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Haitian Vodou: Cultural Appropriation in American Videography
Shauna Healey
December 7, 2014
Healey 1
Devil worship, demonic possession, flesheating zombies, and Black magic American
horror films have insisted on framing Haitian Vodou as something to fear. From saving the souls
of possessed children, to a zombie take over leading to the apocalypse, Americans have been
conditioned to shudder at the language and culture associated with Vodou. Through cultural
appropriation in American media, Vodou is systematically misrepresented and viewed as
something to fear, rather than respect, for its structural and spiritual make up.
Several sources focusing on Vodou can shed light on their culture, and how it is
Divine Horsemen
interpreted by American media. Maya Deren’s, , shares her anthropological
Nan Domi
research on Vodou in Haiti. , written by Mimerose P. Beaubrun, recalls her
interpretations of Vodou songs. Hebblethwaite also gives some insight into the religion and its
terminology. The New Orleans Historic Voodoo Museum has literature regarding the spirits,
religious structure, and important figures, which will be referenced. These works will be useful
sources have a significant impact on how Americans view Haitian Vodou and how it is
represented in their society.
The basic structure of Haitian Vodou generally relies on a hierarchy of the
priest/priestess, who leads the congregation. Practitioners join at ceremonies to dance and call
lwa
forth the (spirits). From an outsider’s perspective, the ceremonies may seem hectic and
without structure, however, this is not the case. In a public Vodou ceremony, the
houngan or
manbo
, priests or priestesses, lead the ceremony .1 The priest and/or priestess will “collaborate
with ritual
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personnel, musicians, initiates, choir leaders, singers, patrons, and a loyal uninitiated following
by dance and song to call forth the lwa .2 The ceremony is structured by drawing the
veve
(symbol dedicated to the lwa) on the ground with earthly materials, saluting the four cardinal
points, the
ountogi (drummers), altar, and the ason
potomitan (centerpost), shaking the (sacred
rattle), singing, dancing, etc . All of these actions are done to serve the lwa, in hopes the spirits
will possess a member of the ceremony .3 Though public Haitian Vodou has a clear structural
form, this is not shown in American depictions of these congregations. Instead, Vodou is
depicted as being structureless and focused on the priest or priestess as a supreme individual.
be divine and whose followers do not follow Vodou’s basic structure. Laveau states she has
control over the lwa, who she can force into providing her desires. When the witch, Cordelia
Foxx, approaches Laveau for a fertility spell, Laveau begins a ceremony. This fictional
be heated over a fire, while Laveau eats peppers and dances with her followers. The ceremony
ends with the sacrifice of a goat over Cordelia’s genitalia. Laveau faints and sleeps for four
consecutive days .4 In Haitian Vodou, practitioners embrace their lack of virtuosity. They
believe everyone is on the same level except for God and the lwa .5 Laveau’s claim to have
control over the spirits would be blasphemous to the religion. Furthermore, this scene also
devalues the structural foundation of public Vodou ceremonies.
The fertility scene lacks the basic procedures in serving the lwa, the most important part
of a Vodou ceremony. A veve is not drawn on the ground, salutations are not given, and basic
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structures like the potomitan and ason are not present. Laveau is leading a ceremony of
drummers and dancers, but she is not taking part in the rituals used to impress the lwa. Her lack
of virtuosity and ability to hold an adequate celebration would not result in the spirits serving
expense of others.
The Serpent and the Rainbow includes another example of leadership abuse in films of
Haitian Vodou. Dargent Peytraud is a priest who uses Black Magic to taunt and murder Dennis
Alan, an American researcher .6 Peytraud was using the spirits and magic to harm Dennis
through mind control, forced visions, turning him into a zombie, killing, and possessing his
bokor
friends. Peytraud was a , “a practitioner of magic, not necessarily an initiate of Voudoun,
and therefore to be sharply distinguished from the houngan” .7 In most Vodou practice, bokor
priests are not viewed highly since they work with magic, as well as buy and sell lwa for
personal gain .9 Though the bokor are not respected by the majority of practitioners, they often
play the antagonist in American films. This representation depicts all priests and priestesses as
manipulators of the supernatural, specifically the lwa, to inflict harm.
Since the lwa are the center of Vodou worship, it is important to understand the
individual characteristics of the spirits before writing them into a script. In mainstream
can barely walk and uses a cane to prop himself up. Practitioners salute and try to please him in
the beginning of
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ceremonies in order for him to allow other lwa to pass through the crossroads and possess a
member of the crowd. When someone is possessed by Legba, they lose the ability to use their
and healthy man. He is seen as an evil spirit, who makes deals at the crossroads with desperate
individuals of the human world. He makes a deal with Madame Laveau, who sells her soul for
time goes on. He eventually asks her to sacrifice her own child, then several more infants in the
make deals at the crossroads, or grant eternal life or death. Instead, he is the messenger for the
interpretation, lwa are not physically seen, they possess.
