Voodoo Inspired – Bwa Kayiman, Revolution and Haitian Independence

December 27, 2012

A couple of months ago when we were in Haiti, Casey and I saw some intricate and complex sculptural renditions of what we were told represented events at Bwa Kayiman.  Though very different from each other, each piece had constant elements of composition: a tree, a man and a woman, bottles, snakes, and various anthropomorphic figures.  But what did they signify? We sensed a good story…

Deep in the forest, in the Morne Rouge region southwest of the colonial capital of Cap Haitien is the sacred and historic cradle of the slave uprising that lead to revolution against the French and ultimately to the establishment of first free black republic in the New World.  That place was known in French as Bois Cayman, Bwa Kayiman in Kreyol.

According to legend, a maroon, or fugitive slave by the name of Dutty Boukman organized a meeting of 200-300 slaves at Bwa Kayiman in August of 1791.  Boukman was a Voodoo

priest, and assisted by a priestess, Cecile Fatiman, the two performed a ceremony under a raging thunderous sky, invoking Erzulie Dantor and requesting

her help in freeing the black slaves of Saint Domingue.  A black pig was sacrificed, and its blood was drunk, lending the slaves a mystical sense of invincibility and emboldening them to unite in revolt against their French oppressors. (A concise, informative clip about the events at Bwa Kayiman can be viewed here by clicking here:      http://www.youtube.com/watch?v=0WZiXpdaGF8  )

In the days that followed, the slaves organized themselves and began putting plantations to the torch and the slave owners to the sword. Larger than life heroes began to emerge, such as Toussaint Louverture and Jean-Jacques Dessalines.  Hugely outnumbered and defenses in disarray, the colonial government of Saint Domingue was eventually forced to capitulate.  On January 1, 1804 the free Republic of Haiti was born.

Today Bwa Kayiman is a protected National Historic site.  Haitians visit throughout the year, as well as attend events commemorating the slave revolt each August.  Independence Day is marked along with the New Year on January 1^st with music, dancing, fireworks, and eating lots of soup joumou – a hearty pumpkin soup that was a luxury reserved for the French and forbidden to slaves during colonial times.  Eating the soup on New Year’s Day represents communion and brotherhood, peace and freedom. Click here for the recipe:

http://recipes.sparkpeople.com/recipe-detail.asp?recipe=98211  To our friends, in Haiti and beyond, we wish you peace and freedom.  Bonne Ane – Happy New Year!

 

Fourth in the series, “Voodoo Inspired”

Contributed by Linda for Beyond Borders/It’s Cactus

Voodoo Inspired – The Sum of Our Ancestors

December 19, 2012

The other day, while perusing the website, I came upon this fantastic piece by Jean Eddy Remy.  Its complex body, composed of several arms and faces and snake-like appendages struck me as a superbly representative image of Haitian Voodoo culture.  The highly stylized sculputural form artfully captures the essence of Voodoo practice; that of spirit worship.

The Loa are, of course, the spirits of Voodoo, and within their ranks are prominent, universal Loa, such as Papa Legba, Erzulie Freda, The Marassa Twins, etc.  However, there are other, less “famous” though equally important Loa to those that follow the practice of Voodoo: the Loa of the individual’s ancestral family.

At the head of this ancestral family are Damballah Wedo and Aida Wedo, the oldest ancestors.  They are the mother and

father of all things powerful and good, and together they possess the ancestral knowledge that forms the foundation of Voodoo. They are both symbolized by serpents and from them,  the ancestors of the individual are descended.

According to “Sosyete du Marche” an American Voodou society, there are two sources of holy truth:  the universe around us and the universe within us, passed down from our ancestors as instinct, emotion, predisposition, and memory.  Ancestors are like their descendants but more powerful; living, loving, understanding, and communicating on a plane of reality that is beyond death.  Communion with the ancestors is a means of maintaining continuity and a basis of transcendence between life and the afterlife.

The individual, as the flesh and blood sum of his ancestors, is a synthesized version of all those who have gone before.  To fail to honor them then, is to court disaster and to put into jeopardy the lives of those

family members yet to come. It would be as if the lifeline were broken. In fact, by this philosophy, recently deceased family members

must have a ritual performed on their behalf by a hougan, or priest, to ensure that their souls can go peacefully to the place of eternal afterlife. Later, the deceased can be consulted and entreated to bestow wisdom and blessings upon the family. Conversely, the dishonored soul, aimless and restless, will

wander the earth, leaving illness and destruction in its wake.

With all of this in mind, it seems as if many of the pieces contained within the “Voodoo Inspired” design section are sculptural celebrations, not only of Voodoo spirits, but of Voodoo Spirit.  See if you agree…

Third in the series, “Voodoo Inspired”

Contributed by Linda for Beyond Borders/It’s Cactus

Voodoo Inspired – The Crossroads and The Cross

December 13, 2012

As mentioned in the previous blog, most Haitians, even though they are Catholic, hold their voodoo-based beliefs right alongside, practicing and observing

both religious traditions. The origins of this seemingly odd pairing can be traced back to colonial times when enslaved West Africans were shipped along with their religious beliefs to what was then Saint Domingue, today known as Haiti.  The French colonial slaveholders forbade the  observance of any religion but Catholicism and severly punished those who did otherwise. As a way of getting around the whip, the slaves developed a system of association of their own spiritual figures such as the Great God “Bondye” and the Loa, with those of the Catholic God and the Saints.  They also syncretized symbols, the most evident being that of the Veve, or Crossroads, and The Cross.

