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Journal articles on the topic 'Cultures vodoun'

Author: Grafiati

Published: 6 July 2024

Last updated: 31 July 2025

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1

McGee, Adam M. "Haitian Vodou and Voodoo: Imagined Religion and Popular Culture." Studies in Religion/Sciences Religieuses 41, no. 2 (2012): 231–56. http://dx.doi.org/10.1177/0008429812441311.

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Vodou is frequently invoked as a cause of Haiti’s continued impoverishment. While scholarly arguments have been advanced for why this is untrue, Vodou is persistently plagued by a poor reputation. This is buttressed, in part, by the frequent appearance in popular culture of the imagined religion of “voodoo.” Vodou and voodoo have entwined destinies, and Vodou will continue to suffer from ill repute as long as voodoo remains an outlet for the expression of racist anxieties. The enduring appeal of voodoo is analyzed through its uses in touristic culture, film, television, and literature. Particu

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2

Drotbohm, Heike. "Of Spirits and Virgins." Suomen Antropologi: Journal of the Finnish Anthropological Society 33, no. 1 (2008): 33–50. http://dx.doi.org/10.30676/jfas.v33i1.116396.

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So far religious encounters in migratory settings have been largely examined in relation to the pluralizing of religious cultures, the emerging of syncretisms as well as religious conversions. However, many migrants choose to live more than one religion at the same time and integrate themselves into several religious communities with different and sometimes opposing religious agendas. This article concentrates on the Haitian migrant community in Montreal, Canada. On the basis of the parallelisms between Vodou and Catholicism it first examines the parallels between different religious concepts

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3

Médiohouan, Guy Ossito, and Guy Ossito Mediohouan. "Vodoun et littérature au Bénin." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 27, no. 2 (1993): 245. http://dx.doi.org/10.2307/486061.

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4

Germain, Felix. "The Earthquake, the Missionaries, and the Future of Vodou." Journal of Black Studies 42, no. 2 (2011): 247–63. http://dx.doi.org/10.1177/0021934710394443.

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Although Duvalier used Vodou to legitimize his brutal dictatorship, the religion has traditionally empowered Haitians, particularly people from the poorest segments of the population. Historically, at Bois Caïman, Vodou inspired Haitians to rebel against the French for their freedom, and more recently Vodou priests and priestesses have served as healers, counselors, and mediators between rival families. In a highly patriarchal society, Vodou empowers women by allowing them to bring female issues into the “public eye.” Yet in the past three decades Christian missionaries from various Protestant

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5

Poda, Mélaine Bertrand. "Musiques actuelles et religion Vodoun au Bénin." Géographie et cultures, no. 76 (November 1, 2010): 13–30. http://dx.doi.org/10.4000/gc.1073.

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6

Brivio, Alessandra. "Religious Encounters in Togo: Vodun and the Roman Catholic Church." Journal of Africana Religions 10, no. 1 (2022): 1–19. http://dx.doi.org/10.5325/jafrireli.10.1.0001.

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Abstract The article discusses the struggle between vodun priests and Roman Catholic missionaries in Togo during the first decades of the twentieth century. I analyze several cases that involved the two traditions and follow the tensions aroused by a new vodun called Goro. Assuming that the Catholic religion is pervaded by the culture of presence, my aim is to show that such religious conflict cannot be fully understood solely as a response to political tensions and personal incertitude engendered by the new colonial order. It needs to be viewed also in the light of a number of concepts that b

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7

Azon, Senakpon Adelphe Fortune. "Vodun Continuum in Black America: Communication with the Dead and the Invisible World in Jesmyn Ward’s Sing Unburied Sing." International Journal of Culture and History 8, no. 2 (2021): 58. http://dx.doi.org/10.5296/ijch.v8i2.19001.

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The spread of Western rationalism through armed conquest, with the global dominance of Judeo-Christian and Islamic creeds, has almost obliterated the existence of the alternative ontological perceptions rooted in the dominated people’s cultures. This essay studies how Ward’s Sing Unburied Sing reaches back to African ancestral beliefs, vodun practices and rituals, and brings to life characters who strive to counteract exclusion with the conception of the world as a Whole, a continuum whose survival is premised on the respect of, and fusional union with, each element of that Whole. This concept

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8

Gardullo, Paul, and Donald J. Consentino. "Sacred Arts of Haitian Vodou." Journal of American Folklore 113, no. 447 (2000): 92. http://dx.doi.org/10.2307/541270.

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9

Péan, Stanley. "Vodou et macumba chez René Depestre et Mário de Andrade." Études littéraires 25, no. 3 (2005): 49–59. http://dx.doi.org/10.7202/501014ar.