Possession is one of the most feared and misunderstood phenomenon of Vodou culture.
chwal
Practitioners want to be taken over by the lwa. To the , the person being possessed, this is
merely a normal part of their religious culture. Vodou initiates work to achieve a sense of mental
clarity and spirituality in order to be open for the lwa. They do not fear possession and will not
remember their actions when they are released. Furthermore, if the lwa causes harm to the
chwal, the houngan or manbo will try to release them or bring the person into another room for
the safety of his/herself and others . 15 In American filmography, however, possession is taught
as being connected to uncontrolled, forced evildoing and satanism.
The Serpent and the Rainbow
advice, but to harm others. In , Peytraud can cause a possession to
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happen to anyone, anywhere, and at any given time. After he returns to America, Dennis sits at
his dinner table with his friends and family. Suddenly, Peytraud possesses a member of his
company and through her, he threatens to murder Dennis .16 This scene inaccurately portrays
the spirits. A priest or priestess cannot inject a spirit into another human being in an entirely
however, most houngans and manbos call forth the lwa to do good. More often that not, films
fail to express the actions of the bokor as unacceptable by most Vodou practitioners, and the
abilities of the bokor are skewed.
Zombification is one of the abilities held by bokos, but has also been embellished by
American media. Zombification is another one of the most feared phenomenon, especially to
to Deren, the soul may be released from the body after death, or it “may have been removed by
magic from a living person” .19 This magic is inflicted by the bokor, who poisons the victim
with special herbs. The victim begins to suffer from brain damage and paralyzation. The victim
appears to be dead and is buried alive, only to be dug up by the boko, who makes him/her their
slave. Zombification is most prevalent amongst bokos in Vodou secret societies like the
Bizango
. However, even for this group, zombification is still their “rarest form of punishment”
.20 Indeed,
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the idea of becoming a zombie is terrifying, but its appropriation to American culture turned it
into an apocalyptic nightmare, rather than a mentally disabled slave.
Director Ryan Murphy attempted to accurately portray zombification in
American Horror
Story
, but kept some features of the American interpretation to please his audience. Marie
Laveau uses talismans of the deceased who wronged her in the past. She uses the objects to
resurrect the bodies from the dead for her zombie army .21 Though Laveau’s zombies are not
flesheating, apocalyptic monsters, they still do not accurately represent Vodou. Laveau’s
resurrected slaves are not the product of poison and paralyzation, but by the use of magic with
their personal objects she saved over the centuries .22 Similar to most American interpretations,
Laveau’s zombies are shown with deteriorating flesh and by raising themselves through the
ground. Since Vodou zombies are not dead, but suffering from brain damage and temporary
paralysis, and are also dug up soon after burial, they should look moderately healthy and alive.
their will .23 Instead of working simply as the slaves of the boko, zombies are shown as being
ravenous, undead humans, raised by talismans, who are out for blood.
Voodoo dolls are a form of talisman that are considered objects used for evildoing and
has a doll specifically to be used for the upper class character, Big Daddy. Facilier schemes a
plan to steal money from Big Daddy, then murder him by stabbing the doll in the heart. By
stabbing the doll, Facilier will be inflicting the same pain on the wealthy man .24 This isn’t the
White Zombie
first film to portray the use of Voodoo dolls for evil. The works of Voodoo Doll
, ,
and even
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American Horror Story have examples of this kind of portrayal. The dolls, however, are
or nail clippings, of the projected person to the doll. By doing so, the doll becomes the person
you’re wishing well upon. The person would then call forth a particular spirit to help the
individual reach success, love, money, or happiness. At times the dolls may be used to inflict
harm, but it is generally unacceptable and disrespectful to the spirits .25
Though there are factions of Haitian Vodou which may work with Black Magic and
inflict harm on others, they are generally members of smaller, secret societies that are not
respected by most practitioners or the lwa. American film and television are at fault for
culturally appropriating and creating a misunderstanding of this part of the Haitian culture.
Instead of representing it as the spiritual and structural community with the desire to help their
people’s wellbeing, the media has hindered Americans from understanding the beauty of this
religion and culture.
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Notes
1. Benjamin Hebblethwaite,
Vodou Songs in Haitian Creole and English (Philadelphia:
Temple
University Press, 2012), 6.
2. Ibid.