RE: Was Baron Samedi worshiped in New Orleans prior to the late 20th century?
This one is also about the actual lwa.
Baron Samedi can aptly be described as not just the most iconic lwa, but one of the most iconic things from New Orleans Voodoo. Ironically, I have only found inconclusive evidence that he was worshiped in New Orleans during the 19th or early 20th centuries.
In American popular media, Baron Samedi is frequently conflated with other Haitian deities, called the Gede. The real-life Baron Samedi has his origins in Haitian Vodou, as does Maman Brigitte (Gran Brijit). The Haitian lwa are derived from African deities, among the most important being the Dahomean trickster god Legba (himself, derived from the Yoruba deity Eshu). Over the course of Haitian history, Dahomean Legba was refracted into Papa Legba, Met Kalfou, and the Gede - by extension, the Bawons, including Baron Samedi. This explains why the Gede are trickster deities of sexuality and liminality, who embrace all that is taboo - just like Dahomean Legba!
19th Century New Orleans Voodoo was greatly influenced by Haitian Vodou, due to the massive influx of Haitian refugees that arrived in the Crescent City after the Haitian Revolution. Following the post-Revolution migration wave, several Haitian lwa became features of New Orleans Voodoo, including:
Papa Legba → “Papa Limba” or “La Bas”, syncretized with St. Peter
Damballah → “Daniel Blanc”, syncretized with St. Michael
Agassu → “Yon Sue”, syncretized with St. Anthony
Ogou Feray could have also been worshiped as “Joe Ferraille” (“Joe Feray”), and Ayizan Velekete as “Vériquité”. While the Erzulies were not directly worshiped per se, veneration of Mother Mary was a key feature of 19th century New Orleans Voodoo. (The Erzulies are syncretized with Mother Mary.)
(I should also note that, in New Orleans, the lwa were called “spirits”, while Bon Dieu/Bondye was simply called “God”)
During the 19th century, the two most important lwa were probably Papa Legba - the Doorkeeper - and Damballah - the most ancient of the lwa. This would explain why their names appear most frequently in 19th- and 20th-century sources, especially in large scale rituals. Damballah might have been refracted into multiple deities, including “Daniel Blanc” and “Zombi the Snake God” – a deity famously associated with Marie Laveau. Others argue that “Grand Zombi” is actually derived from the Kongo supreme deity Nzambi Mpungu, or an invention fabricated by journalists.
A third key deity – “Onzancaire” / “Monsieur Assonquer” – might have been associated with Ogou Feray – one of the most important Haitian lwa. However, the origins of “Onzancaire” are elusive. Because so many different theories have been proposed, I do not know where his true origins lie.
Other deities of non-Haitian origin were also features of New Orleans Voodoo. St. Marron (Jean St. Malo) was the New Orleanian folk saint of runaway slaves. Mother Leafy Anderson – founder of the Spiritual Church Movement in New Orleans – introduced worship of the Native American Saint Black Hawk (see: Kodi A. Roberts (2015) Voodoo and Power: The Politics of Religion in New Orleans, 1881–1940). My understanding is that “Dr. John” (Jean Montaigne) was also deified, in a similar manner to St. Black Hawk. Orisha, such as Shango and Oya, may too have been worshiped. Other deities are listed here and here.
Baron Samedi is conspicuously absent. I think this has to do with the history of Haitian Vodou. Prior to the Haitian Revolution, Haitian Vodou was less of an organized religion, described as a "widely-scattered series of local cults" (see: The Social History of Haitian Vodou, p. 134). It was between the years 1804 and 1860 that Haitian Vodou began to stabilize into a clear predecessor of its present form. (see: The Social History of Haitian Vodou, p. 139) This period of stabilization took place after the migration wave of the early 19th century, which could explain why key features of Haitian Vodou are missing from 19th century New Orleans. For example, I have yet to find evidence that division of the Petwo and Rada lwa made it over to American soil. The refraction of Dahomean Legba might have never been transmitted by Haitian refugees, which would explain the absence of Met Kalfou and the Gede/Bawons from worship.
This too explains why the Papa Legba of American history was both Doorkeeper AND Guardian of the Crossroads. It has been theorized that the legendary “Devil at the Crossroads” was actually Met Kalfou. However, this “Devil” does not match the appearance of Kalfou, described as "no ancient, feeble man...huge and straight and vigorous, a man in the prime of his life." Instead, the one at “the Crossroads” appears as a limping old man who loves music and dogs (“Hellhound on my Trail”). It’s Papa Legba!
