#vodu

[orphicastrology]

This field recording was made during a family funerary ceremony at the vodun temple palace grounds of his majesty, Dada Daagbo Hounon Houna II in Agondji, Ouidah. The women chanting are the matriarch elders of the family.

Recorded by Nayetési

Photography by Nayetési

[vinylspinning]

Sepultura: Bestial Devastation EP (1985)

As I said yesterday, split releases, like many marriages, are fragile, short-lived unions of convenience; bound for divorce just as soon as either spouse disagrees with the other's life interests or ambitions and breaks off on their own; so much for "'til death do us part."

This 40-year-old split LP (not original, but reissued, of course) is a perfect case-in-point: pairing Brazilian heavy metal legends Sepultura with fellow Belo Horizonte natives Overdose, whose career, like their moniker, was anything but legendary.

And yet, both groups, plus fledgling Cogumelo Records, were just getting started, at the time, so a split album made a lot of sense for all involved, as no one could have possibly predicted the two bands' astonishingly divergent destinies.

Earlier this week, I wrote about the original A-side, Overdose's three-track Século XX (20th Century), so today I'll cover the B-side, Sepultura's five-cut Bestial Devastation, for which no translation is required, and therein lies the rub.

Because, while Overdose clearly felt more comfortable singing in their native tongue, Sepultura's Max Cavalera would have none of it -- rather sagely stating that trying to write Portuguese lyrics for heavy metal was like writing English lyrics for samba.

Not that accurate English pronunciation, let alone correct grammar, were all that important to conveying Sepultura's amusing satanic intentions in opening croak "The Curse," nor ensuing blackened thrash rituals like the title track and "Necromancer."

"The curse is launched, beware ... The Lord of Death declared the war; Satanas is invoked to destroy; And to command the bestial ... Devastation!"

But don't be fooled: as intentionally crude and savage as these songs may be; as primitive the production and amateurish the musicianship of teenagers Max (vocals, guitar), Igor Cavalera (drums), Paulo Jr. (bass), and Jairo T. (lead guitar), there was obvious potential amid all that apparent chaos and noise.

Like extreme metal contemporaries, both overseas (Hellhammer, Kreator, Destruction, Bathory) and at home (Vulcano, Holocausto, Dorsal Atlantica), Sepultura were already stretching their abilities with varied arrangements, riff, and tempo changes.

This promise of accelerated musical growth in years to come is more evident (if no less violent and sacrilegious) on twin standouts "Antichrist" and "Warriors of Death," and Brazilian metal-heads confirmed this by generally rejecting Overdose's comparative melodic sophistication in favor of Sepultura's raw, unruly mayhem.

Their faith would be rewarded as Sepultura marched inexorably towards an unprecedented international breakthrough, while Overdose lost both direction and momentum over the course of six inconsequential albums before breaking up in 1996.

Sepultura, meanwhile, seemed to be utterly unstoppable until another kind of "divorce" tore the band apart from the inside; a tragic, heartbreaking outcome that some of us have frankly never fully gotten over ... but that's divorce for you, isn't it?

More Sepultura: Morbid Visions, Schizophrenia, Beneath the Remains, Arise,  Chaos A.D., Roots; plus Soulfly’s Soulfly, Primitive.

[kame-artist]

[kemetic-dreams]

