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The origins of voodoo
Research about voodoo
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The term “voodoo” is not only vague and confusing, but it has a reputation for being frightening. This is partly because voodoo is complex, with the practice and purposes ranging geographically and over time. “Louisiana voodoo” is the appointed name for voodoo practiced in the United States from the 18th century through the early 20th century. While it is no longer a dominant religion, practioners can still be found, but it has more of a mythical legacy that has blended into New Orleans culture today. Important aspects of Louisiana voodoo include rituals, ceremonies, and religious ties. Voodoo was an important part of African American culture in numerous ways, but most importantly voodoo was a significant form of resistance against both racial and gender oppression during the 18th and early 19th centuries. Within the context of slavery, Louisiana voodoo was used as a tool to resist racial oppression, primarily by practicing as a form of religious worship, which in turn provided a platform for black women to hold leadership positions as respected spiritualists, as evidenced by Marie Laveau’s life.
Voodoo has evolved from the time it was first practiced in the United States by both male and female slaves, into a religion synonymous with the “Voodoo Queen”, Marie Laveau and her primarily female followers. Marie was herself a creole, born in the late 1700s to “an old slave woman on her mother’s side, and on the other hand the best French blood of Louisiana coursed in her veins.” Marie’s rise to “queen” coincided with voodoo’s shift towards being known as female dominant and gained the legacy of being primarily practiced by women . She was so famous and trusted that white “celebrities of the day” (lawyers, merchants, and legislat...
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Jacobs, Claude F., and Andrew J. Kaslow. The Spiritual Churches of New Orleans: Origins, Beliefs, and Rituals of an African-American Religion. Knoxville, Tennessee: University of Tennessee Press, 2001.
Miscellaneous. “The Dead Voudou Queen”, New York Times, June 23, 1881, Archive
Rucker, Walter. “Conjure, Magic, and Power: The Influence of Afro-Atlantic Religious Practices on Slave Resistance and Rebellion.” Journal of Black Studies 23, no 1 (2001): 84-103.
Tallant, Robert. Voodoo in New Orleans. Gretna, Louisiana: Pelican Publishing, 1983.
Ward, Martha. Voodoo queen: the spirited lives of Marie Laveau. Jackson, Mississippi: The University Press of Mississippi, 2004.
White, Deborah Gray. Ar’n’t I a Woman?: Female Slaves in the Plantation South (New ............York, NY:W.W. Norton and Company Inc, 1999)
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
Dunham’s Dynamic Museum also located in East Saint Louis was built most importantly to continue fighting racism by showing the importance and dignity of dark skinned people, as her entire life she saw the difference in treatment between her, a light skin, and a dark skinned person. (Dunham 559) “In comprehending Miss Dunham, then, one has to think not just of dance, not just of drums, not just of primitive rhythms, but of a totem-woman of African spirituality and cultural wealth” (Dunham 559).
Gervel, David. "Island Magazine Discover the Creole Culture around the World : Louisiana Creole Culture & Voodoo Tradition." Island Magazine Discover the Creole Culture around the World : Louisiana Creole Culture & Voodoo Tradition. N.p., 26 Aug. 2012. 30 Apr. 2014. Web.
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.
Queen Ka’ahumanu was one of the most important women in Hawaiian history, as well as one of the most powerful queens. With her determination and strong influence, she managed to forever alter the foundations of Hawaii’s kingdom and overthrow the traditional ancient religion.
Voodoo Music & Arts Experience: This festival began in 1999 and since then it has become very popular. In this festival, you can enjoy the food, music, crafts and cultural activity of the city. Two main stages and several smaller ones are placed in the City Park while food and beverage stands, books, jewelery, arts and crafts and clothes vendors are scattered around the green area as well.
Smith, J, & Phelps, S (1992). Notable Black American Women, (1st Ed). Detroit, MI: Gale
Deborah Gray White’s Ar’n’t I a Woman? details the grueling experiences of the African American female slaves on Southern plantations. White resented the fact that African American women were nearly invisible throughout historical text, because many historians failed to see them as important contributors to America’s social, economic, or political development (3). Despite limited historical sources, she was determined to establish the African American woman as an intricate part of American history, and thus, White first published her novel in 1985. However, the novel has since been revised to include newly revealed sources that have been worked into the novel. Ar’n’t I a Woman? presents African American females’ struggle with race and gender through the years of slavery and Reconstruction. The novel also depicts the courage behind the female slave resistance to the sexual, racial, and psychological subjugation they faced at the hands of slave masters and their wives. The study argues that “slave women were not submissive, subordinate, or prudish and that they were not expected to be (22).” Essentially, White declares the unique and complex nature of the prejudices endured by African American females, and contends that the oppression of their community were unlike those of the black male or white female communities.
