Vodou's Transatlantic History

Although it took a while, we have finally finished A Transatlantic History of Haitian Vodou: Rasin Figuier, Rasin Bwa Kayiman, and the Rada and Gede Rites by Benjamin Hebblethwaite. An ambitious work, Hebblethwaite explores the African background of the Rada and Gede rites in Haitian Vodou. Using what he terms Vodou hermeneutics, Hebblethwaite draws from ethnomusicology, linguistics, history, and other fields to explore Vodun in Benin as a source (and foil) for Vodou in Saint Domingue (and Haiti). Although previous generations of Haitian ethnologists or foreign academics have explored the African background of Vodou, observable to some extent already in Duverneau Trouillot's ethnographic sketch, Hebblethwaite seeks to explore more seriously African history and religious cultures. This means that the book is structurally divided into two halves, focusing on Vodun in Benin and Vodou songs in Haiti read through the author's "Vodou hermeneutics.'

The first two chapters focus on the historical context of Vodun in Benin, particularly Allada, Hueda and Dahomey. This historical context is key for understanding what the author sees as royalist Vodun tied to the slave trading states of Dahomey, Allada and Vodou versus the communal or local Vodun cults or traditions of victims of the slave raids. Unsurprisingly, in Haiti, where many victims of these slave raids were eventually trafficked through the French slave traders on the Slave Coast, the more familial or communal aspects of Vodun were more relevant for the development of Vodou. That said, elements of Haitian Vodou retain, perhaps, memories of Agaja of Dahomey. But this intervention here is key for understanding why some African "traditional" religions in Saint Domingue were associated with rebellion, as dissident Vodun priests or groups were sometimes targeted by Dahomey for enslavement and export. Indeed, Hebblethwaite compares the royalist Vodun slave trading states like Dahomey to the royalist Catholic French slave traders and enslavers, with our ancestors as the victims of both. Of course, one could also explore why, if what became Vodou in Haiti was not marked by royalist sentiments, why is it that many of the hieratic titles used in Vodouist groups, rara bands or other manifestations of Haitian popular culture featured kings, queens, generals, and the like?

Overall, these two chapters on the politics and practice of Vodun in the Slave Coast are the richest chapters of the text. While one has some quibbles over the author's interpretation of Dahomey's origins and its relations with Allada, Hueda and other polities, he demonstrates how Vodun was inextricably tied to power and community (Law and other historians specializing in this region seem more skeptical or ambivalent on the traditions of Dahomey tying their royal dynasty to Allada, as well as other traditions of origin). This included slave raids, conquests, the incorporation of foreign Vodun into the expansionist Dahomey state, and the proliferation of Vodun cults through migration and refuge. In Saint Domingue, the victims of these processes who were sold to the French inherited these practices. As for why the Rada and Gede rites became so prominent in Sèvis Ginen, the structure of Vodun and its ability to incorporate new or "foreign" ideas and concepts provided a foundation for Vodou. This surely cannot be merely a result of the timing of the arrival of huge numbers of "Arada" captives in Saint Domingue (though it probably played a role). After all, if the timing of arrival was such a significant factor, why is it that the Senegambian and Upper Guinean African "nations" have less influence in the formation of Vodou? 

This is also relevant to the Central African influence, which the author admits has a huge legacy in Haitian Vodou. And while their numbers may have increased exponentially later in the 1700s, the impact of Kongo Catholicism and other religious traditions from West Central Africa must be considered as foundational to the development of Haitian religion. Indeed, even Allada, whose own history of relations with Portugal and Catholicism are worth exploring, may provide signs of Catholic influence in the formation of Vodou in the African past. We can only hope Hebblethwaite or other writers explore these dimensions of Haitian Vodou's transatlantic past.

The last two sections of the book shift to analysis of songs. The Rasin Figuier recordings are fascinating examples of not only retentions of Vodun spirits, Fon or Aja words, but reworkings of Aja-Fon concept and theology. The fourth chapter's analysis of songs from the Gede Rite, however, are less successful. Despite offering a persuasive case for a Gedevi or Gedevi-Yoruba origin for the rite, the historical Gedevi are less visible in the book's historical chapters. Although undoubtedly due to their conquest, absorption and sale to Europeans, the lack of clarity regarding these peoples hinders a deeper historical context for them. The Gede spirits are numerous in Haiti, and while they too reflect African origins, they appear very much Creolized with Miragoane being the source of some (according to Vodou myth). Despite their prominence and their irreverent allusions to sexuality, death, or taboo-busting possessions, the Gedevi connection appears elusive. It also didn't help that many of the Gede songs analyzed here, while lamenting or criticizing social inequality, remind one of the role of "signifying" and tricksters in African American culture. In short, it's less revolutionary or egalitarian than some would like to think...

