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Journal articles on the topic 'Haitian Vodou'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 June 2025

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1

Lily Cerat, Marie. "Vodou Is Daring to Be, to Remember, and to Exist." Caribbean Studies 52, no. 2 (2024): 137–44. https://doi.org/10.1353/crb.2024.a953896.

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Abstract: Haitian Vodou, often misunderstood and maligned in the Western world, was an essential survival and liberating tool for the enslaved African ancestors of today's Haitians. Vodou, far from being an opposing force, continues to be a structuring and healing space for the Haitian people. It is a belief system deeply intertwined with my personal experience and identity. In this autobiographical piece, I take an ethnographic approach to discuss what Vodou represented and still represents to the people and communities to which I belonged/belong. I explore the significance of Vodou, including a few practices and rituals in our Haitian life and quotidian. Résumé: Le vodou haïtien, souvent mal compris et calomnié dans le monde occidental, a été un outil de survie et de libération essentiel pour les ancêtres africains asservis des Haïtiens d'aujourd'hui. Loin d'être une force d'opposition, le vodou continue d'être un espace de structuration et de guérison pour le peuple haïtien. C'est un système de croyance profondément lié à mon expérience personnelle et à mon identité. Dans cet article autobiographique, j'adopte une approche ethnographique pour discuter de ce que le vodou a représenté et représente encore pour les personnes et les communautés auxquelles j'ai appartenu ou auxquelles j'appartiens. J'explore la signification du vodou, y compris quelques pratiques et rituels dans notre vie et notre quotidien haïtiens. Resumen: El Vodou haitiano, a menudo incomprendido y difamado en el mundo occidental, fue una herramienta esencial de supervivencia y liberación para los antepasados africanos esclavizados de los actuales haitianos. El Vodou, lejos de ser una fuerza opositora, sigue siendo un espacio de estructuración y sanación para el pueblo haitiano. Es un sistema de creencias profundamente entrelazado con mi experiencia personal y mi identidad. En este artículo autobiográfico, adopto un enfoque etnográfico para hablar de lo que el vudú representó y sigue representando para las personas y comunidades a las que pertenecí o pertenezco. Exploro el significado del Vodou, incluyendo algunas prácticas y rituales en nuestra vida haitiana y cotidiana.

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2

Past, Mariana. "Twin Pillars of Resistance: Vodou and Haitian Kreyòl in Michel-Rolph Trouillot’s Ti difé boulé sou istoua Ayiti [Stirring the Pot of Haitian History]." Latin American Literary Review 49, no. 97 (2021): 39–49. http://dx.doi.org/10.26824/lalr.218.

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Michel-Rolph Trouillot’s first book, Ti difé boulé sou istoua Ayiti [Stirring the Pot of Haitian History] (1977), exposes the foundational role of Haitian Vodou and the Kreyòl language in Haiti’s Revolution (1791-1804). The unprecedented victory achieved by the enslaved people in the former French colony of Saint Domingue was a useful paradigm for subsequent Latin American independence movements, starting with Simón Bolívar’s liberation of Venezuela (1811-19). This essay analyzes selected passages from Ti difé boulé that explicitly incorporate Vodou songs, prayers, and terminology to show how Trouillot provocatively deploys oral sources of historical narrative and memory. The young activist, writing in Haitian Kreyòl from New York City during the darkest days of the Duvalier régime, powerfully contests official versions of Haitian history by emphasizing the Haitian people’s agency. Vodou and Kreyòl, born out of struggle within a repressive colonial framework, are the great coherencies underlying Haitian resistance. Ti difé boulé examines neocolonial patterns of oppression emerging during the nineteenth century and critiques revolutionary icon Toussaint Louverture, revealing how Haiti’s predatory State harnessed Vodou to continue systematically subjugating the Haitian people. Trouillot’s innovative yet understudied masterpiece offers contemporary readers “new narratives” of Haiti. As twin pillars of Haitian resistance and cultural identity, Vodou and Kreyòl remain a vital and vibrant part of the American heritage. They merit more nuanced understandings within a cultural and political context where they have increasingly come under siege, inside and outside of Haiti.

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3

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 churches have been swarming to Haiti, and unlike the Haitian Catholic church, which tolerates the presence of Vodou in society, they condemn the Afro-Haitian belief system, labeling it a satanic cult. The tragic earthquake has created new opportunities for the Christian missionaries. Seeking new recruits, the missionaries blame the devastation on Vodou practitioners, who, at times, question the integrity of their belief. Moreover, the Protestants control a substantial portion of foreign aid, schools, orphanages, and medical centers, which lures Haitians away from their indigenous religion. Although the Protestants provide relief, their constant attack on Vodou reconfigures gender relations, disempowers poor women, and generates sentiment of self-hate among Haitians who are misled into believing that their faith is the source of their plight.

