#Mawu-Lisa

[the-immortal-angel]

The Sun and The Moon.

[the-girl-who-didnt-smile]

The Original Jazz Musician!

[mentaltimetraveller]

FIRELEI BÁEZ Mawu-Lisa (I build my language out of rocks)

2024 Oil and acrylic on archival printed canvas 213.4 x 274.3 x 5.1 cm / 84 x 108 x 2 in

Hauser & Wirth

[estrogenism]

MASANIAN

[plaintext / Masanian / end plaintext.]

i've coined a term for black intersex people, as we are often overlooked in and excluded from both queer spaces and intersex spaces. the origins of this term's name come from the dahomey spirit known as mawu-lisa, who is often depicted as intersex, androgynous, and/or multigender. please use this term and these flags in good faith.

hope you all enjoy this term and its flags!

[photo id 1: a pride flag with seven horizontal stripes. the top two and bottom two stripes are thicker and of equal size to eachother, while the middle three stripes are thinner and of equal size to eachother. from top to bottom, the color of each stripe is: burnt umber, poppy red, atomic tangerine, very light pink- almost white, mauve, purpureus, and midnight purple. in the center of the flag, there is an eclipse icon where the moon mostly covers the sun. / end id.]

[photo id 2: a pride flag with seven horizontal stripes. the top two and bottom two stripes are thicker and of equal size to eachother, while the middle three stripes are thinner and of equal size to eachother. from top to bottom, the color of each stripe is: burnt umber, poppy red, atomic tangerine, very light pink- almost white, mauve, purpureus, and midnight purple. / end id.]

[photo id 3: a pride flag with seven equally sized horizontal stripes. from top to bottom, the color of each stripe is: burnt umber, poppy red, atomic tangerine, very light pink- almost white, mauve, purpureus, and midnight purple. in the center of the flag, there is an eclipse icon where the moon mostly covers the sun. / end id.]

[photo id 4: a pride flag with seven equally sized horizontal stripes. from top to bottom, the color of each stripe is: burnt umber, poppy red, atomic tangerine, very light pink- almost white, mauve, purpureus, and midnight purple. / end id.]

[reasoningdaily]

50+ African goddess names and meanings - Tuko.co.ke

Most communities from around the world believed in various goddesses as their keeper and fate determiners. Most of the goddesses from the early years continue to inspire generations for their irreplaceable roles. Notably, there were deities in charge of every sect of life, contrary to the current monotheism system of belief.

Who are the African goddesses? Ancient African thrived under a robust faith system before westernization, among the most deity-centred parts of life, including love, beauty, fire, rain, and harvest. Goddesses were incredibly respectable, with each bearing a specific name depending on the primary roles. Here are the African mythology goddesses, their names, and meanings.

African goddess of love and beauty

Who is the African goddess of love? Oshun is the African goddess of love and sweet waters. She is a specific deity among the Yoruba people of Nigeria. Oshun is by far the most famous African goddess of beauty.

Creator, sun, moon, stars, or nature female deities

Gleti - She is the moon goddess revered by all in the Dahomey kingdom, particularly the Fon people, Benin. She is the mother of all-stars.

Nana Buluku - The goddess is a supreme creator and mother to the sun spirit Lisa, moon spirit Mawu, and the entire universe, in Dahomey mythology, West Africa. She is also called Nana Buku or Nana Buruku.

Aberewa - Goddess of earth among the Ashanti in Ghana

Aja - Goddess of the forest among the Yoruba

Mawu-Lisa - Creator goddess, Fon people of Benin

Amma - Creator goddess in Burkina Faso and Mali, Dogon people

Asaase - Afua the earth goddess in Ghana among the Ashanti

Faro - Creator goddess in Mali, Bambara people

Kitaka - Earth goddess in Uganda, Baganda people

Nkwa - Creator goddess in Gabon, Fang people

Woyengi - Creator goddess among the Ijo in Nigeria

African goddess of fire

Who is the African god of fire? Africans believed that different goddesses had authorities over the fire.

Oya- Wears a lot of red, is the Yoruba warrior-goddess of fire. She is also the goddess of the Niger river, magic, wind, fertility, and other chaotic, electrifying phenomena.

Morimi- Goddess of fire among the Yoruba

African goddess of fertility and harvest

Asase Ya - She is also famous as Asaase Afua, Asaase Yaa, or Asase Yaa among the Bono people of the Akan ethnic group in Ghana and Guinea Coast. She is the goddess of fertility on the earth, bearing other divine titles such as Aberewaa or Mother Earth. She is second to Nyame (the Creator) in power and reverence.

Mboya - Fertility and motherhood deity in Congo

Mbaba Mwana Waresa - Fertility goddess in South Africa among the Zulu

Ala (odinani) - The Igbo people esteem Ala being the goddess of morality, creativity, fertility, and the earth as a whole. She is the most important deity in the Igbo mythology.

Ahia Njoku - She is a famous goddess among the Igbo people of southeastern Nigeria. The community believes she is responsible for yam, a special treat among the locals.

Abuk - deity of women and gardens in Sudan

Mwambwa - Goddess of desire and lust in Namibia

Inkosazana - Goddess of agriculture in South Africa, Zulu people

African rain, river, sea, and water goddesses

Mami Wata - The goddess is a well-known water spirit displaying male characters at times. Residents of West, Central Africa, and Southern Africa uphold her goddess powers as supreme.

Oba - Obba was the first wife of Shango, the third king of the Oyo Empire and the Yoruba Undergod of thunder and lightning. This African name refers to the river goddess in African mythology. She is the breath of divinity when it comes to the gods of rivers.

Bunzi - Kongo mythology believes in Bunzi as the goddess of the rain. She is the daughter of her great mother, Mboze. She is a coloured serpent well pleased with those who bring their plentiful harvest in her worship

Abena - River goddess associated with wealth symbols of brass and gold

Mamlambo - Goddess of rivers among the Zulu of South Africa

Obba - Goddess of Obba River in Nigeria

Yemaja - Goddess of Ogun River, Nigeria

Olokun - The African goddess of the sea in Nigeria

Yemaya - Goddess of the living ocean

Modjaji - Goddess of rain among the Balodedu people of South Africa

Majaji - Goddess of rain in South Africa, Lovedu people

Mbaba Mwana Waresa - Goddess of the rainbow, South Africa, Zulu people

Egyptian goddess names

Isis - She is the commonest of all Egyptian goddess names, a respectable deity of the Egyptian pantheon. Isis is the African goddess of wisdom known for her cleverness that exceeds that of a million gods. The image of the goddess Isis suckling her son Horus was a powerful symbol of rebirth that was carried into the Ptolemaic period and later transferred to Rome.

Sekhmet- Fire-breather goddess among the Egyptians

Amunet – goddess of healing and wisdom

Ma'at – goddess who personified truth, justice, and order

Anat - goddess of fertility, war, love, and sexuality

Tefnut – goddess of moisture

Anta -mother goddess

Anqet - goddess of fertility and the Nile River cataract

Anuke – earliest goddess of war

Arensnuphis – sacred companion goddess to Isis

Pakhet - A hunting goddess taking the form of a lioness

Nebethetepet- Her name means "Lady of the Offerings" or "Satisfied Lady"

Tawaret- She is a hippopotamus with the breasts and belly of a pregnant woman, the paws of a lion, and a crocodile tail hanging behind her head. Often she holds a protection sign beneath her paws, but in this case it is absent.

Hathor- associated with afterlife, music and dance, and sexuality and motherhood

Nepit - Goddess of grain

Ethiopian goddess names

Most names of contemporary Ethiopian deities come from the Quran and the Bible. However, ancient inhabitants worshipped:

Aso: goddess of justice - She is coincidentally queen of the Ethiopian people.

Atete: goddess of fertility - Christian cult of the Virgin Mary among the Oromo People

More African goddess names and their meanings

Gbadu -Goddess of fate in Benin, Fon people

Age-Fon - Goddess of hunters, Benin, Dahomey Empire

Achimi - Buffalo goddess, Algeria

Ancient deities share unique names based on their supernatural powers and influence in subject communities. Learning about African goddess names and meanings is useful for child naming. Furthermore, knowing these names helps in explaining ancient

[ryqoshay]

Putting on Hairs: Post Production - ɐun˥

Primary Pairing Trio: YuuAyuSetsu Words: 599 Rating: G? AU: Monsters, Cryptids, Eldritch beings Prompt: Moon Content Warning: Spiders and beheadings

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Author's Note: Primary entry for the 28th

Summary: YuuAyuSetsu go shopping in a strange mall

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“Ooo… I'll bet Nico-chan would love this.” Yuu pointed to a poster on the wall.

