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cody-00 · 1 year

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Euclase and Motivation Boredom

Note: this has been taken from my Twitter thread, but there's some edits I've been wanting to make, and generally multi-platform access is a good thing, especially here with how tags work on this site as well the amount of Euclase metas already present here.

It may feel awkward for this post to be based off of a source based in Western philosophy knowing the series' Buddhist influences, but the former's concise terminology helps illuminate the series without any evident conflicts. Conveniently, I have only needed to base this thread off of one article: "Immortality and Boredom" by John Martin Fischer and Benjamin Mitchell-Yellin.

If one believes that immortality necessarily causes boredom, Fischer and Mitchell-Yellin have observed two notable ways in which one could make this argument. One way, coined as "content-boredom", argues that immortality would eventually exhaust the supposed finite amount of desires that would drive a person to live (Fischer and Mitchell-Yellin 355). This is partially shown through the Lunarians. Their desire to pass on stems from the resignation that they have done everything that could bring any sort of pleasure. The Lunarian's problems regarding immortality do not stem from content-boredom, for there is a more existential component present, but it is a real factor. Content-boredom is limited to the Lunarians, for they, outside of Kongo, have lived much longer than anyone else.

The other way to argue immortality that causes boredom is to say that an immortal life would not be constrained by time, and, therefore, lack a certain urgency. Lacking the energy to actualize one's desires and complete projects would make life dull. This is labeled as "motivation-boredom" (361). While perhaps not as intuitive argument as content-boredom, motivation-boredom is an application of the common practice of procrastination at its most extreme. Where one may put off a task until the last possible moment despite wanting and knowing that they should have started that task earlier, people who support the idea of motivation-boredom believe people can and will put off everything indefinitely since there is no last possible moment. Motivation-boredom is best substantiated through the Earth Gems, but most importantly, through Euclase, an elder gem who displays more apparent control over the Earth Gems as the series progresses. Showing how this is the case is what the real substance of this post is.

First of all, Euclase's role in demonstrating motivation-boredom is something only Euclase can properly do. The other elder gems (i.e. Yellow Diamond, Padparadscha, and Alexandrite), are caught in problems regarding immortality that are outside of boredom. The same reasoning applies to Kongo.

Ironically, they acknowledge the idea that immortal existence fundamentally differs from mortals in a psychological sense, but they (through their own admission) ultimately seem unaware of how motivation-boredom affects their judgments. Before any budding criticism comes to mind in how the previous tweet is phrased, Euclase does only mention that an immortal being's sense of danger being distorted—not necessarily an immortal being's sense of urgency being distorted. However, the following paragraphs should demonstrate the compatibility and sometimes interchangeability between the two traits. Euclase's distorted sense of danger is actually rooted in Euclase's distorted sense of urgency.

Relative to other gems in the series, Euclase's conversations take a lot of focus on temporality. There are many examples. In fact, Chapter 4, their first major appearance, foreshadows this tendency. The third image shows a juxtaposition between Euclase and Phos in valuing time.

Another example early in the series (one in which credit goes to Shamu, for he pointed this out during our note-taking process of this video) takes place during Chapter 7 when Jade reports that Euclase dropped their schedule and is in need of more time to reassign roles for the future. The reason is indirectly linked to Phos, which hints at how Phos will impact Euclase’s future.

Euclase, contrasting from the Lunarians, values the benefits that come from the lack of urgency. With infinite time comes the infinite opportunities for conflicts to resolve. The earliest moments where this sentiment shows itself is through Chapter 41 and Chapter 58.

While a bit digressive for this post, Euclase's word choice incorporates time once more to compliment Phos' condition by returning from the moon in Chapter 58. There is an irony here in that Euclase's support for the idea that a lack of urgency eventually will towards positive outcomes through patience is vindicated through Phos. Euclase's encouragement to Phos could have only happened through the systemic neglect that Phos is under.

Chapters 60 and 61 display where motivation-boredom's consequences start to directly impact the plot. Euclase recognizes the threat Phos poses but fails to enact any action outside of sharing their suspicion to Jade and expressing an ambiguous threat towards Phos. Euclase failure here stems from two reasons. One is that Euclase misreads the identity of Phos. Lapis is a gem known for their analysis paralysis. Euclase, by believing Lapis has the most control over LaPhos, assumes that Phos would not follow through any plans with such haste. Furthermore, by predicting their actions through the Lapis-colored lens, they fail to consider what would happen if really is Phos in control, a gem that carries human-like tendencies to carry out tasks with an urgency.

