| Haitian Vodou Priest Oungan | |
|---|---|
| Leader in Haitian Vodou | |
 Oungan ceremony ritual | |
| Location | Haiti |
| Religious origins | Dahomey (present day Benin Republic) |
| Parent tribe | Fon |
| Language | English, French, Fon, Creole |
| Religion | Haitian Vodou |
| Part ofa series on |
| African traditional religions |
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Oungan (also written ashoungan) is the term for a malepriest inHaitian Vodou (a female priest is known as amambo).[1] The term is derived fromGbe languages (Fon, Ewe, Adja, Phla, Gen, Maxi and Gun). The word hounnongan means chief priest.Hounnongan oroungans are also known asmakandals.[2]
Haitian Vodou is anAfrican diasporic religion, which blends traditionalVodun from the Kingdom ofDahomey withRoman Catholicism. In similarity to theirWest African heritage,oungans are leaders within the community who run temples (ounfò) to respect and servelwa (also written asloa) alongside the Grand Maître (grandmaster or creator).[3]Lwa are like spirits, encompassing a collection ofYoruba, Fon, Kongo, etc., spirits and Roman Catholic saints, as well as theTaíno spirits that were already there.Lwa manifest themselves in people during Vodou ceremonies through spirit possession. Each lwa has a distinct dance rhythm, song, sacrificial victuals, and clothing.[4]Lwa chooseoungans whilst they dream, where they are instructed by the gods of the Vodun to be their servants in the mortal world.[5] It is the oungan's role to preserve rituals and songs, maintaining and developing the relationship between the spirits and the community as a whole.[6]oungans are entrusted with leading the service of all of the spirits of their lineage, performing rituals for the community - death and marriage ceremonies; healing rituals; initiations for new priests (tesses); creating potions and casting spells; anddream interpretations.[7] Sometimes they may also bebokor (sorcerers).
Dutty Boukman was aoungan known for sparking theHaitian Slave Revolt of 1791, working together withCécile Fatiman to inspire and organise the slaves for the revolution. Other notableoungans include artist Clotaire Bazile, professorPatrick Bellegarde-Smith, and Don Pedro venerator of the Petrolwa.
Haitian Vodou originates from the Kingdom of Dahomey which makes up a part of modern-dayBenin and westernNigeria. During theslave trade, thousands of people from Dahomey, largely Fon and Ewe, were enslaved and transported across the Atlantic to islands in theCaribbean. During the French Colonial Period, the economy ofSaint-Domingue (modern-dayHaiti) was based on slave labour working on sugar plantations. These West African natives brought the Vodun culture and religion from their homeland to Haiti. Vodun alongside the European-imposedRoman Catholicism fused to create what we know as Haitian Vodou. Therefore, there are many elements of Haitian Vodou that can be traced back to Dahomey origins.
Besides Vodun and Christianity, Haitian Vodou also incorporated elements from Islam and Celtic sailors' mythology which came to influence Haitian Vodou on the slave boats and in ports. This blend of traditions givesoungans a reputation of being "cosmopolitan" in their manner.[8]Oungans are responsible for keeping the vitality of Haitian Vodou alive and adapting it to contemporary needs. AuthorIan Thomson stated that a "voodoo priest is usually an astute businessman," proving that both theoungan and the Haitian Vodou religion are flexible and able to adapt to their changing environments to survive.[2]
In Gbe languages (spoken in Nigeria, Benin, Togo and Ghana), the termVodun is synonymous with the prefixhun-, which lends itself to the root of the nameoungan amongst other terminologies such ashounsi andhounfort.[8] The ending-gan, also originates from Dahomey, meaning "chief of spirits", or in other words, "chief priest". The suffix ‘Gan or ga ‘denotes big or importance.‘Si or Shi’ denotes a female, eg hounsi means a female priest or adherent.
Oungans can be chosen in three ways – through a dream-like experience in which alwa informs that they are chosen as their servants, having visions, or through degradation and transference rituals after an importantoungan's death.[5] Eachoungan has authority in their own temple, however, there is no official hierarchy within Haitian Vodou.