There is a saying, from the Africans in Haiti “You European go to church and speak about God, We dance in the Temple and become God.”-African Proverb   Music and dance were highly valued in ancient Egyptian culture, but they were more important than is generally thought: they were integral to creation and communion with the gods and, further, were the human response to the gift of life and all the experiences of the human condition.  Dancers were not relegated only to temples, however, and provided a popular form of entertainment throughout Egypt. Dancing was associated equally with the elevation of religious devotion and human sexuality and earthly pleasures. In Egyptian theology, sex was simply another aspect of life and had no taint of ‘sin’ attached to it. This same paradigm was observed in fashion for both male and female dancers. Women often wore little clothing or sheer dresses, robes, and skirts.   In the African worldview, dance is a conduit of individual and community healing. African conceptualizations of illness and health integrate social, spiritual, physical and mental realms, all of which are impacted by trauma. The Vodou drumming rituals call upon abstract ancestral spirits, called Loas (or Lwas), for their aid, instruction, special powers and strengths as embodiment of certain principles or characteristics. While certain aspects of this religion may share the same roots, it is completely contrary to the stereotype of black magic, witch doctors, pins in dolls, and zombies portrayed by New Orleans style Voodoo (a variation of the name).  The Vodou drumming rituals call upon abstract ancestral spirits, called Loas (or Lwas), for their aid, instruction, special powers and strengths as embodiment of certain principles or characteristics. While certain aspects of this religion may share the same roots, it is completely contrary to the stereotype of black magic, witch doctors, pins in dolls, and zombies portrayed by New Orleans style Voodoo (a variation of the name).  There are so many subtleties and complexities in Haitian drumming, particularly in its relation to the rites and rituals of Vodou, that an overview of this kind cannot truly describe them in any detail. For instance, many of the rhythms have variations, each with their own subtitles, each assisting different loa. A good example of this is found in the Mahi rhythm - Mahi Darielle, Mahi Japeté and Mahi Deté are all variations of Mahi Simp (from the French Simple). However, some discussion of forms and techniques involved is essential.
An extremely important aspect of the performance of this music is the Kasé (from the French Casser, to break). The kasé is a break from the main cycle of the rhythm into a kind of alter-ego rhythm, usually instigated by the maman drum. In some cases, all the drums respond to the kasé with their respective changes, but often it is only the maman who will change, or at least the change in the segon is more subtle. Some kasé patterns stray quite far from the main rhythm, some create a counter pulse to it and others still remain fairly rooted in the pulse. Every rhythm has a kasé, and every kasé has its own way to enter and exit from the main line. Dancers also change their steps to follow the kasé.
The kasé is typically played to assist with aspects of the Vodou ritual, such as pouring libations before the drums. Sometimes these are cued by the officiating priests, sometimes by the maman player himself. However, the most dramatic use of the kasé is to facilitate spiritual possession. If the maman player recognizes the physical signs at the inception of a possession of one of the servants or dancers, he will play a heated kasé to entice the loa and may keep up the intense drumming of the kasé until the chwal in question is fully possessed.
The drums of Vodou employ techniques completely unique to the style. One of the most dramatic and difficult techniques to master is called the Siyé (from the French essuyer, to wipe). With this technique the drummer (usually a segon player) wipes the drum from the edge to the centre using the tips of his index finger, often with the thumb behind for support. As the finger rubs across the drumhead, a moaning sound is produced. The technique is employed as an embellishment on congas and is often referred to as a “Moose Call”. While the tone is very tricky to learn, it is even harder to do in the rapid succession which is required for some rhythms.  Vodou rites are done to call upon spirits, called Loas (or Lwas), for their aid, instruction, special powers and strengths. Loas are ancestral spirits who have become abstracted through the generations to become embodiments of certain principles or characteristics. A great feast is often prepared to entice the Loas to attend. Practitioners of the religion wear white clothes and are assisted by Ougan and Manbo (male and female Vodou priests, respectively) to become “possessed” by the loas. Through singing, dancing, and particularly the music of the drums, spirits come to “ride” their mortal hosts. The analogy of someone riding, and thereby controlling, a horse is given as an explanation of this phenomenon. The word Chwal (from the French cheval) is used to describe one who is “being ridden”. Spirits impart wisdom and direction through their chwals for the servants of the faith.
The loas are divided up into several nanchons (from the French nations), families of spirits from the same ethnic group and/or serving a similar function. The most prominent nanchons are Rada, Nago, Djouba, Petwo (also written Petro), Kongo, Ibo, and Gède. Traditionally each one of these nanchons would have had particular rites, rhythms and adherents. They even would have had their own drums that were unique to that nanchon to call upon its loas. These drum sets are known as batterie (from the French for “set of drums”). Today, due to economic constrictions and social and geographic changes, the drums from the Rada batterie are the most common, with the Petwo drums also extant.
Below is an overview of the several nanchons, the qualities and origins of their laws, and the rhythms and dances associated with their rites.
Rada - The loas of this nanchon are strong, but benevolent, balanced in their treatment of their servants. These are the most revered spirits, and many Vodou rituals begin with adulations for them. They originate from the Fon people of Dahomey (present day Benin). In Fact, the word Vodou comes from the Fon word for “God”. There are many loas in this group. To name a few: Papa Legba – Guardian of the Crossroads; Marassa – twin spirits who represent childhood; Dambala – the serpent spirit who represents energy and life; Ezili Freda – spirit of love and femininity; Lasirèn – mistress of the sea and music. Rhythm and dance styles played for the Rada nanchon include: Yanvalou, Parigol, Zepol, Mahi, Fla Voudou and Daomé.
Nago - The loas of this nanchon represent power. Its members embody attributes of warriors and leaders. They originate from the Yoruba people of south-western Nigeria and are closely associated with Ogun (sometimes written Ogou), the Yoruba Blacksmith-God. The loas in this group have names starting with Ogun, like Ogun Fèray and Ogun Badagri. As such, they are represented by steel and fire. The Nago rites are replete with military imagery. These spirits give masculine, fatherly council and support. The rhythm and dance style associated with these rites is also called Nago.
Djouba - The loas of this nanchon are connected to cultivation and farming. They personify peasants, both in appearance and manner. It is surmised that this nanchon comes from the island of Martinique. The principal loa for this group is Azaka. The rhythms and dance styles associated with this nanchon are Djouba (Matinik) and Abitan.
Petwo - The loas of this nanchon are aggressive, demanding, quick and protective. The origins of this nanchon are unclear, but many believe them to be the spirits of the original slaves and Haiti’s indigenous people (The Taino – almost completely wiped out after European contact), a sort of “home-grown” family of spirits. These spirits were called upon during the slave revolts beginning in 1791 which ultimately led to the defeat of Napoleons troops in 1803 and independence in 1804. The name might be derived from a slave priest of mixed African and Spanish Blood name Don Pedro who was one of the rebellion’s leaders. One of the loas in this nanchon bears his name (Jean Petwo). Another, Ezili Danto - sister to Ezili Freda in the Rada nanchon - is a spirit of love, but with a penchant for violence or revenge. The rhythm and dance styles associate with Petwo include Petwo, Makiya, Bumba, Makanda, and Kita.
Kongo - The loas of this nanchon are ancestors of the Bantu people of the Congo river basin. These spirits are gracious, and enjoy song and dance. In fact, music played for the Kongo nanchon is unique in that it is also popular in secular settings. In vodou worship houses called tanp (from the French temple) dolls representing these spirits are displayed adorned in brightly coloured clothing. Sprits include Kongo Zando and Rwa Wangol. The rhythm and dance style associated with this nanchon goes by the same name.
Ibo – The loas of this nanchon are from the Ibo people in south-eastern Nigeria. Their chief attributes are pride, to the point of arrogance, and are difficult to satisfy. These spirits preside over sacred items called Kanari, clay pots in which the soul of the initiate is said to reside during ritual possession. The best known loa of this group is Ibo Lélé (the chatterer). The rhythm and dance style associated with this nanchon also goes by the same name.
Gède - The loas of this nanchon are the spirits eroticism and death. More accurately they control the cycle of death and life. They are represented by figures in black with white faces. They are also tricksters. The most famous loa of this nanchon is Baron Samedi. He is macabre, obscene and lives in cemeteries. Other loas include Gède Nibo, Baron Lakwa and Gède Zarien. The Vodou ceremony almost always ends with the rites for Gède nanchon. The rhythm and dance style associated with this nanchon is called Banda.
While these seven nanchons all have their distinct attributes, in a more general way the nanchons are divided into two branches, each of which takes its name from one of the nanchons within it. While there is no consensus on this point, it can generally be argued that the Rada branch includes Rada, Nago and Djouba, and the Petwo branch includes Petwo, Kongo, Ibo and Gède. Some people place Djouba under the Petwo Branch, and some others consider the Kongo branch its own entity. For the purposes of drumming, we will use the two-branch differentiation, as rhythms most rhythms being played in non traditional contexts today use either the Rada or Petro batterie.
The Rada batterie and The Petwo batterie display as much contrast as the loas of the nanchon branches for which they play. The table below will illustrate some of the differences  When slave owners forced their Catholic beliefs and saints on them, slaves continued their worship in secret, linking each saint to an African deity and praying to them.
“The slave owners wanted to suppress the religion because they were afraid of the supernatural,” said Carrol F. Coates, a professor of French and comparative literature at the State University of New York in Binghamton who translates Haitian books into English. “They feared to some extent that the spirits could actually have an impact in their world.” 