In spite of the issues with the final two chapters, it is wise to see Hebblethwaite's Vodou Hermeneutics as an analytical tool for a work in progress. With so many rites and traditions of Haitian Vodou to explore, as well as the larger histories of West and Central Africa to help contextualize it, one can only hope the Nago, Kongo, and other rites receive their due for a more comprehensive study of Vodou. One should also extend the field of analysis to more sections of Haiti to see which areas have preserved or maintained some traditions rather than others, and what the impact of urbanization and migration was on those regions. As always, the analysis must include linguistics, African and Haitian history, religious studies, and other fields for an interdisciplinary approach.

Favorite Pictures from Montilus's Le vodou fon dans le Royaume d'Allada (Bas-Dahomey): ses images et ses symboles

 

Although the quality of the images and the binding of the book made it difficult to use or interpret all the photos in Le vodou fon dans le Royaume d'Allada (Bas-Dahomey): ses images et ses symboles, we had some favorites from the bunch. A very short book comprised of photographs by Montilus and short captions describing them, all centered on Fon Vodou in Allada, there are some striking images. Some depict animal sacrifice, temples, various types of priests or priestesses, hunsi and sacred drums, or people tied to the Allada court. Unsurprisingly, the priests affiliated with royal cults seem to have the finest and most elaborate styles of dress.

The "traditional king" of Allada even appears in one photo. Presumably this is a Adjahuto, descendants of a figure appointed by the king of Dahomey after the Dahomian conquest of Allada in the 1720s.

One photo that was partly cut off by the binding showed a vast crowed gathered for a prayer by a temple associated with the kings of Allada. 

Some of the photos of Vodou temples were grainy, but this one is quite clear. It appears to lack any figurative paintings but the different patterns on the exterior wall presumably have some meaning not explained by Montilus.

The dokpe of Allada are sort of our like cumbite but in the Fon context also involved in burials or funeral services.

A bokono is also included. In the Fon context, they are specialists in Fa or Ifa divination. We still consider it intriguing that this sense of the word has been lost in Haiti and boko became a term for sorcerers.

Unfortunately, Montilus did not provide much detail on the Allada king's traditional court and their role in the ancestral cults. 

Montilus's Dieux en diaspora

Guérin Montilus's Dieux en diaspora. Les Loa Haïtiens et les Vaudou du Royaume d'Allada (Bénin) is a short but richly detailed study comparing the Rada Rite in Haitian Vodou with Vodun in Allada. Based on fieldwork in both Haiti and Allada, Montilus is able to trace the origin of various lwa in Haiti and offer a model for why the mythology around many deviated so greatly from source materials in Allada. However, an African sedimentation of the mythology around many lwa persists, as do some of the concepts and larger framework in which these entities operate. But the destructive impact of the slave trade and enslavement in Saint Domingue, as well as contact with Christianity and various other African peoples undoubtedly led to many transformations and shifts in the conception of the Rada Rite. Montilus hints at this when examining the Simbi spirits, for instance, or theorizing how Congo or Petro rites incorporate more Central African ideas of magic. Montilus's main weakness is perhaps not examining the ways in which Vodun in Benin is a living tradition, hence another cause for its differences from Haitian practice. After all, if Haitians were able to develop a radically new mythology in some cases involving Erzilie, Ogou, Agwe, or other lwa, why wouldn't people in Benin have also adapted the spirits to meet their changing world? One can imagine Dahomey's conquest of Allada in 1724, their conquest of Ouidah, the French colonial conquest, and Christianity also had some impact here (perhaps even before colonialism through contacts with the Portuguese?). The diversity of legends and stories about Legba, Chango, and other vodun in Benin is perhaps a remnant of this great diversity in practice and mythology in today's Benin that has deep historical roots. Anyway, we hope to now read a recently published history of Vodou (again, focusing on the connections to the Slave Coast) that investigates more deeply the political factors shaping religion and spirituality in this part of West Africa. 

Nago (Yoruba) Legacy in Haiti

Milo Rigaud's La tradition voudoo et le voudoo haitien includes this beautiful veve for Ogou Batala.

