Role of Music in the Religion of Voudun - Research Paper Example

Role of Music in the Religion of Voudun Religion can be defined as a collection of various cultures, beliefs and practices of various people in the world and their spiritual and moral values. It was basically developed to explain the origin of life and the universe. It is different from normal human life because it has the public aspect. It involves worship which is accompanied by prayers and scriptures, music, festivals, dance, public service and sacrifices. Religion is so diverse and there are various types of religion (Chesi 31). Voodoo religion is mainly practiced in West African. African religion has been dominated by two types of cultural beliefs. These include the Islamic and the Christianity. Traditional religion also dominates Africa especially Judaism which is mostly practiced in Ethiopia. Rastafarian religions and the Abrahamic religions are also present in the African continent (Chesi 34). According to Chesi (46), voodoo is an efficient and well organized religion in the region. It is mainly practiced in the coastal religions of the countries in West Africa especially covering the countries from Ghana to Nigeria. In Ghana, Togo, Benin and Nigeria it is practiced by the tribes of Ewe, Kabgye, Mina and the Fon. The voodoo religion is very much similar to Christianity especially the catholism. The nature of their beliefs and practices are almost the same. Chesi (58) asserts that songs during ritual ceremonies are very common in the voodoo worship. The religion believes in one God and his helpers known as Orishas. They believe in a creature known as Nana Buluku who at one time had seven children. He therefore gave rule and authority over those children to rule over the entire animals both in the land and the sea. The children are referred to as mythical children since they have supernatural powers. The Mawu (the sun) and Lisa the (moon) are believed to be twins. He remained with His youngest child Legba two act as a go between or a bridge between his children. The religion maintains order, peace and balance within their spiritual doctrine which is done by the mediator. They encourage the use of medicine such as the herbal remedies and the use of mundane objects in the religious rituals (Chesi 77). Objects known as fetishes are used for the purpose of healing and spiritual rejuvenation. They are designed from dried animal parts. This believer makes use of music during the time of offering animal sacrifices to show thanks to their God. Music is also used during the election of queen mother who is the oldest woman in the clan. Recently, this has been overruled by the changes in health education and the influence of the nation. She is responsible for taking care of the women activities and the market places since they are the social and gathering places for the people (Chesi 89). European colonists and other regimes that practiced totalitarianism needed to put voodoo and other infant African religions to suppression. McAlister (39) stipulates that these efforts failed due to the spiritual nature of the religion which preaches peace, social and political order. Also the religion members are also living in different places, tribes, nations and clan thus difficult to do away with the religion. Due to democracy in most of those countries, Voudun is more respected and there is the annual conference meetings held at the city of Quidan Benin since the year 1991. During the times of worship, music undertakes a variety of functions. Major religious events and practices are entertained and being made lively by the use of music. The music is also a major form of worship which is accompanied by a dance. This is very important in voodoo ceremonies which include the rituals like giving sacrifices to their god to obtain favors from him (McAlister 45). These favors include food adequacy, high standards of living, improved security and political stability. Celebrations of lucky events in one’s life are the most common. They include narrow escapes, healing and new births. According to McAlister (53), these festivals are conducted by the priests who can either be male or female. Male priests are called the hungan while the female are the mambo. This is conducted in the temple which is known as the humfort. There is a pole in the centre of this temple whereby people communicate with their God. There are other several events which accompany the music. This includes the dances which are presented by the priests and the hounsis (students taking studies of voudun). The dancers usually become possessed by the loa and eventually fall down. The ti borne ange of the dance usually leaves the body and the possessed person usually behaves like a loa and is respected by the other parties in the worship (McAlister 57). There is also the shaking of a rattle and beating of drums which have been cleansed and purified. The believers have a duty to make a unique meal to the floor on which the Loa will be conducted. Animal sacrifices are mainly done to give food to their gods as a sign of appreciation