“Maybe���” Setsuna inspected the werewolf being depicted. “It looks a lot like Ryo-san's hybrid form.”

“Those two have been on better terms as of late.” Ayumu commented.

Setsuna had brought her girlfriends to the eldritch mall in a pocket dimension access through clipped back alleys of Tokyo. Once they had visited various shops, they would hit the grocery store last so Setsuna could buy ingredients for another batch of ʍǝʇs ʞɐʇuɐɥs.

The trio was currently wandering through a shop, ɐun˥, which carried merchandise themed around the moon. Yuu inisited they explore this store first since Ayumu was a moon rabbit and would certainly like the items for sale within. And she had been right.

The store was filled with many examples of the obvious, like the werewolf posters Yuu had just found. Or the mobile made with various species of moths. Books about the moon landing humans had accomplished.

And then there were the more esoteric examples, like all the other craft that had landed on the moon, in a manner by which the general populace of Earth remained completely unaware. A wonderfully detailed stature of Tecciztecatl. A lovely painting of Mawu and Lisa. Or things like…

“Oh, the head of Rahu.” Ayumu spotted something on a nearby shelf.

Yuu turned and immediately blanched. “What’s a severed head have to do with the moon?”

“Legend has it he tried to drink nectar that would make him immortal, so Vishnu decapitated him.” Ayumu explained. “Since then, he chases the sun and moon around the sky and swallows them. However, they just slip out of his throat and return.”

“Huh…”

“He’s just one of many examples of deities that devore the sun and moon in order to account for their periodic disappearance from the sky.”

“So… this is replica… right?”

“Probably.”

“You’re very knowledgeable about these things, Ayumu-san.” Setsuna said excitedly. “Is it because you’re a moon rabbit?”

“Sort of.” Ayumu replied. “Though I was not born on the moon myself, my grandparents have told me many stories of their time there. And their house was filled with many things like what is being sold here.”

“Ne, Ayumu-san, Yuu-san, isn’t this one pretty?” Setsuna held out a crystal.

“Yes.” Ayumu confirmed. “And extremely rare.”

“Rare?” Yuu leaned in to inspect the crystal Setsuna was holding. “It looks pretty normal to me.”

“Most moon spiders are grey in color.”

“Spider?!” Yuu backed away.

“Mm.” Ayumu reached over and gently touched the rock. “It’s alright, little one.” She cooed. “You can show yourself.”

Slowly, legs and pinchers began to take form, and after a few moments, a spider-like creature was standing in Setsuna’s hands.

“Aww, aren’t you a cutie.” Ayumu stroked the creature’s carapace.

“That’s… awesome…” Setsuna marveled.

“Find something you like?” A moon-beast wearing an apron with the shop’s logo on it entered the aisle.

“I think so…?” Yuu ventured.

The eyeless being examined Ayumu for a moment. “I assume one such as yourself knows how to care for such creatures.”

“Mm.” Ayumu nodded.

“We have terrariums in the next aisle over. Let me know if there is anything else you need for it.”

“Thank you.”

“Do you think Sasuke-san will like having a companion?” Setsuna asked before giggling at the sensation caused by the spider crawling up her arm to perch on her shoulder.

“I think we may have to worry more about Yuu-chan.”

“I’ll… be fine… maybe.” Yuu assured. “Let’s go find a suitable terrarium.”

And that was how the trio’s apartment gained another pet.

---------

Author's Note Continued: Oh man did I have fun writing this one. So~ many tabs open about monsters associated with the moon. And so~ many ideas that I had to cut to fit the event's character limit.

But yeah, the PoH AU YuuAyuSetsu apartment has a new pet. And now I need to name it... and gods only know how many tabs I will open to do that...

Also, Crystal was the prompt from '21 and Carapace was from '22.

[fula-ngenge]

Peace and Love, seekers of Truth Shaman and mystics. Remember that our Vodun pantheon starts with Nana Buluku, our Divine Mother Father God/dess that's the matriarch to the creation in which she gave birth to Mawu Lisa, who gave birth to Mami Wata, who is the Mother of all life. Give thanks and veneration to our ancestors.

[recoveringpsychotic]

What Do I Need to Do to Stay Safe? 4/26/22

What is Present for Me At the Moment? Aunt Nancy (upside down) | Shadow of Betrayal | Temple of Shadows | Air Element

Betrayals from others mirror you betraying yourself. Trust that no matter what happens and no matter how long it takes, you will survive. "I am willing to know the truth".

What Are My Biggest Obstacles? Erzulie Dantor | Goddess of Etheric Cords | Temple of Lovers | Fire Element

If it isn't wholehearted love, release it. Remember your worth.

Embodiment: Energy cords binding you and someone you no longer wish to be attached to are strong. You must be willing to let go.

Close your eyes. See divine swords of Goddess's loving light separating you and dissolving the cords between you. You are both whole & healed. "I am worthy, compassionate, and whole."

What Must I Release? Tituba | Goddess of Feeling Safe | Temple of Ancestors | Air Element

It is finally safe to be you. You have wandered through a dark. Your trip has been long. There is light ahead. Your liberation is apparent.

Embodiment: Feeling Safe: - Knowing your basic needs are met - Feeling at home in your body - Trusting your journey - Feeling free around those you love - Trusting that the sun will rise again

If you grew up emotionally, spiritually, or physically unsafe, reset your default expectations to a healthier vibration. "I am safe. It is safe to be safe" Reset default settings to a healthier vibration. Emotional Freedom Technique (EFT) tapping to restore balance in energy system & relieve pain.

What Support Do I Need? Yemaya (upside down) | Goddess of Awakening | High Priestesses Temple | Water Element

Healing, loving energy. Wake up/awaken to your true self. Are those tears of joy or sorrow?

Embodiment: "You are vibrating at a higher frequency"

"I am receiving and radiating love."

What Next Steps Should I Take? Mawu-Lisa | Goddess of Cosmic Power | Threshold Guardians | Air Element

You are in the right place. Release the fear of your power. You are sacred. You are magic.

Embodiment: Love and accept yourself fully to unlock everything you seek. Stop pretending to be less than you are.

"My power shines forth from within".

[kobietyimity]

Mitologia afrykańska, podobnie jak wiele innych systemów wierzeń na świecie, jest bogata i zróżnicowana, obejmująca szeroki zakres kultur i ludów na całym kontynencie. W mitologii tej można wyróżnić kilka kluczowych postaci kobiecych, które odgrywają istotne role w różnych tradycjach i opowieściach.

1. **Mawu** – w mitologii ludu Fon z Beninu, Mawu jest często łączona z Lisaną jako aspekt żeński dwoistej bóstwowej istoty Mawu-Lisa. Mawu reprezentuje noc, chłód, wilgoć i Księżyc, symbolizując jednocześnie macierzyństwo i płodność (Blier, 1995).

2. **Yemoja** – w tradycji jorubskiej, Yemoja jest oriszą (boską istotą) morza, płodności, macierzyństwa i ochrony dzieci. Jest uważana za matkę wszystkich oriszy i ludzi, często przedstawianą jako opiekuńcza i potężna figura matki (Drewal i Drewal, 1987).

3. **Oshun** – również w panteonie jorubskim, Oshun jest oriszą słodkiej wody, miłości, piękna, i bogactwa. Jest opisywana jako bóstwo o wielkim wpływie na sprawy ludzkie, zwłaszcza te związane z uczuciami i relacjami międzyludzkimi (Drewal i Drewal, 1987).

4. **Ala** – w mitologii ludu Igbo z Nigerii, Ala jest boginią ziemi, płodności, prawości i moralności. Jest również uważana za matkę wszystkich istot i rzeczy oraz za strażniczkę świata zmarłych, odgrywając kluczową rolę w społeczności i kulturze Igbo (Isichei, 1997).

5. **Auset (Isis)** – choć technicznie należąca do mitologii egipskiej, która często jest klasyfikowana oddzielnie od reszty mitologii afrykańskiej, Auset (znana też jako Isis w greckim przekazie) jest jedną z najważniejszych i najbardziej znanych bogiń, uosabiającą tron, magię, macierzyństwo i uzdrawianie. Jej kult rozprzestrzenił się poza granice starożytnego Egiptu, stając się elementem globalnym (Lesko, 1999).

Bibliografia:

- Blier, S. P. (1995). *The Royal Arts of Africa: The Majesty of Form*. London: Laurence King Publishing.

- Drewal, H. J., & Drewal, M. T. (1987). *Gelede: Art and Female Power among the Yoruba*. Bloomington: Indiana University Press.

- Isichei, E. (1997). *A History of African Societies to 1870*. Cambridge: Cambridge University Press.

- Lesko, B. S. (1999). *The Great Goddesses of Egypt*. Norman: University of Oklahoma Press.