The Yoruba legacy in Haiti survives in some rather influential ways. For instance, Haitian Rara music appears to be at least partly influenced by the Yoruba. According to J.B. Romain's Africanismes haïtiens, the word rara is likely derived from Yoruba. Although it is culturally a fusion of different elements, the use of a name derived from the Yoruba language attests to the presence of Yoruba speakers among the enslaved. In addition, the "Nago" are remembered and some of their orishas are honored in Haitian Vodou tradition. In fact, some Haitians still used the name Nago as a family name well into the 19th century. This important legacy suggests the Nago were remembered in Haitian tradition for far more than facial scarification on their cheeks or a penchant for stealing, as Malenfant described them in the 18th century. 

Milo Marcelin's Mythologie Vodou includes many examples of songs alluding to the Nago spirits. 

In Milo Marcelin's Mythologie Vodou (Rite Arada), numerous allusions to the Nago and Nago-derived lwa can be found. The Nago orishas are often subsumed in the category of Ogou (Ogun to the Yoruba), in various manifestations or forms. Thus, some, like Ogou Chango, are clearly a reference to Shango. Others, like Ogou Olicha, appears to be an allusion to a lwa whose name includes the word orisha. Considering the military leadership and skill needed for Haitian independence to materialize, one can imagine Ogou was a major lwa for many in Haiti.

Hector Hyppolite's Ogoun Chango.

Additional Ogous whose names refer to the Nago are Ogou Feraille, Batala (Obatala), Ogou Badagri, Olisha, and Ossange. Badagri, whose very name refers to the slave trade port of Badagry, is hardly a surprise as a Nago divinity. Batala is undoubtedly derived from Obatala of Yoruba tradition, while Ossange, a healer, is Osanyin. Unsurprisingly, the Nago appear to be associated with war, military prowess, and iron in Haitian tradition. Such a reputation can be seen in the role of Nago war leaders during the Haitian Revolution, such as Halaou and Gracia Lafortune. Yet Marcelin also reported that the Nago lwa Ogou Badagri was the father of the Haitian "mulatto." We are not sure if this association with "mulattoes" may be an allusion to mixed-race generals and military leaders during the Haitian Revolution. 

Mandingues of Haiti

Gerson Alexis's Lecture en Anthropologie Haitienne, a book we randomly encountered at a library today, includes the ethnologue's Notes on the Haitian Mandingues, in French and a slightly different English translation. Supposedly part of an unpublished manuscript, all we have, sadly, are the notes. While Alexis acknowledged the tentative nature of some of his conclusions of his study of the Mandingue cult in Morne Rouge, in Plaine du Nord, some of his conceptualizing of the community he observed struck as bizarre. Indeed, when one reads of this syncretic religious community, perhaps about 1000 people in Balan and a few nearby areas, one reaches the conclusion that this cult perhaps represents what Haitian Vodou was actually like in the 19th century. Indeed, after reading Duverneau Trouillot's ethnographic observations, from the late 19th century, one can see that "Vodou" in those days often revolved around African "nations" with particular rites, taboos, and customs. But over time, some of these distinctions were lost as the Africans and their Creole descendants became Haitian. The intriguing thing about the Mandingues of Morne Rouge, however, is that their distinctive practices and claim to a Mandingue ancestry persisted so late into the 20th century. 

To explain what we mean, consider Alexis's observation of congo, yanvalou and djuba rhythms in the Mandingue ceremonies. He seems to conclude that the Mandingue, perhaps due to their ancient Islamic influences and medieval empires, were culturally "advanced" and influenced the other "nations" of Africans in Saint Domingue/Haiti. Due to their allegedly advanced state, these Mandingues influenced other Africans in Saint Domingue. In fact, Alexis goes so far as to suggest words like mambo and houngan actually come from the Mandingue! However, yanvalou actually comes from Benin and the other rhythms noted by Alexis likely derive from other regions of West and Central Africa. Vodou terms such as houngan and many other aspects of the religion clearly owe more to other parts of West Africa, too. It is far more likely that the Mandingue cult observed by Alexis in 1967 had already been heavily influenced by the same forces that shaped the development of Haitian culture and Vodou. This would explain why Alexis observed rhythms from other traditions in the Mandingue ceremonies or "ordonnances." Indeed, this has to be the case since the "Mandingues" observed by Alexis are scarcely different from the other peasants in the area. In addition, while most of their members were descendants of past members claiming Mandingue lineage, new members could join the community through initiation. This process, in addition to the shared general culture of the region, might explain the appearance of rhythms from other traditions. 