The second reason originates from Euclase's inability to detect time constraints. Notice the juxtaposition between Euclase and Phos here: the threat not only fails to prevents the gems departing for the moon but actually hastens the result.

Even though Euclase manages to prevent a few gems from leaving the moon, it's a pyrrhic victory, suggesting once more how Euclase's inability to feel urgency causes negative results. Consider Rutile, whom Euclase successfully prevents from going to the moon. Rutile could have served as a pivotal piece in preventing the departure to the moon, for they were the only one to consider disseminating Phos’ plan to Kongo. Instead, Rutile’s psyche starts to take a turn for the worse in the series. Euclase’s failure here is multilayered.

Euclase starts to recognize urgency more due to Phos. Kongo's pending request for a self-imposed exile forces Euclase into action. Why Euclase feels compulsion to stay on Earth is slightly outside the scope of this post, but Euclase's argument for staying on Earth lies in identity and its connection to time. Note that Euclase's urge to make up each other's shortcomings results from Phos' actions as well as Kongo's response being tied to the relationship future life forms and the present day.

The scouting mission in Chapter 69 implies that Euclase's natural state is one that tries to maintain a state that avoids urgency when they can. Pad's analysis, considering their constant state of inactivity, suggests that Euclase's character has been unchanging for a while. The threat of Phos does urge Euclase and the Earth gems to respond with a defensive plan, however, as seen in Chapter 70. The following interaction between Phos and Euclase centers once more on time.

Euclase's decision for everyone to rest after the night raid lies upon the premise that relationship between Phos and the Lunarians is currently one of dysfunction. Urgency to act only comes when the danger is immediate and the time constraints are evident for Euclase.

When Phos is separated for 220 years, Euclase once again approaches the problem under the assumption that the amount of time to solve all the conflicts with Phos is not constrained by time. The following chapter shows Euclase's belief that Phos no longer endangers their safety; the small amount of motivation they have to ask Kongo to pray is caused not out of sympathy for Phos but instead of out consideration of the possibility that that Lunarians might invade.

While Euclase's reasoning to delay cleaning up during Kongo's birthday party may have justifiable reasoning, it does show how motivation-boredom even plays a part in casual situations.

Upon recognizing danger from Phos' imminent invasion, Euclase's response is to buy time, which seems rather indicative that their response to urgency is infinitely delay whatever causes urgency.

Through Alexandrite's action sequence, due to the positioning of Euclase at the start of the sequence compared to the other images, it almost seems as if Euclase is trying to delay inevitable danger by using their companions to buy time.

Based on Euclase's previous actions, their reasoning for their negotiation plea towards Phos expresses sincerity. However, as time has proven before, Phos shows that they need to be the danger in order for goals and desires to be reached. Euclase's shortcomings show that becoming immortal does not mean everything can be put off until later.

When wondering why Euclase fails to get anything done later in the series, a serious factor to consider is the influence of motivation-boredom. Euclase's passivity may not be entirely based on intentional callousness, for their existence and their relation to time distorts all decision making, and living as they have distances themselves from a perspective like Phos' and reinforces those distortions.

To wrap everything up, Houseki no Kuni frequently criticizes immortality. Does the depiction of both kinds of boredom claim are aspects that necessarily happen to those who have immortality? No. In a sense the two types of boredoms oppose one another, yet they coexist in this story. However, having these two kinds of boredoms correspond to a respective immortal species shows how these criticisms could happen to those who are immortal. Additionally, unlike content-boredom within Houseki no Kuni, motivation-boredom does not directly lead to unhappiness for reasons concerning the lack of energy to fulfill desires like its supporters suggest. Instead, the manga shows that those in power who lack urgency due to their immortality can lead to excessive and idle conservatism and eventual, destructive consequences by not recognizing and responding to time-sensitive issues. To me, that sounds more like a warning rather than a criticism.

The paper summarizes both types of boredoms, but interestingly, they reject these two concepts as sufficient reasons to oppose immortality. Originally, before making this post, I did not think either forms of boredoms had any merit, but analyzing Euclase has shown me that immortality would, while not necessarily causing motivation-boredom, a distortion of urgency within projects that would require it, thereby risking to harm one's quality of living. Furthermore, for supporters of content-boredom, reading "The Makropulos case: reflections on the tedium of immortality" by Bernard Williams may interest you. For supporters of motivation-boredom, I cannot say I have read them, but Fischer and Mitchell-Yellin's response on content boredom is based off of Todd May's "Death" and Martha Nussbaum's "The Therapy of Desire".