Każda z wymienionych postaci jest ważnym elementem wierzeń i praktyk kulturowych różnych ludów afrykańskich, pełniąc funkcje zarówno edukacyjne, jak i religijne w ich społecznościach.

[midiaqueer]

Antes de como a conhecemos hoje, em um passado bem distante, a África foi um vasto e majestoso continente do qual não podemos imaginar! Constituiu em sua história inúmeros povos, estados, reinos, impérios e muitos desconhecidos de grande maioria de nós. Da civilização do Cartago à civilização Egípcia e ao Reino de Punt - muitos parecidos entre si - aos Império de Cuxe, Mali, Askum, Gana, Congo, Benim, Daomé, Songai, Canem. A África floresceu em muitos aspectos como um vago berço da civilização, mesmo às sociedades "tribais" animistas, que possuíam sistemas políticos, econômicos, de crenças e linguagens complexos. Muitas dessas sociedades não deixaram vestígios pois eram baseadas em tradições orais, como é o caso de Gana.

A África também já foi percursora ao reconhecer a trans/não-binariedade de gênero e sexo em tempos pré coloniais, antes das imposições de um binário de gênero rígido "homem" e "mulher", "menino" e "menina", lógica essa européia que se consolida com o avanço da modernização e industrialização pós colonização e o etnocídio.

As relações entre pessoas do mesmo sexo, a não-conformidade de gênero, e as identidades, expressões e comportamentos trans e não-binário estão presentes em numerosas sociedades africanas, onde foram toleradas largamente e aceitas durante muitas épocas - inclusive ainda são. No entanto, tais comportamentos e identidades nem sempre são (podem ser) entendidas como 'bi', 'gay', 'lésbica', 'trans', ou 'não-binária', em termos de identidades e categorias políticas, pois estes são termos e noções ocidentais fora do contexto afro. Por exemplo um único termo pode ser usado para descrever tanto gays e lésbicas, como trans, intersexo e não-binárias, sem distinção. Talvez um termo ocidental que exemplifique melhor essa questão seja o próprio termo LGBT+ ou Queer, que designam uma ampla variedades de pessoas que não sejam cis, hétero, diádica e/ou binária de gênero. 

Também se entende por não-binário muitos aspectos culturais africanos que foge da lógica ocidental de identidade de gênero e não-binário, como os famosos testes, rituais, papéis de gêneros africanos alternativos ou o chamado "terceiro gênero". Esse post não visa (só) demostrar que gêneros não-binários não se tratam puramente de uma construção ocidental e atual, pouco nos importa essas "críticas" sem fundamento feitas por gente que reduz sexo e gênero à combinação cromossômica. Procuramos seriamente dá visibilidade às pessoas LGBTI+ na história da África negra ou subsaariana, como merece ser reconhecida, trazendo à luz o tema que é pouco conhecido mesmo no meio acadêmico cientifico.

Portanto, iremos descrever alguns casos e tentar descrever fenômenos recorrentes, considerando a especificidade das estruturas sociais no contexto africano, comparando com o quê conhecemos. Pensar na África também como se estivéssemos falando de um povo só, sem diferenças entre si, ou que o continente africano "é perfeito" e está isento de opressões - por uma questão histórica e racial -  é extremamente problemático, uma vez que tais sociedade possuem de práticas à sistemas de classificações e papéis de gêneros por vezes muito abusivos, restritivos, binarista e até mesmo machista.

História bem antiga.

Fragmentos de cerâmica inscritos do Reino Médio do Egito (2000–1800 aC), encontrados perto da antiga Tebas (atual Luxor , Egito ), listam três gêneros humanos: tai (masc), sekḫet (neu) e hemet (fem), além de outros termos menos tradicionais como 'hem' e "nekke'. Seriam como os atuais espectros de gêneros talvez, fomentados por suas crenças e práticas antigas.

O Rei Faraó Akhenaton foi frequentemente representado de forma semelhante à Hapi, como tendo seios, barba, barriga bem saliente, além dos largos quadris semelhante à sua esposa, Nefertiti.

Já Hatchepsut ou Hatshepsut foi uma grande esposa real, regente e rei-faraó do Antigo Egito (Rei era um termo de gênero neutro pra qualquer governante independente de seu sexo/gênero, pois não havia uma palavra egípcia para rainha). Hatcsheput viveu no começo do século XV a.C, pertencendo à XVIII Dinastia do Império Novo. O seu reinado, de cerca de vinte e dois anos, corresponde a uma era de prosperidade econômica e paz. No sétimo ano do reinado de seu meio-irmão Tutmés II, Hatchepsut adota o nome Maatkare, proclama-se REI e considera-se soberane do Egito, adotando os atributos faraônicos como títulos, nomes, cetros, uma incrível barba postiça, tanga curta e cauda de touro, além de unificar as duas coroas. A grande questão aqui é que tudo isso poderia ser considerado "masculino", e além de que na ideologia egípcia não havia lugar para uma rainha reinante. Seu descendente Tutmés III mais tarde tentaria erradicar quase toda referência histórica a ela, mas a história venceu. Obrigado Hatschepsut.

Curiosidade trans: Ísis estava entre as poucas divindades adoradas pelos egípcios e seus vizinhos do Mediterrâneo, na Grécia. Em um conto documentado em Isiopolis, Isis apareceu em um sonho acompanhada de uma comitiva egípcia para acalmar a grávida Telethusa, que temia que ela tivesse uma "menina" contra a vontade do marido. Ísis disse à Telethusa que mesmo assim criasse a criança, iphis, que nasceu do sexo que o pai não desejava, mas Telethusa ocultou o sexo genital da criança criado-a como um menino e feliz pela escolha do nome neutro dada pelo pai, coincidentemente. Mais tarde na vida adulta, Iphis pediu a Isis que mudasse seu sexo, uma antiga afirmação de gênero transsexual, concedida por meios divinos.

Al-Bakri, um cronista muçulmano do século X dC, nos dá informações bem precisas do Reino De Gana, como conta em sua obra Descrição da África (de 1087):

"O rei adorna a si mesmo como se fosse uma mulher, usando colares ao redor do pescoço e braceletes em seus antebraços. Quando se senta diante do povo, fica sobre uma elevação decorada com ouro e se veste com um turbante de pano fino... À sua direita ficam os filhos dos vassalos do país do rei, vestindo esplêndidas roupas e com os cabelos trançados com ouro. O governador da cidade senta-se na terra diante do rei e os ministros ficam do mesmo modo, sentados ao redor. Na porta do pavilhão estão cães de excelente pedigree e que dificilmente saem do lugar de onde o rei está, pois estão ali para protegê-lo. Os cães usam ao redor de seus pescoços colares de ouro e de prata cheios de sinos com o mesmo metal."

Esse é um clássico exemplo da relativa diversidade de gênero africana entre as pessoas cis, trans, nb de Gana que são por vezes referidas como Kojobesia ("homem-mulher"), infelizmente as vezes expressa de forma ofensiva. Sem contar que entre os períodos de 300 e 1705, a religião em Gana assim como podemos ver em outros impérios africanos, eram mistas, muçulmanes e "pagães" (povos de diversas religiões tradicionais africanas) conviam entre si demostrando mais uma vez a diversidade cultural que se sustentava ali. Um bom exemplo disso também é a saudação das pessoas quando se aproximavam do rei. Os povos animistas jogavam terra em suas cabeças em sinal de respeito, e muçulmanos batiam palmas, diferença que mostra o ainda baixo grau de penetração islâmica junto ao rei e à corte de Gana no período mencionado antes do ataque extremista islâmico dos Almorávidas.

Mas muitos Exemplos...

Talvez um dos casos mais emblemáticos e recentes na história da não-binariedade e não-conformidade de gênero na África pré colonial esteja no Reino de Ndongo governado por Nzinga uma "mulher não-binária", militar e guerreire. Governou com título de 'Rei' ao invés de 'Rainha' ao assumir o trono do Ndongo após a morte de seu irmão, Ki Mbandi em 1624. Por volta de 1630, Nzinga tomou o reino de Matamba (Ndongo Oriental), terra evocativa de seus ancestrais e tradicionalmente governada por mulheres. Nzinga claramente ocupou um espaço na sociedade africana onde lhe permitia uma identidade e expressão de gênero não-binária. Sua história é conturbada e cheia de aventura liderando uma guerra contra os portugueses. Portava trajes considerados europeus por vezes , e vivia rodeada de um harém de jovens 'homens' com expressões feminina que foram suas 'esposas'. Também conhecides como Chibados, eram pessoas não-binárias/transfemininas que foram avaliadas como conselheires para governantes e chefes, como líderes de rituais espirituais e como aqueles que enterravam os mortos.

