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The Blood of the Land: Haitian Vodou
THE BLOOD OF THE LAND: HAITIAN VODOU Michael S. VanHook International Strategic Alliances The Blood of the Land: Haitian Vodou 2 THE BLOOD OF LAND: HAITIAN VODOU Michael S. VanHook, International Strategic Alliances Copyright © 2020 by Michael S. VanHook All rights reserved. This resource is provided to give context and essential background information for those persons with an interest in serving the people of Haiti. It is made available without charge by the publisher, ISA Publishing Group, a division of International Strategic Alliances, Inc. Scanning, uploading, and electronic sharing is permitted. If you would like to use material from this book, please contact the publisher at [email protected]. Thank you for your support. ISA Publishing Group A division of International Strategic Alliances, Inc. P.O. Box 691 West Chester, OH 45071 For more information about the work of International Strategic Alliances, contact us at [email protected]. For more information about the author or for speaking engagements, contact him at [email protected]. The Blood of the Land: Haitian Vodou 3 THE BLOOD OF THE LAND: HAITIAN VODOU Michael S. VanHook, International Strategic Alliances INTRODUCTION 4 HISTORY 6 Transformed by Cruelty 7 Bois Caïman 9 Independent Isolation 11 “A Goat Without Horns” 15 Occupied Vodou 18 “The Principle Slave of Satan” 24 Summoning the Spirits 25 THEOLOGY 31 Haitian Vodou is a polytheistic religion 31 The Loas 31 Haitian Vodou is a syncretic religion 40 Vodou is an animistic religion 44 Haitian Vodou is magic 45 The Blood of the Land: Haitian Vodou 4 PRACTICES 53 The Priesthood 53 Ceremonies and Rituals 55 Black Magic 61 REVERBERATIONS 63 Fatalism 63 Christian Mission 65 Personal Note 70 GLOSSARY 72 BIBLIOGRAPHY 78 Resources 78 Images 80 AUTHOR 84 The Blood of the Land: Haitian Vodou 5 Chapter 1 INTRODUCTION Tanbou bat nan raje, men se lakay li vin danse – The drum is beaten in the grass, but it is at home that it comes to dance. -
Candomblé Da Bahia Pdf
Candomblé da bahia pdf Continue Religion must not be confused with Candombe. Convenient CandombéCandomblées of BahiaTypeSypecresclasificationAfro-Brazilian religionPrithyoraliora or BabaloraAssociationsociationsorder of our Lady of Good DeathRegionBrazil, Argentina, Paraguay, Venezuela, Uruguay, United States. PortugalOrigin19th century Salvador, BrazilSeparationsCandomblé BantuCandomblé JejCandomblé KetuMembers167.363 (Brazil, 2010)[1]2]2,000 000 (worldwide) Candomblé (Portuguese pronunciation: [kɐ̃ dõmˈblɛ], dancing in the respect of God) is an Afro-Brazilian religion developed in Brazil during the early 19th century. It rises to a process of synchretism between Yoruba's traditional religion in West Australia and the roman Catholic form of Christianity. There is no central authority in control of the movement. Candombé is monoteistic, involved in the revered sprit known as oriented berries who work as intermediary for Supreme So-called Oludumaré. These are often identified both as Yoruba Orishas as well as Roman Catholic saints. Several myths and stories are told about what they orishas. As an oral tradition, it does not contain holy scriptures. Practice at Candombé believes in a Supreme Creator named Oludumaré, who is served by smaller deites, called Orishas. Each practitioner believes they have their own orisha, which controls his destiny and acts as a challenger. Music and dance are important parts of Candomblé ritual, since the dance allows worship to come into track with their orishas. At the ripes, participants made offerings such as minerals, vegetables, and cattle. Candomblé does not include the skeptics of good and evil; every man must fulfill their destiny to fulfill their destiny, regardless of what is there. Candomblé developed among the Afro-Brazilian community among Atlantic slaves in the 16th centuries. -
Drawing Water, Drawing Breath: Vodun and the Bocio Tradition
