It is speculated that Maman Brigitte came into being when African tribes were forced into slavery and were relocated to Haiti during the 1700s.
Name
Her name is Maman Brigitte, or Manman Brijit, which in English roughly translates to “Mama Brigid.” In other regions, she’s also referred to as Saint Brigid or Gran Brigitte.
Physical Description
Maman Brigitte is the only fair-skinned loa and the consensus is that she didn’t originate from Africa like her fellow loa. Instead, Maman Brigitte is thought to come from Ireland, a representation of the Celtic Goddess Brigid, or the Christianized version of the pagan deity, Saint Brigid of Kildare.
Origin
While it may seem strange that a European deity would be in the company of loa that originated from Africa, it’s theorized that due to the trend of indentured servitude that brought many English, Scottish, and Irish people to the Caribbean and United States. These indentured servants were overwhelmingly female in number, so they brought with them the tradition of the Goddess Brigid, who came to keep company with the loa that were brought with the enslaved peoples of Africa.
Mythology and Lore
Due to a heavy Catholic influence upon voodoo, Maman Brigitte is often referred to as a sort of Mary Magdalene; because of her origins, Maman Brigitte is portrayed as a red-headed, fair-skinned and wispy woman. Like her consort, Baron Samedi, she is part of the family of loa who has authority over the cemeteries and death. Maman Brigitte stands guard over graves and tombstones; in typical voodoo tradition, in a new cemetery, the first woman who has been buried within bears a special cross at her grave and is said to belong specifically to Maman Brigitte. Maman Brigitte is associated with death, but also with life–her particular brand of power is healing, especially sexually transmitted diseases, fertility, and divine authorities and judgment. While she heals those who deserve it, she is also a champion for those who have been wrong, by severely punishing the wicked.
Devotees of Maman Brigitte will leave this loa an offering of candles, black roosters, as well as pepper-infused rum. As the protector of women, she is primarily worshipped by females and she is often called upon to assist women who are battered, cheated on, or during rough childbirth.
Is there anything we missed about Maman Brigitte? Let us know in the comments section below!
Georgia-based author and artist, Mary has been a horror aficionado since the mid-2000s. Originally a hobby artist and writer, she found her niche in the horror industry in late 2019 and hasn’t looked back since. Mary’s evolution into a horror expert allowed her to express herself truly for the first time in her life. Now, she prides herself on indulging in the stuff of nightmares.
Mary also moonlights as a content creator across multiple social media platforms—breaking down horror tropes on YouTube, as well as playing horror games and broadcasting live digital art sessions on Twitch.
The roots of voodoo run deep with the sordid history of slavery in America, originating from the traditional West African religion of vodoun (also vodun), it further evolved once it reached Haiti and Louisiana. Louisiana voodoo—properly known as vodoun—the queens and priestesses hold the highest position within this matriarchal religion. Something that may surprise those unfamiliar with vodoun, is that it’s actually a monotheistic religion which centers around the supreme creator, Bondye (French Creole for “good god”) who controls life and destiny. Bondye manifests his will through the many loa (also lwa) present within this belief system.
The loa are spirits who connect the followers of vodoun to their deity—through the use of vèvè, symbols which serve as visual representation of the loa during ritual, practitioners are able to call upon the loa for their assistance in personal matters. Despite many people not having any formal knowledge of loa or their role in the religious practices of vodoun, they would easily recognize the visage of popular spirits such as Papa Ghede and Papa Legba, if not just as cultural references that they associate with New Orleans in general.
Photography by Wian Juanico
Misconceptions of Voodoo Dolls
Misrepresented time and time again, voodoo dolls have come to represent something far beyond the reach of what they were originally used for. Hollywood would have us convinced that they’re instruments of evil, used to control the actions of people, or otherwise wreak havoc, and destroy their lives. Except voodoo dolls are not traditionally used to cause people harm in any sense of the word. These dolls are indeed used as a physical representation of the person who is the focus of the ritual, but instead of harm, they are often used for among other things, love, success, and healing.
