Lecture 1 Voodoo Children
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Transcript of Lecture 1 Voodoo Children
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Lecture 1Voodoo Children
Vesa Matteo PiluduHelsinki
Department of Comparative Religion and Institute for Art Research
University of Helsinki
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Influence of Afro-American religions on popular music
This lectures tells about the relationship between Afro-American religions and popular music
The Afro-American religions has a significant influence on popular music
1. The influence could be musical In popular music could be used same instruments, rhythms,
time-lines in a different contest: profane, not sacred
2. The influence could be at the level of the lyrics: the songs have words that mention directly or indirectly Afro-American religions’ features
3. The influence could be both musical and lyrical
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Similarities between Afro-American religious and popular music
Rhythms, dance, collectivity
Antiphonal choruses: solo question and chorus answer
Vocal – instrumental dialogue Relevant use of time-lines: short rhythmic patterns
Importance of the song and lyrics: songs should tell something relevant about life, should have soul, content mystery and passion. Bad lyrics aren’t considered.
The music is not only entertainment, it’s a lifestyle, a philosophy.
Mystic role of the singer similar to the preacher’s one
Relation to music that is quite similar to trance state
Respect revered to the great musicians similar to an “ancestor cult “
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Santana: Black Magic Woman, 1970 Album: Abraxas, Author: Peter Green
Got a black magic womanGot a black magic womanI’ve got a black magic woman
Got me so blind I cant seeThat she’s a black magic womanShe’s trying to make a devil out of me
Don’t turn your back on me babyDon’t turn your back on me babyYes don’t turn your back on me baby
Stop messing round with your tricks
Don’t turn your back on me babyYou just might pick up my magic sticks
Got your spell on me babyGot your spell on me baby
Yes you got your spell on me babyTurning my heart into stone
I need you so bad, magic womanI can’t leave you alone
http://www.youtube.com/watch?v=6WCc025HH0E&feature=related
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Black Magic Woman
The black magic woman has the features of a dark lady (fascinating, but dangerous, as an expert of hoodoo love spells)
Dark ladies are frequent in American popular culture, they aren’t necessarily Afro
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Dark ladies sells incredibly well(from Hollywood to gothic rock)
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Joe Cocker: Civilized ManSongwriters: Alter, Louis / Delange, Eddie
http://www.youtube.com/watch?v=SEFA31Gt8T8&feature=related
You made me need youNeed you so badWould you believeAnd never so mad, oh yeahDouble cross me once, and never cross me againNow you're running 'round looking for some sympathyWell you know as well as I that we're history
You're lucky, I'm a civilized manYou're lucky, I'm a civilized manOh yeah, a civilized man
A poison arrow, right from the startRight down to zero, you went for my heartOh yeahYou've been hoodoo, voodooStart the fire again
Now you ask me to forget all you've brought me toWhen you know as well as I you've got it coming to you
You're lucky, I'm a civilized manYou're lucky, I'm a civilized manOh yeah, a civilized man
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Both songs refers to hoodoo love spells In the photos: symbols of Erzulie - Ezilí Dantó - Ezili Freda, goddess of love in vodoun pantheon
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Almamegretta (Italy): Black Athena
http://www.youtube.com/watch?v=mctUU9_Ck00&playnext_from=PL&feature=PlayList&p=544561EB07C8678B&playnext=1&index=29
Original man you got to understand we were all Africans
yes the knowledge of myself makes me a better self
so pick that dusty book up off the shelf and read the truth