[sheloya]

Updated to tackle the issue of homophobic content being published to feed energy to "white" supremacists.

[ancestralvoices]

"If you want to win, cast aside your white god and embrace your Afrikan spirit" -Dutty Boukman👑 via Memnon Uzan #nofilter #nofilterneeded #dutty #boukman #jamaica #jamaican #jamaicaman #hougan #ougan #manbo #spiritofrevolution #revolution #revolutionary #revolutionnow #voodoo #vodu #vodun https://www.instagram.com/p/CC9fXeJDN8x/?igshid=1v1pnfxskaool

[theartofmany]

Artist: Rémi Delabaudière Title: New York 2130 : Vodu gang member “Hi guys ! My new personal concept art « New York 2130 : Vodu gang member  » for my personal project « New York 2130 »  Follow me on Facebook : https://www.facebook.com/RDArtStudio05/  Behance : https://www.behance.net/remi-delabaudiere  Instagram : https://www.instagram.com/remidelabaudiererdart/  Pictures used from http://www.photobash.org/ , and Unsplash.com” Please, visit the aritst’s websites Awesome...

[andrehoraart]

Erzili Freda (DM if you want to buy a print, soon to be added on the online shop) #freda #ezili #erzulie #haiti #vaudou #vodu #voodoo #maitresseerzulie #art #andrehoraart https://www.instagram.com/p/B8XZLRLBJ-n/?igshid=fk97idcdvh