The Mystery of Zombification
A far cry from the stereotypical walking dead that has made the horror genre of international cinema so powerful, the origin of zombies is quite a bit more disturbing than we’re used to these days. When it comes to the origin of zombie lore, the fear isn’t derived from the idea of being the main course of a zombie feast—instead it’s the idea of being turned into a zombie. The short and sweet version? Zombies as derived from the Haitian vodun practice are actually living people, who have been chemically induced to have no free-will.
Photography by Jane Hawkner
Hoodoo, Conjure, and Rootwork: African American Folk Magic
Many people believe that hoodoo and voodoo are interchangeable—it’s not a tough concept to explain that while they’re similar, they’re not the same, but it still seems to be an ongoing issue of mistaken identity. Voodoo, as has been explained now, is actually a religion that utilizes the folk magic practice, whereas hoodoo is actually just a folk magic practice with no hard and fast religious affiliation, although most practitioners identify as Protestant Christians. To be clear, hoodoo is but one of the most common types of African American Folk Magic, with other practices such as conjure and rootwork being nearly interchangeable with minimal differences, other than the region in which they are practiced.
Photography by Gerhard Lipold
Santería: The Worship of Saints
Another religion that is commonly mistaken for voodoo, is Santería—a religion that also has West African origins, but was further developed in Cuba among West African descendants. One of Louisiana’s best kept religious secrets, this Yoruba based religion merged with Roman Catholicism and embraced the Catholic saints, referred to often as orishas who act as emissaries to God—Olodumare.
A legend known in the Bayou is that of the Honey Island Swamp Monster—a bipedal cryptid that is likened to bigfoot, but described physically as being quite dissimilar other than its stature. This grey-haired, yellow (or red, depending on the source) eyed monster is said to be a creature that was born from chimpanzees that escaped from a circus train that wrecked on the tracks, and the local alligator population.
Georgia-based author and artist, Mary has been a horror aficionado since the mid-2000s. Originally a hobby artist and writer, she found her niche in the horror industry in late 2019 and hasn’t looked back since. Mary’s evolution into a horror expert allowed her to express herself truly for the first time in her life. Now, she prides herself on indulging in the stuff of nightmares.
Mary also moonlights as a content creator across multiple social media platforms—breaking down horror tropes on YouTube, as well as playing horror games and broadcasting live digital art sessions on Twitch.
Voodoo in New Orleans is quite distinguishable from the practice in other parts of the world, it grew to be more inclusive of the spiritualism that sprang up within the nineteenth century. Within the voodoo religion, powerful spirits called loa—also called mystères, or the invisibles—unlike saints and angels that are housed within the Judeo-Christian religions, they are not prayed to, they are served. Contrary to popular belief, the loa are not deities. They are considered spiritual guides, who communicate with the one supreme creator, Bondye, in order to manifest the petitions for family, love, money, happiness, wealth, and of course revenge. The loa preside over daily life, since Bondye doesn’t interfere with personal matters, and depending upon way in which they are called upon, the spirits can be sympathetic or impish.
The Role of Deceased Ancestors
Within the voodoo religion, it’s a common belief that those who have passed away remain on the earthly plane—this is because it is the responsibility of the living to care for their passed loved ones to help them shed the baggage of their life and get them closer to Bondye. In order to care for ancestors, vodouisants light a candle and leave offerings of food and drink—as thanks, ancestors bless their loved ones with health, wealth, and fortune.
The Loa: Contacting the Spirits
Photography by Greg Willis
Conducting voodoo rituals don’t always require a practitioner to petition the loa, but it’s more frequent for them to be a part of the ritual than not. Contacting the spirits can be achieved through dance, music, singing, and the use of snakes—a symbol of Papa Legba, who is the conduit to contacting the rest. In organized practice, there are houngans (priests) and mambos (priestesses), as well as bokors (sorcerers) and caplatas (witches) who lead the rituals, take requests, and receive offerings. These ritualists act as hosts to the possessing loa, which can be quite a violent sight, where the participant thrash and shake, then fall to the ground. Being a host to a loa requires those around to know how to sufficiently provide for the spirit, as they can become stubborn and demand more.
Vèvè: Symbolic Representations of the Loa
A vèvè is a
religious symbol which serves to represent a loa during ritualistic practice,
whereupon sacrifices and offerings are placed. Every loa has their own
individual vèvè, which is typically drawn on the floor using a powder—the type
of powder used depended on the type of ritual being performed.