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4

Louis Jr., Bertin M. "Haiti’s Pact with the Devil?: Bwa Kayiman, Haitian Protestant Views of Vodou, and the Future of Haiti." Religions 10, no. 8 (2019): 464. http://dx.doi.org/10.3390/rel10080464.

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This essay uses ethnographic research conducted among Haitian Protestants in the Bahamas in 2005 and 2012 plus internet resources to document the belief among Haitian Protestants (Haitians who practice Protestant forms of Christianity) that Haiti supposedly made a pact with the Devil (Satan) as the result of Bwa Kayiman, a Vodou ceremony that launched the Haitian Revolution (1791–1803). Vodou is the syncretized religion indigenous to Haiti. I argue that this interpretation of Bwa Kayiman is an extension of the negative effects of the globalization of American Fundamentalist Christianity in Haiti and, by extension, peoples of African descent and the Global South.

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5

Mehmet, Aziz GÖKSEL. "TRACES OF VODOUIN HAITIAN FREEMASONRY." International Journal of Advanced Research and Review 7, no. 3 (2022): 15–32. https://doi.org/10.5281/zenodo.6400456.

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The inquiry in this research builds on certain insights to uncover how various institutions of Vodou practices take shape, converge, and become rearticulated in the networks of transnational linkages within and in relation to Freemasonry in Haiti. Some scholarly sources connote the issue with a close assumption examining the symbolic similarities that, European Freemasonry is readily adepted into Vodou. This article, furthermore seeks to reach a coherent whole, in the idea that, there might be a connection between Haitian naitional identity and Freemasonry, through Vodou practices. Even though significant literature, reveals the impacts of both Freemasonry and Vodou on each other in Haiti and the major claim is that Freemasonry and the principal masonic utopias, paved the way to transnationalism in Haiti; the primary objective of the study is, not to examine the theological substructure of syncretistic Haitian religions. Nor it will be the major interest to trace here, the formation of Vodou as a religion on the Hispaňola Island. Nevertheless, in order to depict a realistic historical perspective of cultural emancipation of Haiti, Vodou is steressed in corresponding aspects.

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6

KIM, SABINE. "Haitian Vodou and Migrating Voices." Theatre Research International 44, no. 1 (2019): 58–63. http://dx.doi.org/10.1017/s0307883318000998.

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This article looks at the relationship between Haitian vodou, sound recording, and migration. I argue that Haitian vodou has a special relationship with technologies of sound, understood in Jonathan Sterne's sense of media as embodiments of social desire. There is a parallel between vodou possession and the practice of pwen (throwing verbal insults), on the one hand, and, on the other, the tape recorder's ability to manifest a person through the sound of his or her voice, making him or her present both in Haiti for the Haitian vodou congregation and in the diasporic land, thus bridging the separation across oceans and time. This transnational character underscores how Haitian vodou, which has been much maligned and often misunderstood, is an incredibly flexible and adaptive religion, necessary as a means of cultural survival for citizens of one of most economically disadvantaged nations, harshly subject to insertion in global neo-liberal labour markets.

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7

Mocombe, Paul C. "Haitian/Vilokan Idealism, Lakouism, and the Vodou Ethic and the Spirit of Communism." Issues in Social Science 7, no. 1 (2019): 12. http://dx.doi.org/10.5296/iss.v7i1.14750.

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The demystification of the Vodou religion or ontology as practiced in Haiti, epistemologically reveals a form of transcendental idealism and realism, Haitian/Vilokan Idealism, which produces a hermeneutical phenomenology, materialism, and an antidialectical process to history enframed by a reciprocal justice as its normative ethics. This work posits and concludes, that Haitian ontology, Vodou/Vilokan, gave rise to its epistemology, Haitian/Vilokan Idealism, which subsequently gave rise to the Vodou Ethic and the spirit of communism and the lakou system as its form of social and system integration, respectively.

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8

Thylefors, Markel. "Official Vodou and Vodou Churches in Haiti." Suomen Antropologi: Journal of the Finnish Anthropological Society 33, no. 2 (2008): 27–48. http://dx.doi.org/10.30676/jfas.v33i2.116435.

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The last decades have seen some new trends within Haitian Vodou such as the first formal Vodou organizations of the eighties, the 2003 presidential decree officially recognizing Vodou as a religion, as well as attempts to ‘structure’, and ‘homogenize’ Vodou on a nationwide scale. This paper explores another, yet related, item among such transformations: namely, public discourse on, and aspirations to create, Vodou churches, marriages, baptisms, and funerals. In this article, such phenomena are foremost interpreted as attributes of the social status and legitimacy of ‘serious religion’ and as having less to do with purely spiritual, or religious, matters. The actual need for such additions—at least, in realized form—however, is less tangible among Vodou practitioners. Here it is suggested that this situation explains why so few Vodou churches are actually established, or marriages celebrated. It is also proposed that through the mere act of entering the public sphere and making their claims heard, Vodou practitioners to a large extent have already rendered the Vodou religion legitimate.  Keywords: Haiti, Vodou, the official recognition of Haitian Vodou, marriages, baptisms and funerals.