to the ancestors. However, music is conducted during burials. Death in the society is believed to be caused by evil sorcery. This is performed especially during the times when a dead person returns to existence. Voudun have a belief that a dead person can be viewed even after death. After the resurrection of the zombie (a person resurrecting from death), he has no will on his own and thus he lives on the will of others (McAlister 64). Music is used to explain the evil activities and drugs used by the sorcerer to administer unrealistic death to an existing person. This belief in zombies is mostly with the Haitians but very few individuals have ever seen one. Music is accompanied by voodoo drumming. It is mostly done in Haiti. The drumming is accompanied by songs and dances. Voudoun uses the rada batteries. These batteries usually consist of a family of three drums which include the Maman, Segon and Boula. There is also a bell which is known as ogan (McAlister 79). The drums are conical and do resemble the arara drums used by the Yoruba tribe of Nigeria. McAlister (86) asserts that the maman is the tallest and the deepest drum and it’s believed to be the leader. It is played by a person who takes instruction from the participants to the ceremony was and the operating priests. Both a stick and hand are used to play the drum. The strong hand holds the stick while the weak hand plays the drum on the skinned part. Strong sound is produced by playing the drum on the sides using the stick. The segon is the middle drum and is played to produce a sound to which the maman is to create a counter point. It is played using a stick and a bare hand but the difference between the two drums lies in the sticks style being used. Ward (19) states that the boula is the smallest drum and its purpose is to create ostinato pattern which pushes the rhythm of the song and the dance forward. It has a stable base and it is played using two sticks. It produces a high and muted tone. It requires special skills to play it. The rhythms in voodoo rituals have different variations. Each rhythm has a different subtitle and a particular law. Mahi Darielle, Mahi Japeté and Mahi Deté are the variations of the so called Mahi Simp which originated from the French Simple. The music is performed by the use of a kase. It is usually a deviation from the main rhythm to another ego rhythm initiated by the mamam drum. Each kase has a different manner of entering to and exit from the rhythm. This is also accompanied by a change in the body movement and steps to be in line with the rhythm. Libations are poured before the drums. It is done by the mamam player and the officiating priest. Kase music usually contributes to the possession of the members by the spirits (Ward 26). The drum is technically played to ensure that there are heated tones which ensure spiritual possession. There are several drumming techniques used in different occasions. One difficult and hard technique to adopt is the siye. This technique is applied by the third drum player who wipes the drum from one edge to another using his index finger. The thumb is usually behind the finger to support thus producing a mourning sound. The technique is hard to play in continuous sessions. Ward (34) emphasizes that in Haiti music solidifies the bond with the loa and the community religions. Rhythmic chats in Congo dominated the religious culture to ensure that there is offering and sacrifices to their mighty king. Music styles such as twabadou were used and the American jazz .There is the chorus led by the most powerful woman in the society. There is the inclusion of pweto batteries which resemble congas. Their base has a slender bottom that is similar in the appearance. They have skinned tops and differ in their size. There are ropes attached which add tension to the skinned tops of the drum. According to Ward (49), loas are divided into several narchons. These are spirits from the same family and attend to a common task. They include the Rada, Nago, Djouba, Petwo, Kongo, Ibo, and Gède. They had rights, rhythms and adherents in the past. There was a unique drum to the nanchons which was used to call on the loas. They are very hard to find today due to the economic, cultural, social and geographic changes. The rada are the strongest and balanced nancons in the treatment of their workers. They are the most highly appreciated spirits. Their cradle origin is believed to be in Benin. When considering the nago, these nancons usually do represent power. Its members possess characteristics of warriors and leaders. Their origin is southern Nigeria from the Yoruba community. Their names usually start with the word Ogun (Ward 57). They have characteristics of military and they are known to be providers of support and masculinity. Their rhythm and dance to their music is also known as the nago. In addition the lwas of the djouba nancons are concerned with farming and agriculture. The manner and the nature of their appearance resemble peasants. They are believed to originate from the islands of matinique. Djoba and Abita are the rhythms