read the truth science was created in Timbuktu center of the world is Africa the rhythm of the drum comes
from Africa
Look back look back Athena was black Athena was black If you look back
realize visualize open your eyes truth and lies we will despise oppressed must rise
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Jimi Hendrix, Album: Electric Ladyland (1968)Voodoo Child (Slight Return). Part 1
1. Well, I stand up next to a mountain
And I chop it down with the edge of my hand
Yeah
Well, I stand up next to a mountain And I chop it down with the edge of my hand
Well, I pick up all the pieces and make an islandMight even raise a little sand
Yeah, 'Cause I'm a voodoo child
2. Lord knows I'm a voodoo child
BabyI want to say one more last thingI didn't mean to take up all your sweet time
I'll give it right back to ya one of these days
Ha ha ha
I said I didn't mean to take up all your sweet time
I'll give it right back one of these days
Oh yeah
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Jimi Hendrix, Album: Electric Ladyland (1968)Voodoo Child (Slight Return). Part 2
3. If I don't meet you no more in
this world then uh
I'll meet ya on the next one
And don't be late Don't be late
'Cause i'm a voodoo child voodoo child
Lord knows I'm a voodoo child
Hey hey heyI'm a voodoo child baby
I don't take no for an answerQuestion no Yeah
Hendrix refers to the song as the Black Panthers' national anthem
Jimi Hendrix - Voodoo Chile Atlanta
http://www.youtube.com/watch?v=v7yPRYL_Oq0&feature=related
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Analogies in Voodoo Child
Voodoist Afro-American Expert of religious trance Uses hypnotic music Said to be able to control the
forces of nature with his or the divinities’ powers
Black Power Afro-American Movement in ascension (at the time) Related to Afro-American
music Radical: I don't take no for an answer If I don't meet you no more in
this world then uh I'll meet ya on the next one
Rocker (Jimi Hendrix) Afro-American In musical trance Uses hypnotic music His music have relationship
with Afro-American religions Had power of influence on
the masses via music Politically radical
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Angelique Kidjo,Voodoo ChildLP: Oremi.
http://www.youtube.com/watch?v=L9ACprQXFwI
In the video it is possible to see classical Benin sculptures on the background
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The origins West Africa, Benin, Nigeria, Congo
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The slave ship Brooks of Liverpool, 1791
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Sade: Slave Song, part 1LP: Lovers Rock
http://www.youtube.com/watch?v=ym5zjRRTqU0
I see them gathered, see them on the shore
I turned to look once moreAnd he who knows me notTakes me to the belly of darkness
The tears run swift and hardAnd when they fallEven, even the comfort of a stoneWould be a gainThere was a time when I thoughtI would have to give upBut I'm thankful that I'm Strong as I am and I'll Try to do the best I can
1 - Tears will run swiftAnd tears will come that fall like rainI pray that it's swift thoughTears will fall as cold as pain
I pray to the almighty Let me not to him doAs he has unto meTeach my beloved childrenWho have been enslavedTo reach for the light continually
So many times I prayedSo many times I've prayed for youPrayed for you
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Sade: Slave Song, part 2LP: Lovers Rock
The tears run swift and hard and cold as painEven, even the comfort of a stone would be a gainHad I not had the strength and wisdom of a warriorI would have to give upBut I'm thankful that I'm Strong as I am and I'll Try to do the best I can
Repeat 1
I pray to the almightyLet us not do as he has unto usTeach my beloved children I've been a slaveBut reach for the light continually
Wisdom is the flameWisdom is the brave warriorWho will carry us into the sunI pray that it's swift though Tears will come that fall like rain
So many times, so many times
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Cidade negra (Brazil): Mucama (as the new slave)LP: Sobre todas as forcas.
