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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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healing of evil forces. The synthesis of these classical religions, as Thompson views, portrays many African cultures. The illustration that Thompson uses helps the reader better understand and appreciate his writings about Vodum and goes into great detail describing the artifacts.
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
altar. Vodun flags, as Thompson writes are used for ceremonial activities. Flags are "...Creole variations of a fundamental Kongo theme-nikusa minpa-the ritual agitation or unfurling or "dancing" of the squares of cloth to open the door to other world. Again, Thompson inserts illustrations of these flags for the reader to identify with and the significance of the symbolism that is displayed. Flags are displayed, as Thompson states Madame Romnus told him for "respect" of the Haitians. Flash of Spirit - Rara of the Universe by Robert Harris Thompson reveals his passion for the Haitians and their art. I find it interesting the history of vodum and the arts in Haiti, especially through the eyes of a African art historian. In Haiti Vodum, as I see it could be one of the richest and misunderstood religions known. I would have to admit I couldn't summarize this chapter any better than Thompson "a rara of the universe, a school of being for all of us".
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
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.
Vodou, a traditional Afro-Haitian religion, is a worldview encompassing philosophy, medicine, justice, and religion. Its fundamental principle is that everything is spirit. Humans are spirits who inhabit the visible world. The unseen world is populated by lwa (spirits), mystè (mysteries), anvizib (the invisibles), zanj (angels), and the spirits of ancestors and the recently deceased. All these spirits are believed to live in a mythic land called Ginen, a cosmic “Africa.” The God of the Christian Bible is understood to be the creator of both the universe and the spirits; the spirits were made by God to help him govern humanity and the natural world.
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.
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
One thing that is a little hard to display in a museum would be the food offerings. In Vodou, it’s customary to provide food to the gods on an altar, and the cooking and arranging of food is an important ritual. Unfortunately, our altar resides in a museum, making it difficult to provide food for the gods due to the rules and regulations that a museum faces. A fake cake sits in the center of our altar, with ceremonial candles placed on each side of the cake. This is meant to represent the food that would be offered. The two chairs on either side of the altar are for sitting, but sometimes a doll may be on the chair of an altar instead to symbolize someone sitting in the chair. The teacup in the front of the altar is used to hold libations for the gods or used to hold wicks with olive oil and honey to make prayer stronger. The maraca looking objects are used in the ceremony and to communicate or salute to the gods. Dr. Matory, the creator of the altar, informed us that the necklace is often worn by a Haitian priest during a ritual. Each bead or pattern represents each god in its colors. It is worn in a way that the spirits envelope people and include them all as a community, and to provide protection during a ritual. The statuette of twins represents the Marasa, the sacred twins of Vodou. The statuette is placed on the altar during rituals
Most people when they think of Haiti, they think of it as the country that was first in achieving a slave revolution but they also think about Vodouism. Haiti is well associated with the practice of Vodou, which some would consider witchcraft or black magic when in actuality it is a religion. First and foremost is to clear up the two different spellings, Voodoo and Vodou, why is it that these two spellings exist? Vodou is the original spelling of the religion and the second spelling (voodoo) comes from the misinterpretation of what Vodou really entails. This “voodoo” places a much higher emphasis on the witchcraft and the practice of black magic and is all that is to be believed as Vodou, an evil to society. What is Vodou exactly? In Embodied
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.