Drawing Water, Drawing Breath: Vodun and the Bocio Tradition Odette Springer Commonly referred to as Voodoo, the sacred tradition of Vodun often conjures up the profane and demonized images of black magic, charms, and spells. Taken out of context, it infers hoaxes and devils. At best, it is a tradition often deemed inferior and unworthy of note by many scientific and academic institutions. Though Vodun is embedded in the ancient religious traditions of Africa it is not a coherent and cohesive totality and the word Vodun cannot be defined absolutely, or literalized. Vodun is a direct way of knowing, a cosmology far too complex to translate into a single, corresponding word. The first known written reference to Vodun appeared in a 1658 text called the Doctrina Christiana, where the term translates as “god,” “sacred,” or “priestly,” and is mentioned “in various forms about sixty times” (Labouret and Riviere qtd. in Blier 37). A general prejudice in the West against so-called primitive cultures contributes to the misunderstanding and bastardization of the word, yet a depth examination of Vodun reveals it to be a vibrant and essential tradition, one that has infiltrated modern psychology, religion and art. Not only is it infused in the blueprint of the industrialized West, its religious and philosophical ideas are acutely present and prevalent in our culture. Further, as a meditative art form associated with Vodun, the bocio tradition will also be discussed. Although scholars agree that Vodun is a living religion, many translations of the word have emerged over time, based on a different set of etymologies. -
LOUISIANA VOODOO November 4, 2012
LOUISIANA VOODOO November 4, 2012 A woman in south Louisiana sweeps her yard to clear it of debris and bad spirits. A priest blesses a family's house. Red dust is scattered on the doorstep to keep out evil. A Catholic crosses himself and prays to a God-figure hanging above, surrounded by Angels, or disembodied spirits. Each practitioner has icons and rituals he uses to keep him safe. In both, there is one God but many spiritual intercessors. The Voodoo practitioner uses candles, herbs, stones, and other earthly things to promote healing and invoke protection, and so does the Catholic use many similar earthly items to connect with God. There are many similarities between Voodoo and Christianity. In fact, Voodoo in the United States has been combined with Catholicism and other religious traditions to create a hybrid. I recently visited New Orleans, LA, and while there came into contact with a couple of Voodoo practitioners. This sparked a curiosity in me and an awareness I had not had before, and I think many others are still in the dark about this ancient practice. Today, I will help us examine that practice more closely and attempt to remove the shroud of misunderstanding that surrounds Voodoo. Voodoo is known as Voudou or Vodun, and its sister practice, Hoodoo, is known also as “Conjure.” The reason for this is that there is an aspect of spells and rites that are used to bring about change in one's circumstance, using help from the spirits, or Loa. The term Voodoo itself means spirit. -
Stewardship in West African Vodun: a Case Study of Ouidah, Benin
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2010 STEWARDSHIP IN WEST AFRICAN VODUN: A CASE STUDY OF OUIDAH, BENIN HAYDEN THOMAS JANSSEN The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation JANSSEN, HAYDEN THOMAS, "STEWARDSHIP IN WEST AFRICAN VODUN: A CASE STUDY OF OUIDAH, BENIN" (2010). Graduate Student Theses, Dissertations, & Professional Papers. 915. https://scholarworks.umt.edu/etd/915 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. STEWARDSHIP IN WEST AFRICAN VODUN: A CASE STUDY OF OUIDAH, BENIN By Hayden Thomas Janssen B.A., French, University of Kansas, Lawrence, KS, 2003 Thesis presented in partial fulfillment of the requirements for the degree of Master of Arts In Geography The University of Montana Missoula, MT May 2010 Approved by: Perry Brown, Associate Provost for Graduate Education Graduate School Jeffrey Gritzner, Chairman Department of Geography Sarah Halvorson Department of Geography William Borrie College of Forestry and Conservation Tobin Shearer Department of History Janssen, Hayden T., M.A., May 2010 Geography Stewardship in West African Vodun: A Case Study of Ouidah, Benin Chairman: Jeffrey A. Gritzner Indigenous, animistic religions inherently convey a close relationship and stewardship for the environment. This stewardship is very apparent in the region of southern Benin, Africa. -