Rather than Kalfou, I think American Papa Legba actually inherits his more menacing attributes from Eshu. This would explain why he walks with a limp (like Eshu), is notoriously vengeful (like Eshu), and is sometimes described as androgynous (like Eshu!).
In any case, the Papa Legba of American history can be clearly traced back to Haiti. His appearance as a limping old man is inherited from Haitian Papa Legba; his love of dogs and music from Dahomean Legba. 19th century sources clearly identify him with Saint Peter (“St. Peter, St. Peter, open the door;”) The same cannot be said for Baron Samedi. He was probably not syncretized with St. Expedite, because St. Expedite “did not achieve popularity until the late 1800s or early 1900s in New Orleans” – long after the Haitian migration wave.
I have found one compelling source that places worship of Baron Samedi in 19th century New Orleans. Creole author Denise Alvarado is something of an expert on this topic, her being born and raised in New Orleans. In Witch Queens, Voodoo Spirits, and Hoodoo Saints: A Guide to Magical New Orleans (2022), Denise Alvarado identifies a “Spirit of Death” with Baron Samedi / Papa Gede. The most convincing piece of evidence comes from the second interview, in which the interviewee describes a ceremony where attendees donned purple robes. The color purple has been historically associated with Papa Gede (by extension, Baron Samedi).
That being said, I do think the evidence Alvarado provides is tenuous. Without additional context, it’s difficult to say whether the purple robes are truly linked to the Haitian lwa. The other newspaper article sounds rather sensationalized. The 19th century saw horrendous news coverage of New Orleans Voodoo, where reporters would exaggerate or straight-up fabricate details to demonize Vodouisants. The reporter’s description of the spirits of death does not align with the Haitian Gede or Bawons. It is important to remember that New Orleans Voodoo is not entirely Haitian in origin. Several other traditional African spiritualities are woven into New Orleans Voodoo. Prior to the Haitian migration wave of the early 19th century, one of the main influences was Kongo spirituality, in which ancestor veneration is central. Additionally, the newspaper cited is from the year 1890 – years after Marie Laveau’s death. The reliability of this article is therefore questionable. I think this could be a Damballah / “Grand Zombi” situation, where this “Spirit of Death” bears superficial resemblance to the lwa but isn’t actually him. It is also possible that he is simply a fabrication by journalists.
The defamation of Vodou continued into the early 20th century, as Haiti was occupied by the U.S. between the years 1915 and 1934. I don’t see how worship of the Gede/Bawons could have been transmitted to New Orleans between the end of the Haitian migration wave and year 1934. There’s a good chance that Baron Samedi / Papa Gede only properly became features of New Orleans Vodou during the revitalization movement of the late 20th century.
As such, I propose two hypotheses:
Baron Samedi was not properly worshiped in New Orleans until the late 20th century. He quickly rose in popularity, as he was easily grafted onto the pre-existing worship of the spirits of the dead (ancestors).
Alvarado has correctly identified Baron Samedi / Papa Gede with the “Spirit of Death”; however, this “Spirit of Death” was a radical departure from his Haitian predecessor, taking on a markedly different form from the lwa.
But that’s all just a Theory… A GAME THEORY!!!
…Anyways, annotated bib:
Marshall, Emily Zobel. American Trickster: Trauma, Tradition and Brer Rabbit. Rowman & Littlefield, 2019.
Chapter 1 ("African Trickster in the Americas") describes Dahomean Legba’s origins in the Yoruba deity Eshu.
Cosentino, Donald. "Who is that fellow in the many-colored cap? Transformations of Eshu in old and new world mythologies." Journal of American Folklore (1987): 261-275. https://www.jstor.org/stable/540323.