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9

Weber, A. S. "Haitian Vodou and Ecotheology." Ecumenical Review 70, no. 4 (2018): 679–94. http://dx.doi.org/10.1111/erev.12393.

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10

Richman, Karen. "Peasants, Migrants and the Discovery of African Traditions: Ritual and Social Change In Lowland Haiti." Journal of Religion in Africa 37, no. 3 (2007): 371–97. http://dx.doi.org/10.1163/157006607x211978.

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AbstractObservers of Haitian popular religion have defined Vodou as the authentic African religion of Haitian peasants. In fact, Vodou's congregational forms and practices evolved in and around Port-au-Prince during the twentieth century as the local peasantry was being coerced into wage labor. This paper deals with the incorporation of these ritual innovations in a particular hamlet in Léogane. The agents of ritual diffusion appear to have been not only redundant peasants and neophyte proletarians circulating between the capital city and the nearby plain, but also ethnologists who moved between privileged sites of the Vodou laboratory. The scientific valorization of the heroic slave religion was a centerpiece of the Haitian ethnologists' counter-narrative to European cultural hegemony and North American colonialism. Though their approach to Vodou was part of counter-hegemonic, nationalist discourse, it nonetheless recapitulated a modern view of tradition-bound primitives.

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11

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. Particular attention is given to the genre of horror movies, in which voodoo’s connections with violence against whites and hypersexuality are exploited to produce both terror and arousal. Le Vodou est souvent invoqué comme une cause de la misère persistante d’Haïti. Bien que les arguments académiques ont été avancés pour prouver le contraire, le Vodou en générale est toujours mal compris et souvent décrié. Les idées erronées du Vodou sont étayées, en partie, par l’utilisation fréquente dans la culture populaire de la religion imaginaire du « voodoo ». Le Vodou et le voodoo possèdent des destins enlacés, et le Vodou continuera à souffrir d’une mauvaise réputation aussi longtemps que le voodoo reste un instrument pour l’expression des anxiétés racistes. L’attrait durable du voodoo est analysé ici à travers ses usages dans la culture touristique, le cinéma, la télévision, et la littérature. Une attention particulière est donnée au genre des films d’horreur, dans lequel les connexions du voodoo avec la violence contre les blancs et l’hypersexualité sont exploitées pour produire, en même temps, la terreur et l’excitation sexuelle.

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12

Rey, Terry, and Karen Richman. "The Somatics of Syncretism: Tying Body and Soul in Haitian Religion." Studies in Religion/Sciences Religieuses 39, no. 3 (2010): 379–403. http://dx.doi.org/10.1177/0008429810373321.

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The convergence of African religion and Christianity in the Atlantic world has inspired some of the most significant and most analyzed examples of syncretism in the study of religion. Scholarly discussions of these phenomena, however, tend to portray religions like Vodou in Haiti and Candomblé in Brazil as mergers of various Euro-Christian and ‘‘traditional’’ African elements that chiefly result from processes of cognitive ideation, thereby blurring the integrative somatic dimensions of religious syncretism. Modes of embodying knowledge, power, and morality are thus largely absent from the discussion of religious syncretism in Haitian Vodou and Catholicism, as well as other contact-cultural religions, whose congregational and performance spaces now span national boundaries. Drawing upon the historiography of Kongolese and Haitian religion, and on our multi-site ethnographic research among religious communities in Haiti, to think about religious syncretism in the African diaspora, this paper focuses on two key metaphors of mimetic knowledge and embodiment, mare and pwen (tying and point), arguing that they are both fundamental processes in Haitian religious syncretism and essential tropes for understanding Haitian Vodou and Catholicism, processes that are of predominantly Central African, and especially Kongolese, origin.

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13

Roberts, Allen F., and Donald J. Cosentino. "Sacred Arts of Haitian Vodou." African Arts 29, no. 2 (1996): 91. http://dx.doi.org/10.2307/3337381.

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14

Wittmer, Marcilene. "Sacred Arts of Haitian Vodou." African Arts 30, no. 2 (1997): 72. http://dx.doi.org/10.2307/3337424.

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15

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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16

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 and performances and second, the significance of particular Vodou spirits which act as mediators between different cultures. The article questions the idea of exclusive belongings and highlights the meaning of space as a differentiating factor in the diversification of religious meanings and messages in multicultural settings.Keywords: Vodou, Haitian diaspora, space, spirit possession, syncretism, religious parallelism

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17

Daniels, Kyrah Malika. "The Color of Devotion." Nova Religio: The Journal of Alternative and Emergent Religions 26, no. 4 (2023): 85–101. http://dx.doi.org/10.1525/nr.2023.26.4.85.

