegarde-Smith 145). Haitian Vodou is a spiritual system that syncretizes the practices of Roman Catholicism with West African spirituality. This paper will contextualize Vodou and give a brief history on what it is, explain how I came to gain an interest in Vodou and close off with an introduction to Chouk Bwa Libète a traditional Haitian Mizik Rasin—roots …show more content…
Like any religion, different regions of Haiti have their own distinct quirks and traditions when practicing Vodou. Yet, as a whole Vodou still remains Vodou, there are just variations amongst regions. With that said Vodou as a spiritual system is rooted in the foundation of dance. According to Bellegarde-Smith there are 417 deities and each of these spirits can be invoked through dance and music. Every dance movement a dancer makes is characteristic of a certain deity. For example, in the case of “the spirit Danbala, whose songs and visual imagery refer to the serpent… A circular movement that entails contraction of the solar plexis, undulation through the spine, and release of the chest (Wilcken 195). In the case of Danbala, the dance is serpent like because this spirit most symbolizes an actual snake. It is said, “Danbala never speaks, he only hisses. Danbala also never stands up or walks around, for he shows himself in his form as a snake during his possessions” (International Vodou Society). Although Danbala is represented by a serpent and snakes are thought of as dangerous and violent creatures, Danbala is peaceful and is said to bring a sense of peace and calmness into ceremonies. Danbala is but one example of the hundreds of deities that exist in Vodou, each one stands for their own unique cause and are invoked depending on the purpose that they serve. However, as mentioned before invocation occurs through the use of dance and
Although the thought of being involved in such rituals is scary, I developed a deeper understanding and appreciation for the practices that Haitian voodoo participants, if it is appropriate to refer to such people as, engage in. The most impressive bit of information that I will keep with me is to be less judgmental of others; “people who practice voodoo believe in the same God as Christianity, but they also believe in communicating with other spirits, who serve various roles in healing, casting spells, and more” (Boudreaux, 2015a, p. 110). As a golden rule, I know that I should not be judgmental of others anyway, but I am human and am prone to quickly create stereotypes in my mind. I don’t always share those thoughts, but thinking makes me just as guilty as doing or saying. I am thankful for the reminder that all people are children of God, and I should research and learn about different beliefs before I make a judgmental decision, if I make that judgment at
It is amazing how two religions, such as Voodoo and Christianity, can be filled with so many awesome differences with respect to time eras, status, publicity, and language, and yet still have an almost identical core ideal. This also demonstrates that this core ideal of the use of humans as a mouthpiece of the divine has been a long lived concept which people, such as Mama Lola and her family, still believe in and practice today. Perhaps this proves there is some truth in the idea, and most likely, we will never know for sure, whether this concept, in it’s many different forms continues to live on, or if it dies out.
At the University of Chicago, Dunham decided to study anthropology with a focus on African and Caribbean ritual dances. Here, she studied under many of the best anthropologists of the time, and in 1935, she was awarded a grant from the Julius Rosenwald Fund to study dance in any way she wished. So, she decided to use this money to travel to the islands of the West Indies and document the ritual dances of the people. She visited such islands as Jamaica, Trinidad, Martinique and Haiti; however, she found a special connection with the people of Haiti and the dances they performed, particularly in their Vodoun rituals. In 1936, Dunham received a bachelor of philosophy from the University of Chicago, and after gathering her research and materials from her work in the Caribbean, she submitted her thesis, Dances of Haiti: Their Social Organization, Classification, Form, and Function,” to the University of Chicago in 1938.
Haitian Vodou is the combination of supernatural and mystical components of African religions, along with the ritual basics of Roman Catholicism. They believe that there is one supreme God, but praise spirits, which are recognized as sacred ancestors, African gods, and even Catholic saints. Haitians call these spirits loa. Loas are “African deities who have been inherited through succeeding generations by the descendants of those who brought them to Haiti” (124). It is required to have ritual ceremonies for the loa, so that they can guide, protect, heal, and help those that practice Haitian Vodou. To begin calling down the loa, one must draw the vévé, which is the symbol for the loa on the prayer ground. During these ceremonies, there is a lot of dancing, singing, drumming, prayer, animal sacrifice, and food preparation. Just like Catholicism, a priestess or priest guides the worshipers in the ceremonies. Also in the course of a Vodou ceremony, which ever loa that is being called upon possesses participants to give advice or perform cures. To anyone that does not practice Haitian Vodou, the way these ceremonies are unorthodox, but to Haitians, it is their way of life and what they believe
One of Magliocco's main arguments is that these Neo-Pagan cults all have roots in both anthropology and folklore in their early development. Magliocco offers a detailed historical analysis and examines influences found all the way back to classical traditions. She concludes this analysis by bringing her reader back to the contemporary and offers us insight into how both the fields of anthropology and folklore have helped shape Neo-Paganism into what it has become today.