From the abstract: “Myths of Eshu Elegba, the trickster deity of the Yoruba of Nigeria, have been borrowed by the Fon of Dahomey and later transported to Haiti, where they were personified by the Vodoun in the loa Papa Legba. In turn, this loa was refracted into the corollary figures of Carrefour and Ghede.” Accessed here: https://www.centroafrobogota.com/attachments/article/24/17106647-Ellegua-Eshu-New-World-Old-World.pdf
Haitian immigration : Eighteenth and Nineteenth Centuries. The African American Migration Experience. https://www.inmotionaame.org/print.cfm@migration=5.htm
Describes post-Haitian Revolution migration wave like so: “the number of immigrants [from Haiti to New Orleans] skyrocketed between May 1809 and June 1810… The 1809 migration brought 2,731 whites, 3,102 free persons of African descent, and 3,226 enslaved refugees to the city, doubling its population.”
Fandrich, Ina J. “Yorùbá Influences on Haitian Vodou and New Orleans Voodoo.” Journal of Black Studies, vol. 37, no. 5, 2007, pp. 775–91. JSTOR, http://www.jstor.org/stable/40034365. Accessed 23 June 2024.
Mentions worship of Ogou Feray as “Joe Ferraille”. Fandirch herself cites Long, C. M. (2001). Spiritual merchants. Knoxville: University of Tennessee Press, p. 56: https://archive.org/details/spiritualmerchan0000long/page/56/mode/2up?
Long, Carolyn Morrow. A New Orleans voudou priestess: The legend and reality of Marie Laveau. University Press of Florida, 2007, p. 247: https://books.google.com/books?id=_XzSEAAAQBAJ&pg=PT247#v=onepage&q&f=false
Mentions worship of Ayizan Velekete as (the male) “Vériquité”.
Anderson, Jeffrey E. Hoodoo, voodoo, and conjure: A handbook. Bloomsbury Publishing USA, 2008, p. 15: https://books.google.com/books?id=TH7DEAAAQBAJ&pg=PA15&lpg=PA15#v=onepage&q&f=false
Relevant quote: "Blanc Dani, Papa Lébat, and Assonquer make the most frequent appearances in both nineteenth- and twentieth-century sources. The first two, in particular, figure prominently in large-scale rituals."
Humpálová, Denisa. "Voodoo in Louisiana." (2012). https://dspace5.zcu.cz/bitstream/11025/5338/1/BP%20Denisa%20Humpalova%202012.pdf
One of several sources that identifies “Grand Zombi” with Nzambi Mpungu.
Long, Carolyn Morrow. A New Orleans voudou priestess: The legend and reality of Marie Laveau. University Press of Florida, 2007, p. 247: https://books.google.com/books?id=_XzSEAAAQBAJ&pg=PT247#v=onepage&q&f=false
Posits that “Grand Zombi” could be derived from Nzambi Mpungu, or "may be the invention of journalists inspired by "zombie tales" of Haiti's infamous living dead, combined with Moreau de Saint-Méry’s endlessly repeated description of a snake-worshiping ceremony in colonial Saint Domingue."
Anderson, Jeffrey E. Voodoo: An African American Religion. LSU Press, 2024, p. 46: https://www.google.com/books/edition/Voodoo/O-v3EAAAQBAJ?hl=en&gbpv=1&dq=%22assonquer%22+%22azewe%22+vodou&pg=PA46&printsec=frontcover
Describes several possible origins for the elusive “Onzancaire”, including a theory that he was a deity related to Ogou Feray.
Long, Carolyn Morrow. A New Orleans voudou priestess: The legend and reality of Marie Laveau. University Press of Florida, 2007, p. 236: https://books.google.com/books?id=_XzSEAAAQBAJ&pg=PT236#v=onepage&q&f=false
One of several sources to describe St. Marron (Jean St. Malo).
Roberts, Kodi A. Voodoo and Power: The Politics of Religion in New Orleans, 1881-1940. LSU Press, 2015, p. 82: https://books.google.com/books?id=EWOkCgAAQBAJ&pg=PT82&lpg=PT82
Describes how Mother Leafy Anderson (founder of the Spiritual Church Movement) “found” St. Black Hawk, introducing him to New Orleans Voodoo.
Alvarado, Denise. Witch Queens, Voodoo Spirits, and Hoodoo Saints: A Guide to Magical New Orleans. Weiser Books, 2022, p. 39: https://books.google.com/books?id=ktlWEAAAQBAJ&pg=PA39&lpg=PA39#v=onepage&q&f=false
Posits that high priestess Betsy Toledano worshiped the Orisha Shango and Oya during the 19th century.