Fischer, John Martin, and Benjamin Mitchell-Yellin. “Immortality and Boredom.” The Journal of Ethics, vol. 18, no. 4, 2014, pp. 353–72. JSTOR, http://www.jstor.org/stable/43895884.

#euclase #land of the lustrous #hnk #phosphophyllite #kongo sensei #houseki no kuni #rutile #hnk meta #motivation boredom

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the-girl-who-didnt-smile · 3 months

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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.

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.”

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.

#between the two it is 100% papa legba who had a bigger impact on horror stories from the american south of the early 20th century #i think a lot of people would think it's baron samedi but no! it's the mischevious limping old man!#commentary #the loa (hazbin hotel)#baron samedi (hazbin hotel)#big papa legba

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velvaetalt · 1 year

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jailbreak husbands

“you got me!?” ⛓️ “yeah, i got you, leo.”

[ on spotify ]

Iris by The Goo Goo Dolls — Suicide Romantics by Des Rocs — Angel of Small Death and the Codeine Scene by Seafret — Train by Brick + Mortar — Me and My Husband by Mitski — All the Pretty Girls by KALEO — California by The Delta Saints — Strangers by The Kinks — R U Mine? by Arctic Monkeys — The Phoenix by Fall Out Boy — FUCK YOU HEATHER by boyish — Northern Attitude (with Hozier) by Noah Kahan — Way Down We Go (Recorded at Spotify Studios NYC) by KALEO — The Only Thing by Sufjan Stevens — Movement by Hozier — The Garden by The Crane Wives — Stuck In The Middle With You by Stealers Wheel — Interlude: I’m Not Angry Anymore by Paramore — Infra-red by Three Days Grace — Devil Town by Cavetown — Up To No Good by The Hoosiers — Dear Fellow Traveller by Sea Wolf — Just One Yesterday by Fall Out Boy & Foxes — The Chain by Fleetwood Mac — I Follow Rivers by Lykke Li — Hard Came the Rain by Rag’n’Bone Man — Take Me to Church by Hozier — I Hate Everything About You by Halocene & Violet Orlandi — Fourth of July by Sufjan Stevens — Howlin’ for You by The Black Keys — Come with Me Now by KONGOS — Golden Dandelions by Barns Courtney — Nothing Personal by Des Rocs — No Good by KALEO — Very Good Bad Thing by Mother Mother — Creep by Radiohead — Psalms 40:2 by The Mountain Goats — Romantic Homicide by d4vd — Sinners by Barns Courtney — Hold Me Like a Grudge by Fall Out Boy — Love Like You by Caleb Hyles — Come a Little Closer by Cage The Elephant — Left Hand Free by alt-J — John Wayne by Lady Gaga — FOR YOUR LOVE by Måneskin — Chasing Cars by Snow Patrol — Exit Music (For a Film) by Radiohead — Secret Worlds by The Amazing Devil — Banks by lincoln Dear Arkansas Daughter by Lady Lamb — Paul by Cavetown — Beautiful Crime by Tamer — Ebb and Flow by The Dead Tongues — Too Late To Say Goodbye by Cage The Elephant — Christmas Kids by Roar — Never Love an Anchor by The Crane Wives — Something in the Orange by Zach Bryan — Hell and You by Amigo the Devil — Vulture Culture by Fangclub —I Bet on Losing Dogs by Mitski — The Winner Takes It All by ABBA — With Or Without You by U2 — Passenger by Deftones — Broken Crown by Mumford & Sons — Bad Romance by Lady Gaga

#bit of a long one. will probably expand #remember when i used to draw?#sure haven’t done that in a while #anyways uh. enjoy #a way out #vinceo #velvet curates

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singeratlarge · 1 month

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MONDAY MATINEE MUSIC VIDEO: “You Won’t Be Seeing Me Anymore” by Tim (a.k.a. Chris) Andrews https://www.youtube.com/watch?v=o8bhFTWVNVU This was recorded in London, but it has a folk-pop California sound that could’ve come from Laurel Canyon or San Francisco circa 1967 (when this song was made). On a cosmic jukebox this track would play next to It’s A Beautiful Day (“White Bird”) and Love. It was written by Gordon Haskell, Tim/Chris Andrews’s former bandmate from Fleur de Lys. Gordon is often noted for his role in an early incarnation of King Crimson, but beyond that he was a prolific singer-songwriter who, after years as a “starving folksinger,” found success with the hit single “How Wonderful You Are” and the platinum album HARRY’S BAR.