"Ela recusava o título de rainha e fazia questão de ser chamada rei. Por isso que decidiu tornar-se socialmente quase homem e ter um harém, com os concubinos vestidos de mulher. Por isso que lutava como um soldado, à frente do exército. Na realidade, Jinga* estava a criar a sua tradição, a sua legitimidade, os precedentes que permitiriam a suas netas e bisnetas ascenderem, sem contestação de gênero/sexo, ao poder.” (Costa e Silva)

*Outro nome pra Nzinga

Muito outros exemplos de identidades fora do padrão binário e ocidental foram documentadas por todo o continente Africano pré e pós colonial, dentre essas identidades, listamos essas para futuras pesquisas:

Agule (Lugbara, Uganda/Congo), Ashtimee (Maale, Etiópia), Chibadi (Ndongo, Angola), Gordijiguenes (Dacar, Senegal), Insangoma (Zulu, Africa do Sul), Inzili (Bagisus, Uganda), Jin Bandaa/Quimbada (Angola), Khaal (Egito), Khawal (Egito), Kiziri (Maragoli, Quênia), Londo Mashoga (Suaíli, Àfrica Oriental)), Mino (Dahomey, Benim), Mudoko Dako (Langi, Uganda), Mumeke (Egito), Okule (Lugbaras, Uganda/Congo), Sagoda (Konso, Etiópia), Sekrata (Antandroy/Hova, Madagascar), Shoga (Suaíli, Africa Oriental), Skesana* (Zulus, África do Sul), Stabane (Zulu, África do Sul), Tchindas (Cabo Verde), Yan Daudu (Hausa, Nigéria), Wandarwarad (Amhara, Etiópia)

*Obs: Skesana significa literalmente intersexo/hermafrodite, mas nesse sentido de identidade, poderia ser como o quê chamamos de intergênero, am/bigênero, e andrógino aqui.

Para mais informações: https://tourbuilder.withgoogle.com/builder?fbclid=IwAR3NXiQI0h-U-b6jGm2SK3C2wv-y_hb_sDFNKbpIVWNoXfICiMiXXKOytpI#play/ahJzfmd3ZWItdG91cmJ1aWxkZXJyEQsSBFRvdXIYgICA5Yb96gkM/ahJzfmd3ZWItdG91cmJ1aWxkZXJyJwsSBFRvdXIYgICA5Yb96gkMCxIJUGxhY2VtYXJrGICAgIDYqZIKDA

Curiosidade: O próprio binário de gênero na África pode ser bastante diverso e plural. As tribos Somali por exemplo reconhecem duas categorias de homens. Os Waraleh ("guerreiro") e os Waddado ("xamãs"). Para homens e mulheres gay ou bi também existem diferentes tipos de identidades. O antropólogo Gill Sepherd observou que na língua Suaíli (falada a Africa Oriental por ex: Quênia, Uganda e Tanzânia) existiam variações de gênero masculino e feminino conhecida como Shoga, Basha, Hanithi, Msagaji, Msango, semelhantes aos termos da subcultura Gay e MOGAI.

Dentro os povos Dagaaba na atual Gana, Burkina Faso e Costa do Marfim, a identidade de gênero é determinada de forma diferente. Nosso conhecido xamã Malidoma Somé, de Dagaaba, diz que gênero para a tribo não depende da anatomia sexual. “É puramente algo energético. Nesse contexto, quem é fisicamente 'masculino' pode vibrar energia feminina e vice-versa. É aí que está o gênero real". 

(http://www.menweb.org/somegay.htm)

Os povos igbo da Nigéria, na África Ocidental, parecem atribuir gênero por volta dos 5 anos de idade . Na África Central, os povos Mbuti não designam um gênero específico para uma criança até depois da puberdade, em contraste direto com a sociedade ocidental. (Transgender History & Geography, Bolich)

Religião como um Forte.

A crença em divindades espirituais não-binárias estabeleceu as bases para a aceitação de comportamentos trans e nb nas sociedades africanas.

Na mitologia de Daomé, uma das principais dividades africanas e não-binárias do panteão vodu é a divindade andrógina e criadora Mawu-Lisa, formada por irmãos gêmeos de ambos gênero binário filhes de Nana Baluku. Associade ao sol e à lua na mitologia de Daomé, em alguns mitos, mawu é a irmã gêmea do deus masculino lisa; em outros, ambas as divindades são aspectos da mesma divindade andrógina ou dois espíritos de Mawu-Lisa sem distinção de gênero.

Na história da criação egípcia dos deuses (neteru), o primeiro Deus, Atum, é descrito como sendo intersexo (ou altersexo em termos não-humano) e agênero, apesar das representações meio masculina sobre sua aparência e expressão de gênero - o que não têm problema algum já que gênero, pronome, sexo e aparência não são as mesmas coisas - e ele que na verdade, possui características de ambos gêneros binário (bigênero) no contexto egípcio. Através da reprodução assexual, Atum cria dois outros deuses, Shu e Tefnut.

Um outro exemplo seria Hapi, uma divindade egípcia com características e qualidades ambigêneras. Hapi era intersexo, e alterhumano (devido sua pele esverdeada ou azulada, duas cores associadas entre os antigos Egípcios à fertilidade). Hapi também era representado semi-nu, com barba, seios, ventre e quadris proeminentes. Vestia uma cinta associada aos pescadores e em sua cabeça, uma coroa de flores de lótus e o papiro, ou segurava estas plantas nas suas mãos. Muite adorade no antigo Egito chegando até mesmo à Roma, era conhecido como deuse Do Rio Nilo, justamente por uma de suas qualidades, a fertilidade.

O Povo Lugbara da República Democrática do Congo e Uganda estão entre os povos da África Central que ainda realizam cerimônias espirituais com sacerdotes trans. De acordo com a falecida Leslie Feinberg, sacerdotes transmasculines mais importante, coexistem com xamãs transfeminines. Entre os povos Lugbara, por exemplo, as pessoas transfemininas são chamadas de Okule e pessoas transmasculinas são chamadas de Agule (transmaculine e transfeminine, são termos que designam pessoas TRANSSEXUAIS na maioria das vezes, referente aos termos inglês mtf e ftm, então essas pessoas podem ser não-binárias de gênero) . ”Os povos Zulu da África do Sul também inicia xamãs trans/nb, chamando-es de Insangoma. As mulheres trans eram adivinhadoras na tribo Ambo do sul de Angola, com o Kalunga, o espírito supremo.

Os chamados Orixás "meta-meta" (aliás, expressão essa cunhada no Brasil) nos remete a um Orixá não-binárie intrinsecamente ambivalente e fluído (ambigênero ou de gênero fluído), que durante metade do ano tem características "masculina" e no restante características "femininas". É o caso de Logunedê. Ou Oxum Opará (Orixá da fecundidade, amor e riqueza). Este é um orixá com muitas similaridades entre OXUM e OYÁ, pois podemos falar que ela é meta-meta, em uma parte do ano ela é OXUM e na outra ela passa a ser OYÁ, guerreira e destemida, dona da fortuna. Este orixá também tem seus rompantes, uma hora é doce como um rio calmo e derrepente torna-se uma tempestade. Outra forma de atributo do adjetivo "meta-meta" se dá também com relação à seis meses um Orixá ser por exemplo Oxum e seis meses esse mesmo Orixá ser Inhasã, esse no caso da sagrada mãe "Oxum Opara". E Outra forma de atributo do adjetivo "meta-meta" se dá com relação a divindade Ogum Xoroquê, que é em sí mesmo um Orixá que metade do seu corpo na parte da direita esta com a aparência de Ogum e a outra metade na parte da esquerda tem a aparência de Exu. Apesar de haver muitas discussões sobre o termo e o entendimento de meta-meta, e alguns praticantes afirmarem que não têm nada a ver com gênero ou sexo, e sim apenas "energia" pelo que o quê se compreende como principio ativo-passivo (yin-yag),como já comentamos, para muitas pessoas e povos, gênero é pura energia e nada mais.

Em Mali, a tribo Dogon geralmente sustenta que o ser humano "perfeito" é "andrógino"; a tribo adora os Nommo, espíritos ancestrais que são descrites como criaturas não-binárias, intersexuais e místicas, e que também são referidas como “professores”. Em um pênis não circuncidado, o prepúcio é representativo da feminilidade, enquanto o clitóris é considerado para representar a masculinidade.