Mucama Na cama do patrao
Me chama do negao Me paga Salário di bufao Mas come Como a populacao nao come
Servant In the Lord’s bed
He call me ”big nigger” He pay me A ridiculous salary But he eats What the people doesn’t
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Slave trade
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Afro-American Religions
Brazil: candomblé, tambor de minas, macumba, umbanda, others
Haiti: vodou, others
Cuba: santeria, others
Usa: hoodoo, others
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Haitian vodou
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Superficial syncretism
In Latin America the African divinities were ”fused” or identified with Catholic saints …
But the syncretism was quite superficial … as the logic of the possession ritual is deeply African
Syncretism was a useful strategy for the survival of the African beliefs
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African and Afro-American possession religion
The finality of the rituals is the possession itself, the descent of the divinities and their embodiment … in the “heads” of the possessed
The possessed dances in trance, acquiring the voice dance steps and behaviours of the spirit. The beliver has the dress and the symbols of the divinities
the trance is extremely ritualized
The divinities enjoy to dance, the offers, the sacrifices, the ritual itself
The possessed enjoy the bodily communion with the divinity
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Haitian vodou: please, forget zombies
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"I Walked With A Zombie"1943
Trailer full of Hollywood stereotypes
http://www.youtube.com/watch?v=hT_JnFXC6UA
R.e.M. I walked with a zombie
http://www.youtube.com/watch?v=wIptH1awUNI&NR=1
I walk with a zombie I walk with a zombie I walk with a zombie last night
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Haitian vodou:please, forget black magic’s puppets
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Haitian vodou is much more connected with healing
A vodou priest treats an ill woman with mud from the sacred pool in Plaine du Nord
300 kilometres north of Haiti's capital, Port-au-Prince, during the annual festival honouring the spirit Ogou
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Haitian ritual song
Leaf Oh, save my life I’m in misery My child is sick, I run to the healer-priest If he’s a good priest, he’ll save my life I live in poverty, Oh
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Haitian mambo priestess
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Lakou Souvenance with rada drums
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Danças Brasileiras - Candomblé
http://www.youtube.com/watch?v=9dlSVHZtQ_A&feature=related
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Danças BrasileirasTambor de Mina
http://www.youtube.com/watch?v=q23VwCvedmQ&feature=related
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Milton Nascimento, Os Tambores De MinasLP: Nascimento (Grammy winner for world music)
Era um, era dois, era cemMil tambores e as vozes do alémMorro velho, senzala, casa cheia
Repinica, rebate, revolteia
E trovão no céu é candeiaEra bumbo, era surdo e era caixaMeia-volta e mais volta e meiaPocotó, trem de ferro e uma luzProcissão, chão de flores e Jesus
Bate forte até sangrar a mãoE batendo pelos que se foramOs batendo pelos que voltaramOs tambores de Minas soarãoSeus tambores nunca se calaram
There was one, two, a hundred, a thousand drum and the voices
from beyond Old hill, senzala, full house
The sound rebounds, bounces and bounds
Thunder in the sky is a candle It was bumbo, surdo and caixa Half-round and one and half Horse track, iron train and a light Procession, soil of flowers and Jesus
Hit strong until the hand bleeds Hit for the departed ones Hit for the ones returned The drums of Minas will play The drums that never were in silence
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Milton Nascimento, Os Tambores De MinasLP: Nascimento
(...)E o futuro nas mãos do meninoBatucando por fé e destino
(...)
And the future in the child’s hands Drumming for faith and destiny
Free translation: Vesa Matteo Piludu
Senzala: slave’s houses
Bumbo, caixa, surdo = drums
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Angelique Kidjo: Shango
http://www.youtube.com/watch?v=C_VjmiPDZmU&feature=channel
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Xangô
Lord of the thunders and fires
King of Oyó, royalty
Brave, dominator
Masculine, virile
Half-human and half orixá
Color: white and red
Symbols: oxé, double battle-axe
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Xangô
Cd Festa da Musica do Gantois 2
track 5
Rhythm: barra vento
The dance represent royal appearance, the assignation of judgments, thunders
Fire dance
Kawô kabiesileh!
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Xangó, Brazil
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Xango, Brazil
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Xango, Benin, Africa
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Xango, Benin
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Xango, Brazil
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Xango
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Xango, Brazil
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Xango, Benin, Africa
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Xango, Benin, Africa
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Vinicius de Moraes – Baden Powell:Canto de Ossanha
Amigo sinhôSaraváXangô me mandou lhe dizer
Se é canto de OssanhaNão vá!Que muito vai se arrepender
Pergunte pr'o seu OrixáO amor só é bom se doer
Friend, old boy Saravá Xango send me to say to you
If it is Song of Ossanha Don’t go! You will regret it!
Ask to your orixá The love is good only if it hurts!
