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Spirits with Scalpels

Sidney M. Greenfield’s 2016 anthropology book Spirit with Scalpels delved into a plethora of different religious healing practices in Brazil, primarily focusing on the Kardecian Spiritists' traditions that have come to be the most widespread religious healing practice in Brazil. Dr. Greenfiel also covered several chapters on the Afro-Brazilian spiritual healing traditions, Umbanda and Candomblé, the Catholic pilgrimage traditions, and the more recent Pentecostal healing practices. The purpose and interest for his research can be best explained by his prologue, in a July 11, 2002, issue of the New England Journal of Medicine Sidney M. Greenfield that patients who received a placebo surgery for their arthritis knees did as well or sometimes even better than other patients, even reporting that they received less pain (7). Thus, leading Dr. Greenfeld to learn how religious faith healers could heal without as advanced modern medicine, developing a hypothesis that the trance Brazilian healers use is hypnosis (18). 

Sidney M. Greenfield was also able to capitalize on over three decades of his past published research within the country to repurpose in his current book, from articles such as “The Return of Dr. Fritz: Spiritist Healing and Patronage Networks in Urban, Industrial Brazil,” for the journal Social Science and Medicine in 1987, and the 2002-2005 article for International Journal of Parapsychology, “The Cultural biology of Brazilian Spiritist Surgery and Other Non-Biomedical Healing.” Like Karen McCarthy Brown’s anthropology book Mama Lola, Greenfield also wrote heavily in the first person, but provided much broader historical context to his work, coinciding more with Guillaume Lachenal’s book The Lomidine Files.  

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Mama Lola

Mama Lola: a Vodou Priestess in Brooklyn is a biography of Haitian born priestess Marie Thérèse Alourdes Macena Champagne Lovinski, better known as Mama Lola, by anthropologist Karen McCarthy Brown, turning Mama Lola into the most famous Vodou priestess in America.  First published in 1991, Karen McCarthy Brown’s biography of Mama Lola’s life and family lineage, beginning with her great-great-grandfather Joseph Binbin Mauvant, acts also as a cultural and religious history of Haiti, Vodou practices, and the Haitian immigrant experience to the United States.  They met in the summer of 1978 when Karen Brown was working for the Brooklyn Museum on a survey of the local Haitian immigrant community (1).

Arguably anthropologist Karen Brown approached Caribbean history with a gendered feminist lens, an approach that had been done before to Latin American history with Ann Pescatello with her article “The Female in Ibero-America,” in the Latin American Research Review in 1972, and the essay collection Health and Healing in the Early Modern Iberian World.  Gendered history of Haiti was still a new approach for Haitian historians and anthropologists at the time Karen Brown’s book was published in 1991, even though women have played a part in Haitian history since before the revolution, an aspect delved into by modern historians like Philippe Girard in his 2011 book The Slaves Who Defeated Napoleon and “Rebelles with a Cause: Women in the Haitian War of Independence, 1802-1804,” for Gender & History in 2009.

The past books we’ve read delved into African healing approached as a more scientific history, like Pablo Gómez’s The Experiential Caribbean, or narrative like James Sweet’s book on Domingos Álvares.  Here with Karen Brown’s book our class had finally read a work that approached African healing, as a religion, comparing aspects of Haitian Vodou to Catholicism, noting how the lwa are often called saints despite not being traditionally saintly (6).  As a more anthropological work, Dr. Brown’s book had a more similar methodology with Clifford Geertz, than Jacob Burckhardt, quoting Ms. Alourdes heavily throughout the book, aiming to tell Mama Lola’s story and refute the negative stereotypes of Haitian Vodou (14-15).

In Chapter One we learn about Mama Lola’s great-great grandfather Joseph Binbin Mauvant in Jean Rabel, his daughter Marie Noelsine and her granddaughter Philomise, Marie Alourdes’s mother (26-27).  Chapter Two was dedicated to one of the lwa spirits that influenced Mama Lola the most, Azaka Méde, also known as Papa Zaka, and the connection Mama Lola stated to have, describing the work Marie Alourdes had fashioned to celebrate the spirit’s birthday when Dr. Brown visited her, including an altar (36, 40-42).  Chapter Three was dedicated to Alourdes’s grandfather Alphonse Macena and the relationship with her great grandmother Marie “Sina” Noelsine (84).

Chapter Four was dedicated to the warrior spirit Ogou with brief mentions of other spirits like Ibo, and the connection to Haitian politics; the later half of this chapter is dedicated to a vodou marriage Karen Brown went through to the spirit Ogou (100, 134-138).  Chapter Five was dedicated to the baka, evil incarnate spirits, and the baka summoned out of jealousy to Mama Lola’s grandmother Elsa Fouchard, separating her from her daughter Philo, but leading Philosmise into becoming a Vodou Priestess herself (142-143, 153-154).  Chapter Six used Mama Lola’s story to showcase the spirit Kouzinn, the female counterpart to Azaka and one Alourdes did not cite a Catholic counterpart (156).

Chapter Seven Philosmise formed a friendship with pharmacist Clement Rapelle, him asking her to treat his son in the Haitian tradition and he bought the medicine Philo needed after she gave birth to Mama Lola (205, 213).  In Chapter Eight, Mama Lola explained to Dr. Brown the female spirit group, the Ezili (222-223).  Chapter Nine delved more towards Mama Lola’s present, showcasing the conversations Dr. Brown had with Marie Alourdes, especially the ones over Mama Lola’s daughter Maggie and how Alourdes really wants Maggie to get married than to follow in her footsteps (263-264).

With Chapter Ten Dr. Brown to Danbala and the Haitian rituals performed in New York (272, 281).  In Chapter Eleven Dr. Brown again dedicated a chapter to watching Mama Lola’s religious practice one Sunday and the conversations Karen had with Mama Lola, her second-level helper Robert Gerard, and her daughter Maggie (313-320). The final chapter, Chapter Twelve, was dedicated to the Vodou spirit of death, Gede; Mama Lola also admitted that she is also Christian, telling a story of a time she turned down a customer away for being a paying member of a satanic group, saying “Satan is more powerful than me,” (330, 337).

Overall, religious anthropologist Karen McCarthy Brown, had created an interesting approach to Vodou history that still primarily focused on Mama Lola, and her family lineage, not delving out too much into Haitian history and the Vodou religion the way Dr. Sweet’s biography of Domingos Álvares did.  Although that was likely to happen when your “subject” is still alive and became a lifelong friend.  I also appreciate how Karen Brown avoided otherizing the Vodou religion, even participating in a spiritual marriage with the lwa spirit Ogou.