A Importância da cultura Dogon chegou ao mundo ocidental em 1930, quando antropólogos franceses ouviram as lendas des sacerdotes Dogon. O povo Dogon fala de uma raça extraterrestre do Sistema de Sirius, referida como Nommos, que os visitou na terra. Nommos eram uma raça de criaturas humanóides aquáticas, semelhante às sereias. Interessante é que a deusa Isis, da Babilônia, era descrita como uma sereia e associada com Sirius. Os Dogons explicavam que o sistema Sirius tem uma estrela companheira, mas não pode ser vista da Terra devido ao brilho de Sirius. Os pesquisadores descobriram artefatos Dogon, datados de mais de 400 anos, que descrevem a órbita destas estrelas. Anos mais tarde, em 1970, os astrônomos finalmente tiveram telescópios bons o suficiente para aumentar o zoom em Sirius e fotografaram Sirius B! O povo Dogon estava certo! Sirius de fato tem uma estrela companheira. Conhecido também como sistema estelar binário na astronomia.

Crenças espirituais africanas em divindades NB foram documentadas entre vários outros povos além dos povos dogon e egípcios. Entre esses, os povos Akan, Ambo-Kwanyama, Bobo, Chokwe, Dahomeans (do Benin), Bambara, Etik, Handa, Humbe, Hunde, Ibo, Jukun, Kimbundu, Konso, Kunama, Lamba, Lango, Luba, Lulua, Nuba, Ovimbundu, Rundi, Shona-Karonga, Venda, Vili-Kongo e Yoruba. E aqui só algumas dessas divindades africanas listada:

Abrao (Jupiter), Aku (Mercúrio), and Awo (Lua), Aten, Atum, Da (Dahomey), Gran' Silibo / Silibo-Gweto, Ghede Masaka, Ghede Nibo, Hapi, Jok, Mawu-Lisa, Mwari, Logunede, Nana-Buluku, Nyame Amowia, Obasi, Obatala, Olokun, Oshumare / Oxumare, Rat, Shai/Shait, So (Dahomey), Wadj Wer.

Atualidade.

Algumas pessoas trans/não-binárias afrodescendentes estão realizando analogias entre suas identidades de gênero, transições e deuses, utilizando o nome de algumas divindades africanas para descreverem suas experiências e identidades. Nascide em Umuahia na Nigéria, Akwaeke Emezi, ume artista audiovisual e escritore, vêm se definindo como Ogbanje depois que se descobriu trans não-binario. Ela ou ele percebeu isso à cerca de cinco anos e desde então passou por cirurgias para remover o útero. Segundo éle "Um ogbanje é um espírito da cultura igbo nascido em um corpo humano, um tipo de trapaceiro malévolo cujo objetivo é atormentar a mãe humana morrendo inesperadamente, para retornar ao próximo filho e fazer tudo de novo. Eles vêm e vão"... "Ogbanje , no entanto, são intrusos neste ciclo, desvios indesejados. Eles não vêm da linhagem; eles vêm do nada. Como tal, é importante para um ogbanje nunca se reproduzir: se o fizesse, contribuiria para a linhagem e, quando morresse, seu espírito se uniria aos humanos, participando de seu ciclo de reencarnação." e para Emezi isso diz muita sobre sua identidade e transição "A remoção de um útero é uma maneira eficiente de garantir que isso nunca ".

Emezi também critica a forma ocidental extremamente rigida, cientifista, careta e temerosa como tratamos de gênero, sem dá atenção às intersecções filosóficas e espirituais africanas:

"Nossa linguagem em torno da identidade de gênero é frequentemente tão ocidental, como podemos cruzar isso com as realidades não ocidentais? Por exemplo, existe um termo para a disforia experimentada pelos espíritos que se encontram incorporados na forma humana? É inevitável eu ser atraíde por essas sobreposições, já que eu moro lá (Àfrica), habitando realidades simultâneas que geralmente são consideradas mutuamente exclusivas."..." O legado do colonialismo sempre nos ensinou que tal coisas não é real, que não passava de juju e superstição. Quando finalmente aceitei sua validade, pensei o que isso poderia significar para meu gênero. Será que mesmo Ogbanjes possuem sexo ou gênero para começar? Sexo e gênero é, afinal de contas, uma coisa tão humana. No entanto, ser trans significa ter qualquer gênero diferente daquele atribuído à você no nascimento. Quer Ogbanje seja um gênero, quer seja ele sem ou com gênero, realmente não importa, ele ainda conta como uma categoria distinta, então talvez minha transição não estivesse localizada dentro de categorias humanas. Em vez disso, as cirurgias foram uma ponte entre as realidades, um movimento de ter sido feminino passando a me identificar como ogbanje ; um espírito personalizando sua embarcação para refletir sua natureza..."

https://www.thecut.com/2018/01/writer-and-artist-akwaeke-emezi-gender-transition-and-ogbanje.html?fbclid=IwAR16Bl_fIF3RYlnFbGh6V92cbxO8vz_ldSAZ6dCxWYvznHn4LhnCObnL9uo

Os colonizadores europeus conheceram pessoas não-binárias, aconselhando reis, sendo líderes espirituais, e guerreires da corte entre nações e tribos diversas. O animismo, paganismo, cristianismo e o islamismo coexistiam. A diáspora não é diferente; Há muitos exemplos aqui no Brasil, no Haiti, nos EUA e em Cuba, onde descendentes de africanos quebram nossas expectativas normais "de homens e mulheres" cis diádico.

“Apesar de uma longa história de realidades trans na África, muitas pessoas trans modernas experimentam um medo bem garantido por causa da hostilidade de suas famílias, tribos ou nações”, escreve GG Bolich. “Grande parte desta moderna resposta hostil foi colocada sobre a influência da cultura européia, tanto por causa de um passado colonial quanto por causa da pressão contemporânea, ou a influência de religiões estrangeiras. No entanto, como no passado, agora as pessoas trans são membros ativos de suas comunidades, buscando mudanças positivas. ”

"Mas, se em tempos pós-coloniais, os sujeitos históricos tem voz, é chegada a hora de também repensar a maneira como nos denominamos a nós mesmos e uns aos outros. " (Jaqueline Furacão, Ramirez, em Privilégio dos Nomes)

É então, chegada a hora de aceitar e trazer à tona temas com quais não necessariamente gostaríamos de lidar, e isso eu estou falado pra você pessoa cis ou trans binária de gênero, que não gosta ou se sente confortável com a questão da não-binariedade e os milhares de termos inventados por aí, e por consequência disso maltratando pessoas não-binárias sem se importar se isso é ou não opressão, sem re-conhecer nossa história, nossa luta, nossa naturalidade, e os impactos disso em nossas vidas.

Eurossexismo: conjunto de opressões de gênero, machista e binária 

praticadas pelos colonizadores.

Autore: Dani Camel

Postado originalmente na página  Não-Binariedade Histórica e Social de Gênero e Sexo

REFERÊNCIAS/BIBLIOGRÁFICAS/LINKS ÚTEIS:

Bresciani, Edda . "Chapter 8: Foreigners". In Donadoni, Sergio (org.). The Egyptians. University of Chicago Press. 23 June 1997. p. 222. ISBN 978-0-226-15556-2.

WILHELM, Amara Das. Tritiya-Prakriti: People of the Third Sex . Filadélfia: Xlibris Corporation, 2004. Disponível em: < https://books.google.com.br/books?id=iZ5RAAAAQBAJ&pg=PA233&lpg=PA233&dq=sagoda%20%E2%80%94Konso&source=bl&ots=PKGriXyL6P&sig=QX0gomgauGevHS3cWkLQvsLsx5k&hl=ptBR&sa=X&ved=2ahUKEwjqse64yrPeAhXGIJAKHRNUBdIQ6AEwDHoECAEQAQ&fbclid=IwAR19mTIY4L1iSEdJFJL8Rtjw7MUvojab_c-NN8GuIO2ytwQ81te__uvFPzY#v=onepage&q=sagoda%20%E2%80%94Konso&f=false>  Acesso em: 11 de dez . de 2018.

