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Статті в журналах з теми "Cultures vodoun"

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Автор: Grafiati

Опубліковано: 6 липня 2024

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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 (April 25, 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.

2

Drotbohm, Heike. "Of Spirits and Virgins." Suomen Antropologi: Journal of the Finnish Anthropological Society 33, no. 1 (January 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

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 (January 27, 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.

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 (January 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 brought the perspectives of the Catholic missionaries closer to those of the vodun priests.

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 (October 13, 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 conception partakes in the search for meaning to existence in a society that has erected individualism and the exclusion of black people into creed. The paper uses the theoretical approach of vodun ontology and, in an Afrocentric perspective, reads through Ward’s novel this cultural trait thriving centuries after the enslaved people’s departure from Africa. It purports to voice African traditional values and to celebrate cultural difference.

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 (April 12, 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 témoignent d'une acculturation profonde.

10

Caraion, Marta, Sophie-Valentine Borloz, and Joséphine Vodoz. "Literature and Material Culture: 1830-2020." EU Research Winter 2023, no. 36 (December 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.

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

Lara, Ana-Maurine. "Wanga Speaks: An Ethno-theological Rendering of Black Genders and Sexualities." Journal of Folklore Research 60, no. 2-3 (May 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 concepts of Black genders and sexualities. I share the results of consultas with Lula, a servidora of la 21 división, and one of the espiritus she embodies, Wanga. In sharing my conversations with Lula/Wanga, I explore the grounds for deepening our understandings of Black genders and specifically lesbian sexualities in the African diaspora.

13

Lara, Ana-Maurine. "Wanga Speaks: An Ethno-theological Rendering of Black Genders and Sexualities." Journal of Folklore Research 60, no. 2-3 (May 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 concepts of Black genders and sexualities. I share the results of consultas with Lula, a servidora of la 21 división, and one of the espiritus she embodies, Wanga. In sharing my conversations with Lula/Wanga, I explore the grounds for deepening our understandings of Black genders and specifically lesbian sexualities in the African diaspora.

14

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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15

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

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16

Hebblethwaite, Benjamin. "The Scapegoating of Haitian Vodou Religion." Journal of Black Studies 46, no. 1 (October 29, 2014): 3–22. http://dx.doi.org/10.1177/0021934714555186.

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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 (March 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 façon dont ces biens étaient matériellement et symboliquement intégrés à la culture de cour et associés à des croyances religieuses et à des pratiques rituelles du vodun. Il associe une enquête micro-historique reposant sur des sources écrites avec des découvertes archéologiques, des observations anthropologiques et l’analyse de sources visuelles et sculpturales, afin de mettre en évidence des aspects récurrents de la scénographie de cour, de comparer les significations des pratiques corporelles dans différentes régions du monde et d’identifier les liens matériels engendrés par le commerce mondial. L’article montre ainsi que les palais royaux ont été des laboratoires essentiels d’un changement esthétique et de nouvelles cultures de consommation élitiste. Au cours de ce processus, les éléments d’origine étrangère ont non seulement enrichi la culture matérielle des palais, illustrant la splendeur mondiale des monarques, mais ils se sont également chargés de nouvelles significations qui ont intégré ces biens et les pratiques afférentes dans des codes culturels spécifiques à certaines régions.

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 (August 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 (August 1, 1998): 495–96. http://dx.doi.org/10.1215/00182168-78.3.495.

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20

Largey, Michael, Elizabeth McAlister, Gage Averill, Gerdès Fleurant, David Yih, Holly Nicolas, Yuen-Ming David Yih, Elizabeth McAlister, Chantal Regnault, and Gerdes Fleurant. "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 (June 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 (February 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 (October 1, 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 (December 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 (February 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 (February 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 (December 7, 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 (May 3, 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 (October 1, 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 (July 1, 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.

32

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 (June 30, 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, similar spiritual practices on the African continent seem to be generally stigmatized if not demonized. Findings presented in this paper are as a result of direct observations and open interviews over a four months of fieldwork, as well as desktop reviews of existing literature. The findings demonstrate etymologies of terms and expressions that are of various African languages origin and are used in the three religions. The paper calls for integral comparative studies of parts in Africa with parts of Latin America to auxiliary identify linguistic and spirituality similarities, and significance roles of African slaves in maintaining African traditions.