MUSICAL CONSTRUCTIONS of AFRO-BAHIAN IDENTITIES by Juan Diego Diaz Meneses a THESIS SUBMITTED in PARTIAL
ORKESTRA RUMPILEZZ: MUSICAL CONSTRUCTIONS OF AFRO-BAHIAN IDENTITIES by Juan Diego Diaz Meneses A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate and Postdoctoral Studies (Ethnomusicology) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) March 2014 © Juan Diego Diaz Meneses, 2014 Abstract This dissertation examines the relationship between music and politics of black identities in Salvador, Bahia (Brazil), an epicenter of Afro-Brazilian culture. It focuses on discourses of blackness and on the role of grooves, instruments, symbolism, and perceptions of carnival music, candomblé, and jazz in the contruction of black identities in Bahia. I propose a model that integrates discourses of black primitivism and empowerment with seven notions commonly associated with black and African music: rhythmicity, percussiveness, spirituality, communalism, embodiment, traditionalism, and closeness to nature. My contribution uses a Foucauldian interpretation of these notions to explain how they work together to form discourses of blackness, not on the notions themselves for they are all widely known. The model accommodates a wide range of interpretations of these themes offering more flexible views of blackness. A Bahian big band called Rumpilezz that blends jazz with various forms of Afro- Bahian music (such as candomblé and samba-reggae), serves as my laboratory for applying this model. Aspects of public self-representation, performance practice, music structure, and musical reception -
A Sidelong Glance: the Practice of African Diaspora Art History in the United States
In This Issue & Katy Siegel Reconstruction Centennial Essay ( Krista Thompson Table of A Sidelong Glance: The Practice of African Diaspora Art History in the United States Contents Forum: Performance, Live or Dead #$ Amelia Jones, Introduction #+ Ron Athey, Getting It Right . Zooming Closer "' Sven Lütticken, Performing Time "& Sharon Hayes, The Not-Event "( Sophia Yadong Hao, Memory Is Not Transparent &! Branislav Jakovljević, On Performance Forensics: The Political Economy of Reenactments && William Pope.L, Canary in the Coal Mine &+ Helena Reckitt, To Make Time Appear Features (" Miwako Tezuka Experimentation and Tradition: The Avant-Garde Play Pierrot Lunaire by Jikken Kōbō and Takechi Tetsuji +( Sarah Kanouse Take It to the Air: Radio as Public Art Reviews '!! Lisa Florman on Kenneth Silver, ed., Chaos and Classicism: Art in France, Italy, and Germany, !"!#–!"$%, and the exhibition Chaos and Classicism: Art in France, Italy, and Germany, !"!#–!"$%, Solomon R. Guggenheim Museum, New York and Bilbao, $!'!–''; Robert Sli.in on Elisabeth Sussman and Lynn Zelavanksy, eds., Paul Thek: Diver, A Retrospective, and the exhibition Paul Thek: Diver, A Retrospective, Whitney Museum of American Art, $!'!–'', and Harald Falckenberg and Peter Weibel, eds., Paul Thek: Artist’s Artist; Jaleh Mansoor on Rosalyn Deutsche, Hiroshima after Iraq: Three Studies in Art and War; Lara Weibgen on Victor Tupitsyn, The Museological Unconscious: Communal (Post)Modernism in Russia, Boris Groys, History Becomes Form: Moscow Conceptualism, and Matthew Jesse Jackson, The Experimental Group: Ilya Kabakov, Moscow Conceptualism, Soviet Avant-Gardes ''# Letters Anne-Louis Girodet-Trioson, C[itizen] How one is seen (as black) and therefore, what one sees (in a white world) is always already crucial to Jean-Baptiste Belley, Ex-Representative of one’s existence as an Afro-American. -
Tchamba Vodun Dana Rush University of Illinois at Urbana-Champaign, [email protected]