Main Loa of the Voodoo Religion
The loa are a diverse group of spirits, too many to name without
going too in depth, but these are a couple of the most well-known of the bunch.
Papa Legba: The Spirit of the Crossroads
Among one of the most important spirits within voodoo, in order for there to be any ritual regarding any other loa, Papa Legba must be contacted first. As the spirit of the crossroads, he is the origin of life, the old man who guards the crossroads, the contact between the realms of life and death—Legba must give his permission in order to communicate any other loa.
The poor soul who happens to offend Papa Legba will be virtually deprived of the protection of the spirit world. Guardian of voodoo temples, courtyards, plantations, and crossroads, he also protects the home—if a practitioner is planning on going traveling, they pray to Legba for protection and petition him to safely return them home. A small, crooked old man with a broken body covered in sores, he insists on walking barefoot so he has continuous contact with the earth below him—Legba is a polite and caring spirit, one that all practitioners consider to be lovable.
Papa Ghede and Baron Samedi
Papa Ghede, despite being the spirit of death, is not as forbidding as he may appear in popular imagery—he is dressed in black, with a top hat, with a cigar in his mouth, and controls the souls of those who have passed on. Although the other loa fear and avoid him, he is the one people petition when children are poor of health, as he very much loves children.
There is conflicting information about the relationship between Papa Ghede and Baron Samedi—where some sources claim they are one in the same, where Papa Ghede is the lighter aspect concerning life and Baron Samedi is the dark aspect concerning death. Other sources speak of them being separate entities, where Papa Ghede does the bidding of Baron Samedi. When it comes to magic that deals with death, you can be sure whose power is actually behind it, especially since he has a special interest in those who meet their death as a result of magic.
Georgia-based author and artist, Mary has been a horror aficionado since the mid-2000s. Originally a hobby artist and writer, she found her niche in the horror industry in late 2019 and hasn’t looked back since. Mary’s evolution into a horror expert allowed her to express herself truly for the first time in her life. Now, she prides herself on indulging in the stuff of nightmares.
Mary also moonlights as a content creator across multiple social media platforms—breaking down horror tropes on YouTube, as well as playing horror games and broadcasting live digital art sessions on Twitch.
Even if you’ve never been buried alive, rest assured, this movie cannot hope to capture the terror that one must feel waking up to the darkness and heart-stopping fear of waking up in a coffin, with no possible hope of being rescued. If you have not yet seen The Serpent and the Rainbow (1988), then perhaps it’s time—this movie has aged well, at the time of this posting, it’s nearly thirty-two years old, still relevant and pretty terrifying through the right lens. Given the fact that this movie was created in the late eighties, it stands to reason that if it were remade, it could be given new life, it definitely has the potential with a higher-rated actor and better cinematography to be a more nail-biting journey to have a glimpse into what zombification in the voodoo culture is truly about. The Serpent and the Rainbow was based on a book with the same name and directed by Wes Craven—a highly regarded thrill-maker in his heyday—and is given the attribute of being inspired by a true story, which is believable considering the attention to detail that was paid to even the most insignificant aspects of the story.
“In the legends of voodoo The Serpent is a symbol of Earth. The Rainbow is a symbol of Heaven. Between the two, all creatures must live and die. But because he has a soul Man can be trapped in a terrible place Where death is only the beginning.”
The Serpent and the Rainbow (1988)
Set during the political unrest of Haiti in 1978, Dr. Dennis Alan (Bill Pullman), an anthropologist turned field-researcher has just come back from exploring for medicinal herbs and plants; he’s hailed as a hero at the biological research company, at which he works because he’s brought back medicines that no one before has ever been able to collect. No rest is given for the weary though and he’s immediately asked to go investigate the mysteries of zombification in Haiti—they have just come across evidence of a case eerily similar to that of real-life Clairvius Narcisse. Christophe was a man who died and was brought back to life. So, Dr. Alan sets off to find this mysterious zombification powder, something his bosses hope to find useful in their medical research.