Anderson, Jeffrey E. Hoodoo, voodoo, and conjure: A handbook. Bloomsbury Publishing USA, 2008, p. 15: https://books.google.com/books?id=TH7DEAAAQBAJ&pg=PA15&lpg=PA15#v=onepage&q&f=false
List of deities worshiped in 19th century New Orleans Voodoo.
Alvarado, Denise. Witch Queens, Voodoo Spirits, and Hoodoo Saints: A Guide to Magical New Orleans. Weiser Books, 2022, p. 126: https://www.google.com/books/edition/Witch_Queens_Voodoo_Spirits_and_Hoodoo_S/ktlWEAAAQBAJ?hl=en&gbpv=1&pg=PA126
Another list of deities worshiped in 19th century New Orleans Voodoo.
Mintz, Sidney & Trouillot, Michel-Rolph (1995) “The social history of Haitian Vodou” in Cosentino, Donald J., ed., Sacred Arts of Vodou, Chapter 4. LA: UCLA Fowler Museum, 123-47. P. 134: https://ghettobiennale.org/files/Trouillot_Mintz_LOW.pdf
Describes Haitian Vodou as a "widely-scattered series of local cults" prior to the Haitian Revolution.
Mintz, Sidney & Trouillot, Michel-Rolph (1995) “The social history of Haitian Vodou” in Cosentino, Donald J., ed., Sacred Arts of Vodou, Chapter 4. LA: UCLA Fowler Museum, 123-47. P. 139: https://ghettobiennale.org/files/Trouillot_Mintz_LOW.pdf
Describes the stabilization of Haitian Vodou into a predecessor of its current form. This occurred between the years following the Haitian Revolution and year 1860.
Deren, Maya. Divine Horsemen : The Living Gods of Haiti. New Paltz, NY: McPherson, 1983 (originally published in 1953), p. 101: https://archive.org/details/divinehorsemenli00dere/page/100/mode/2up
Description of Kalfou (Carrefour) as "no ancient, feeble man...huge and straight and vigorous, a man in the prime of his life." Deren conducted her ethnographic work during the 1940s and 1950s.
Marvin, Thomas F. “Children of Legba: Musicians at the Crossroads in Ralph Ellison’s Invisible Man.” American Literature, vol. 68, no. 3, 1996, pp. 587–608. JSTOR, https://doi.org/10.2307/2928245. Accessed 23 June 2024.
Description of “The Devil at the Crossroads” as a musical genius and “limping old black man”: “Most versions of this story instruct the aspiring musician to bring his instrument to a lonely crossroads at midnight and await the arrival of a limping old black man who will tune the instrument, play it briefly, and then return it endowed with supernatural power."
Robert Johnson’s song “Hellhound on My Trail” identifies “The Devil at the Crossroads” with Papa Legba, who is associated with dogs.
Long, Carolyn Morrow. A New Orleans voudou priestess: The legend and reality of Marie Laveau. University Press of Florida, 2007, p. 244: https://books.google.com/books?id=_XzSEAAAQBAJ&pg=PT244&lpg=PT244#v=onepage&q&f=false
Relevant quote: "Mary Washington, born in 1863, said she was trained in the arts of Voudou by Marie Laveau. She remembered a song that was sung at the weekly ceremonies: "St. Peter, St. Peter open the door; I am callin' you, come to me; St. Peter, St. Peter open the door." Mrs. Washington explained that "St. Peter was called La Bas, St. Michael was Daniel Blanc, and Yon Sue was St. Anthony." She also mentioned a spirit called Onzancaire."
Alvarado, Denise. The Magic of Marie Laveau: Embracing the Spiritual Legacy of the Voodoo Queen of New Orleans. Weiser Books, 2020, p. 57: https://books.google.com/books?id=SZOMDwAAQBAJ&pg=PA57&lpg=PA57#v=onepage&q&f=false
Relevant quote: “Baron Samedi remains a popular and powerful force in New Orleans Voudou today, along with his wife Manman Brigit. He is syncretized with St. Expedite, among the most popular of saints in New Orleans. We do not hear of St. Expedite in association with Marie Laveau, however, because he did not achieve popularity until the late 1800s or early 1900s in New Orleans (Alvarado 2014).”