African Diaspora Archaeology Newsletter Volume 14 Article 1 Issue 2 June 2011 6-1-2011 In Remembrance of Slavery: Tchamba Vodun Dana Rush University of Illinois at Urbana-Champaign, [email protected] Follow this and additional works at: https://scholarworks.umass.edu/adan Recommended Citation Rush, Dana (2011) "In Remembrance of Slavery: Tchamba Vodun," African Diaspora Archaeology Newsletter: Vol. 14 : Iss. 2 , Article 1. Available at: https://scholarworks.umass.edu/adan/vol14/iss2/1 This Articles, Essays, and Reports is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in African Diaspora Archaeology Newsletter by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Rush: In Remembrance of Slavery: Tchamba Vodun Omer Cooper J (1971) June 2011 Newsletter In Remembrance of Slavery: Tchamba Vodun By Dana Rush* Tchamba me so gbenye me nya senao Tchamba me so gbenye bu. I come from Tchamba, no one understands my language. I come from Tchamba, my language is lost. Mia mamawo kpo hotsui wo fle agbeto kodi. Amekle nya ne noanyi na ye looo. Elava kplom yi afiadi. Bada bada nenoanyi nam looo. Our grandparents were rich, and they bought people. I am proud of who I am, though it risks bringing me troubles. May bad luck stay far away from me. Tchamba Vodun songs, collected in Vogan, Togo, February 8, 1999. The Vodun complex known as Tchamba is a particularly strong spirit grouping along coastal Bénin, Togo, and into eastern coastal Ghana. Its name derives from an ethnic group and region in northern Togo, where people in the south actively sought domestic slaves centuries ago. -
African Diasporic Or Traditional
African Traditional & Diasporic Religion African Traditional Religion , also referred to as African indigenous religions or African tribal religions, is a term referring to a variety of religions indigenous to the continent of Africa. Like tribal religions from other parts of the world, African religious traditions are defined largely along community lines. Traditional African religions involve teachings, practices, and rituals that lend structure to African native societies. These traditional African religions also play a large part in the cultural understanding and awareness of the people of their communities. While each religion differs from the next in many ways, some main similarities exist, including: • A distant "all god" with intermediaries acting between us and it • Spirit or god possession • The gift of offerings and sacrifices to the gods • The use of altars • Ancestor veneration/worship • Community leadership by a divine or semi-divine king or queen One of many examples of an African Traditional Religion would be West African Vodun . Vodun cosmology centers around the vodun, spirits and other elements of divine essence which govern the Earth. Vodun is essentially monotheistic: There is a single divine Creator, called variously Mawu or Nana Buluku, which embodies a dual cosmogenic principle, and of which Mawu, the moon, and Lisa, the sun, are female and male aspects, respectively. (Mawu and Lisa are often portrayed as the twin children of the Creator.) There are a hierarchy of lesser creations, the vodun, which range in power from major deities governing the forces of nature and human society to the spirits of individual streams, trees, and rocks, the more impressive of which may be considered sacred. -
ORKESTRA RUMPILEZZ: MUSICAL CONSTRUCTIONS of AFRO-BAHIAN IDENTITIES by Juan Diego Diaz Meneses a THESIS SUBMITTED in PARTIAL
ORKESTRA RUMPILEZZ: MUSICAL CONSTRUCTIONS OF AFRO-BAHIAN IDENTITIES by Juan Diego Diaz Meneses A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate and Postdoctoral Studies (Ethnomusicology) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) March 2014 © Juan Diego Diaz Meneses, 2014 Abstract This dissertation examines the relationship between music and politics of black identities in Salvador, Bahia (Brazil), an epicenter of Afro-Brazilian culture. It focuses on discourses of blackness and on the role of grooves, instruments, symbolism, and perceptions of carnival music, candomblé, and jazz in the contruction of black identities in Bahia. I propose a model that integrates discourses of black primitivism and empowerment with seven notions commonly associated with black and African music: rhythmicity, percussiveness, spirituality, communalism, embodiment, traditionalism, and closeness to nature. My contribution uses a Foucauldian interpretation of these notions to explain how they work together to form discourses of blackness, not on the notions themselves for they are all widely known. The model accommodates a wide range of interpretations of these themes offering more flexible views of blackness. A Bahian big band called Rumpilezz that blends jazz with various forms of Afro- Bahian music (such as candomblé and samba-reggae), serves as my laboratory for applying this model. Aspects of public self-representation, performance practice, music structure, and musical reception -