Surprisingly, much of the lore of voodoo is represented quite faithfully, which has a lot to do with the fact that most of the movie was filmed on location during a time of political and social unrest; the scenes in which voodoo rituals occur, they were actually filming voodoo practitioners who were in a trance state. The authenticity of these scenes sets this movie apart from any other movie about voodoo that is out there, it can’t get more realistic than this without being an outright documentary. The whole movie was based loosely around The Serpent and the Rainbow (1985) a non-fiction book was written by Wade Davis. The author is to this day, an anthropologist who initially made himself famous by his research in the field of psychoactive plants; he was one of the first outsiders to gain access to the secrets of zombification and how the powder was created, which are highly guarded secrets in the community of voodoo in Haiti.
So, while simultaneously staying true to much of what voodoo is about and not intending to create a horror movie, director Wes Craven was somehow able to make the movie a psychological experience that kept it both interesting and entertaining, long enough to get to the meat and bones of the plot. Insights into the poorly staffed insane asylums and the psychological state of a person who had undergone the trauma of being drugged, declared dead, buried alive and then being dug up and made to serve a master, created an environment early in the movie that this entire expedition was going to be a dangerous one for Dr. Alan. Like a well-trained and eager anthropologist, our antagonist goes above and beyond what any sane field researcher would do, finding himself in graveyards searching for a mentally unstable resurrected Christophe, attending voodoo rituals in which he witnesses men chewing on fire and women eating glass, and running into an evil witch doctor, Peytraud, who does not want him to be successful in finding the secrets to zombification. It’s important to watch this movie without any lens of bias, as far as what valid religion and spiritual practice are, it requires people to be open to what is possible when belief in the strange and unnatural is strong and unwavering.
Possessing the knowledge that Wes Craven never intended this movie to be a horror flick, it’s quite easy to see past the dated effects and experience Dr. Alan’s nightmarish visions with the depth of fear that someone that has had the superstition of the land seeded into his brain. With an added element of complexity, Dr. Alan falls for the beautiful psychiatrist who aids him in his journey to the highly sought-after zombification powder, which allows him to be more easily manipulated by Peytraud who later has Dr. Alan in his clutches. The cinematography in the torture room of Peytraud is intense, especially considering the time in which the movie was made, the gore wasn’t a necessary element to induce fear in audiences. We know what is going to happen to our antagonist when we find him being strapped into a chair, with his underwear around his ankles, when Peytraud reveals a coffin nail and tells Dr. Alan that he wants to, “hear (him) scream.”
The Serpent and the Rainbow (1988)
Not to be deterred, we see the effects that Peytraud has had to Dr. Alan’s mental state, his nightmares and visions get worse—he’s being buried alive in his dreams, he screams as blood begins to fill the coffin and quickly consumes his body. Political tactics are taken to scare Dr. Alan into leaving Haiti without what he came for, which nearly works if it weren’t for his hidden ally who ends up sneaking it to him after he has been forced into a plane that will take him home. Threats of being arrested and executed have been levied on him, which means he has to leave his lover, Marielle (Cathy Tyson), behind despite the danger she would be in for her associations with him. The brief time back in Boston is punctuated with the powder having been researched, which the movie is also incredibly true to its source, noting that the subject would be aware of everything that was going on, while still appearing clinically dead. Peytraud shows himself through magical means, making it clear that he can reach Dr. Alan wherever he may be—his visions have not ceased since arriving back home. Dr. Alan returns to Haiti in order to make sure Marielle is safe, he finds the ally that gave him the powder has been executed for what he has done—this is where things truly turn bad for him.
Don’t let them bury me. I’m not dead.
Dr. Alan – The Serpent and the Rainbow (1988)
After having zombie powder blown into his face by one of Peytraud’s associates, Dr, Alan stumbles through the village and eventually falls to the ground, pale and apparently dying–he utters the words that the movie is famous for, “Don’t let them bury me. I’m not dead.” The fear in his eyes is not overplayed, in fact, this part was incredibly well done. After being declared dead in the hospital, we see Peytraud has taken control of his body and is seeing to it that Dr. Alan is put in the grave.
“When you wake up, Dr. Alan—scream. Scream all you want, there is no escape from the grave.”