and the dance styles associated with this group. Consequently the petwo possess aggression and demand. They are very quick and protective. There origin is not well known and therefore there is a belief that they come from the ancient slaves in Haiti. These people were called during the slave revolts in 1791-1804 which led to the defeat of king Napoleon. Their names contain mixed African and Spanish name of Don Pedro who was a rebellion leader. The lwas of the Kongo nanchons are origins of the Bantu communities of Congo River basin (Ward 66). They enjoy grace and like music and dance. This is due to the secular rhythms of these songs. In the places of worship, there are dolls with images of these nanchons. Also, the Ibo nanchons are claimed to have originated from south eastern Nigeria. They are characterized as being arrogant and are difficult to ensure that they are satisfied. They preside over sacred rituals with clay pots which the life of the possessed reside. They have the same rhythm and dancing styles to that of the Ibo clan (Ward 69). However, there is the spirits of death. These nancons are responsible for their control on the issues of life and death. They have marks of black and white and are well known for their tricks. An example of this nancon is the Baron Semedi who can be observed and lives in the cemeteries (Ward 88). Ward (112) stipulates that the kind and the nature of the music played in the recent communities’ uses the rada or petro batteries. Music is also used while setting up alters and cooking of food during rituals. In Haiti, voodoo, music usually opens these services accompanied by payers and dance. This is followed by drum beating and with songs for each and every individual spirit. It begins from the legba family through the rade spirits all the way to the family. The family of the person who is possessed is the one which benefits. The luck of participants can now be taken by the houngan through particular actions. Disputes also arise among members as to how a song or a hymn is to be sung. According to Ward (134), spirits are saluted and greeted with honor to give curative measures, readings and advices to those who ask for them. There is the closing and the last song which is sung in the morning before the departure of the hounsis and the guest. One of the individuals has tables set with statutes and pictures of the spirits. Perfumes and foods are also available with other things which the spirits require. The most and popular setting is the one with a candle and a clear glass with flowers. Our father and Hail Mary are prayers said by one individual whereby he salutes legba and requests him to open the gate. This is done on a special spirit day. This is followed by a conversation with a particular spirit as an elder family member. Approach to ancestors is done directly since they are said to be in the blood (Ward 159). In Haitian vodou, songs are usually used to praise their mighty god (bondye) the creator of everything. He is believed to be so far from the creation and voodooist’s belief that it is hard to reach him for daily guidance and help. In conclusion, African heritage has been preserved through the use of religions. This is evident by considering the afro Caribbean religions. They include the 21 Divisions or Dominican Voodoo and the Haitian voodoo. This differs because of use of different type of percussion. The Haitian voodoo is practiced on the island as is different due to percussion used and the nature of the spirits. Congos del spirit Santo is the most Africanized Christianity existing in the island. It cannot be termed as pure Africans but there are elements of African cultures. Generally, Music has played a great role in the religious performance of functions and the rituals associated with them. It is through this that people especially Africans have enhanced worship and therefore joined the various religions. Music has also been involving entertainments which can be either during parties; worship and secular dances. There are many difficulties in management of religions which include emergence of uncouth trends and political interference. It is due to this that in most countries, government is very different from religion. In addition, technology has advanced and many changes have been initiated in the church. This involves the usage of musical instruments which are recent rather than the general usage of the drum in African traditional religion. In addition most religions have particular days when they go to the worship. This has been due to increased standard of living and cost of maintenance. It is also due to the reduction in free time by the industries and companies which employed these people. Works Cited Chesi, Gert. Voodoo Africa's Secret Power. Austria: Perliner, 1980, 27-264. McAlister, Elizabeth. Rara! Voodoo, Power, and Performance in Haiti and its Diaspora. University of California: University of California Press, 2002, 34-272. Ward, Martha. Voodoo Queen: The Spirited Lives of Marie Laveau. University of Mississippi: University Press of Mississippi, 2004, 18-217. Read More