Bolich, Ph. D. G. G.Transgender History & Geography: Crossdressing in Context. Vol 3. Carolina do Norte: ‎ Psyche's Press, 2007 

NZINGA, a rainha negra que combateu os traficantes portugueses. Geledes, 2015. Disponível em: <https://www.geledes.org.br/nzinga-a-rainha-negra-que-combateu-os-traficantes-portugueses/?fbclid=IwAR0t3n2nnFc_iHc9FuzT0RlJppribFB5RsywqsCAFnq6YC5o6OKPnu7GDSQ>

COLLINS, Shanna. The Splendor of Gender Non-Conformity In Africa. Medium, 2017. Disponível em: <https://medium.com/@janelane_62637/the-splendor-of-gender-non-conformity-in-africa-f894ff5706e1. Acesso em: 11 de dez. de 2018>

PRIDE - Queer Gods Who Ruled Ancient Histor | https://www.pride.com/entertainment/2017/9/11/52-queer-gods-who-ruled-ancient-history?fbclid=IwAR1qXHIF4T4DAmNaZR6505c9C1UYmdFuJpyC1Vc7R2IbV6kFgQRejUr_FNI)

Expansão árabe e os impérios africanos | https://www.ricardocosta.com/artigo/expansao-arabe-na-africa-e-os-imperios-negros-de-gana-mali-e-songai-secs-vii-xvi?fbclid=IwAR0J3BUpa-o39oGaN15LWeZnoxIrhpcd-upPz4xy1PU8X25WCJ43miQ3bFM

https://creadnyc.com/2018/03/02/what-black-history-can-teach-us-about-the-gender-binary/?fbclid=IwAR2QQWI7ZLw5cottA1FHLegIaegaTrj-cpAgvpLY3vOY_DyPR1ETRnbgAoI

Lista de deidades queer | http://www.drakeinnerprizes.com/Downloads/SS-Queer-AndrogynousDeities.pdf?fbclid=IwAR0kW7OOzd9Ig69YjJcN1avieOgW2rNCb7CBK8CbkcigijRVa3f9I6q8_eg)

Seminário - About the concept of queerness in the African context (https://wikis.fu-berlin.de/display/queer/About+the+concept+of+queerness+in+the+African+context?fbclid=IwAR2so3GI8nPs935ZReVZ0PPOrEC6aihrXbZ_R-FR64InWTC7cnt3BbjzXlw#AbouttheconceptofqueernessintheAfricancontext-3.Queerpracticesintradition,history,cultureandsociety)

http://www.catalyzingchange.org/dogon-tribe-africa-extraterrestrial-history/?fbclid=IwAR3sNWpDAvOoyf27B6WIEnbEl6gVqbBhMfa5TfOxdrCKxZLlb5MBhuva5lA

Orixá meta-meta e Ogum Xoroquê | https://www.webartigos.com/artigos/orixa-meta-meta-e-ogum-xoroque/143850?fbclid=IwAR3yuq88OBFwDtvFuTDyFWw9QXgr4hDxMqnsXcHNL8mvqZ2_NNQJGJuNGT4)

[the-girl-who-didnt-smile]

REVISED CONCEPT FOR "THE SEVEN LESSER GODS"

Many moons ago, I decided that Papa Sama should have six “siblings”, just to make a stupid joke.

…so, there’s this best selling manga called One Piece…and in One Piece there are Seven Warlords… they’re…(sigh)…they’re also called the Shichibukai…

But as it turns out, seven is a number of spiritual significance in Voudou and related traditions!

The concept for “The Seven Lesser gods” was starting to get really wonky because I based it off of a bunch of made-up bullshit… It’s about time I bring it into alignment with real world concepts and historical data.

In this section, I took inspiration from Luisah Teish’s (1985) Jambalaya, as it is a central text to the revival of New Orleans Voudou. To some, Jambalaya is considered a landmark text that inspired Black women to reclaim witchcraft and Voudou. However, Teish is herself involved in a controversy with the white transgender community, who have criticized her for transphobic remarks against Caitlyn Jenner and trans exclusionary feminism. 

To summarize my stance: I disagree with the privileged, white transgender people and their allies, who tried to smear Teish without attempting to understand her criticism of Caitlyn Jenner and “rainbow flag imperialism”. My real concern is whether Black transgender women consider Teish to be transphobic or intolerant. In the white transgender community, JK Rowling is widely criticized for trans exclusionary feminism; I do not know if Luisah Teish is equally denounced by the Black transgender community.

In light of this controversy, I have attempted to be selective about the elements inspired by Teish’s (1985) Jambalaya. The main inspiration is my chosen nomenclature, and Teish’s modification of the Seven African Powers. While Teish introduced a small modification to the Seven African Powers, she did not invent the concept. If it was deemed appropriate to remove elements from Teish’s (1985) Jambalaya, it should be possible to substitute these without much issue.

Even if Teish herself is controversial, ideas presented in Jambalaya have been accepted by African American Voudounsis and witches in their reclamation of Voudou. By incorporating these elements, I attempt to honor this community.

For now, I have decided to adopt the nomenclature used by Luisah Teish in Jambalaya (1985).

Changes include:

Papa Lebat -> Papa Liba

Daniel Blanc -> Blanc Dani

Voodoo -> Voudou

“Voudou” is used in reference Louisiana Voudou, except in unique cases where it is more appropriate to use “Voodoo” with a capital “V”. “Vodou” is used in reference to Haitian Vodou, and “Vodu” or “Vodun” is used in reference to West African Vodun.

Teish also capitalizes the word “Black” when it is used to signify a person’s race; I choose to do the same.

The Lesser gods are inspired by the following real world concepts:

The Dahomean Pantheon (especially, the Seven Children of Mawu-Lisa)

The Seven African Powers

Deities described in the historical record of Lousiana Voudou

Ideally, every member of The Lesser gods should have a counterpart in each of these real-world concepts. I took some creative liberties here, which is a potential flaw in the drafted lineup.

The term “loa” originates in Haitian Vodou but has been adopted in New Orleans, at least in Afro-Centric and New Wave Voudou. However, I am against calling these characters “Loa”, as this misrepresents what the word lwa (loa) actually means. 

In the present day, it is improper to call the lwa, vodun, or orisa “gods” outside of a casual context. However, it was common for practitioners of Louisiana Voudou to refer to their deities as “gods” during the 20th century[1]. Since this story takes place in the early 20th century, I decided to adopt this nomenclature. I have also chosen to call these characters the lesser “gods” (never capitalized) to signify their status as the Seven “Children” (original creations) of le Bon Dieu. 

Each of The Lesser gods has an epithet that begins with “The god(dess) of…” None of these should be applied to their real-world counterparts; it’s as reductive as describing Jesus as “The god of mercy”.

This is potentially a controversial choice. If it was deemed improper to call these characters “gods”, here are two alternatives:

The Seven Laws (as in, Laws of Nature)

The Seven Spirits (alliterative, capitalized ‘Spirit’ to signify their high status)

“Big Papa” must be the youngest of seven “siblings”, because his real world counterpart (Legba) is the youngest of seven siblings.

Pictured: Nana Buluku by Rafael Nobre, 2008

Previously, I described Mawu-Lisa as the Supreme Being of Dahomean mythology. While some sources describe Mawu-Lisa as “The Creator”, Mawu and Lisa are actually the offspring of the higher being NaNa Buluku[2]. In another tradition, the Creator is called Sakpo-Disa (Segbo-Lisa).

Quoting Sofo Hadaya[3]:

“In vodu, the notion of God is not the same as in America. We believe in the high creator, Sakpo-Disa, who is a hermaphrodite and combines the sacred masculine and the sacred feminine. The sacred masculine is Sakpo and the sacred feminine is Disa. This is the power that created the world and his various children. Sakpo-Disa’s first son is called Aholu or Sakpata, the earth god. Sakpata is pan-West African. The second born of Sakpodisa is Tovodu, the river god. Each vodu sect has a name for this god. For example, in your village she is called Mami Wata. The Yoruba, the Ewe, the Fon, they all have their own names for Tovodu. The third child is Vodu Da, or Anidoho. The seventh child is Legba.”

Regardless, the seven “children” of the Creator form a sacred, core pantheon.

With some variation, the seven siblings are usually listed as:

Sakpata

Xeviosso (Heviosso)

Agbe (Xu, Hu, Wu)

Gu (Ogu)

Age (Ague)

Djo (Jo)

Legba

The first three are linked to the elements of the Earth, Thunder, and Sea respectively. Sakpata is Vodun of the Earth (Ayivodun); Xeviosso is Vodun of Thunder (Jivodun); Agbe (Xu) is Vodun of the Sea (Tovodun)[4].

Serpent worship - especially the rainbow-serpent Aido-Hwedo - was also a prominent feature of the Dahomean pantheon. Aido-Hwedo is not part of the seven “siblings” but predates their birth, assisting the in the Creation of the Universe. A different divine serpent, Dangbe, was worshiped by the Huedans, who were conquered by the Dahomeans[5]. Gede and Agasu also appear in the Dahomean pantheon[6], while Azili was introduced to worship in Hueda[7].

Several of the seven “children” have counterparts in the Yoruba pantheon. Sakpata is counterpart of Sopona; Xeviosso is a counterpart of Shango; Gu (Ogu) is a counterpart of Ogun; Legba is a counterpart of Esu-Elegbara.

Unfortunately, most of these deities do not appear in the historical record of Louisiana Voudou. The only one confirmed to appear is Legba, who became Papa Liba (“Papa La Bas”). There are theories that involve Xeviosso, Mami Wata (Tovodu), Avlekete (Avrekete, child of Agbe[8]), and Joe Feraille (Ogun/Gu “collective”), but these are just theories. Sakpata, Age, and Djo appear to be completely absent from the historical record of Louisiana Voudou. For this reason, I turned to the concept of the Seven African Powers.