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This study of race and religion examines the largest population converting to Haitian Vodou in the United States today: blan—foreigners. This article investigates the experiences of white western foreigners, who remain vastly understudied as devotees of “immigrant religions.” As with many conversion narratives, white Americans report becoming initiates into Vodou to deepen divine connections, restore health, develop spiritual sensibility, and establish community. Drawing from ethnographic fieldwork conducted in New England with white American devotees of United States Vodou temples, I explore westerners’ feelings of belonging in the lakou, or ritual kinship system. I explore the tension between white practitioners’ power and privilege and their desire to forge meaningful new spiritual communities, as the development of religious race consciousness for white initiates is not always a linear process. Ultimately, this work illuminates how foreign devotees must cultivate both religious maturity and racial consciousness as they work to acquire “religious citizenship” in Haitian Vodou, a Pan-Africanist tradition that requires all devotees to be dedicated advocates of Black liberation.

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18

Michel, Claudine. "LE POUVOIR MORAL ET SPIRITUEL DES FEMMES DANS LE VODOU HAÏTIEN: LA VOIX DE MAMA LOLA ET DE KAREN MCCARTHY BROWN." Numen 50, no. 1 (2003): 71–107. http://dx.doi.org/10.1163/156852703321103256.

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AbstractThe article attempts to interpret morality in Haitian Vodou by illustrating its ethical framework in the day-to-day realities of its followers. In so doing, I demonstrate how Vodou as a living system of belief and practice has historically served as the informal infrastructure for morality in Haiti. To this end, I draw upon the work of Karen McCarthy Brown whose work on Mama Lola, a Haitian priestess living in Brooklyn, is an insightful venture into the heart of this widely misunderstood religious and social system. Furthermore, this essay offers the perspective of a very distinctive single voice which emerges from the long and complex dialogue between the multiple voices of the researcher/observer/participant and the manyfaceted voices of the priestess/informant. Their diverse perspectives and individual utterances fuse successfully in a powerful articulation of feminist intervention and cultural understanding. Their lives and their work clearly establish how the Haitian religion empowers women and how the manbo subtly manifests Haitian female power.

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19

Cévaër, Françoise. "Haitian crime fiction: Re-interpreting Haitian History through Vodou." International Journal of the Humanities: Annual Review 7, no. 9 (2009): 11–18. http://dx.doi.org/10.18848/1447-9508/cgp/v07i09/42738.

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20

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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21

Adams, Kathleen M. "Sacred Arts of Haitian Vodou UCLA Fowler Museum of Cultural History:SACRED ARTS OF HAITIAN VODOU. UCLA." Museum Anthropology 21, no. 2 (1997): 86–89. http://dx.doi.org/10.1525/mua.1997.21.2.86.

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22

Louissaint, Guilberly. "The Ceremonial Bath, a Surrender to the Spirits." Journal of Haitian Studies 29, no. 1 (2023): 69–89. http://dx.doi.org/10.1353/jhs.2023.a922858.

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Abstract: In a time of ecological devastation, Haiti must once again turn to its sacred ecologies. Vodou is the lifeline of Haitian national identity, serving multiple social functions, “healing” among them. This piece argues that Haitian Vodou is a model of ecological healing that runs counter to Western medicine, a biologically reductionist system grounded in the ecological, racialized scientific research-based exploitation of the island and its inhabitants. Focusing on the history of ritual bathing through the rise of balneological science in Saint-Domingue, I argue that the question of health in Haiti encompasses a larger colonial relationship with empire-making that is tied to the subjugation of sacred epistemologies and their ecologies––a history that tethers humanity to the Earth and the spirits.

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23

Richman, Karen E. "A more powerful sorcerer: conversion, capital, and Haitan transnational migration." New West Indian Guide / Nieuwe West-Indische Gids 82, no. 1-2 (2008): 3–45. http://dx.doi.org/10.1163/13822373-90002464.

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Focusses on how since the arrival of Haitians in South Florida since 1979 many of these increasingly joined and converted to Haitian evangelical Protestant churches, and came to disavow the combined Catholic and Vodou beliefs they adhered to. Author points out how this echoes trends in Haiti since the 1970s of increased conversions to evangelical Protestantism, with these localized/Haitianized Protestant churches later also moving to Florida. She further examines the motivations behind and meanings of these conversions, and argues that poor Haitian migrants construe conversion as a rhetoric and set of behaviours for mastering a model of individual, social, and economic success in the US. At the same time, she shows how this Protestant evangelical practice offers converts an escape route from familial and other obligations and interdependence connected to traditional, transnational domestic and ritual ties, that are also spiritually and magically enforced. Author however indicates that while the pastors model for their flock an assertive, separatist disposition, central to Protestantism's historical appeal, combined with a modern, ascetic approach, underneath this is often an instrumental logic aimed at instant money and private ambition. As these traditionally were illicit rewards of sorcery and magic, the pastors are seen by some as renewed and successful sorcerers. Author further examines the conversions relating these to the moral dialectic from Vodou, known as Guinea and Magic, mediating the conflicts between individualism and community, and gives examples of often pragmatic motivations for conversion. She thus concludes that Haitians' interpretations of their conversions are unique in that they are filled with their cultural concerns, images, and morality.