Alvarado, Denise. Witch Queens, Voodoo Spirits, and Hoodoo Saints: A Guide to Magical New Orleans. Weiser Books, 2022, pp. 127-128: https://books.google.com/books?id=GsofEAAAQBAJ&pg=PA127&lpg=PA127#v=onepage&q&f=false
This is the strongest evidence I could find that Baron Samedi / Papa Gede was worshiped in 19th - early 20th Century New Orleans.
Deren, Maya. Divine Horsemen : The Living Gods of Haiti. New Paltz, NY: McPherson, 1983 (originally published in 1953), p. 107: https://archive.org/details/dli.ernet.505921/page/107/mode/2up?q=purple
Historical evidence that, since at least the 1940s, Papa Gede’s colors are “black or purple”. To this day, purple is associated with Baron Samedi and the Gede as a whole.
Long, Carolyn Morrow. A New Orleans voudou priestess: The legend and reality of Marie Laveau. University Press of Florida, 2007, p. 250: https://books.google.com/books?id=_XzSEAAAQBAJ&pg=PT250&lpg=PT250
Relevant quote: “The religion that evolved in nineteenth-century New Orleans and was embraced by Marie Laveau and her Voudou society combined traditions introduced by the first Senegambian, Fon, Yoruba, and Kongo slaves with Haitian Vodou, European magic, and folk Catholicism. It also absorbed the beliefs of blacks imported from Maryland, Virginia, and the Carolinas during the slave trade of the 1830s–1850s. These “American Negroes” were English-speaking, at least nominally Protestant, and practiced a heavily Kongo-influenced kind of hoodoo, conjure, or rootwork. New Orleans Voudou is therefore not identical to Haitian Vodou, but represents a unique North American blend of African and European religious and magical Traditions.”
Fandrich, Ina J. “Yorùbá Influences on Haitian Vodou and New Orleans Voodoo.” Journal of Black Studies, vol. 37, no. 5, 2007, pp. 775–91. JSTOR, http://www.jstor.org/stable/40034365. Accessed 23 June 2024.
Describes major Senegambian and Kongo influences on New Orleans Voodoo, prior to the Haitian Revolution. Relevant quote: “New Orleans's African population was Kongo dominated with a strong affinity with the spirits of the dead…Dahomeyan influence occurred only indirectly through the Haitian refugees who "flooded" the city after 1808. In 1809 alone, more than 10,000 Haitians arrived, and doubled the city's population. They brought their Vodou religion with them, which ultimately merged with the already existing New Orleans or Louisiana Voodoo traditions. During the French colonial regime, 80% of the enslaved Africans came from one single ethnic group: the Bamana (also called Bambara) people from the Senegal River basin (today's Senegal, Gambia, and Mali), most of them stemming from one single ethnic group, the Bambara people. The majority of the remaining 20% were Kongolese and some Dahomeyans (Hall, 1992). Despite their rather different geographical origins, these two cultures blend easily into one another. Eighteenth-century Louisiana Voodoo maintained a marked Senegambian flavor, with some Kongolese elements blended in, until the end of the 18th century.”
Dubois, Laurent. “Vodou and History.” Comparative Studies in Society and History, vol. 43, no. 1, 2001, pp. 92–100. JSTOR, http://www.jstor.org/stable/2696623. Accessed 23 June 2024.
An overview of the history of Haitian Vodou, as it pertains to U.S. history. Demonization of Vodou continued past the U.S. occupation of Haiti, until the late 20th century.
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!! ️SCHOOL WILL NEVER TEACH YOU THIS👇🏿
|| THE AFRICAN ORIGIN OF THE NAME ISRAEL ||
The teachings of Bundu Dia Kongo.
Ne MUANDA NSEMI teaches the Makesa mu Nzila Kongo: the mystery of the name, because the name is the carrier of evil and beneficial influences to the one who bears it.
The name is also linked to a person's state of being.
Como example: with Zulu Makeba, with MBEMBA ZULU, with NKEMBO WA MONESUA, with NSANSUKULU A KANDA, YAYA VITA KIMPA, MFUMU KIMBANGU, with MUANDA NSEMI, NAVITA NGOLO, MFUKA FUAKAKA MUZEMBA etc.
Ne MUANDA NSEMI also teaches Makesa mu Nzila Kongo that speaking French, English is not synonymous with being intellectual.
Africans have become, complexly, foreign languages fanatics. Africans believe that giving a French, English or Hebrew name would have more meaning than in their mother tongue.