Pictured: “The Seven African Powers”

The Seven African Powers is a modern invention that was not a part of historical Louisiana Voudou. It is also something of a misnomer, as there are obviously way more than seven African powers. Not to mention, Africa is a continent that extends far beyond the relatively small region of West Africa where the “Seven African Powers” originate. Rather than suggesting there are only seven African powers, they are seven in number because the number seven is spiritually significant. “The Seven African Powers” also pertain to Henry Louis Gates Jr.'s concept of “collectives” - families of deities that consistently feature in African Diaspora Religions across the globe[9]. While I have heard certain criticisms of the concept, I have chosen to take inspiration from it out of respect for African American Voudounsis who have embraced the Seven African Powers - particularly those based out of the American South, especially Louisiana. The Seven African Powers is not a concept invented by Luisah Teish, but she introduced a modification by replacing Orula with Oya. I decided to use this modification, as some theorize that the counterpart of Oya (Manman Brigitte) might have been worshiped in New Orleans’ past; conversely, there is no evidence or theories of Orula worship. 

This modification also allows for a more gender-balanced lineup. In real life, the balance of masculine and feminine energies is important in Afro-Centric Voudou.

*tentative; Anderson’s (2024) Voodoo: An African American Religion describes theories that Joe Feraille is derived from Ogou Feray, and that Mami Wata and Avlekete were worshiped as vodun.

**very tentative; based on my own speculation that Mama You could be derived from Manman Ezili, Betsy Toledano was a worshiper of Xeviosso, and Charlo could be derived from Chal Ogou or Ti Chal Ogou if not Ti Chal Lakwa. Anderson describes a theory that Mama You is derived from Manman Brigitte, but dismisses it as unlikely.

The tentative lineup is as follows:

Sir Duke (Blanc Dani)

Lady Rose (Erzulie Freda)

Lady Love (Erzulie Dantor)

Maman de la Vie (Manman Brigitte)

Baron de la Mort (Baron Samedi)

Ironman (Ogu / Joe Feraille)

Big Papa (Papa Liba)

Blanc Dani and Papa Liba are bolded, as they are the only two who definitively appear in the historical record of Louisiana Voudou. While all others are absent, there are theories that involve the remaining members.

There is no direct evidence of Ezili worship in the historical record of New Orleans; however, it is worth investigating whether there is any connection between Mama You and Manman Ezili. An alternative theory briefly mentioned by Jeffrey E. Anderson posits that Mama You is derived from Manman Brigitte[11].

Baron Samedi is also absent from the historical record, but Anderson theorizes that Grand Zombi (or, one of the “great spirits” called Grand Zombi) refers to one of the Gede lwa, especially Jan Zonbi or Kapten Zonbi. This might not be correct, as Teish identifies Grand Zombi with the indwelling spirit of the divine serpent[10].

Several deities in the historical record might have some connection to the Ogou famille. Joe Feraille might be derived from Ogou Feray. Assonquer might be derived from Ossangne, a lwa who does not belong to the Ogou famille but is worshiped alongside them in rit Nago. Charlo might be derived from Chal Ogou or Ti Chal Ogou if not Ti Chal Lakwa. None of these are confirmed, but worth investigating.

The name Vériquité appears in Helen Pitkin’s fictional novel An Angel by Brevet (1904); because other deities described in this novel are attested by non fiction sources, it is possible that Avlekete was worshiped during this time period. The female deity with snakes for legs might have been Mami Wata, who is worshiped as vodun of the Sea (tovodun) in some places in the world. The lightning stones seized from the home of Betsy Toledano might have been sokpe, possible evidence of Xeviosso worship.

“La Mer” and “Thunderstruck” (name subject to change) are italicized, as they are currently excluded but should arguably take the place of “Maman de la Vie” and “Baron de la Mort” respectively. The dynamics between the Earth-Thunder-Sea trio - especially the rivalry between Sakpata and Xeviosso - is a key feature of West African mythology. However Sakpata is absent from Louisiana Voudou; for this reason, I chose to exclude all three.

“Maman de la Vie” is included instead, as Teish described her as the equivalent to Oya in the Seven African Powers. “Baron de la Mort” is included because he is her husband and Ruler of the Dead; the two fit well into a story set in the afterlife.

This is a questionable decision, as the exclusion of Yemaya and Chango throws off the balance of the Seven African Powers. Spiritual energies identified with Seven African Powers become scrambled. Additionally, the current lineup overrepresents Haitian influences on Louisiana Voudou. On the one hand, it is prudent to include some elements from Haitian Vodou to honor its “parental” influences on Louisiana Voudou. On the other, overrepresenting these elements can contribute to tension with the Haitian community, who resent being associated with the commercialized side of New Orleans. Likewise, African American Voudounsis equally resent the manner in which their heritage is inaccurately confused with Haitian Vodou - often, the bastardized version of it that is embraced by white people.

For the above reasons, it might be advised to swap Xeviosso and Mami Wata (or Avlekete) with Manman Brigitte and Bawon Sanmdi. “Baron de la Mort” and “Maman de la Vie” do not need to be eliminated entirely, they just would not be part of the Seven “Children”. A downside to doing this is it increases the character count from seven to nine, which is probably not feasible; it still might be the right decision.

The decision to exclude “Lady Rose” must also be reversed. I do not like any of the alternative concepts; a character inspired by Erzulie Freda Dahomey must be included, and she must look something like this:

Well, not exactly like this. Her design needs work, but the key elements cannot be changed. 

“Lady Rose” cannot be removed or merged with another character, as she is the counterpart to Oshun. Described as the “Voudou Aphrodite”, Oshun embodies the divine feminine in the form of a Black, African goddess. She is the very image that Black girls and women have been robbed of, by the evil history of slavery and sexual exploitation. Even to this day, dark-skinned Black women are told they are not feminine or beautiful, forced to straighten their hair, dye it blonde, carve their faces, lighten their skin, to conform to white standards of beauty. It is one of the most ubiquitous forms of white supremacy that is imposed on women across the globe - A woman must look European or part European to be beautiful.

In designing “Lady Rose”, I attempted to merge European and African elements of beauty, but only in terms of her clothing - not her physical features. It is my attempt to represent the Creole culture of New Orleans and Haiti in her style of dress. 

The decision to make “Lady Rose” Black is not to misrepresent Haitian Vodou by suggesting Ezili Freda Dahomey is Black / dark-skinned. “Lady Rose” is a composite character who merges elements of Ezili Freda Dahomey, Azili, and Oshun. Basically, she is a guess at what Erzulie might have been like if she was worshiped in 19th century New Orleans. 

Alongside St. Peter, the Virgin Mary appears prominently in the historical record of Louisiana Voudou. Since St. Peter was actually Papa Liba, it is worth investigating whether the Virgin Mary was actually Erzulie. Counterparts of West African vodun and the Rada lwa appear in the historical record, but not the Petro lwa. Hence, this theoretical New Orleanian Erzulie might have been something between Ezili Freda Dahomey and Azili.

Twins are also an important feature of West African Vodun, where several of Legba’s siblings are described as pairs of twins. In making “Lady Rose” the twin sister of “Lady Love”, it also enhances the story telling. “Lady Rose” is a constant visual reminder of what “Lady Love” once was, the ghost of what was lost after the death of her infant child.

I also think it is a mistake to remove “Ironman”, as he is the counterpart to Ogun. It’s really just a question of whether he should be based on Ogou Feray of Haitian Vodou, Ogu of West African Vodun, or Ogun of Isese or Santeria. I have chosen to base him off of Ogou Feray (1) due to the theory that Joe Feraille is derived from Ogou Feray (2) for the purpose of story telling, it makes the most sense for him to be the husband (or tragic ex-husband…) of “Lady Love”. Rather than removing “Ironman” or “Lady Rose”, it makes more sense to swap “Baron de la Mort” and “Maman de la Vie” with characters inspired by Mamiwata (or Avlekete) and Xeviosso…now I’m just repeating myself…

In terms of colors, the red and gold on “Big Papa” must be selected from Alastor’s color palette. Alastor was probably inspired by Maitre Carrefour; however, Maitre Carrefour is a lwa from Haitian Vodou who does not appear in the historical record of New Orleans. For this reason, Alastor should actually be identified with a fictional counterpart to Papa Liba (“Papa La Bas”) of New Orleans Voudou. 