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De toutes les manifestations du métissage culturel américain, le vodou haïtien ainsi que le candomblé et la macumba brésiliens comptent parmi les plus fascinantes et paradoxales. Cet article ne vise pas à faire l'étude de ces cultes en tant qu'objets anthropologiques mais plutôt à comparer la fonction symbolique de la représentation des rituels dans deux oeuvres romanesques, le Mât de cocagne de l'Haïtien René Depestre et le « classique» du modernisme brésilien, Macunaima de Mário de Andrade. Les religions y servent de théâtre à la représentation de la résistance au colonisateur européen et té

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10

Caraion, Marta, Sophie-Valentine Borloz, and Joséphine Vodoz. "Literature and Material Culture: 1830-2020." EU Research Winter 2023, no. 36 (2023): 40–41. http://dx.doi.org/10.56181/fwyi5902.

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Marta Caraion and her collaborators Sophie-Valentine Borloz and Joséphine Vodoz lead an SNSF-funded project examining how objects have been represented and conceptualized in French literary works since 1830 and how attitudes to consumer culture have evolved. An edited volume with more than 40 contributors and a literary database are currently under preparation.

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11

Wilcken, Lois E., and Laurent Aubert. "Benin: Rhythmes et chants pour les vodun." Ethnomusicology 39, no. 2 (1995): 313. http://dx.doi.org/10.2307/924441.

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12

Adams, Monni, and Suzanne Preston Blier. "African Vodun: Art, Psychology, and Power." International Journal of African Historical Studies 29, no. 2 (1996): 429. http://dx.doi.org/10.2307/220560.

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13

Mazama, Mambo Ama. "Book Review: The Vodou Quantum Leap." Journal of Black Studies 32, no. 4 (2002): 480–84. http://dx.doi.org/10.1177/002193470203200407.

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14

Hebblethwaite, Benjamin. "The Scapegoating of Haitian Vodou Religion." Journal of Black Studies 46, no. 1 (2014): 3–22. http://dx.doi.org/10.1177/0021934714555186.

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15

Lara, Ana-Maurine. "Wanga Speaks: An Ethno-theological Rendering of Black Genders and Sexualities." Journal of Folklore Research 60, no. 2-3 (2023): 123–42. http://dx.doi.org/10.2979/jfr.2023.a912091.

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Abstract: La 21 división is the folk religion of the Dominican Republic. As a folk religion, the practices, beliefs, and cosmologies of la 21 división are generally underexplored in the literature of Afro-diasporic religions. And, while great attention has been given to discussions of gender and sexuality in Haitian vodoun, Cuban Santeria, Trinidadian Shango, Brazilian Candomblé, and Surinamese Winti, little to no conversation has taken place around concepts of gender and sexuality within la 21 división. In this article, I address this lacuna by presenting an ethno-theological engagement with

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Lara, Ana-Maurine. "Wanga Speaks: An Ethno-theological Rendering of Black Genders and Sexualities." Journal of Folklore Research 60, no. 2-3 (2023): 123–42. http://dx.doi.org/10.2979/jfolkrese.60.2_3.06.

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Abstract: La 21 división is the folk religion of the Dominican Republic. As a folk religion, the practices, beliefs, and cosmologies of la 21 división are generally underexplored in the literature of Afro-diasporic religions. And, while great attention has been given to discussions of gender and sexuality in Haitian vodoun, Cuban Santeria, Trinidadian Shango, Brazilian Candomblé, and Surinamese Winti, little to no conversation has taken place around concepts of gender and sexuality within la 21 división. In this article, I address this lacuna by presenting an ethno-theological engagement with

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17

Zaugg, Roberto. "Le crachoir chinois du roi: Marchandises globales, culture de cour et vodun dans les royaumes de Hueda et du Dahomey (xviie-xixe siècle)." Annales. Histoire, Sciences Sociales 73, no. 1 (2018): 119–59. http://dx.doi.org/10.1017/ahss.2018.112.

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RésumésActeurs majeurs de la traite transatlantique des esclaves, les royaumes de Hueda et du Dahomey (Sud du Bénin actuel) se sont insérés dans les flux mondiaux de marchandises. Entre lexviie et lexixe siècle, les biens importés y ont alimenté des pratiques de consommation ostentatoire et des attitudes de largesse ritualisée dont les manifestations ont été essentielles à la consolidation de la souveraineté des monarques. En mettant l’accent sur deux marchandises en particulier (le tabac et la porcelaine) ainsi que sur des pratiques comportementales (fumer, cracher), cet article étudie la faç

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18

Murphy, Joseph M., Margarite Fernandez Olmos, and Lizabeth Paravisini-Gebert. "Sacred Possessions: Vodou, Santeria, Obeah, and the Caribbean." Hispanic American Historical Review 78, no. 3 (1998): 495. http://dx.doi.org/10.2307/2518336.