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24

Désir, Charlene. "Healing the Queer Spirit through Vodou, Psychology, and Advocacy." Journal of Haitian Studies 30, no. 1 (2024): 355–67. https://doi.org/10.1353/jhs.2024.a959396.

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Abstract: As a queer Haitian manbo, school psychologist, academic, and founder of The Empowerment Network (TEN) Global, my life has been shaped by a deep commitment to spirit, healing, and the integration of marginalized identities, particularly within the LGBTQ+ Haitian and African Diasporic communities. My journey has been one of integrating my spiritual practice of Vodou with my professional roles and academic contributions. Vodou has not only been my anchor but the lens through which I understand the complexity of identity, healing, and liberation. From an early age, I struggled to navigate spaces that left little room for ambiguity or fluidity in terms of gender or sexuality. Over time, I realized that my path was not just about self-acceptance but about creating spaces where others, particularly queer individuals, could also find healing, integration, and wholeness.

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Rey, Terry. "Tripping with the Spirits: Haitian Vodou in the Art of Paul Keene." Journal of Africana Religions 12, no. 2 (2024): 169–98. https://doi.org/10.5325/jafrireli.12.2.0169.

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Abstract For a painter as talented and accomplished as he was, it is puzzling that Paul Keene (1920–2009) is not more widely known or highly celebrated, especially among aficionados of Haitian art. This is perhaps due to the fact that Keene was himself not Haitian, though he did live and paint in Haiti for over two years and worked with, befriended, and trained several renowned Haitian masters. The artist also once exhibited with Picasso and Léger in Paris, while in Haiti he collaborated closely with one of Léger’s former students, DeWitt Peters, and taught at the fabled Centre d’Art in Port-au-Prince. Nonetheless, Keene remains largely unrecognized in Haitian studies or Caribbean studies.1 This article explores and contextualizes Keene’s work, beginning with commentary on relevant spiritual contexts and the artist’s remarkable biography, and culminating with a focus on the lwa (Vodou spirits) and drummers in his large oil-on-wood panel triptych Haitian Voodoo Spirits, painted in Haiti in 1953, and their representative symbols (vèvè).

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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 highlight praiseworthy characteristics of cultural heroes.

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27

Martin Demers, Stephane. "Recreating Collective Memories of Africa in the Afro-Caribbean Diaspora." Caribbean Quilt 6, no. 1 (2022): 90–96. http://dx.doi.org/10.33137/cq.v6i1.36932.

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Forced to succumb to a life of enslavement, African-turned-Afro-Caribbean slaves devel- oped a collective image of their beloved homeland and forged an unbreakable chain of solidarity among their many ethnicities. The collective recreation of Africa as manifest in the imagination of Afro-Caribbean slaves through the practice of Cuban Santería and Haitian Vodou in sixteenth- to eigh- teenth-century Cuba and Haiti catalyzed their resistance to European subjugation. In partic- ular, these recreated cultural memories served as a foundation for the enslaved to subvert the dominant culture and resist enslavement. Syncretism fails to properly acknowledge the Afro-Caribbean slaves’ efforts in challenging the imperial regime and the role these efforts played in maintaining their African roots. The tumultuous yet hopeful history through which Cuban Santería and Haitian Vodou evolved reveals that the African spirit continuously takes on new forms but never dies.

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Benson, LeGrace, and Lois Wilcken. "Marasa: A Special Issue and a Working Group for the Environment." Journal of Haitian Studies 29, no. 1 (2023): 191–95. http://dx.doi.org/10.1353/jhs.2023.a922865.

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Abstract: This special issue on Haiti’s environment and a recently created working group within the Haitian Studies Association (HSA) share a birth year: 2020. The pair had their conception during HSA’s 2016 conference in Cap-Haïtien, “Haiti’s Eco-systems: Focus on Environmental Realities and Hopes.” The meeting in Cap-Haïtien demonstrated a significant interest in the environment of Haiti and its challenges. Members responded to the call with papers, panels, and a plenary session, all of which examined Haiti’s ecosystems through the lenses of education, economics, visual and performing arts, spirituality, natural science, communications, literature, archaeology, agriculture, and health—to name a few. Following up from the interest generated, members responded again in 2020 to a call for working-group proposals. The lanbi (conch shell) sounded, and HSA’s Working Group on Haiti’s Ecosystems (WGE, also Konbit) answered. As the special-issue and working-group projects took shape together, we might think of them as Marasa, named after the sacred twins of Haitian Vodou who dramatize the ultimate unity in dualisms that might help us think through our human-nature divisions. The Marasa also represent new beginnings.

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Viddal, Grete. "Vodou and Voodoo as Alternative Religion." Nova Religio: The Journal of Alternative and Emergent Religions 26, no. 4 (2023): 1–7. http://dx.doi.org/10.1525/nr.2023.26.4.1.