(West African Bocio/Bo/Vodu/Tro) with Its Kongo Counterpart
A comparison of the anthropomorphic Vodun power-figure (West African bocio / bo / vodu / tro) with its Kongo counterpart (Central African nkisi) Lloyd D. Graham Graphic abstract: Text abstract: This paper compares anthropomorphic power-figures from the Vodun and Kongo cultural areas. Vodun is practised along the Guinea Coast of West Africa (especially in Benin and Togo) whereas the Kongo religion is native to the west coast of Central Africa (especially the two Republics of the Congo and northwest Angola). First, overlaps in belief and praxis between the Vodun and Kongo religions are highlighted. Second, similarities are identified in the design and significance of anthrop- omorphic Vodun power-figures, especially Fon bocio and Ewe bo/vodu/tro(n), and their Kongo counterparts – minkisi, and especially minkondi, which are better known in the West as “nail fetishes.” The disturbing appearance of the figurines, the ritual operation of features such as pegs/padlocks, nails/blades, bonds/sutures and magical/medicinal material (Kongo bilongo) are treated in detail. Activation and appeasement by sacrificial blood, alcoholic drink and coloured dyes are also considered. The analysis ends with a broad intercultural comparison which ranges from ancient Egyptian belief to the art of Polish surrealist Zdzisław Beksiński, encompassing en route the zār cult and the Polynesian tiki. Overall, the study finds that the Vodun bocio/bo/vodu/tro(n) has much in common with the Kongo nkisi nkondi, the two sharing notable similarities in purpose, construction and operation. One difference, however, is that large Kongo minkondi used to serve as archival repositories of a community’s oaths, treaties and petitions, a commemorative role seemingly not shared by Vodun power-figures. -
Marc Baptiste: RARA! Tour Notes on View January 15, 2020 - March 8, 2020
Marc Baptiste: RARA! Tour Notes On View January 15, 2020 - March 8, 2020 SUMMARY In part two of a three-part exploration through spirituality of the African diaspora, MoCADA follows acclaimed photographer Marc Baptiste to Haiti, as he documents a community in observance of RARA, the annual celebration of music that unifies African and Taino cultures through Vodun. From procession and protest to performance and pageantry, and grounded by spiritual ceremonies held en masse, enter the unique festival that began in Léogâne long before the revolution. FEATURED ARTIST Marc Baptiste, Haitian-American photographer was born in Port-au-Prince, Haiti. He moved to Brooklyn, NY at an early age. Baptiste picked up photography in the 9th grade, years later upon receiving his BA in Commercial Art and Advertising; he grew to become an influential fashion and portrait photographer. Known for his lighting, beauty, cinematic style and great energy he has documented subjects from Top Celebrities including; Prince, Shakira, Janelle Monae, Erykah Badu, George Luka, Cicely Tyson, Yoko Ono, Misty Copeland and Spike Lee, to his most memorable subjects Michelle and Barack Obama, and Carmen de Lavallade. His photographs have been published internationally in editorial magazines such as Cosmopolitan, Elle (US and SA), Vanity Fair, Esquire, Marie Claire, Esquire, Ebony, Essence and Glamour (US and GR). Baptiste has photographed the advertising campaigns for revered 1 brands such as Nike, Remy Martin, Chevy, Reebok, L’Oreal, Mizani, and Crest. His commercial work is distinguished for its appeal in global markets. Love for his birthplace influences all of his work. Baptiste serves on the advisory board at Cine ́ Institute, and Noah NY.