The lyrics are about seasonal love, coming from a young man who travels for a long time and leaves his troubled sweetheart behind. The track (w/Gordon on bass and guitar) was produced by Paul Clay (Ace Kefford, Sharon Tandy, early Yes) and Mike Noble (Joan Armatrading, Fleur de Lys, John Kongos). It was the B-side of “Sad Simon Lives Again,” Tim’s first solo single after he’d signed with renowned producer, promoter, and music executive Tony Hall (who’d plugged The Beatles, Carmen McRae, and later inked Black Sabbath’s first record deal). Tim later reverted to his real name Chris and went on as a solo act and a collaborator with Roger Daltrey, David Essex, and Davy Jones (Monkees).

youtube

#timandrews #chrisandrews #gordonhaskell #fleurdelys #kingcrimson #harrysbar #California #LaurelCanyon #SanFrancisco #Love #Itsabeautifulday #whitebird #tonyhall #London #Parlophone #singersongwriter #rogerdaltrey #davidessex #davyjones #monkees #johnnyjblair

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conjuremanj · 1 year

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Traditional Hoodoo vs. "Marketeered" Hoodoo.

The culture and practice of Hoodoo was created by African Americans. Hoodoo includes reverence to ancestral spirits, animal sacrifice, herbal healing.

Holy Ghost shouting, praise houses, snake reverence, African American churches, Kongo cosmogram, graveyard conjure, the crossroads spirit, incorporating animal parts and the Bible is all apart of African American tradition.

During the twentieth century, white drugstore owners and mail-order companies owned by white Americans changed what African Americans created into there own version and culture of what they think is hoodoo. The hoodoo that we see practiced outside the African American community is not the hoodoo created by African Americans in the south. It is called "marketeered" hoodoo. This fake version of hoodoo is a commercialized version or tourist hoodoo.

Hoodoo was modified by whites and replaced with their practices and tools. While traditional hoodoo may not be practiced in secret. New this new hoodoo spread from southern African American community's into this product that's marketed on the internet uses.

There are a shit load of videos on the internet of people fabricating spells calling themselves Papa or root worker and others claiming to be experts on hoodoo and offering paid classes for the uneducated to writing books. As a result, people outside of the African American community think this marketeered hoodoo is authentic Hoodoo. Like the Luck Mojo company.

Now people thinks that this new Hoodoo is just spells and tricks. That Hoodoo is all about how to hex people and candle spells for love and money etc. Which is a problem. For example, High John is a black man maybe or not from Africa enslaved in the United States whose spirit resides in this practice (not the root) is how the story goes.

But It's crazy how white americans replaced root workers in African American communities, and began putting an image of a white man on their High John the Conqueror product labels. As a result, some people do not know the African American folk hero High John the Conqueror is a black man and goes as far as changing the story.

This is takes away our spiritual beliefs and makes white spiritual merchants the authority on hoodoo.

Hoodoo should be examined from the Black American experience really southern black culture, and not from the fake crap that is found in books, online and published by people don't know the culture.

Like the people who built a big business in hoodoo and learn from books by Harry Hyatt. Now I'll tell ya those book are are mostly inaccurate and not complete.

Basically it's great to see anyone from any race who want to know about this practice and this culture. But learn the right way.

#marketeered hoodoo #Commercial Hoodoo #spiritual #google search #rootwork #traditional hoodoo #southern hoodoo #like and/or reblog!#follow my blog #update post #traditional rootwork #southern rootwork #Fake hoodoo

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blueiight · 1 year

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i cant really do a proper proper chain on how people misread dumas’s work abt borgia cuz dat would take time i dont got outside of a claim made by a snopes article but where ‘white jesus’ came from himself u can see the historical project unfold in The Color of Christ: The Son of God and the Saga of Race in America by Edward Blum and Paul Harvey + i cant recall cuz its like 15048 o clock my time n aint sleep / am drunk but its books out there abt latam too n how colonization pushed for a caste system thats also deeply tied to divinity in the form of white jesus

and for depictions of a jesus that resembles the local pop. u can look into the kongo kingdom [The Kongolese Saint Anthony: Dona Beatriz Kimpa Vita and the Antonian Movement, 1684-1706: John Thornton] , ethiopia & nubia as well as many other depictions of jesus in christian regions of western asia+ worldwide