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Haitian Vodou and Louisiana Voodoo are African Diaspora religions brought to the Americas by devotees who survived the transatlantic slave trade. Both are suffused by philosophies of communicating with the divine and serving a pantheon of sacred spirits. Both faiths have been misunderstood, with practitioners’ beliefs denigrated and their rituals stereotyped as crude, misguided, malevolent, or even criminal. However, each of the four articles in this special edition of Nova Religio speaks to how practitioners of Vodou and Voodoo, across different locales, social environments, and historical time frames, have pushed back against marginalization and defended their identities and legacies, while building religious communities of remarkable resilience.

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Landies, Maurea, and Elizabeth McAlister. "Rhythms of Rapture: Sacred Musics of Haitian Vodou." Yearbook for Traditional Music 30 (1998): 194. http://dx.doi.org/10.2307/768596.

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Nadel, J. H. "Vodou Nation: Haitian Art Music and Cultural Nationalism." Ethnohistory 55, no. 2 (2008): 355–57. http://dx.doi.org/10.1215/00141801-2007-077.

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Juste-Constant, Voegeli, and Elizabeth McAlister. "Rhythms of Rapture: Sacred Musics of Haitian Vodou." Latin American Music Review / Revista de Música Latinoamericana 18, no. 1 (1997): 129. http://dx.doi.org/10.2307/780331.

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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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Paravisini-Gebert, Lizabeth. "Caribbean Eco-fictions: Multilayered Stories of the Haitian Environment." Journal of Haitian Studies 29, no. 1 (2023): 198–211. http://dx.doi.org/10.1353/jhs.2023.a922866.

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Abstract: The duty of care for the nation’s threatened environment, for which the forest and its inhabitants stand as potent symbols, has been at the center of Haitian fiction, as well as of fiction by other Caribbean writers who have set their work in Haiti. The Haitian novel has mourned the impacts of deforestation on both human and nonhuman communities and denounced the practices that have led to catastrophic deforestation and the concomitant biodiversity losses, offering in turn new approaches and potential remedies for addressing one of the nation’s most central problems. The Haitian novel has counseled, above all, political action against extractivist practices and misguided environmental management and conservation measures, portraying the state’s inaction as conducive to the slow violence of environmental neglect. Above all, the Haitian novel has relied on the ecological principles of Vodou, particularly its deep connection to nature, as a foundational source for notions of sustainable development, landscape restoration, and multispecies justice.

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Mazzocca, Ann E. "Inscribing/Inscribed: Bodies and Landscape in the Ritual of Embodied Remembrance at Souvenance Mystique." Congress on Research in Dance Conference Proceedings 2015 (2015): 95–101. http://dx.doi.org/10.1017/cor.2015.17.

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There are many ways in which Haitian Vodou ceremonies defy Western binaries of ritual and performance, sacred and profane, and choreography and improvisation. Vodou, a danced religion, is an embodied practice. Souvenance Mystique refers to a place and an event. Eponymously named, it is a mystical remembrance that occurs annually in a weeklong ritual of Vodou ceremonies in the Artibonite Valley outside of Gonaives, Haiti. At Souvenance, the reference to memory and remembrance is embodied, and therefore Souvenance greatly reflects what Diana Taylor refers to as a repertoire of embodied memory. As a scholar, choreographer, and practitioner of Haitian folkloric dance, I have read this ritual in terms of its significations occurring through various signs such as the practitioners' clothing, their proximity to one another, movement, gesture, and ritual choreography.Souvenance is a site where the multiplicity of histories and bodies signify in relation to one another. While arguably an embodied history in itself, Souvenance also writes. The practitioners enacting the several-days-long ceremonies inscribe upon the surface of the earth. Repetition reinscribes ritual pathways, while a particularly important and meaningful pathway is traversed only twice—at daybreak toward a site and then at sundown returning to the central peristyle. It is the landscape that is inscribed by the practitioners. However, they also become written upon by sweat and sacred blood. In this paper, I will explore the ways in which the rituals at/of Souvenance write history annually and how, simultaneously, the history of Souvenance is being written.

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Thylefors, Markel. "“Modernizing God” in Haitian Vodou? Reﬂections on Olowoum and Reafricanization in Haiti". Anthropos 103, № 1 (2008): 113–26. http://dx.doi.org/10.5771/0257-9774-2008-1-113.

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Michel, Claudine, and Patrick Bellegarde-Smith. "Vodou and Haiti: A Conference on Haitian Vodou, Mission Statement of a New Association: The Congress of Santa Barbara." Religion 29, no. 4 (1999): 347–52. http://dx.doi.org/10.1006/reli.1998.0137.

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Jenke, Veronika, Lyn Avins, and Betsy D. Quick. "Sacred Arts of Haitian Vodou: A Curriculum Resource Unit." African Arts 32, no. 3 (1999): 90. http://dx.doi.org/10.2307/3337720.