33

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 (March 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 religious beliefs and ritual practices of Vodun. In order to track recurring aspects of courtly scenography, to compare the signification of bodily practices in different parts of the world, and to identify material links engendered by global trade, it combines microhistorical investigation based on written records with archaeological findings, anthropological observations, and the analysis of visual sources and sculptural artifacts. The essay argues that royal palaces constituted crucial laboratories of aesthetic change and new cultures of elite consumption. In this process, exogenous elements not only enriched the material culture of the palaces, celebrating the monarchs’ global splendor; they were also charged with new meanings that inscribed foreign goods and related practices into specifically regional cultural codes.

34

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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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 (April 17, 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 ritual (which she borrowed from Katherine Dunham's Haitian experiences after spending many years documenting vodou) while allowing a leading black male dancer to display his artistry on-screen. I show that cultures and artistic forms widely dismissed as incompatible are rendered equivocal. Study adopts a stylized and rhythmic technique borrowed from dance in its attempt to establish cinema as “art,” and I foreground Beatty's contribution to the film, arguing that his technically complex movements situate him as joint author of its artistic vision. The essay also explores tensions between the artistic intentions of Deren, who sought to deprivilege the individual performer in favour of the filmic “ritual,” and Beatty, who sought to display his individual skills as a technically accomplished dancer.

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 (April 3, 2018): 218–34. http://dx.doi.org/10.1080/17432200.2018.1443891.

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38

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 (January 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 religions in the modern world places them in a Catch-22. Drawing attention to the fundamental differences between modern conceptions and assumptions of what constitutes “religion,” the article traces the history of how modern political and legal structures either exclude and oppress Africana traditions or exert subtle pressure on them to conform to conceptions of “religion” that are more intelligible and acceptable to their largely Western-based frameworks.

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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

Haffner, Peter L. "At the Crossroads of Many Worlds." Small Axe: A Caribbean Journal of Criticism 26, no. 2 (July 1, 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 questions about her roles and responsibilities within the communities of artists and religious practitioners with whom she worked. This essay addresses problems and complexities in Houlberg’s work and activities in Haiti by relying on her extensive field notes, photographs, published works, and other archival materials.

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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 production of historiography and storytelling but also provides new insight into postcolonial feminist critiques of voice/lessness, narrative, and marginalized identities in the novel and criticism on it. Closely analyzing Fela’s voice—as it intersects with storytelling, historical slave narratives, Vodou, the maternal, and Haiti’s contribution to the Dominican Republic’s history—makes visible the unacknowledged yet essential role of the Afra-Dominican not only in this novel specifically but also to the Dominican Republic more generally.

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

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Tete-Rosenthal, Dede. "A Certain Vodu Childhood: Dislocation Between Culture and Expression of Self." Transforming Anthropology 18, no. 2 (September 24, 2010): 151–56. http://dx.doi.org/10.1111/j.1548-7466.2010.01092.x.

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Murray, Saille Caia. "Apples for Audubon and Eggplant for Oya." Journal for the Study of Religion, Nature and Culture 15, no. 4 (February 16, 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 facilitating the practice of these religious traditions. I build on the views of Erika Svendsen, Lindsay Campbell, and Heather McMillen that practitioners who engage in this use of public space derive a psycho-social-spiritual benefit from those spaces, while simultaneously contributing to the diversity and democracy of these public spaces as Frederick Law Olmsted and others have theorized.

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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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Chandler, William M. A. "Vodou Cosmology and the Haitian Revolution in the Enlightenment Ideals of Kant and Hegel." Caribbean Quarterly 68, no. 2 (April 3, 2022): 307–9. http://dx.doi.org/10.1080/00086495.2022.2068860.

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Rivera, Fredo. "Precarity + excess in the latinopolis: Miami as Erzulie." Cultural Dynamics 31, no. 1-2 (February 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 borderlands and creative expression as a framework and drawing inspiration from the Vodou pantheon of Erzulie, this essay analyzes Miami through a queer and Caribbean lens. New high-rises, prominent museums, and public art installations exemplify the rise of the neoliberal city and its inherent contradictions. The work of prominent local and international artists such as Edouard Duval-Carrié, Jeanne-Claude & Christo, Glexis Novoa, and Alfredo Jaar is explored as a window for considering Miami’s cultural production. Miami is a model of tropical urbanity. Its social, political, and economic conditions belie this city’s status as global cultural capital.

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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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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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Lamothe, Daphne. "Vodou Imagery, African American Tradition and Cultural Transformation in Zora Neale Hurston's Their Eyes Were Watching God." Callaloo 22, no. 1 (1999): 157–75. http://dx.doi.org/10.1353/cal.1999.0035.

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