#yn.#someone asked this but comment section short n i tired

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seedfamilysimps · 2 years

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Decided to go ahead and finish this set of song reccomendations based on the Seeds. John 1. Eyes on the King -Benn 2. Villain - Wild Fire 3. This is Love - Air Traffic Controller 4. Nightmare - The Veer Union 5. Make Me Worse - Kings of The City 6. The Mystic - Adam Jensen 7. Up to No Good - The Hoosiers 8. Real Boy - Lola Blanc 9. Thief - Ill Factor Faith 1. Bride - San Fermin 2. Golden Dandelions - Barns Courtney 3. Sedated - Hozier 4. The Moon will Sing - The Crane Wives 5. Yours Alone - Brothers Bright 6. I can't sleep - Nina Chuba 7. Saints - Echoes 8. Breathe Me - Sia 9. Six - Sleeping At Last 10. Dead Walk - Redhook Jacob 1. Awake O' Sleeper - Brother's Bright 2. Repeat After Me - Kongos 3. Wild Lands - Koethe 4. Appetite for Destruction - Vo Williams 5. Wolf - Saint Mesa 6. Everybody Knows -Wild Fire 7. Bullet with Butterfly Wings - Tribe Society Cover 8. Outcast - Shinedown 9 Fire - Barns Courtney 10. Bad Blood - Welshly Arms Joseph 1. Used to the Darkness - Des Rocs 2. Providence - Poor Man's Poison 3. Flash Flood - Kongos 4. Mercy Down - Shayfer James 5. Dead Moon - Brick + Mortar 6. Holy Water - The Funeral Portrait 7. Ending - Koethe 8. Above and Below - The Bravery 9. Full Circle- Half Moon Run 10. Revelator Man -Tow'rs

#joseph seed #jacob seed #john seed #faith seed #far cry 5 #my post #obviously these are just some songs that make me think of them

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arbitrarygreay · 11 months

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I'm going to take a guess and say that this is the only post on Tumblr connecting "Locked Tomb" and "Land of the Lustrous", despite the obvious comparisons between John and Kongo, and then the Lyctors to the Minerals.

#the locked tomb #locked tomb #houseki no kuni #land of the lustrous #category: anime #a shiny book tag appears

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glowyjellyfish · 2 years

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Is there still a Ducktales fandom here? Most of the blogs I followed around the 2017 times have either changed subjects or gone quiet. Well, anyway, if anybody’s still here:

I started rewatching Ducktales 2017 over the holiday, with the intent of finally finishing the last few episodes! I’m in the middle of s2 and very excited. So I went through and started editing my playlist, which hasn’t really been updated since season 1. And I’m wondering if any other fans out there have any song ideas. I’d like to have a fairly equal amount of songs for each major character, and so far my favorites tend to be over represented.

Here’s what I have so far:

General amusement songs:

Ducktales theme song

Quack Quack Quack! Donald Duck

The Three Caballeros Song

Scrooge

The Saddest Story Ever Told by The Magnetic Fields

Hazy Shade of Winter by Gerard Way

Feel It Still by Portugal. The Man

Inside Out by Eve 6

We Are the Champions by Queen

Donald

Trouble Loves Me by Morrisey

The Worst Day Since Yesterday by Flogging Molly

Come With Me Now by Kongos

Battle Cry by Ludo

Return by OK Go (although it’s about Della, from his perspective)

Della

Song of the Sea by Cake Bake Betty

Got to Fly by Marian Call (the best Della song)

Rocket Ship by Kathy McCarty

Huey

The Trail We Blaze by Elton John

Overkill by Colin Hay (I kinda want to replace this one)

In Too Deep by Sum 41

Everything is Awesome by Tegan and Sara

Dewey

Ready for Anything by Skyway Flyer

A Little Less Conversation by Elvis Presley (the Megamind cover)

Ghost by Mystery Skulls

Louie

Plan B by Five Iron Frenzy

Heist by Ben Folds Five

Here It Goes Again by OK Go

Natural by Imagine Dragons

The Future by Mystery Skulls

Webby

Kids in the Dark by All Time Low

I’m Ready by Angela Michael

Try Everything by Shakira

Beakley

Have You Got It In You? by Imogen Heap

Launchpad

Crash Goes My World by Cadence Grace

Flying by Blue Rodeo

Mr Blue Sky by Electric Light Orchestra

All Star by Smash Mouth (the best Launchpad song)