Xango, opposed to the herbalist Ossanha, is here represented as a protector of passionate and brave love, including risks of pain and sorrow
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Xangô: justice and wifes
As other gods of thunder, Xango is connected to justice and he is a punisher of thieves and evil-doers
In Africa house stroked by lighting is considered marked by the rave of Xangô
Xangô has 3 wifes: Oia-Iansã (storm), Oxum (river) and Obá (a she-warrior, also connected to a river)
There is a strong rivality between Oxum and Obá
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Santana: Jingo
http://www.youtube.com/watch?v=Rc4vZHf5iSQ
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Galn Costa and Milton Nascimento: Voz do Tambor (Fonseca/Bastos)LP: Aquele frevo axé
Fala por nós a voz do tambor Voz que trae o meu amor
As cahoeiras Céu onde está Olorum Toda a beleza Agradecer a Oxum
Luz das estrelas Agradecer a Xango O bem da vida O bem da vida vem no bater do
tambor
http://www.youtube.com/watch?v=EaNba-3Wy8Y
The voice of the drums speaks for us
The voice that takes my love
The rapids Sky where Olorum lives All the beauty Will please Oxum
Starlight Will please Xango The joy of life Come from drumming
Olorum: God of skies Xango: god of thunder Oxum: goddess of
Free translation: Vesa Matteo Piludu
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Iemanjá - Yemanjá
Lady of the seas and oceans, salted water
Both calm and stormy
Fertility, childbirth
protector of family
Is considered the mother of all the orixás
Colours: silver white and turquoise
Symbol: silver mirror, abebé
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Yemanjá
Cd Festa da Musica do Gantois 2
track 4
Various rhythms
Odu iyá!
The dance represents the movements of the sea, the waves and calm femininity
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African legend: back to the sea
She is the daughter of Olookun, divinity of the deep seas
His husband is completely drunk and pokes fun at the impressive dimensions of the breasts of Yemanjá
Offended, she beats the ground with her foot and transforms herself into a river, that goes back to the sea
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Procession of Iemanjá: 2 of February
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Procession of Jemanjá
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Gal Costa (Author: Dorival Caymmy, Brazil):Dois de Fevereiro, LP: Gal Costa canta Caymmy
Dia dois de fevereiroDia de festa no marEu quero ser o primeiroPra salvar Yemanjá
Eu mandei um bilhete pra elaPedindo para ela me ajudarEla então me respondeuQue eu tivesse paciência de esperarO presente que eu mandei pra elaDe cravos e rosas vingou
The Second of February It’s a day of celebration in the Sea I want to be the first one To hail Yemanjá I send her a paper Asking for help She answered To have patience and wait I gave her a present Done by carnation and roses
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Zeca Baleiro: Mamae Oxum (traditional, Brazil)
Iemanjá Celebration – Mamãe Oxum http://www.youtube.com/watch?v=qDi89NTy-
Nk
Dances of Oxum: http://www.youtube.com/watch?v=qhcsJ0-
4s54&feature=related
Zeca Baleiro: Mamãe Oxum http://www.youtube.com/watch?
v=PkctGlCA_tw
Eu vi mamãe Oxum na cachoeiraSentada na beira do rio
Colhendo lírio lirulêColhendo lírio liruláColhendo lírioPra enfeitar o seu congá
Ê areia do mar que o céu serenaÊ areia do mar que o céu serenouNa areia do mar mar é areiaMaré cheia ê mar marejou
I’ve seen Mother Oxúm in a fall Sitting on the river’s shores
Picking flowers, oh yeah Picking flowers, oh yeah Picking flowers To fascinate her congá (altar)
It’s the sea sand illuminated by the sky,
Sea sand illuminated by the sky,
In the sea sand, the sea is sand
Full tide, oh, the sea shores!
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Oxúm in the Fall
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Oxum
Divinity of fresh, running waters
Waterfalls
Sensual, feminine, vain But also protective and full of
compassion She is full of strength of will
connected to childbirth and Ifá divination
Symbol: golden mirror, abebé
Colour: golden yellow, copper
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Oxum
Cd Festa da Musica do Gantois 2
track 1 Rhythm: ijexá
Ore yê yê ô!