Peytraud – The Serpent and the Rainbow (1988)
Before watching this movie, I read reviews of it, so this is always where I was led to believe that the movie ended—our hero, the noble anthropologist, seeking secrets for the future of medicine gets buried alive and that’s that—the ultimate fear of someone who is claustrophobic, meeting their demise in a cramped box with severely limited oxygen. Except, this isn’t where we end—Christophe, comes to Dr. Alan’s rescue when he awakens from his drug-induced trance and begins to scream. In a moment of unexpected vulnerability, Christophe consoles the anthropologist, “You’re alive. You see things the living can’t see. In a daring rescue of his lover, Dr. Alan squares off against Peytraud where he encounters several setbacks and finally overcomes the mind control of his nemesis, defeats the bad guy, rescues the girl, and saves the day. His visions cease and we’re led to believe that he goes on to live a happy and full life.
All in all, this movie has stayed relevant over the past three decades and is highly recommended for being both unique and authentic in its representation of zombies. You’ve got to check this one out!
Georgia-based author and artist, Mary has been a horror aficionado since the mid-2000s. Originally a hobby artist and writer, she found her niche in the horror industry in late 2019 and hasn’t looked back since. Mary’s evolution into a horror expert allowed her to express herself truly for the first time in her life. Now, she prides herself on indulging in the stuff of nightmares.
Mary also moonlights as a content creator across multiple social media platforms—breaking down horror tropes on YouTube, as well as playing horror games and broadcasting live digital art sessions on Twitch.
Vèvè came into being around the same time as voodoo was established in Haiti sometime during the 18th century, however, the predecessors to these symbols existed long before voodoo evolved in the Americas.
Name
Vèvè is also known as veve, and vevè.
Physical Description
Vèvès are traditionally complex line-art style symbols (when pictured), but when used in a ritual they are drawn in sands or other powders.
Origin
The tradition of creating vèvè has quite a long tradition that originates from the ancient kingdom of Dahomey–a region that is now southern Benin. Using palm oil, the practitioner would draw specific geometric figures, including frequent use of rectangles and squares, upon the ground. The ritual drawing of vèvè can also be attested as a typical practice in Central Africa and within the Taino and Arawak peoples of Haiti, all of which converged within the African slave population that was forcibly brought to Haiti.
Mythology and Lore
In Haitian Vodou, the vèvè are symbols that represent the loa, or lwa. They are ritually drawn upon the floor with some type of powder, typically cornmeal, wheat flour, bark, red brick powder, or gunpowder. In Haitian Vodou specifically, cornmeal and wood-ash mixtures are generally preferred. The substance used to draw the vèvè depends upon the loa being called or honored, as well as the ritual which is being performed. Alternatively, vèvès can also be drawn, printed, or painted and used in artwork, jewelry, banners, or other wall-hangings.
Whether simple or elaborate, these ritualistic symbols are still drawn upon the floor of the temple or ritual grounds. Instead of palm oil, they are drawn with cornmeal or ashes with a great deal of precision by an Oungan or Manbo.
These symbols are an integral part of Voodoo rituals, within the concept of their use they are used to bring the loa to the earthly plane to assist the practitioner in their ritual goal. Each of these loa has its own symbol to represent them in order to establish a personal connection to the spirit in question.
Follow Alaskan born Anna as she wades through the mysteries and perils of the paranormal and supernatural forces that are at work in the world.
In this installment, Anna has caught wind of a sinister voodoo cult that has been potentially bringing the dead back to life. What will she find when she visits the Big Easy to get to the truth of what’s behind this unbelievable rumor.
Read Articles Relating to Vèvè
Learn about vèvès and how they relate to the religion from which they came, you’ll be surprised at what you find out!
Georgia-based author and artist, Mary has been a horror aficionado since the mid-2000s. Originally a hobby artist and writer, she found her niche in the horror industry in late 2019 and hasn’t looked back since. Mary’s evolution into a horror expert allowed her to express herself truly for the first time in her life. Now, she prides herself on indulging in the stuff of nightmares.
Mary also moonlights as a content creator across multiple social media platforms—breaking down horror tropes on YouTube, as well as playing horror games and broadcasting live digital art sessions on Twitch.
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