Tapping the Wisdom of Our Ancestors: an Attempt to Recast
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American Religion
1 BONUS CHAPTER ANTHROPOLOGY OF AMERICAN RELIGION America’s Silicon Valley might seem like the least likely place in the country to search for religion: liberal demographics and secularization theory would predict that upwardly mobile, technology-oriented people such as those concentrated in northern California are among the least religious Americans. That may indeed be true, or it may be more accurate to say that the religion of Silicon Valley’s computer professionals is unconventional and adapted to their middle class lifestyle and their technological worldview. Accordingly, Stef Aupers finds an assortment of “technopagans” among these modern skilled computer programmers, who “conceive of the act of programming as magical” (2009: 153). Noting first that “pagans are more active on the Internet than other religious groups” (156), Aupers follows Erik Davis’ (1995) definition of technopaganism as a “small but vital subculture of digital savants who keep one foot in the emerging technosphere and one foot in the wild and wooly world of Paganism…. They are Dionysian nature worshippers who embrace the Apollonian artifice of logical machines.” The magic of educated computer professionals, though, is not “magic as a ritual” but rather “the mystery of intangible, opaque, digital technology,” in which “the personal computer is sometimes the object of mystical speculations” (Aupers 2009: 161). Ironically but profoundly, computer technology is both vanishingly small and vanishingly large: it embraces the wonders of microprocessors and whirling electrons as well as the globe-spanning scope of the World Wide Web. More, “the Internet can no longer be understood in a mechanical way since it ‘grows’ and ‘behaves’ in an organic fashion”; indeed, “the Internet actualizes an ancient holistic claim about the universe: like in the cosmos as a whole, everything and everyone is ‘connected’” (161). -
The Journey of Vodou from Haiti to New Orleans: Catholicism
THE JOURNEY OF VODOU FROM HAITI TO NEW ORLEANS: CATHOLICISM, SLAVERY, THE HAITIAN REVOLUTION IN SAINT- DOMINGUE, AND IT’S TRANSITION TO NEW ORLEANS IN THE NEW WORLD HONORS THESIS Presented to the Honors College of Texas State University in Partial Fulfillment of the Requirements for Graduation in the Honors College by Tyler Janae Smith San Marcos, Texas December 2015 THE JOURNEY OF VODOU FROM HAITI TO NEW ORLEANS: CATHOLICISM, SLAVERY, THE HAITIAN REVOLUTION IN SAINT- DOMINGUE, AND ITS TRANSITION TO NEW ORLEANS IN THE NEW WORLD by Tyler Janae Smith Thesis Supervisor: _____________________________ Ronald Angelo Johnson, Ph.D. Department of History Approved: _____________________________ Heather C. Galloway, Ph.D. Dean, Honors College Abstract In my thesis, I am going to delve into the origin of the religion we call Vodou, its influences, and its migration from Haiti to New Orleans from the 1700’s to the early 1800’s with a small focus on the current state of Vodou in New Orleans. I will start with referencing West Africa, and the religion that was brought from West Africa, and combined with Catholicism in order to form Vodou. From there I will discuss the effect a high Catholic population, slavery, and the Haitian Revolution had on the creation of Vodou. I also plan to discuss how Vodou has changed with the change of the state of Catholicism, and slavery in New Orleans. As well as pointing out how Vodou has affected the formation of New Orleans culture, politics, and society. Introduction The term Vodou is derived from the word Vodun which means “spirit/god” in the Fon language spoken by the Fon people of West Africa, and brought to Haiti around the sixteenth century. -
The Role of Dance in Haitian Vodou Dancing, Along with Singing And
The Role of Dance in Haitian Vodou Camille Chambers, University of Florida Dancing, along with singing and drumming, is a fundamental part of Haitian Vodou ritual ceremonies. Just as how the songs and the drums have a spiritual function and reflect a creolized heritage, dance holds a similar value in Vodou. As a religion that is kinesthetic in nature, dance is part of the physical manifestation of serving the lwa. Dance is not only an important part of Haitian Vodou but also of Haitian culture, in which there are two types of dance: secular and sacred (Dunham 1947: 15). For the purpose of this paper, the sacred dance will be addressed. Many anthropologists have studied ritual dances in the African diaspora of the Caribbean. Through the studies of dance in Haitian Vodou, the connection to spirituality and memory provided to the community through dance and music in Vodou ceremonies is evident. The community is a key element in Vodou ceremonies. Hebblethwaite argues that Vodou songs are important because they are the “living memory of a Vodou community” (2012: 2). Dance holds the same importance in preserving this “living memory.” Vodou songs educate about the lwa and the philosophy of Vodou and they signal the transitions between phases of the ceremony. Dance in Vodou also educates about the lwa and philosophy and through careful study of the different dances, one may also understand how dances change in the different phases of the ceremony. Before getting into the study of dances, the importance of drums must be addressed. Wilcken (2005) describes the drums as providing the fuel and guidance to the dance participants. -
