Interview at Lakou Nan Badjo Summary


Material Information

Interview at Lakou Nan Badjo Summary
Physical Description:
PDF Haitian Creole transcription and English translation
Haitian Creole
Benjamin Hebblethwaite, Claire Payton, Tahiri Jean-Baptiste and Megan Raitano
Benjamin Hebblethwaite
Place of Publication:
Gainesville, Florida
Publication Date:


Subjects / Keywords:
Caribbean Area, Haitian Vodou, Lakou Nan Badjo, Gonayiv   ( lcsh )


This interview was conducted by Benjamin Hebblethwaite and Sèvitè Dorsainville Estimé at Lakou Nan Badjo in Gonayiv, Haiti, on November 1, 2012. The work was funded by the UF-Duke NEH Collaborative Grant. Special thanks to Ongan Michelet Alisma who accompanied us for these interviews.

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University of Florida
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University of Florida
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Copyright 2014 Jean Baptiste, Raitano, and Hebblethwaite Funded by the UF Duke NE H Collaborative Grant Summary of Interview with Lakou Nan Badjo Summar ized by Tahiri Jean Baptiste Edited by Megan Raitano and Benjamin Hebblethwaite Svit Dorsainville Estim Ž expressed distrust of outsiders to the religion and nation, citing a history of mistreatment as the basis for his nationalism. Consequently he admitted to being reluctant to share information about Vodou, Creole, and Haiti. His past experience wi th researchers in Haiti r esulted in the defamation, criminalization a nd demonization of Vodou. In response to the messages disseminated via books, journals, and films, Estim Ž explicitly states that Haitian Vodou does not have demons, devils, and sorcerer s His statement is consistent with Vodou beliefs expressed by other Vodouists Nevertheless, Estim Ž articulates a firm resolve in the ability and willingness of Vodou to withstand persecutory campaigns H e offers some critique of the popularization of Haitian Vodou music. Vodou m usic, like the rituals of Vodou, are traditional, oral, and are deeply integrated into the system of Vodou. According to the collection of Vodouists present for the interview the musicians collect songs from different Vodou rit es and traditions to form admixtures; they do not understand the required ritual order of the sacred music. They criticize the musicians for appropriating and removing the sacred songs from a religious context in order to make a profit The Vodou songs that come out of Lakou Badjo are garnered from dream conversations with the Lwa and the collection of music is only gifted to the chosen Vodouist in Badjo. H e goes on to discuss the formation of the homestead in 1792, during the coloni al period, its ties to Jean Jacques Dessalines and Badjo's role in the revolution. The homestead worked alongside with Dessalines to achieve independence. Consequently, Vodou itself was a consequential element of the revolution. Keywords and terms : rev olution, nationalism, demonization of Vodou, anti Vodou campaign, persecution, Nago, Vodou musicians,