As such, the colors on “Big Papa”’s suit are fixed; his skin tone is subject to change. All of his siblings must have the same skin tone as him because he is their leader. This is how you can visually keep track of the Seven Lesser gods in a large, ever-expanding cast. “Big Papa”’s skin tone could be adjusted to better match the Seven African Powers. For now, I have decided to leave it alone, since I looked at his colors and thought to myself, “eh… close enough!”

This is how the Seven Lesser gods could be employed to diversify the cast: 

Although they appear to be human, none of the lesser gods even begin to be human. They create human-looking avatars to interact with humankind, but they are actually “clouds” of extremely powerful magic that completely defy the laws of physics. These “clouds” are not clouds as in “clouds in the sky”, but “clouds” as in models akin to “electron clouds”.  The term “cloud” is simply a rough approximation of what they actually are, as it is impossible for a being as simple as a human to perceive their true forms. Who knows what they actually are!

The “clouds” are actually collectives that store multiple human souls, as in Henry Gates Louis Jr.’s concept of “collective”[9]. Bon Dieu selects human souls from across the multiverse, and adds them to each collective. While he was inspired by the real world Papa Liba and Spirit at the Crossroads, “Big Papa” is best understood as a novel aspect of the “gold cloud” that does not exist in the real world; the “gold cloud” is the fictional counterpart to the Esu-Elegbara collective.

The colors associated with each character are as follows:

Sir Duke - white

Lady Rose - pink

Lady Love - blood red (originally, a redder shade of pink)

Maman de la Vie - purple

Baron de la Mort - black

Ironman - red (originally, green)

Big Papa - gold

Big Papa’s color is gold instead of red, to symbolize his status as “chief of the gods”.

(HE IS THE PIRATE KIN–)

Each of these “clouds” can be connected to anyone who is from Louisiana Voudou, Haitian Vodou, West African Vodun, Cuban Santeria, Isese. If you wanted to put a Cuban character into this story, you can make up a different aspect of the “gold cloud” as a fictionalized counterpart to Eleguá. You can literally make sonas for these boys! Or just stick to “Big Papa”, if that’s easier… That’s the advantage of this taking place in a fictional world.

A character like Alastor, who is from historical Louisiana Voudou, should only be connected to the Lesser gods who appear in the historical record. In my crazy fanfiction, he is connected to “Lady Love”, but that is only because he has partial Haitian heritage through his matrilineage. In canon, I’ll be damned if Alastor’s backstory actually goes this far back; assuming he has no connection to Haiti, Alastor should have no connection to the lesser gods that are absent from the historical record. A New Orleanian character, such as Alastor or Alastor’s mother, should certainly be connected to “Big Papa” and “Sir Duke”; a potentially controversial choice, but I would also agree with connecting them to “Lady Rose” as a stand-in for the Virgin Mary.

Rather than connecting them to the other lesser gods, they should be connected to other, less-powerful (but still powerful) spirits who The Doorkeeper holds “the keys” to. Alastor’s mother - who presumably specialized in “good work” - should be connected to The Doorkeeper (benevolent aspect), Grandfather Serpent, Lady Rose, San Malo, John the Conqueror, etc… Alastor himself - who presumably specialized in “bad work” - should be connected to The Doorkeeper (malevolent aspect), St. Black Hawk, Assonquer, etc… Another potentially controversial choice, but I would also agree with connecting him to a counterpart of Jan Zonbi or Kapten Zonbi, who would be one of the adopted sons of “Baron de la Mort”. This is based on the aforementioned theory that “Li Grand Zombi qui fé muri” is related to Jan Zonbi or Kapten Zonbi, due to his association with death. For simplicity’s sake, Alastor could simply be associated with “Baron de la Mort” himself, but that is arguably a mistake because Baron Samedi does not appear in the historical record of New Orleans.

NOTES:

1. Two examples of this are Luisah Teish, who used the phrase “Voudou gods” in Jambalaya, and Ava Kay Jones, who used the phrase “gods and goddesses” in interview with Ron Bodin. Granted, for true historical accuracy “saints” or “spirits” should probably be used in place of “gods”, as this seems to to be the terminology used during the Depression era. See: Teish, Luisah. Jambalaya: The Natural Woman's Book of Personal Charms and Practical Rituals. United States, HarperCollins, 2021. Originally published in 1985; Bodin, Ron. Voodoo: Past and Present. United States, Center for Louisiana Studies, University of Southwestern Louisiana, 1990. p. 80-81. Retrieved from: https://archive.org/details/voodoopastpresen00ronb/page/80/mode/2up?q=jones 

2. FROM: Herskovits, Melville Jean. Dahomey, an Ancient West African Kingdom, Vol. II. United States, Northwestern University Press, 1967. p. 101. Retrieved from: https://archive.org/details/dahomeyancientwe0000hers/page/100/mode/2up “The world was created by one god, who is at the same time both male and female. This Creator is neither Mawu nor Lisa, but is named Nana-Buluku. In time, Nana-Buluku gave birth to twins, who were named Mawu and Lisa, and to whom eventually dominion over the realm thus created was ceded.”

3. Montgomery, Eric and Vannier, Christian. An Ethnography of a Vodu Shrine in Southern Togo: Of Spirit, Slave and Sea. Netherlands, Brill, 2017.

4. Encyclopedia of African Religion, edited by Ana Maman and Molefi Kete Asante. United Kingdom, SAGE Publications, 2009. Retrieved from: http://archive.org/details/encyclopediaofafricanreligionpdfdrive.com/ 

5. Herskovits, Melville Jean. Dahomey, an Ancient West African Kingdom, Vol. II. United States, Northwestern University Press, 1967. p. 248. Retrieved from: https://archive.org/details/dahomeyancientwe0000hers/page/248/mode/2up? 

6. Herskovits, Melville Jean, and Herskovits, Frances Shapiro. Dahomean Narrative: A Cross-Cultural Analysis. United States, Northwestern University Press, 1958. Retrieved from: http://archive.org/details/dahomeannarrativ0000hers/ 

7. Hebblewaite, Benjamin. A Transatlantic History of Haitian Vodou: Rasin Figuier, Rasin Bwa Kayiman, and the Rada and Gede Rites. United States, University Press of Mississippi, 2021.

8. Herskovits, Melville Jean. Dahomey, an Ancient West African Kingdom, Vol. II. United States, Northwestern University Press, 1967. p. 153. Retrieved from: https://archive.org/details/dahomeyancientwe0000hers/page/152/mode/2up? 

9. While Gates only refers to Esu-Elegbara as a collective, his concept of a “unified figure” can be applied to all of the Seven African Powers (for the most part). See: Gates, Henry Louis. The Signifying Monkey: A Theory of African-American Literary Criticism. United States, Oxford University Press, USA, 1988. p. 5  https://archive.org/details/signifyingmonkey0000gate/page/5/mode/2up 

10. Teish, Luisah. Jambalaya: The Natural Woman's Book of Personal Charms and Practical Rituals. United States, HarperCollins, 2021. Originally published in 1985

11. Anderson, Jeffrey E. Voodoo: An African American Religion. LSU Press, 2024.

[minus-moscow]

Queering Myths Collection

Mawu and Lisa (Dahomey)

Mawu, creator goddess, associated with the sun and moon and Lisa, her twin-brother and male counterpart in Dahomey mythology. The Dahomean religion was practiced until 1898 by the Fon people in what is now Benin. Slaves taken from Dahomey to the Caribbean used elements of the religion to form Vodou and other religions of the Afro-Caribbean diaspora. Both deities are aspects of the same androgynous or two-spirited deity, Mawu-Lisa.

Small note

[idowu-ally]

[kemetic-dreams]

Patterns of worship follow various dialects, spirits, practices, songs, and rituals. The divine Creator, called variously Mawu or Mahu, is a female being. She is an elder woman, and usually a mother who is gentle and forgiving. She is also seen as the god who owns all other spirits and even if there is no temple made in her name, the people continue to pray to her, especially in times of distress. In one tradition, she bore seven children. Sakpata: Vodun of the Earth, Xêvioso (or Xêbioso): Vodun of Thunder, also associated with Divine Justice, Agbe: Vodun of the Sea, Gû: Vodun of Iron and War, Agê: Vodun of Agriculture and Forests, Jo: Vodun of Air, and Lêgba: Vodun of the Unpredictable

The Creator embodies a dual cosmogonic principle of which Mawu the moon and Lisa the sun are respectively the female and male aspects, often portrayed as the twin children of the Creator. Lisa is the sun spirit who brings the day and the heat, and also strength and energy. Mawu, the moon spirit, provides the cool of the night, peace, fertility, and rain. To give this in a summed aspect, a proverb says ‘When Lisa punishes Mawu forgives

[yvonnemcf]

Jambalaya: The Natural Women's Book of Personal Charms and Practical Rituals