Sabina Magliocco, in her book Witching Culture, takes her readers into the culture of the Neo-Pagan cults in America and focus upon what it reveals about identity and belief in 21st century America. Through her careful employment of ethnographic techniques, Magliocco allows both the Neo-Pagan cult to be represented accurately, and likewise, scientifically. I argue that Magliocco's ethnographic approach is the correct way to go about this type of research involving religions.
Throughout Rastafari: Roots and Ideology, Barry Chevannes traces the beginnings of the Rastafari movements and the movements that gave birth to Rastafarian ideology, through both historical perspectives and through the narratives of those people closely associated with these movements. He begins laying out the groundwork of the Rastafarian movement at the slave trade, which gave rise to the institutionalization of racism and the subordination of black people in the “New World.” This racism, and its lasting effects on the social, political, and economic positions of black people in Jamaica led to a realization of the need to create a life, or a belief system, that would actually serve black people and their needs.
The Anglo-Protestant community in New Orleans began to perceive Voodoo as immoral and a threat to its citizens as a threat to morality and public safety, as many African Americans; let alone those who practiced Voodoo were viewed as ignorant and sinful. Such mindset led the state government of New Orleans to institute statutory laws fortune telling, healing practices not medically sanctioned, and receiving cash or other material benefits under false pretenses. In addition, Federal mail fraud laws were passed against individuals who sort to conduct Voodoo practices through mail; conviction of such crimes carried severe punishments and jail time. There were several cases reported over Voodoo related convicted mail fraud by several African American New Orleanais; the most public and publicized of all was that of a man named Rockford Lewis, who sold rheumatic oils, lucky beans and amulets, etc through the mail.
Brian May and Roger Taylor, in 1970, set the wheels in motion for Queen when they decided to form a band during their college years. Queen started out as a band called Smile who signed with Mercury Records, and included: Tim Staffell, Brian May, and Roger Taylor. Once Tim Staffell left, the group added Freddie Mercury (lead singer) and bassist John Deacon. Freddie Mercury, Farrokh Bulsara, was a fan of Smile and was added on as the lead vocalist. John Deacon began as a young guitarist who was a member of the group called The Opposition. This band was composed of a group of friends, and they were influenced by groups such as The Hollies and Herman’s Hermits. Eventually, Deacon was added to the group that already included Mercury, Taylor, and May. Over time, the group changed their name to Queen. The name Queen was selected by Mercury, and this name is symbolic of power and regality. The addition of Mercury proved to be an essential aspect to the history of Queen’s success. In Queen: The Early Years, Hodkinson writes, “much of what made Freddie also defined Queen: without him they were merely a model rock band with a bent for a commercial tune” (2). The group became well known for their theatrical performances and costumes that were often over the top. “From their international breakthrough in 1976, Queen continually remained one of the best-selling rock acts worldwide beyond Mercury's death in 1991. Their total record sales are estimated at up to 300 million records” (Desler 391). This group was important to the evolution of music and music performance in bands that were to follow them.
Lehmann A. C. & Myers J. E. Magic, Witchcraft and Religion – An anthropological Study of the Supernatural (Fourth Edition) (Mayfield Publishing Company, 1997)
Belief in witchcraft is the traditional way of explaining the ultimate cause of evil, misfortune or death.” The African worldview is holistic. In this perception, things do not just happen. What happens, either good or bad, is traced back to human action, including “ancestors who can intervene by blessing or cursing the living.” Witches, on the other hand, harm because they want to destroy life.
Edmund Spenser’s epic poem The Faerie Queene is well known as an allegorical work, and the poem is typically read in relation to the political and religious context of the time. The term allegory tends to be loosely defined, rendering a whole work an extended metaphor, or even implying “any writing in verse or prose that has a double meaning”(Cuddon 20). In true Spenserian style, with everything having double meanings, both uses of the term allegory are applicable to his writing.