The dance represent both the movement of a flowing river and sensual femininity
The divinity is looking at the mirror and taking care of her jewellery and hairs
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Oxum
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Oxum, Brazil
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Oxum
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Oxum
In Nigeria she is the divinity of the river Oxum
According to a legend she was offended because the male orixás’ organized reunions without women
As a revenge, she make all the women barren and the all the orixas’ projects failed
At the end all, she is invited to the reunions, and the things turn back to the normality
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Rappa (Brazil): Lado B Lado A
Se eles sao Exu Eu sou Yemanjá Se elem matam bicho Eu tomo banho de mar (…)
Nao abro mao da mitologia negra Pra dizer: Eu nao pareco com com voce (…)
Eu soh guerreiro, sou trabalhadorEh todo dia vou encararCom Fé em Deus e na minha batalha (...)
If they are Exú I’m Yemanjá If they kill a beast I swim in the sea (…)
I’m not renouncing to the Black Mythology
To say: I’m not like you!
I’m a warrior, a worker Fighting every day With faith in God and in my battle
(…)
Exú = crossroads’ god Yemanjá= Sea goddess Free translation: Vesa Matteo
Piludu
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Exú (Salvador, Brazil)
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Exu’s colors: red and black
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Exú - Carybe
Traditional trickster Is uncontrollable, unpredictable But it is possible to ask him
favours
Dominantly male, but also female, strongly human and emotive, full of desires
It is dangerous for his human-like behaviour … but isn’t evil
He is the mediator, the bridge between humans and divinities
He must called before all the others divinities to avoid “confusion”
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Exú
Exu (known as Eleggua in Cuba and Legba in Haiti) is the owner of the roads and doors in this world.
He is the repository of axé (life energy).
The colours red and black or white and black are his and codify his contradictory nature.
In particular, Exu stands at the crossroads of the human and the divine, as he is a child-like messenger between the two worlds
Exú is also connected to sacrifices and offer
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Eshú l'arôye!
In general, if Exú is respected, it ”opens the doors” and it is helpful
If isn’t considered, he could cause every kinds of catastrophes
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Exú ceremony - padé
The exú ceremony is called padé It consist of an offer of vegetals to Exú
… and it is performed before the real ceremony, to avoid “confusion” during the ritual
CD Filhos de Gandhi, track 3: “sire de exú”
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Exú (Salvador, Brazil)
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Vinicius de Moraes – Baden Powell
Lamento de Exú
The ”cry” of Exú is interpreted with a feeling similar to the blues
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Martinho da Vila: Sincretismo religiosoSinger from Rio in favor of syncretism
Ê, ô, todos os povos são filhos do senhor!Deus está em todo lugar.
Nas mãos que criam, nas bocas que cantam, nos corpos que dançam, nas relações amorosas, no lazer sadio, no trabalho honesto.
Onde está Deus? - Em todo lugar!
Olorum, Jeová, Oxalá, Alah, N`Zambi. . . Jesus!
E o espírito Santo? É Deus!Salve sincretismo religioso! - Salve!Quem é Omulu, gente? - São Lázaro! Iansã? - Santa Bárbara!Ogum? - São Jorge!
All the peoples are God’s sons
God is everywhere! In the hands that create, in the
mouths that song, in the bodies that dance, in the love relations, in the healthy and in the honest work
Where is God? Everywhere!
Olorum, Jeová, Oxalá, Alah, N`Zambi. . . Jesus!
And the Holy Spirit? Is Jesus! Hail the syncretism! Hail! Who’s Omolú, people? Saint Lazarus! Iansã? - Saint Barbara! Ogum? – Saint George!
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Mãe Stella of Oxossi (Salvador) against the syncretism: Iansã is not Santa Barbara
“The catholic saints and images have their value. We do not want to stop having faith in Saint Barbara. Sure, an elevated spirit.
But we know that Iansã is another energy, it is not St. Barbara.
Religion is not something to be imposed, it depends of the consciousness of everyone.
But we want respect with the Candomblé.
It is a non-sense, for example, to give food to Iansa at St.Barbara's feet. It has no meaning.
The food is of Iansa, it is another energy, completely different of what it is St.Barbara, do you understand?”