Holidays Religion in Haiti
Bonjou Religion in Haiti Good morning HAITI Most Haitians are Christians (80 percent are Roman Ki jan ou ye? How are you? Catholic; 16 percent are Protestant), and a large portion of the population practices Vodou traditions. Ki jan fanmy ou ye? How is your family? Catholics, Protestants, and members of the Eastern Au revoi Orthodox Church are Christians. Christians are Goodbye followers of Jesus, a carpenter and a Jew from the city of Nazareth in present-day Israel. Christians believe that Holidays Jesus is the only son of God, born of a virgin woman (Mary) in a stable in Bethlehem. His story is told in In their letters, Plan families often refer to the holidays the New Testament of the Christian holy book, the they celebrate. Here are some of them: Bible. The Christian symbol—the cross—reminds the January 1 faithful that Jesus died for them, for the forgiveness Haitian Independence Day of their sins. Christian holidays include Christmas, February/March* which celebrates the birth of Jesus; Good Friday, which Mardi Gras commemorates the death of Jesus on the cross; and March/April* Easter, the most holy of Christian sacred days, which Good Friday/Easter Population 10 million celebrates the resurrection of Jesus on the third day May 18 after his death. Capital City Port-au-Prince Flag Day Vodou is a syncretic religion that originated in Haiti. Official Languages Creole and French November 2 All Souls’ Day It is based on a merging of the beliefs and practices of Per Capita Income US$760/year West African peoples and Roman Catholic Christianity. -
Dancing Postcolonialism
Sabine Sörgel Dancing Postcolonialism TanzScripte | edited by Gabriele Brandstetter and Gabriele Klein | Volume 6 Sabine Sörgel (Dr. phil.) teaches the history and theory of theatre and dance at Johannes Gutenberg-University Mainz. Her current research includes cross- cultural corporealities, contemporary performance and postcolonial theory. Sabine Sörgel Dancing Postcolonialism The National Dance Theatre Company of Jamaica Die vorliegende Arbeit wurde vom Fachbereich 05 Philosophie und Philologie der Jo- hannes Gutenberg-Universität Mainz im Jahr 2005 als Dissertation zur Erlangung des akademischen Grades eines Doktors der Philosophie (Dr. phil.) angenommen. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2007 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Cover illustration: Rex Nettleford, NDTC’s »moving spirit«, co-founder, princi- pal choreographer, and current Artistic Director. Here seen in lead role of »Myal«. Credits: Photographs: cover illustration and pages 100, 102, 103, 110, 112, 119, 131, 175, 176, 177 courtesy and copyright by Maria LaYacona and NDTC ar- chives; page 140 courtesy and copyright by Denis Valentine and NDTC ar- chives; page 194 courtesy and coypright by W. Sills and NDTC archives. All video stills: courtesy -
Vodou, Serving the Spirits
Afro-Caribbean Vodou, Serving the Spirits Vodou, Serving the Spirits Summary: Vodou (meaning "spirit" or "god" in the Fon and Ewe languages of West Africa) is a blending (syncretism) of African religious traditions and Catholicism. In the United States, Vodou religious ceremonies are often performed in private group settings where spirits manifest in devotees through posession. The term "Vodou" derives from a word meaning “spirit” or “god” in the Fon and Ewe languages of West Africa. It has come to be used as the name for the religious traditions of Haiti, which blend Fon, Kongo, and Yoruba African religions with French Catholicism. However, while Haitians themselves speak more often of “serving the spirits,” today they also use the term Vodou. Since the late 1950s, with the Haitian immigrant and refugee population increasing in the United States, these traditions of “serving the spirits” have become part of the American religious landscape. By the late 18th century, the Caribbean island of St. Domingue, or Hispaniola, of which Haiti occupies the western third, had already received considerably more African captives than Cuba or the United States would receive throughout their participation in the slave trade. Nearly half of the laborers who worked the island’s sugar plantations came from West and Central Africa. After the Haitian revolution made Haiti an independent nation in 1804, the influx of African slaves was cut off, but the large Haitian citizenry of African descent continued to develop elaborate African-inspired traditions. The Vodou gods or spirits, called lwa, are grouped into several “nations,” linked to areas and peoples in Africa. -
Republic of Haiti
