Voodoo was born in Western Haiti during the French Colonial Period, and it still is widely studied. The origins of voodoo comes from tribal religions in Africa and it was brought to Haiti by the slaves that were first sent there to the plantations before being sent to Louisiana ( mostly New Orleans) to work there. The word voodoo comes from the African word “vodu” which means spirit. As the slaves were staying in Haiti, they created a new religion based on their shared, common African beliefs which included singing and drumming and dancing as religious rituals. Despite the common opinion, voodoo rituals didn’t include drinking animal blood, sacrifices, snakes, sexual content etc.
The book demonstrates narrators encounter with voodoo cults in Haiti and describes zombies as soulless human corpses taken from the grave and made to walk and act as if they were alive. Until 1929 the term zombie was unknown outside of Haiti (Christie and Lauro, 13). The ideology connected to zombies is linked to the social and political life of Haiti.
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Instead, Tiana turns into a frog and this starts an adventure as they travel to find the voodoo priestess who can break the spell. I have seen this move probably about ten times and have always enjoyed it, but this is the first time that I really understood and looked at it on a deeper level and saw some of the hidden meanings, stereotypes, and what life was like back then. Dear Reader: I want to convince you that this film is a depiction of how life was for different groups, during the 1920, also known as the Jazz Age. In the movie, Tiana uses Tabasco sauce in her daddy’s gumbo and also in a dish that Mama Odie, the voodoo priestess is making. This hot sauce was very famous and went well with a lot of Cajun cuisine back then.
Martha Ward’s book “Voodoo Queen: The Spirited Lives of Marie Laveau” aims to dissect the complicated identity of the 19th-century voodoo priestess and her daughter of the same name. This book is the first study of the powerful religious leaders in a way that dismantles the common narrative of voodoo equating evil. During her examination of the Laveau legacy, Ward skillfully presents primary and secondary sources, as well as oral testimonies (1935-1943) from the Federal Writers’ Project of the Works Progress Administration. With a combination of archives that has considerable depth and breadth, Ward is able to analyze one of the most dynamic heritages in American Voodoo. One of the most important factors to consider while reading this book
In the book A History of Western Society, Volume B Bartolomeu Dias stated himself “to serve God and his Majesty, to give light to those who were in darkness and to grow rich as all men desire to do” (McKay 449). Even so, the discovery of new land helped spread Christianity to other locations. This helped strengthen the churches and the word of Christianity to get more people believing in God and Jesus. He was serving his God to help them open their eyes to religion. The book Faiths across Time: 5,000 Years of Religious History By J. Gordon Melton stated “the Portuguese effort will lead to the significant spread of Christianity” (Melton 1101).
One of the most common way of practicing kala jadu is using voodoo doll with magic spells. The doll is used as a replica of the person someone want to hurt and make him or suffer. The doll is basically pierced with several needles symbolising each needles for different suffering and pains. When performed by the tantric, the victim feels every bit of pains and effects can be devastating sometimes. The victim can be paralyzed and even meet a horrible death.
All the different groups that inhabited the Caribbean used art as a representation of their culture. These people did drawings and paintings on body, tools, masks, floors and costumes. In addition to that, these drawings and paintings were significant and were valued by these groups. The use of art by these groups were used for ritualistic and ceremonial purposes among others. Visual Art is one of the areas that have been suppressed by Grenada’s culture through the educational institution.
On the African continent magical realism and postcolonialism have gone hand-in-hand particularly in West and South Africa. In West Africa, the Yoruba mythologies and beliefs in particular have provided material for other African writer such as Ben Okri and Amos Tutula (1920-97). In addition to drawing on the western novel form and upon themes such as colonialism, religion and internationalism, West African magical realism often incorporates local influences to produce a cross cultural literature that emulates the situation of many West Africans today. As the critic Brenda Cooper notes : ‘African writers very often adhere to this animism, incorporate spirits, ancestors and talking animals, in stories, both adapted folktales and newly invented
Verbal taboo exists in everywhere in the world. Taboo became English word which derived from the natives of Polynesian Tonga Island in the south Pacific. Taboo means to “sacred”, “untouched” which is its original meaning. In 1777,James Cook, an English explorer, came to the Tonga island and he surprisingly found that there are a lot of society phenomenon which include some words can not be said casually or the others must be discontented, even frighten. The Tongan called this phenomenon “Taboo”.