Bud Like You by AJR

Holding Out For a Hero by Bonnie Tyler (favorite recent addition, it’s both perfect and hilarious)

Learn to Fly by Foo Fighters

Gyro

Build the Robots by Doctor Steel

Still Alive from Portal

Fenton (should note that his section is a bit of a mess and may include songs that don’t work very well because I was just tossing songs in there to see what would stick)

Rocket Man by Elton John (although it works better for Classic Fenton than 2017 Fenton)

A Better Son/Daughter by Rilo Kiley

Freaking Out by Mystery Skulls

The Safety Dance by Men Without Hats (haven’t tested it yet, but the idea amused me)

Hero by Chad Kroeger

Little Lion Man by Mumford and Sons

Mighty Little Man by Steve Burns

Consequences by Buffering the Vampire Slayer

We Are by Ana Johnson

Lena

Opheliac by Emilie Autumn

Glomgold

Opportunities by Pet Shop Boys

Reprehensible by They Might Be Giants

Mark Beaks

Whipped Cream by Ludo

Welcome to the Internet by Bo Burnham

Gladstone

Life Has Been Good To Me by Randy Newman

…and that’s it. As you can see, it does not feel like a complete playlist, covering neither every character nor any full arcs. …except maybe Launchpad who’s pretty well represented with some good and great songs for him. My sister has suggested I try Let the Games Begin and The Good Part by AJR, as well as You Won’t Make a Fool Out of Me by Flogging Molly for Donald, but I would like some songs I haven’t heard by different artists, if possible. Also, please note that I haven’t seen the last five or so episodes of the series yet; I have approximate knowledge of The One Thing, but otherwise am avoiding spoilers until I finish.

Any ideas?

#Ducktales 2017 #Ducktales

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90363462 · 2 years

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Hoodoo Heritage Month: Conjuring, Culture, And Community

Source: IMAGE COURTESY OF MADAME OMI KONGO / PINTEREST

October is Hoodoo Heritage Month! Hoodoo is an umbrella term to describe the conjuring, culture, and community of Black Americans. It’s often regarded as a Black spiritual tradition that focuses on nature and ancestral reverence.

Hoodoo Heritage Month started in 2019 when Hoodoo and Pre-Elder Mama Rueshared a post about African American spirituality on Facebook and proposed a Hoodoo Heritage Day. The Walking the Dikenga Collective extended the idea from a day to a month, and Hoodoo Heritage Month was born. What was originally a weekend event filled with teaching and classes is now a social media and community celebration of all things Hoodoo.

Hess Love, Hoodoo Historian, Archivist, and Environmental Activist says that October is the perfect month because it correlates with the thinning of the veil between our physical world and the spiritual realm. For them, Hoodoo Heritage Month is “a wonderful month of celebration, exploration, history lessons, and connections and also people learning about how pragmatic this tradition is and dynamic it is at the same time.”

If you search the hashtag #HoodooHeritageMonth on social media, you’re sure to find many resources seeking to educate Black Americans about Hoodoo. The Walking the Dikenga Collective created certain dates to commemorate the great Hoodoo ancestors:

October 2: Nat Turner Day

October 6: Fannie Lou Hamer Day

October 21: Day of our Fathers

October 23: Day of our Children

October 25: Day of our Mothers

Third Thursday: John the Conqueror Day

October 31: Crossroads Day

Mama Rue spoke with MADAMENOIRE on the importance of sharing information about these ancestors. For John the Conqueror Day, she says,

“White-washed Hoodoo doesn’t even acknowledge John the Conqueror that much because he’s been white-washed to be the type of Spirit that helps men with their virility, help men get women, help gamblers get lucky, and he’s so much more than that, and you get to learn the truth about this Spirit and what this Spirit means to us and our people.”

This white-washing has extended to other Hoodoo spirits such as the Spirit of the Crossroads. While regionally and culturally the Spirit is treated differently, mainstream media has equated this spirit to a demonic force that grants wishes in exchange for your soul, such as with Robert Johnson. The Spirit of the Crossroads is actually a spirit that operates at the crossroads between the physical and spiritual realms.