Coor din ates: 1 9 °00′N 7 2 °2 5 ′W Haiti Haiti (/ heɪti/ ( listen); French: Haïti [a.iti]; Haitian ˈ Republic of Haiti Creole: Ayiti [ajiti]), officially the Republic of Haiti (French: République d'Haïti; Haitian Creole: Repiblik République d'Haïti (French) [8] [note 1] Ayiti) and formerly called Hayti, is a Repiblik Ayiti (Haitian Creole) sovereign state located on the island of Hispaniola in the Greater Antilles archipelago of the Caribbean Sea. It occupies the western three-eighths of the island, which it shares with the Dominican Republic.[11][12] Haiti is 27 ,7 50 square kilometres (10,7 14 sq mi) in Flag Coat of arms size and has an estimated 10.8 million people,[4] making it the most populous country in the Caribbean Motto: "Liberté, égalité, fraternité" (French)[1] Community (CARICOM) and the second-most "Libète, Egalite, Fratènite" (Haitian Creole) populous country in the Caribbean as a whole. The "Liberty, Equality, Fraternity" region was originally inhabited by the indigenous Motto on traditional coat of arms: Taíno people. Spain landed on the island on 5 "L'union fait la force" (French) [2] December 1492 during the first voyage of Christopher "Inite se fòs" (Haitian Creole) Columbus across the Atlantic. When Columbus "Union makes strength" initially landed in Haiti, he had thought he had found Anthem: La Dessalinienne (French) [13] India or China. On Christmas Day 1492, Columbus' Desalinyèn (Haitian Creole) flagship the Santa Maria ran aground north of what is "The Dessalines Song" 0:00 MENU now Limonade.[14][15][16][17] As a consequence, Columbus ordered his men to salvage what they could from the ship, and he created the first European settlement in the Americas, naming it La Navidad after the day the ship was destroyed. -
Vodou and the U.S. Counterculture
VODOU AND THE U.S. COUNTERCULTURE Christian Remse A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2013 Committee: Maisha Wester, Advisor Katerina Ruedi Ray Graduate Faculty Representative Ellen Berry Tori Ekstrand Dalton Jones © 2013 Christian Remse All Rights Reserved iii ABSTRACT Maisha Wester, Advisor Considering the function of Vodou as subversive force against political, economic, social, and cultural injustice throughout the history of Haiti as well as the frequent transcultural exchange between the island nation and the U.S., this project applies an interpretative approach in order to examine how the contextualization of Haiti’s folk religion in the three most widespread forms of American popular culture texts – film, music, and literature – has ideologically informed the U.S. counterculture and its rebellious struggle for change between the turbulent era of the mid-1950s and the early 1970s. This particular period of the twentieth century is not only crucial to study since it presents the continuing conflict between the dominant white heteronormative society and subjugated minority cultures but, more importantly, because the Enlightenment’s libertarian ideal of individual freedom finally encouraged non-conformists of diverse backgrounds such as gender, race, and sexuality to take a collective stance against oppression. At the same time, it is important to stress that the cultural production of these popular texts emerged from and within the conditions of American culture rather than the native context of Haiti. Hence, Vodou in these American popular texts is subject to cultural appropriation, a paradigm that is broadly defined as the use of cultural practices and objects by members of another culture. -
Mathilde Pierre Weak Judicial Systems And
Mathilde Pierre Weak Judicial Systems and Systematic Sexual Violence against Women and Girls: The Socially Constructed Vulnerability of Female Bodies in Haiti This thesis has been submitted on this day of April 16, 2018 in partial fulfillment of the degree requirements for the NYU Global Liberal Studies Bachelor of Arts degree. ACKNOWLEDGMENTS First and foremost, I would like to thank my thesis advisor, Professor Emily Bauman, who has guided me through every step in the year-long process of writing my thesis. The time and energy she invested in thoroughly reading and commenting on my work, in recommending other avenues of further research, and in pushing me to deepen my analysis were truly invaluable. I would also like to express my sincere gratitude to Professor Joyce Apsel who, although abroad in Florence, Italy, set aside time to speak with me over Skype, to comment on my rough draft, and to advise me on the approach of my argument in my thesis. I would additionally like to thank all of the individuals who set aside considerable time to meet with me for interviews in Port-au-Prince, most notably Attorney Claudy Gassant, Attorney Rosy Auguste, Attorney Marie Alice Belisaire, Attorney Giovanna Menard, Judge Jean Wilner Morin, Carol Pierre-Paul Jacob, Marie Yolaine Gilles, and Officer Guerson Joseph. Finally I extend a heartfelt thank you to my parents, Mathias and Gaëlle Pierre, who greatly assisted in connecting me with the individuals I interviewed and whose constant support and encouragement helped me to push through in the completion of my thesis. 1 ABSTRACT Widespread sexual violence against women and girls in Haiti is a phenomenon that largely persists due to a failure to prosecute male perpetrators and enforce the domestic and international laws that exist to criminalize rape. -
123 DIGGING the ROOTS Or Resistance and Identity Politics Of
