There are multiple reasons why the religion of Voodoo originated in Haiti. Haiti had a substantial force that gave their people strength and power through hardships and all of the suffering. Haiti was very isolated during substantial points in history, which gave them time to come up with their own beliefs and practices of Voodoo. Like people today they believe in a God and a certain religion, which is exactly what Haitians believed. Not everyone had the same belief in the same God but they all believed in the same religion and that their God or spirits gave them advantages to life and disadvantages.
Voodoo is a blend of African animism, spiritism and indigenous religion. It is mainly practiced in West Africa and Haiti but is also practiced in Puerto Rico, Brazil, Cuba, The Dominican Republic and America. The beliefs can be a bit different in different schools and locations. The practical and ritual dimension of voodoo includes rituals like prayers, drumming, dancing, singing and animal sacrifice. Some main practices are magic, healing, candomblé, and Hoodoo which is African Folk magic.
In today’s society culture and religion has took a whole new meaning. We the society have expanded and developed new cultures and beliefs every day, but one big belief that some of society still support is voodoo. The meaning of voodoo is a black religious cult practiced in the Caribbean and the southern US, combining elements of Roman Catholic ritual with traditional African magical and religious rites, and characterized by sorcery and spirit possession. Also “there are three main types of voodoo. African voodoo, Louisiana voodoo, and Haitian voodoo.
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.
When the Drum is Beating is a movie about the people of Haiti, relating to the people, culture, background and music of Haiti. I learned a lot about the culture, music, and people of Haiti, but also the background and the past of the country, which I liked. I think that this film really encompassed all aspects of Haiti, such as the culture, music, people, and background by showing people that lived in Haiti as well as tying in their musical backgrounds. When the Drum is Beating was made specifically about the Septen music group. The film goes into detail about this particular group and how important they are not only now, but many years ago.
Chesnutt also uses African American folklore to celebrate his black identity throughout telling these stories. My research concentrates on Chesnutt 's representation of superstitions and folklore as traditions of African American culture in The Conjure Women. The Conjure Women is collected seven conjure stories that talk about magic works and superstitions. Uncle Julius is an ex-slave who is the narrator of the conjure tales. Uncle Julius narrates tales of antebellum plantation life in order to entertain the white couples, John and his wife Annie.
Equiano’s narrative not only open doors to ending slavery, but also gives us some clear insight about the many struggles the slaves had endured. Equiano Olaudah, who was born in 1745, was a member of the Eboe tribe who came from a village in Essaka (Benin) which is now southeastern Nigeria, West Africa. Part of his culture, was having a mark placed on a certain part of his body, which was significant to his culture. According to Equiano, “This mark conferred on the person entitled to it, by cutting the skin across at the top of the forehead, and drawing it down to the eyebrows; and while it is in this situation applying a warm hand, and rubbing it until it shrinks up into a thick weal across the lower part of the forehead” ( Equiano p. 5-6).
Ira Berlin's “”I Will Be Heard!”: William Lloyd Garrison and the Struggle Against Slavery” shows there are a few large influences which help steer William Lloyd Garrison's vehement opinions regarding abolition and equal treatment of blacks. They include; his evangelical faith, his “exuberant idealism that had it roots in the radicalism of the American Revolution,” and most importantly his partnership with Benjamin Lundy(Berlin). Lundy had the experience of years on the road visiting slave states and brought an appreciation to Garrison about “the evil that was chattel bondage”(Berlin). Lundy's influence on Garrison is important because he delivered first hand knowledge and visualizations of the horror of slavery to Garrison. It is one thing
The Truth in the Myth: Lougarous and liberation in Danticat’s “Nineteen thirty-seven.” Caribbean folklore functions as a vehicular tool for Danticat to discuss ideas of politics and gender in ‘Nineteen thirty-seven’. The cultural transmission of folklore is central to the story’s thematic resonance. The word of mouth nature of storytelling ensures the preservation of a tragically monumental episode in Haitian history, in addition to a feministic outlook on this event. The legend of the ‘Lougarou’ is emblematic of both political freedom and feminine freedom. Josephine’s mother is a focal point of this story, particularly in relation to her past and her identity as a Lougarou.
The use of ethos is further used with the mentioning of Martin Luther King who was an American Baptist minister and activist who was a leader in the African-American Civil Rights Movement. as such “Yet as we shall see in the pages that follow, racial caste systems do not require racial hostility or overt bigotry to thrive. They need only racial indifference, as Martin Luther King Jr. warned more than forty-five years ago.” (Alexander 12) Through her mentioning of this credible personal who was heavily
In Slavery and the Making of America, James Oliver Horton and Lois E. Horton presented America’s slave-driven history through a series of stories that portrayed the inhumane acts that slaves suffered through. Together, the husband and wife have extensive knowledge in American studies as well as history. In fact, James Horton is considered one of the most important contemporary African-American historians. He is the current Benjamin Banneker Professor of American Studies and History as well as the director of the African American Communities Project at the National Museum of American History in the Smithsonian Institution. Along with his teaching profession, Horton was a historical consultant on various film and video productions on programs like ABC, PBS, the Discovery Channel, and the History Channel.