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Turner, Carlton J. "Vodou in the Haitian Experience: A Black Atlantic Perspective." Black Theology 15, no. 2 (2017): 178–80. http://dx.doi.org/10.1080/14769948.2017.1326747.

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Landry, Timothy R. "Moving to Learn: Performance and Learning in Haitian Vodou." Anthropology and Humanism 33, no. 1-2 (2008): 53–65. http://dx.doi.org/10.1111/j.1548-1409.2008.00005.x.

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Wilcken, Lois. "Vodou Nation: Haitian Art Music and Cultural Nationalism (review)." Latin American Music Review 28, no. 1 (2007): 161–65. http://dx.doi.org/10.1353/lat.2007.0025.

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Fandrich, Ina J. "Yorùbá Influences on Haitian Vodou and New Orleans Voodoo." Journal of Black Studies 37, no. 5 (2007): 775–91. http://dx.doi.org/10.1177/0021934705280410.

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Apter, Andrew. "On African Origins: Creolization and Connaissance in Haitian Vodou." American Ethnologist 29, no. 2 (2002): 233–60. http://dx.doi.org/10.1525/ae.2002.29.2.233.

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Vedavathy, Rebecca. "Vodou in Haitian Memory: The Idea and Representation of Vodou in Haitian Imagination ed. by Celucien L. Joseph and Nixon S. Cleophat." Journal of Haitian Studies 25, no. 1 (2019): 231–34. http://dx.doi.org/10.1353/jhs.2019.0012.

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Wilcken, Lois. "Ecological Wisdom in the Marvelous Realism of Vodou (by way of Jacques Stéphen Alexis)." Journal of Haitian Studies 29, no. 1 (2023): 90–96. http://dx.doi.org/10.1353/jhs.2023.a922859.

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Abstract: For three days Père Osmin’s escort of parishioners and police rooted through the village of Fonds-Parisien near the Haitian shore of Lake Azuéi, driven by a fevered mission to destroy every temple that served Haiti’s ancestral spirits. Along the way they puzzled over the sanctuaries for the ancestors and the spirits of Africa, now empty of their diabolic (to them) accoutrements. The anguished cries of nocturnal birds in broad daylight disquieted them as they passed. Nothing, however, had prepared the band of zealots for Oungan Bois-d’Orme Létiro’s temple, reduced now to ash and glowing embers at the hands of the Vodou priest himself. Through the thundering speech with which the oungan now greeted Père Osmin and his band, Jacques Stéphen Alexis in his novel Les Arbres musiciens (The musicians’ trees) was connecting the dots among the marvel of the real, Haiti’s ancestral spirits, and the violent consequences of closing one’s senses to nature’s mysteries.

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Jean-Louis, Gabrielle Mary. "A Haitian Feminist Gaze: Haitian Women Artists Reimagining Religious Iconography." Journal of Haitian Studies 30, no. 1 (2024): 217–42. https://doi.org/10.1353/jhs.2024.a959389.

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Abstract: Engaging the work of Caribbean women visual artists furthers an understanding of Caribbean women's experiences in the region and how they are echoed in the diaspora. This article examines the work of Haitian women visual artists Myrlande Constant and Naudline Pierre, emphasizing their contributions to a Haitian feminist tradition of artistic imagination as an ethical imperative and practice of self-possession. Building on Tina Campt's concept of the Black gaze, I introduce the Haitian feminist gaze as a lens through which these artists challenge patriarchal norms, Eurocentric iconography, and the coloniality embedded in religious and artistic traditions. Constant's textile work Danbala et Aida Laflambo Nègre Arc en Ciel File (1990s) and Pierre's painting Close Quarters (2018) disrupt dominant narratives of race, gender, and religion in Haitian Vodou and Christianity, offering alternative ways of seeing and affirming marginalized experiences across the Black Atlantic. Embodying an ethical imagination as an artistic practice, both artists claim agency and reimagine normative forms, making visible autonomous feminine subjects that resonate with Black women's realities. This article situates their work within a Black Atlantic visual art tradition, arguing that their Haitian feminist perspectives expand understandings of Black feminist spirituality and creative resistance. Rezime: Dyaloge ak travay atis vizyèl fanm Karayibeyen yo ede n pwofonde konpreyansyon nou sou eksperyans fanm Karayib yo nan rejyon an ak fason travay yo rezone nan dyaspora a. Atik sa a egzamine travay vizyèl atis Myrlande Constant ak Naudline Pierre, ki se de fanm ayisyen pwodui. Epi, atik la mete aksan sou kontribisyon yo nan yon tradisyon feminis ayisyen kote imajinasyon atistik se tankou yon enperatif etik ak pratik posesyon pwòp tèt pa yo. Dapre konsèp Tina Campt lan nan Black Gaze , mwen entwodui rega feminis ayisyen an kòm yon ti loup kote atis sa yo defye nòm patriyakal yo, ikonografi ewosantrik, ak kolonyalite ki entegre nan tradisyon relijye ak atistik yo. Drapo twal Constant, Danbala et Aida Laflambo Nègre Arc en Ciel File (1990s), ak penti Pierre Close Quarters (2018) deranje naratif dominan an ki egziste sou ras, sèks, ak relijyon nan Vodou ayisyen an ak Krisyanis la. Rega sa a tou ofri yon lòt fason pou nou wè ak afime eksperyans majinalize yo atravè Atlantik Nwa a. Nan lide pou enkòpore yon ethical imagination kòm yon pratik atistik, tou de atis yo reprezante yon vwa solid, epi yo reimajine fòm nòmatif yo, yon fason pou fè fanm yo vin sijè ki otonòm, ki vizib epi ki rezonnen ak reyalite fanm Nwa yo. Atik sa a sitiye travay yo nan yon tradisyon atizay vizyèl Atlantik Nwa a, li diskite ke pèspektiv feminis ayisyen yo ogmante konpreyansyon yo genyen sou espirityalite feminis nwa ak rezistans kreyatif.