Thankfully, Mama Rue, Hess Love, and other Hoodoos are sharing the truth of our tradition with other Black folks on social media.

Around the creation of Hoodoo Heritage Month, Mama Rue felt called by her Spirits to speak out against the culture of half-truths, misconceptions, and cultural appropriation surrounding Hoodoo. She says, “Hoodoo is often seen as the bastard stepchild of the ATRs (African Traditional Religions). Folks from that lens tend to say, ‘Hoodoo is just tricks. There is no spirit involved and there’s no initiation.’”

Hoodoo Heritage Month seeks to set the record straight.

Hoodoo, as a tradition, has waxed and waned in visibility in the United States. Mama Rue explains,

“During slavery, our ancestors were not allowed to express any sort of African traditional practices. There were repercussions. Our ancestors being so clever and being the geniuses that they were figured, ‘We can still do our work and work this crossroads because we didn’t make that and they can’t punish us for walking around it, and honoring our ancestors and honoring the spirits that our ancestors revere.’ We were able to sort of sneak our practice in without anyone watching or being truly aware of what was going on.”

These practices were hidden in various parts of Black culture, including the Black church, but in recent years Black folks have been turning away from the Black church.

Mama Rue shares,

“A lot of us were leaving our churches and were talking about abuse in church. Different types: financial abuse, sexual abuse, emotional and psychological abuse.”

She claims this mass exodus left many people feeling like spiritual orphans because they had a strong spiritual need with no way to channel it outside of the church structure.

While our ancestors had to hide their African spirituality, we’ve seen a shift in the past decade. Black celebrities such as Beyoncé and Solange, writers such as Tracy Deonn and Jesmyn Ward and even the Nap Bishop herself, Tricia Hersey openly celebrate Black spirituality in their work. This artistic movement coupled with the mass exodus from the church has led to a widespread reclamation of Hoodoo.

Both Mama Rue and Hess Love say that Hoodoo, and by extension, Hoodoo Heritage Month, is for descendants of enslaved Africans in the United States and descendants of free Black people during the time of enslavement. While many Black people have stepped away from the church, Mama Rue reminds us that church-going Black folks remain one of the biggest preservers of Hoodoo and are therefore always welcomed in the tradition.

Hess goes further and tells MN,

“It’s for Black folks who live and love and want to be part of an intentional Black community and also not running away from themselves. There are some Black people who have no desire and no intention of being in community with Black people in a particular way. It’s for Black people who love other Black people. It’s for Black folks who love their ancestors. It’s for Black people who may be displaced in their community but have a type of allyship with the land and the air.”

Hoodoo Heritage Month is now a celebration of many Black people returning to the tradition of our ancestors. It’s a time for Black people to honor our ancestors, community, the environment, and ourselves.

Mama Rue says,

“It’s a time for us to get in touch with the things that our ancestors brought to this land that were broken up, fragmented, lied on, etc. It’s our way to move toward complete liberation. It’s our way of righting certain wrongs especially in the practice of ancestor reverence.”

Ancestor reverence operates on the belief that our ancestors continue to exist long after they die. As spirits, we can honor them through learning about and sharing their stories, building an altar, giving them offerings, or simply talking with them. Through this relationship, the ancestors can help improve our lives, whether that’s spiritually, emotionally, financially or however we need them to.

For Black folks who are interested in Hoodoo, Hess suggests,

“If you’re curious about something and it peaks your interest, ask why does it peak your interest? If you see a Hoodoo talking about a particular ancestor, dive deeper about that. If you see someone talking about how to use plants and herbs and you still feel called to it, if you have memories from childhood where you used to talk to trees, dive into that.”

It’s through this exploratory process that we can begin to understand the work that our ancestors are calling us to do.

During this fourth annual Hoodoo Heritage Month, Mama Rue shares,

“I am so proud of what the younger people are doing with this information. I’m so proud of the journeys that they have the courage to plant their feet on and start taking those steps and manifesting and creating the life that they want for themselves, their families, and their community.”

This Hoodoo Heritage Month, it’s important to remember that there is no right or wrong way to practice Hoodoo. While different families and regions practice differently, Hoodoo is inclusive of all of our differences. Hoodoo is in our blood. It’s how we live, and it’s a reminder that we need our ancestors, community, and the Earth to truly thrive.

RELATED CONTENT: I Followed African Spirituality for A Year, Here’s How It Changed Me

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