Both the Veve and Cross represent points of transition.  In the Catholic tradition, The Cross is the place where Jesus leaves the world of Man and enters into eternal life.  Conversely, the Veve is the point at which the Loa spirits enter the world of Man.  The drawing of a Veve in a Voodoo ceremony is an invitation for the spirits, one or more, to join the physical world and bestow health, strength, love, etc. to the supplicants in attendance. The Veves for each Loa vary, but all have a central cross figure included in their designs. If more

than one Loa is invited, the Veves connect at their trancepts.

In the beginning of any Voodoo ceremony, the Veve of Papa Legba is drawn. Papa Legba is regarded as the life giver, transferring the power of Bondye to the physical world and all who reside there. Papa Legba is

associated with St. Peter, holder of the keys to the gates of Heaven. In Voodoo, he is  the gatekeeper of the spirit world where the Loa reside, and he must be invoked to bring any of the other Loa to the physical world. After his Veve is drawn (with sand, cornmeal, ground up eggshell or ash) other Loa Veves are drawn to invite them to the ceremony. With their arrival, their powers can be used by the priests, each according to the individual attributes of the Loa.

With the Veves in place, the ritual begins. Chanting, singing, drumming

and dancing beckon the Loa down from the cosmos.

Additionally, food, drinks, and gifts particularly pleasing to the individual Loa are placed on the Veve as offerings  in exchange for service. At the end of the ceremony, when the Loa have

completed their earthly tasks,  they are released with seven repetitions of the following benediction:  “I thank you Loa for your services and let you go.  Be blessed.” At that point, offerings which have been placed on the Veves are removed and the lovely, elaborate Veves are destroyed.

Though the form of The Cross and The Crossroads are essesntially the same, their symbolism dovetails, and their uses differ entirely within Catholic and Voodoo traditions. Yet by gaining an understanding of Voodoo and the history of it’s development in the New World, it is not impossible to see how both have come to be important, respected, and concerently revered –  in Haiti and beyond.

 

Second in the series, “Voodoo Inspired”

Contributed By Linda of Beyond Borders/Its Cactus

Voodoo Inspired

December 6, 2012

You may have noticed on our “menu” of designs that we’ve recently added a “Voodoo Inspired” category. We are SO EXCITED to make this addition because the pieces it contains so wonderfully depict the essence of Haiti – its untamed, unchained, exuberant, and mysterious soul. These sculptures reveal the nature of Voodoo, and remove some of the clouds of our understanding.

There is a saying that Haiti is 70 per cent Catholic, 30 per cent Protestant, and 100 per cent Voodoo.  That may be a stretch of mathematical logic but it illustrates the point that the vast majority of Haitians – regardless of religious affiliation – hold at least some Voodoo beliefs. This varies with the individual, of course, from those holding nominal superstitions and belief in old wives’ tales with Voodoo roots, to full-scale worship and practice by priests and priestesses.

But what IS Voodoo, exactly?  It has been defined as, “…a patchwork of beliefs based on animism and spirit worship brought from the African continent by plantation slaves more than two centuries ago. Voodoo is loosely structured and functions along oral traditions and improvisation, rather than by a prescribed set of norms and values.” This description, however, smacks of being shallow and rather discounts Voodoo as an actual religion.  The fact that Voodoo has no formally written history, code of ethics and rules of practice – such as the Bible, the Torah, or the Koran – should not lead one to the conclusion that it is entirely random and therefore invalid. It does, however make it trickier to convey, though I am about try.

Caution thrown aside then, the best place for me to start is with God, who in Voodoo is referred to as “Bondye” or “Papa Bon Dye” meaning “Good God.”  He is not unlike the God of Judeo-Christian tradition in that he is the Creator and he is One. Loa are spirits, which interact with the living.  There are all kinds of Loa, representing good, evil, health, well-being, and virtually every aspect of life and living including that in the animal kingdom.  During

the colonial era, French Catholics forbade native African religious practices so slaves secretly syncretized their Loa with Catholic saints to continue their traditional worship. Thus, virtually all Loa have saint associations, examples being Damballa with St. Patrick, Erzulie with the Virgin Mary, the Marassa Twins with Sts. Cosmas and Damien, and so on. The Loa are invoked in ceremonies and invited with drums, dancing and singing.  During the ceremony, one or more Loa may be called upon to temporarily inhabit the physical bodies of the participants.   Therefore, when one observes a representation of man with a fish body and bird wings, it is the representation of Loa inhabitation of the body.

Within Voodoo, there are two types, Rada and Petro.  Rada is the Voodoo of health, happiness and peace while Petro, which gets all the hype, is the black magic Voodoo of death curses and zombies.  By scholarly estimates, 95 percent of all voodoo practiced is of the Rada type.  Curiously, there is no actual “Devil” in Voodoo, though aggression and anger are represented in both Rada and Petro by what most of us would recognize as a devil form.

With all of that in mind, have a look at our new “Voodoo Inspired” section. Get a feel for the blending of spirits and the life forces that Voodoo conjures. Sense the creative minds that imagine each piece.  You don’t have to change your world view, just take a peek from a different perspective.  You might be amazed.

 

First in a series regarding Haitian Voodoo

Contributed by Linda for It’s Cactus/Beyond Borders