Example:
-that one called PEDRO thinks it's better to be called a stone than to be called TADI in his mother tongue which is KIKONGO.
- whoever is called ELOHIM believes this designation is divine in origin, but refuses to be called ELIMA in their language, while ELOHIM= ELIMA in Kikongo.
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Ne MUANDA NSEMI teaches the Makesa mu Nzila Kongo that the word KELIMA means a Messenger God, a Genius, an Angel. When the letter 'K' falls, KELIMA becomes ELIMA, in the plural BIKELIMA: the flashing, the SEZIMA, the SELIMA.
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Elima word expansion, adding letters. Oh give the words Elohima Elohim in Hebrews
Eli, El, stands for ELIMA, Kelima.
Give names like: EL Fatah, EL Chadai, ELION.
The abbreviation " EL " is also in the name of God, Archangels, Prophets in the Hebrew language as: Deus Yave Israel. Archangel Michael, Michël, Raphael, and other names such as: Ishmael, Samuël, Daniël, Emmanuel, Ezequiël...
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Kelima, Elima is synonymous with God of Simbi, Nomo, a messenger God, a Genius of Nature, an Angel, a Radiant of Light.
No more no less On the cross Jesus shouted Elima (=Eli), Elima (=Éli), why have you forsaken me?
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A Kelima, an Elima is a Great Mulimu, a Great Spirit of Nature: Each Elima has its own name:
And HOGU BATALA, OUR KAMBISI, KOLOKOSO, OUR KINZOLA, OLONGO, OUR MANDOMBE KALI, LUEZI (LUEJI, LUEJ, RUEJ) , RA, ISISI, MANATA LUDI etc.. These are some famous Elima from Egyptian BUKONGO.
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Isis stands for Isisi: a goddess (an Elima) of Ancient Egypt.
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Ra is a male Elima (+), isisi a female (-).
IS, RA, EL giving Israel. It is the fusion of positive (Ra) and negative (isisi), the union of man and woman gives an androgynous Elima (EL), both male and female. An equal Elima is called Mahungu, Malunga, Ilunga, Complete Being, made in the image of the Great God KONGO KALUNGA.
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The holy book of Kongo (MAKONGO) religion teaches that Kana was the land of High Priest MELCHISEDEK.
Mukana verb means Nkua Vema, an enthusiastic, a passionate, a jealous, a fanatic.
Kikana is fanaticism: Bakana ba Nzambi are fanatic of God, KANA, KANANA country.
Originally Kana and Madian were inhabited by blacks
Midian was inhabited by the High Priest, Gestro (Yetelo), this High Priest of Bukongo teaches Moses to contact the Angel of the people of Israel who is the God of Israel.
Kana was inhabited by High Priest Melchisedek, this High Priest of Bukongo teaching Hibrahim, Abraham to enter into communion with God of Israel.
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In kikongo language the sun is called Ntangu lowa the Great Nabi Kongo say the heart of the sun is called KISEDEKI.
-so MAMBU MELE KISEDEKI i mean problems went to the heart of the sun. The word MELE is a Kikongo verb form from the verb KUENDA which means to go.
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In Bukongo, a Great Nabi Kongo that serves as a transmission channel between the Assemblies of God (Temple) and the Heart of the Sun, bears the grand opening title of Ne MELE KISEDEKI.
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The bible says Melchisedik king of Salem brought bread and wine. He was a sacrifice of a very high God. He bless Abraham by the most high God
Ibrahim (Abraham) gave Dime to Mechisedek (Genesis 14: 18-20)
So here is Abraham, the first prophet of God of Israel) who is blessed by a High Priest black a Great Nabi Kongo, Ne MELE KISEKEDI.
Abraham father of the faith of the white Hebrews pay Dime to the Priest of the Most High God Ne MELE KISEDEKI King and Priest of KANA we will distort in Kanan Canaan because of their variants Kanana.
- Thus Abraham (Ibrahim) imitating copying the language of the people of Kana (THE BAKONGO) and distorting the graft in the Hebrew language, these words distort the source in Kikongo
- in Kikongo language
Excerpt from the book The Mysteries of KIKONGO
Written by NE MUANDA NSEMI Nlongi' to KONGO.
Kinshasa on 22-11-1995
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