But let us revisit the distinct features of the Mandingues. According to Alexis, the members of the community possessed a strong group consciousness, reinforced through ritual communion and a pact with degue, a type of rice flour with cane syrup. The members of the community claim African authenticity and distinguish themselves from the Canari dances and Vodou. They even claim to be members of the Society of King Mahomet! Unfortunately, the way Mahomet's name is transcribed by Alexis is somewhat ambiguous (MA-RO-MET) but it is probably the Prophet Muhammad of Islamic tradition. Besides referring to Muhammad, the Mandingue believe in a Supreme Being, sometimes associated with the Sun. Their cult is oriented to the adoration of this Creator being and their ancestors. In their prayers, they address Allah, Moussa (Missa?), and Mahomet. Moreover, their rituals take place at two times: dawn or early morning and in the evening. These meetings take place after a member dies, to commemorate the dead. These ceremonies, per Alexis, are called fran-gan-dan-man. 

A Mandingue Muslim wrote the above in 1773 in Leogane.

The leader of the Mandingue community is called mori. According to Alexis's Liberian informant, mori means "patriarch" among in Bambara and Malinke. However, mori is used by the Bambara to refer to Islamic diviners, something closer to the function of the mori among the Haitian Mandingue. By the time Alexis wrote his study, the Mandingue had only 1 mori, Barthelemy Exhalus, son of Exhalus Medard, the previous mori. It is probable that the position of mori was passed down from father to son, though Alexis does not provide evidence to prove it. This would fit, however, Vodou of the past in which the position of houngan was often passed down within the family. As for the Haitian mori, his main function is to communicate with the great Spirit through dreams and serve as a depository of the cult secrets. He understands the messages of the dead, who possess members of the community during ceremonies. Through prayer, song, dance, and sacrifices, to this Great Spirit and ancestors, members can be possessed. Perhaps as a remnant of their Islamic past, offerings excluded pigs (according to the English version). These spirits of ancestors, or zanges (anges) were never called lwa. Much like Haitian Vodou as we commonly know it, the mori used Catholic prayers in ceremonies. Their music, including a dance called Ronde du Mort, featured rhythms familiar to Alexis through other parts of Haitian culture. Unlike other Haitians, the Mandingue mori sang an incantation to Allah. Relying heavily on Balenghien, Alexis interpted one song as a deformation of the Islamic Shahada: Bi si mian y mi alahum- a ki baou Assa dan ila-a ilala. Elsewhere, the mori said Missa, Man-n Ma De, which is interpreted as Missa (Moses, or Musa) and Mamadu (Muhammad). 

To his credit, Alexis consulted specialists of Malian and West African languages and cultures. He relied heavily on a priest, Balenghien, who directed a center for the study of African languages at Taldye, Mali for confirmation of his theories. For instance, the burial practices of the Mandingue of Haiti included placing the corpse in a L-shaped hole, covering the body to prevent contact with the ground. According to Alexis's informant in Mali, the Bambara have similar customs. For identifying the Shahada in the incantations of Barthelemy Exhalus, he also relied on this Mali-based informant. In what may even be a possible reference to past Mandingue kings, Alexis saw a reference to a great Mandingo who introduced Islam when members of the Mandingue society claimed descent from the family of "Popotte Moussa." We, on the other hand, are inclined to think this "Popotte Moussa" may have been a prominent local "Mandingue" in the 19th century. 

Overall, the evidence suggests the persistence and survival of a strong Mandingue identity well into the 20th century in this part of Haiti. That they were influenced by Islam can be seen in the title mori, allusions to Muhammad, and that their religious ceremonies only commemorate the Creator (Allah?) and the souls of ancestors. Since they participated in the everyday rural culture of Morne Rouge, their religious ceremonies unsurprisingly acquired many traits of other contributions to Haitian culture. But Alexis's great contribution is in identifying the survival of one religious community in Haiti that preserved such a distinct, Islamic-influenced tradition. One must assume a sufficient number of Mandingue and West African Muslim captives were in the area so that the community did not die. Unlike, say, the Fulani and Borno Muslims described by Descourtilz, these Mandingue persisted well into the 1900s. Their willingness to accept new members through initiation and the custom of shared veneration of ancestors must have attracted Haitians from other traditions.