Voodoo is a sensationalized popular culture distortion of voudon, an Afro-Caribbean religion that started in Haiti, however, supporters can be found in Jamaica, the Dominican Republic, Brazil, the United States and elsewhere. The making of Voodoo dolls, poppets, interests, and custom representations has occurred since old circumstances. In spite of the fact that the training is old, their present utilize stays comparative. With a specific end goal to see how to utilize your Voodoo doll or poppet, it is helpful to comprehend them in their recorded setting. Much can be gained from concentrate the old societies and spiritualists who held the baffling information that structures the very establishment of current enchantment, Voodoo, and
The Song of Solomon ignites a readers imagination by supplying a commonly known man vs man and man vs himself plot with many interesting twists and turns throughout the novel that make it, uniquely its own. Some of these twists and turns include the curious use of voodoo. Voodoo is a black religious cult practiced in the Caribbean and the southern US, combining elements of Roman Catholic ritual with traditional African magical and religious rites, and characterized by sorcery and spirit possession. This element, or magical taste, flavors the novel by adding a creepy yet mystical feeling. This element provides the reader with a heavy sign that The Song of Solomon is no ordinary book. The use of voodoo in The Song of Solomon plays a huge role in marking an ominous happening or characteristic, and it plays an even bigger role in giving hints on a characters personality.
Experiencing new worlds and encountering new dilemmas, magic, wisdom, truth: all of these elements characterizes the context of the book Of Water and Spirit by Malidona Patrice Some. Here, magic and everyday life come to an affinity, and respect and rituals are necessary tools to survive. The author portrays the Dagara culture in a very specific way. This culture makes no differentiation between what is natural, or "normal", and what is supernatural, or magical. Ancestors compound the core of communities and individuals. These higher beings are present in ordinary life activities and actions. They constitute the connection between this world and another.
Haiti means “mountains country” Haitian culture represents a specific mix of physical characters especially skin color, hair texture. hair color and facial features the African culture is an ethics mix of African and European elements due to the French, African and indigenous dialects. Major customs of Haitian culture are Catholicism and voodoo a mixture of African animism which means belief in spirits and nature, some Haitians even practice both at one time. There are significant holidays in the Haitian culture as well voodoo is considered a holiday(is a belief system based on practices and traditions that originates from west African traditional regions)
Like Santeria, Voodoo is a syncretic religion that embodies the beliefs and practices of Christianity with those of traditional West African religions. Voodoo is also a monotheistic religion, with the God Bondye being the supreme creator. Bondye is similar to Olodumare in that he does not interfere with the lives of his believers, so Voodoo practitioners redirect their worship and rituals to spiritual deities known as lwa. Lwa are regularly contacted and worshipped through various forms of rituals; these rituals include altars, possession by spirits, and elaborate ceremonies. The purpose of the rituals is to appease the lwa to lend assistance to believers in times of need, or for general good faith measure, to prevent angering of the lwa and the possible dire consequences that may follow. As with Santeria, the syncretism of Catholic imagery and objects is inherent to the religion, and these objects are usually included in the rituals of Voodoo
The danza del venado, is a dance from the native Yaqui in northern Mexico. It originated in the state of Sonora, and all the way through the Sonora desert. The dance was created by the Yaqui people, to describe and celebrate the deer 's life and death. To the Yaqui people, the deer is a sacred animal. La danza del venado, represents a tribe member sacrificing
The Myal cult was the first of these folk religions shortly followed by Kumina, Pukumina, Convince, and Zion Revivalist. Each of these folk religions plays a role in the belief systems of Jamaicans and has also played a role in the evolution of early reggae music. Rather than focusing on the religions separately and wholly, I focus on one common characteristic that still exists today in Jamaica as well as all over the West Indies and even in various spots in the southern United States- healing practices and the practitioners.
There were six different dances in the performance, each one different in their own cultural way. Dances like “Oshun, Goddess of Love” were based on actual beliefs. Oshun is the goddess of the rivers, fertility, abundance, and love among the Yoruba people of Nigeria. The dance is a creative exploration of the meaning of Oshun as a force
The Xhosa people like many other people in the world hold their religion in high regards. It is the center of their lives and culture. They like many others have been practicing their religion for many years. The Xhosa people live in Africa. Christian missionary’s came to their villages and converted many of the people to Christianity. Instead of switching their beliefs the Xhosa people combined their own traditional religion with that of Christianity. In this paper I will show how the two religions fit together.
III. Smithson, Jayne. “Magic, Witchcraft, and Religion.” Class lectures. Anthropology 120. Diablo Valley College, San Ramon 2004.