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Rara Of The Universe
Vodun Religion and Art in Haiti
Robert Harris Thompson illuminates the philosophy and ancient heritage of the Haitian Vodun religion and art in his writings Rara of the Universe. Thompson goes into detail and elaborates on the spiritual aspects of Haitian Vodum and incorporates his anthropologist, religious and philosophical perspectives. His main focus is the art of the African Diaspora in Haiti. He portrays an exotic appeal of Vodum in Haiti society. Thompson writes "Vodou is "... one of the signal achievements of people of African descent in the western hemisphere a vibrant, sophisticated synthesis of the traditional religions of Dahoney, Yorubaland, and Kongo with an infusion of Roman Catholicism. What is more, vodun has inspired a remarkable tradition of sacred art". He describes the historical events that shaped the Creole religion with Dahoney, Yorubaland and Kongo religions. The Creole religion had two parts; Rada and Petro. Rada, as he explains is the "cool" side and Rada is the "hot' side, giving fire the spiritual
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All of the historical information Thompson presents, especially the Kongo and Dahomey, on art and design, offers the reader an understanding of the influences that impacted these religious rituals. Thompson's detail on how the design of vodum alter transformed using ritual objects, giving them power "In Rada shrines, in the area between Port-au-Prince and Leoganc, one often see on single , large, dramatic opening for offerings o food to the spirits in the center of the altar's bottom tier". Thompson inserts a photograph that he took of a Petro table that displays "... a skull, and in front of a bottle - a promise of the power of Petro to render urgent healing." As seen in the photo, there are several ritual objects placed on the
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
In Santeria, Yorubas then continue to worship and honor the Orishas and to practice their strong religious beliefs. The Yoruba rituals are modified and made similar to that of the Catholic religion. As aforementioned , when the Africans where brought to Cuba and the other New Lands they saw themselves forced to disguise theri ancestral religion and to embrace the church of theri captors. This created a complex religious mixture of beliefs. Because of its roots in Africa the worship of the saints has been a misunderstood religion, sometimes reffered to as unciviliazed and almost always viewed as a dark religion or a devil worshipping religion.
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.
Vodou is a religion that is often misrepresented because of mainstream Hollywood movies. It is a religion that remains an enigma to outsiders, and as a consequence, many incorrect assumptions are made about its practices. To outsiders, Vodou may seem to be based on cursing others with voodoo dolls, sacrificing animals or people, and even being possessed by the devil. However, that is not the case in Mama Lola where an outsider, Karen McCarthy Brown is given an inside view on this secretive religion. Vodou is not as simple as popular culture insinuates, it is a complex religion that involves integrating magic, marriage, possession, and the role of women.
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.
Voodoo (also known as Vodun, Vodou, Umbanda, Quimbanda, and Candomble) originated as an amalgam of African religions during the slave trade. As slaves were shipped from Africa to the Caribbean
In Alejo Carpentier’s The Kingdom of this World, many examples of recurring themes, images and symbols occur. In particular, the themes of hybridization and African versus European culture appear multiple times throughout the novel. However, it is not enough to simply look at these themes as trends occurring throughout the novel. Instead, these themes must be analyzed closely in order to provide possible insight into the author’s reasons for incorporating them so frequently in his text. For example, the aforementioned themes both relate closely to one another, and their presence alongside each other may indicate an underlying cultural or historic motive of the author. In essence, in order to truly understand The Kingdom of this World, one
The lined up pairing of bulls and heifers on register 1-3 is echoed on a seal (26), and the pairing of bulls is seen on two other cylinder seals (27, 24). All three of these seals have buildings that have calves emerging from inside, each building has a pole in the center of the building and two of the seals (26, 27) have three poles with six rings on the buildings. The pole with six rings is again seen on a fourth seal (45) which contains what is clearly a temple, this leads to the conclusion that the buildings seen on the seal with the paired bulls and heifers are also temples, and that the paired bulls and heifers on the Warka Vase may be invoking images or practices carried out in the temples.
...white people were the change-makers and shapers of Vodun, when actually black people adapted their religion to suite oppressive conditions. As time went on “Voodoo had become less of a religion than a political association [which was] and inherent characteristic of black religion from the slave period” (46). This happened not only in America, but in Haiti as well. This not only highlights the evolution of Vodun from religion, to a political force, but also the adaptability of Vodun as well.
The Shaman in Transformation Pose, as described in Kent Reilly’s article is a piece that is pivotal in the understanding of the role of the supernatural world within Olmec rulership. Reilly sees a connection between the iconographic features of the figure of the Shaman and spirituality. In a larger sense, this supernatural ability is meant to be seen as power. In his essay, Riley presents other figures with similar poses or materials as evidence for his thesis. He elaborates on the outline of the “bufo marinus” (9) on the top of the head of the figure as a possible connection to what he calls “shamanistic” qualities in the figure.
This version however is different that the Vodou practiced in Haiti. Here we will switch from Vodou to Voodoo, which was highly popular in the New Orleans area in the United States. Voodoo refers to “any form of spiritual beliefs and practices remotely associated with the Black continent.” This Voodoo is particularly limited to the making of potions, dolls, spell, curses, etc. It is less religious based and more about magic and the supernatural and over the years has become a more a profit-based practice as it fed on people stereotypes to voodoo. Osbey backs this up as well in her journal, We Can’t Talk to You About Voodoo, “First of all there are no dolls in Voodoo. That’s a gimmick borrowed from European witchcraft to cheat the real tourists…Voodoo dolls have been built into the local tourism trade.” Historic New Orleans Voodoo Museum for example is a popular attraction, owned by a “Voodoo” practitioner offers visitors an education and background on voodooism as well as articrafts and various other objects available for sale. Charles Gandolfo founded this museum in 1972; He saw an opportunity and seized it to capitalize on New Orleans legendary Voodoo past. The museum is still up and running and visitors are welcome today which the catch of an entry fee. Voodoo like the Vodou in Haiti made its way to the United States in a similar fashion, through the African diaspora via the Transatlantic Slave
Vodou is an oral tradition practiced by extended families that inherit familial spirits, along with the necessary devotional practices, from their elders. In the cities, local hierarchies of priestesses or priests (manbo and oungan), “children of the spirits” (ounsi), and ritual drummers (ountògi) comprise more formal “societies” or “congregations” (sosyete). In these congregations, knowledge is passed on through a ritual of initiation (kanzo) in which the body becomes the site of spiritual transformation. There is some regional difference in ritual practice across Haiti, and branches of the religion include Rada, Daome, Ibo, Nago, Dereal, Manding, Petwo, and Kongo. There is no centralized hierarchy, no single leader, and no official spokesperson, but various groups sometimes attempt to create such official structures. There are also secret societies, called Bizango or Sanpwèl, that perform a religio-juridical function.
Vodou is a Haitian creole word that describes an official religion of Haiti that contains bits of Roman Catholicism within its belief system. Vodou was creolized and forged by Dahomean, Kongo, Yoruba, and other African ethnic group descendents. These African ethnic groups had been enslaved and brought to modern-day Haiti, then called Saint Domingue, and were christianized by missionaries of Roman Catholicism in the 16th and 17th centuries. The word “Vodou” means spirit or deity within the Fon language of the African Kingdom Dahomey, of where most early practitioners originated from.
Kasfir, S. L. (2007) African Art and the Colonial Encounter: Inventing a Global Commodity, Bloomington: Indiana University Press.
Kaduna: Baraka Press, 2004. Magesa, Laurenti. A. African Religion: The Moral Tradition of Abundant Life. Nairobi: Pauline Pub., Africa, 1998. Mbiti, John S. Introduction to African Religion.