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19

Murphy, Joseph M. "Sacred Possessions: Vodou, Santería, Obeab, and the Caribbean." Hispanic American Historical Review 78, no. 3 (1998): 495–96. http://dx.doi.org/10.1215/00182168-78.3.495.

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20

Largey, Michael, Elizabeth McAlister, Gage Averill, et al. "Rhythms of Rapture: Sacred Musics of Haitian Vodou." Ethnomusicology 46, no. 1 (2002): 184. http://dx.doi.org/10.2307/852818.

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21

Bergner, Gwen. "Danticat’s Vodou Vernacular of Women’s Human Rights." American Literary History 29, no. 3 (2017): 521–45. http://dx.doi.org/10.1093/alh/ajx021.

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22

Boutros, Alexandra. "Gods on the move: The mediatisation of Vodou." Culture and Religion 12, no. 2 (2011): 185–201. http://dx.doi.org/10.1080/14755610.2011.579718.

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23

Johnson, Paul Christopher. "The Formation of Candomblé: Vodun History and Ritual in Brazil." Hispanic American Historical Review 99, no. 1 (2019): 143–45. http://dx.doi.org/10.1215/00182168-7288072.

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24

Freeman, Catherine S. "Drum Rhythms and Golden Scriptures: Reasons for Mormon Conversion Within Haiti's Culture of Vodou." Dialogue: A Journal of Mormon Thought 55, no. 3 (2022): 43–73. http://dx.doi.org/10.5406/15549399.55.3.02.

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25

Fischer-Hornung, Dorothea. "“Keep alive the powers of Africa”: Katherine Dunham, Zora Neale Hurston, Maya Deren, and the circum-Caribbean culture of Vodoun." Atlantic Studies 5, no. 3 (2008): 347–62. http://dx.doi.org/10.1080/14788810802445099.

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26

Geggus, David, and Leslie G. Desmangles. "The Faces of the Gods: Vodou and Roman Catholicism in Haiti." Hispanic American Historical Review 74, no. 1 (1994): 172. http://dx.doi.org/10.2307/2517478.

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27

Geggus, David. "The Faces of the Gods: Vodou and Roman Catholicism in Haiti." Hispanic American Historical Review 74, no. 1 (1994): 172–73. http://dx.doi.org/10.1215/00182168-74.1.172.

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28

Schmidt, Bettina E. "The Presence of Vodou in New York City." Matatu 27, no. 1 (2003): 213–34. http://dx.doi.org/10.1163/18757421-90000453.

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29

Schmidt, Bettina E. "Queering Black Atlantic Religions: Transcorporeality in Candomblé, Santería, and Vodou." Journal of Contemporary Religion 35, no. 2 (2020): 377–79. http://dx.doi.org/10.1080/13537903.2020.1769322.

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30

Butler, Melvin L. "Water Prayers for Bass ClarinetThe Vodou Horn: Asakivle Meets AusterlitzDr. Merengue." Ethnomusicology 64, no. 3 (2020): 553. http://dx.doi.org/10.5406/ethnomusicology.64.3.0553.

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31

Largey, Michael. "Recombinant Mythology and the Alchemy of Memory: Occide Jeanty, Ogou, and Jean-Jacques Dessalines in Haiti." Journal of American Folklore 118, no. 469 (2005): 327–53. http://dx.doi.org/10.2307/4137917.

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Abstract During the first United States occupation ofHaiti, from 1915 to 1934, Haitian band composer Occide Jeanty wrote compositions for the Haitian Presidential Band that contained culturally encoded critiques of U.S. occupation forces. In his compositions, Jeanty invoked the legend of Haitian general Jean-Jacques Dessalines, the soldier who led Haiti to independence in 1804 and whose spirit was absorbed into the Vodou religion as a type of Ogou, or warrior spirit, through a process that I term "recombinant mythology," in which people in the present use mythologically oriented language to hi

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32

Toliver, Victoria. "Vodun Iconography in Wilson Harris's Palace of the Peacock." Callaloo 18, no. 1 (1995): 173–90. http://dx.doi.org/10.1353/cal.1995.0018.

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33

Nakanyete, Ndapewa Fenny. "Persistence of African languages and religions in Latin America since slavery." JULACE: Journal of the University of Namibia Language Centre 3, no. 1 (2018): 80–94. http://dx.doi.org/10.32642/julace.v3i1.1377.