DIGGING THE ROOTS Or Resistance and Identity Politics of the mouvman rasin in Haiti by Kiran C. Jayaram B.A., University of Kansas, 1998 A.A., Johnson County Community College, 1995 Submitted to the Center of Latin American Studies And the Faculty of the Graduate School of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts _________________________________ Bartholomew Dean, Chair _________________________________ John Janzen, Committee member _________________________________ Anton Rosenthal, Committee member _________________________________ Bryant Freeman, Committee member Date Submitted: ___________________ 123 This paper is dedicated to the mouvman rasin all over the world. May the people always have the last say. All power to all the people. ii ABSTRACT The ideological, cultural, and physical means which brought François Duvalier to power in 1957 created a process whereby the state idea became the metonym for all Haitian identity. In what is now called the Roots movement, some people working on the grassroots level began resisting the Duvaliers and asserting a new Haitian identity for themselves. Among the several parts of the movement, people calling themselves sanba-s began experiencing and living according to what they considered “traditional” means, wherefrom they created a new music, mizik rasin. An analysis of the sanba-s’ politics of identity regarding history, music, dress, language, and religion conveys a cultural critique of late Duvalierism and other contemporary social issues. iii TABLE OF CONTENTS Dedication ii Abstract iii Table of Contents iv Acknowledgements v Chapter One: Introduction 1 Chapter Two: Plowing the Field of the Duvalier Era 7 Chapter Three: One Root, Many Roots 31 Chapter Four: History Repeats Itself 54 Chapter Five: Se kiyès moun sa yo ye?/Who are those people? 70 Chapter Six: Analysis and Conclusion 92 Appendix A: 104 Appendix B: 106 Works Cited 108 Discography 118 iv ACKNOWLEDGEMENTS In writing this paper, I have been fortunate to have so many people willing to help me. -
Cultural Competency: a Student's Examination of Haiti Heidi Dotson University of Rhode Island, Heidi [email protected]
University of Rhode Island DigitalCommons@URI Senior Honors Projects Honors Program at the University of Rhode Island 2011 Cultural Competency: A Student's Examination of Haiti Heidi Dotson University of Rhode Island, [email protected] Follow this and additional works at: http://digitalcommons.uri.edu/srhonorsprog Part of the History Commons, and the International and Area Studies Commons Recommended Citation Dotson, Heidi, "Cultural Competency: A Student's Examination of Haiti" (2011). Senior Honors Projects. Paper 232. http://digitalcommons.uri.edu/srhonorsprog/232http://digitalcommons.uri.edu/srhonorsprog/232 This Article is brought to you for free and open access by the Honors Program at the University of Rhode Island at DigitalCommons@URI. It has been accepted for inclusion in Senior Honors Projects by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Dotson 1 Introduction On January 12, 2010 I along with many others around the world as a 7.0 milliwatt earthquake brought Haiti to her knees. What did I know about this country or the people suffering on my television? Haiti is not far from U.S. shores. It was discovered by Christopher Columbus in 1492. It was the first black independent republic. Haiti is the poorest country in the western hemisphere, with the highest infant mortality rate in the western hemisphere. But what did these numbers tell me about this country, or its people? On October 21, 2010 the Center for Disease Control confirmed a cholera epidemic in Haiti. The disease had been brought into the country by United Nations troops. -
After God Is Music: Affliction, Healing, and Warfare in Haitian Pentecostalism
AFTER GOD IS MUSIC: AFFLICTION, HEALING, AND WARFARE IN HAITIAN PENTECOSTALISM Lenny J. Lowe A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Religious Studies in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Todd Ramón Ochoa Laurent Dubois Laurie Maffly-Kipp Yaakov Ariel Brendan Thornton © 2017 Lenny J. Lowe ALL RIGHTS RESERVED ii ABSTRACT Lenny J. Lowe: After God is Music: Affliction, Healing, and Warfare in Haitian Pentecostalism (Under the direction of Todd Ramón Ochoa) This dissertation explores a version of Pentecostal-charismatic Christianity in Haiti popularly known as Lame Selès (Fr. L’Armée Celeste), or “The Heavenly Army.” Within Haiti’s Protestant population more broadly, these independent Pentecostal communities are often viewed with suspicion and accused of being charlatans or practitioners of Vodou in a Christian guise on account of their combinatory ritual practices and musical styles. Based on data drawn from fieldwork among some of these communities in Port-de-Paix, Haiti, I argue that these independent Pentecostal communities are an important site of the kind of religious combination that has long characterized religion in Haiti and the Black Atlantic world. Drawing on resources within the “hot” and combative Petwo style of Vodou and combining it with “spiritual warfare” discourse drawn from global Pentecostal and charismatic Christian culture, these communities use music and divine healing to engage and attack spiritual sources of affliction common among the poor majority in contemporary Haiti, ranging from bodily and mental illness to anxiety and officially sanctioned injustice.