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Rey, Terry. "Catholic Pentecostalism in Haiti: Spirit, Politics, and Gender." Pneuma 32, no. 1 (2010): 80–106. http://dx.doi.org/10.1163/027209610x12628362887677.

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AbstractThis paper explores one of the most impressive developments in Haitian religion over the last few decades, that of the Catholic Renewal, situating it in the context of broader social and political change and gauging its trajectory in the course of modern Haitian religious history. While not ignoring the important and related issues of syncretism and apostasy, it focuses on three of the most salient aspects of the renewal in Haiti: 1) its confrontational posture toward the nationally popular African-based religion of Vodou; 2) its contribution to a depoliticization of popular Catholicism; and 3) the overwhelmingly female composition of its membership. What sociological interpretations can be made of all of these aspects, and what specifically Haitian dimensions to them can be discerned? Through historical, regional, and global contextualizations, combined with the author’s multi-site ethnographic research conducted intermittently over a 15-year period, these and related questions are here critically addressed.

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Dougé-Prosper, Mamyrah A. "Régine Jean-Charles’s Black Feminist Ethical Reading of Twenty-First-Century Haitian Women’s Fiction." Small Axe: A Caribbean Journal of Criticism 28, no. 3 (2024): 195–205. https://doi.org/10.1215/07990537-11592752.

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Looking for Other Worlds: Black Feminism and Haitian Fiction (2022) by Régine Jean-Charles engages scholarship across multiple disciplines and fields—Haitian studies, Caribbean studies, Black feminist studies, media studies, ecofeminism, anthropology, geography, and history—and employs diverse methods that include archival research, social media and artwork analysis, and literary critique. This review essay posits that Jean-Charles uses Black feminism rather than Haitian feminism, arguing for a Black feminist project that is transnational and global and that allows for both/and. Jean-Charles’s analyses of the works of Évelyne Trouillot, Yanick Lahens, and Kettly Mars focus on the ways these writers creatively deal with issues of gender, race, color, class, sexuality, Vodou, and nature. Yet despite her recognition of the impact of political crises on their novels’ characters, Jean-Charles emphasizes the ordinariness of the characters’ lives. She identifies joy, care, and the erotic as central to the other worlds the writers invite readers to imagine.

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Mocombe, Paul C. "Haitian/Vilokan Idealism versus German Idealism." Cross-Currents: An International Peer-Reviewed Journal on Humanities & Social Sciences 4, no. 4 (2018): 69–74. http://dx.doi.org/10.36344/ccijhss.2018.v04i04.006.

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Unlike German Idealism whose intellectual development from Kant to Schopenhauer, Hegel, Marx, Nietzsche, Husserl, Heidegger, and the Frankfurt school produced the dialectic, Marxist materialism, Nietzscheian antidialectics, phenomenology, and deontological ethics; Haitian Idealism produces phenomenology, materialism, and an antidialectical process to history enframed by a reciprocal justice as its normative ethics, which is constantly being invoked by individual social actors to reconcile the noumenal (sacred—ideational) and phenomenal (profane—material) subjective world in order to maintain balance and harmony between the two so that the human actors can live freely and happily in a material resource framework where they are the masters of their own existence without masters or owners of production. The originating moments of the Haitian Revolution and its call for total freedom and equality demonstrates the antidialectical and normative processes of Haitian idealism, while the creation of the phenomenal world of subjective experiences according to one’s capacity, modality, developmental stage (both spiritual, physical, and mental), and spiritual court is symptomatic of the phenomenological development in Haitian Idealism and its Vodou Ethic and spirit of communism and Lakou system as its form of social and system integration, respectively. This work explores the underlying distinction between German idealism and Haitian idealism as encapsulated in its culmination, i.e., the Lakou system.

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HOPE, WILLIAM. "Vodou Nation: Haitian Art Music and Cultural Nationalism byMichael Largey." American Ethnologist 39, no. 3 (2012): 656–58. http://dx.doi.org/10.1111/j.1548-1425.2012.01385_24.x.

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