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This paper examines the presence of African languages and spiritual practices of Candomblé, Santería and Vodou religions in Brazil, Cuba and Haiti respectively. The three religions are known to have been originated by African slaves that were mostly captured in- and transferred from West and Central Africa to Latin America. Currently, the three religions are not only followed by African descendants, but also by people of various ethnic backgrounds worldwide. Thus, people flock to the three countries regularly to be initiated into this African-based religions and cultures. On the other hand, si

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34

Zaugg, Roberto. "The King’s Chinese Spittoon: Global Commodities, Court Culture, and Vodun in the Kingdoms of Hueda and Dahomey (Seventeenth to Nineteenth Centuries)." Annales. Histoire, Sciences Sociales 73, no. 1 (2018): 115–53. http://dx.doi.org/10.1017/ahsse.2020.7.

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As key players in the transatlantic slave trade, the monarchies of Hueda and Dahomey (in modern-day southern Benin) connected themselves to global commodity flows. From the seventeenth to the nineteenth century, imported merchandise fueled practices of conspicuous consumption and ritualized largesse, the performance of which was pivotal in consolidating their rulers’ power. Focusing on specific items (tobacco, porcelain) and behavioral practices (smoking, spitting), this article examines how these goods were materially and symbolically integrated into courtly culture and associated with the re

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35

Ghinelli, Paola. "David Damoison, Louis-Philippe Dalembert, Vodou! Un tambour pour les anges." Studi Francesi, no. 147 (XLX | III) (December 1, 2005): 688. http://dx.doi.org/10.4000/studifrancesi.33851.

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36

DURKIN, HANNAH. "Cinematic “Pas de Deux”: The Dialogue between Maya Deren's Experimental Filmmaking and Talley Beatty's Black Ballet Dancer in A Study in Choreography for Camera (1945)." Journal of American Studies 47, no. 2 (2013): 385–403. http://dx.doi.org/10.1017/s0021875813000121.

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A Study in Choreography for Camera (1945) is a collaborative enterprise between avant-garde filmmaker Maya Deren and African American ballet dancer Talley Beatty. Study is significant in experimental film history – it was one of three films by Deren that shaped the emergence of the postwar avant-garde cinema movement in the US. The film represents a pioneering cross-cultural and cross-disciplinary dialogue between Beatty's ballet dancing and Deren's experimental cinematic technique. The film explores complex emotional experiences through a cinematic re-creation of Deren's understanding of ritu

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37

Armitage, Natalie. "Vodou Material Culture in the Museum: Reflections on the complexities of demonstrating material culture of assemblage and accumulation in a traditional museum environment." Material Religion 14, no. 2 (2018): 218–34. http://dx.doi.org/10.1080/17432200.2018.1443891.

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38

Micheli, C. Angelo. "Animer les morts. Le portrait photographique funéraire chez les Éwé." Transbordeur 1 (2017): 182–95. http://dx.doi.org/10.4000/12gwk.

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Les Éwé, présents au Togo, au Ghana et au Bénin, marquent les funérailles d’un portrait photographique du défunt. Le portrait hiératique de la personne décédée est une photographie réalisée de son vivant, souvent retouchée, embellie et encadrée par le talent d’un photographe professionnel afin de satisfaire le défunt et d’assurer les vivants du respect des rites. Le portrait, grâce aux propriétés mêmes de la photographie, garantit la présence du défunt par une image vivante et facilite son passage vers le monde des ancêtres – considérés comme vivants pour les Éwé –, monde de l’au-delà en lien

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39

Ronzon, Francesco. "Ogun, Rambo, St. Jacques. Spiriti, immagini e pratiche cognitive nel vodou di Port-au-Prince (Haiti)." La Ricerca Folklorica, no. 45 (April 2002): 53. http://dx.doi.org/10.2307/1480156.

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40

Ogunnaike, Ayodeji. "Damned If You Do, Damned If You Don't: The Paradox of Africana Religions' Legal Status." Journal of Africana Religions 10, no. 1 (2022): 100–128. http://dx.doi.org/10.5325/jafrireli.10.1.0100.

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Abstract The Jamaican government reconsidering the Obeah Act in the summer of 2019 highlighted the legacy of prejudice and criminalization of Africana religious systems and practices left by colonization across ethno-linguistic borders and the broader Black Atlantic. It also highlighted how some traditions such as Béninois Vodun, Candomblé, Santería, and oriṣa worship in parts of Nigeria have successfully managed to combat state policing and prejudice to gain official recognition and legal protection. However, this article analyzes the way even the legal and conceptual success of Africana reli

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41

Haffner, Peter L. "At the Crossroads of Many Worlds." Small Axe: A Caribbean Journal of Criticism 26, no. 2 (2022): 60–78. http://dx.doi.org/10.1215/07990537-9901612.

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The late Marilyn Houlberg (1939–2012) was an artist, photographer, art historian, anthropologist, professor, curator, and collector. During her lifetime she helped advance the scholarship on and increase the recognition of artists from Haiti, particularly in her role as cocurator of the exhibitions Sacred Arts of Haitian Vodou (1995) and In Extremis: Death and Life in Twenty-First-Century Haiti (2012). In her commitment to support the creative endeavors of artists living in historically marginalized communities in urban Haiti, Houlberg blurred cultural and professional boundaries, raising ques

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42

Zimmerman, Tegan. "Unauthorized Storytelling: Reevaluating Racial Politics in Julia Alvarez’s In the Time of the Butterflies." MELUS 45, no. 1 (2020): 95–116. http://dx.doi.org/10.1093/melus/mlz067.

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Abstract This article revisits Julia Alvarez’s critically acclaimed historical novel In the Time of the Butterflies (1994). While much scholarship has paid attention to the novel as historiographic metafiction, its depiction of Rafael Leónidas Trujillo’s regime (1930-61), and its feminist perspective on the Dominican Republic, its racial politics are under-studied. In particular, scholars have overlooked Fela, the Afra-Dominican servant, spirit medium, and storyteller. I argue that studying Fela’s presence in the text as an unauthorized and unauthored voice not only adds complexity to the prod

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43

Pennington, Kenneth. "Excommunication in the Middle Ages. Elisabeth Vodola." Speculum 63, no. 1 (1988): 242–44. http://dx.doi.org/10.2307/2854392.

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44

Tete-Rosenthal, Dede. "A Certain Vodu Childhood: Dislocation Between Culture and Expression of Self." Transforming Anthropology 18, no. 2 (2010): 151–56. http://dx.doi.org/10.1111/j.1548-7466.2010.01092.x.

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45

Murray, Saille Caia. "Apples for Audubon and Eggplant for Oya." Journal for the Study of Religion, Nature and Culture 15, no. 4 (2022): 487–516. http://dx.doi.org/10.1558/jsrnc.21397.

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Harlem’s historic Sugar Hill neighborhood possesses several public parks and cemeteries used by African and Afro-Caribbean Diaspora communities for religious activities. In my research, I have identified and mapped sites of religious activities and conducted interviews with community members, revealing how practitioners of Santería, Vodou, and Yoruba traditions have adapted to their urban home via the use of public space. The religious traditions explored here require interaction with nature and the physical land. Therefore, I argue that public space serves as critical infrastructure for facil

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46

Hurbon, Laennec. "Vodou: A Faith for Individual, Family, and Community From Dieu dans le vaudou haitien." Callaloo 15, no. 3 (1992): 787. http://dx.doi.org/10.2307/2932021.

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47

Chandler, William M. A. "Vodou Cosmology and the Haitian Revolution in the Enlightenment Ideals of Kant and Hegel." Caribbean Quarterly 68, no. 2 (2022): 307–9. http://dx.doi.org/10.1080/00086495.2022.2068860.

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48

Rivera, Fredo. "Precarity + excess in the latinopolis: Miami as Erzulie." Cultural Dynamics 31, no. 1-2 (2019): 62–80. http://dx.doi.org/10.1177/0921374019826199.

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Miami’s built and natural environment, together with the politics of migration, has transformed it into a major global city and art center over the past decades. This article situates Miami—generally viewed as an aspirational city and cultural nexus of the Americas—as an oceanic borderlands lying between political and ecological precarity as well as economic and cultural excess. This article examines the relationship of contemporary art and the urban landscape to consider Miami’s unique place for thinking about LatinX and Latin America today. Building on Gloria Anzaldúa’s theorizing on borderl

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49

Rodrigues. "The Militarization of the Persecution of African Religions and the Demonization of Vodun Cults in Eighteenth-Century Minas Gerais, Brazil." Journal of Africana Religions 9, no. 2 (2021): 137. http://dx.doi.org/10.5325/jafrireli.9.2.0137.

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50

Alexis, Jacques Stephen, and Carrol F. Coates. ""Vodou. .. The Soul of the People": an excerpt from Jacques Stephen Alexis's The Musician Trees." Callaloo 27, no. 3 (2004): 621–28. http://dx.doi.org/10.1353/cal.2004.0101.

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