To become aoungan, one must first undergo initiation. First, a period of isolation and seclusion (typical of an African initiation) known as Kouche Kanzo must take place.[9] Then Lave Tèt (“the washing of the head”) takes place, which is a ceremony where one's hair is washed seven times with a mixture made of plants to spiritually cleanse in order to better receive thelwa. Then, various rituals and sacrifices are made. This is often a lengthy and expensive process, as numerous items have to be purchased such as the presentation ofIwa's favourite food and drinks, and special handmade ceremonial clothes.
Upon a visit to Papa Loko (the patron of themanbos andoungans), anasson (sacred rattle) is given to theoungan as the mark of their priesthood.Oungans also receive a spiritual name from Papa Loko which is used as identification amongst otheroungans andmanbos.
Due to the large Catholic population in Haiti, many Haitians are both practicing Catholics and of the Vodou religion. Therefore, Vodou ceremonies are not permitted to take place during major Christian holidays such as Christmas. Some features of Catholicism make up part of Haitian Vodou such as Bible readings, prayer recitations, and candle usage.[7]
Theoungan has full control and a central role in ceremonies[7] eachoungan ormanbo having an original take on the style of ritual performed.[10] They serve as the middlemen between followers of Vodou andlwa. Customary colours for aoungan are red, black, and white.[11]
Oungans may have students or assistants calledbadji-cans.[9]
Consecration is a way of dedicating to the sacred and is performed in Haitian Vodou by signing a cross with equal arm length over an item, person, or in the space which should be consecrated. Aoungan typically performs this and may use a piece of ginger leaf or another sprig dipped in water to make the blessing.[6] Theoungan will first align their bowl offleur ginen (a mixture of cornmeal and herbs dedicated to a particularvèvè)[6] with the cosmos in which they stand centred. Then, the vire (a ritualised set of turns and dips to orient the body) is performed, whilst holding a candle and cup of water in the hands. After this is complete, each of the four directions is saluted. After this, theoungan places the water cup on the ground and touches the earth with the back of his hand, saying, "we come from the earth and to it we will return." Finally, a differentvire is performed and theoungan with hisason beckons the audience to sit. When everyone is seated, songs for eachlwa andvèvè are sung repeatedly throughout the night.
After a death, family members may visit aoungan to find out who was responsible for the decease.[5]
Desounen is a death ritual and the first of a yearlong remembrance to be performed after the death of a Vodou initiate. Theoungan places pieces of the corpse, such as nails or hair, in the deceased'sgovi.lwa with whom the deceased had a special connection (often familylwa), are called upon and asked to possess the body one final time. Then sacrifices are made to thelwa and blood is dripped onto the corpse.Lwa are asked to permanently leave the body and find peace in a sacred necklace worn by the deceased and now kept in agovi. This officially releases thegwo bonnanj (sacred life force) from the corpse, letting thegwo bonnanj free to find a new life.
A year and a day after the death, it is necessary to remove the gwobonaj again to ensure the safety and health of the relatives of the deceased.[9] This ceremony is calledretirer d'en bas de l'eau ("to remove from underneath the water"):[4] the dead, having been deprived of material form and having gone to rest in the waters of the abyss, are ritually called up from “under the water.” This is the final binding of the familylwa to thegovi, achieved by theoungan through songs, dances, and prayers to prominent lwa.
To summon eachlwa, a specificvèvè must be traced. Theoungan writes these out in his personal notebook, with each lwa having unique formulae with specific diagrams and instructions.[6] These instructions include specific drum rhythms, dance movements, and songs.[10] The specific combination of multi-sensory media invokes thelwa to leave thevilokan (abode of thelwa) and possess theoungan during the ceremony. One or multiplelwas can be summoned as necessary for the occasion.
The home of lwa is said to be an island below the sea in the mythological city of Ville-aux-Camps.[2] Few living persons have entered the city, however, contact with the city is more common and can be achieved through theoungan. Theoungan first invokes Legba (lwa of the crossroads), who allows further communication with the divine world, acting as an interpreter and protector forlwa. Legba is called upon through rhythmic dance and song alongside avèvè drawing.
Spirit possession is said to usually occur at ceremonies, wherein a few participants may become momentarily possessed by lwa, who are invoked by theoungan. The possessed may gain the characteristics of the chosenlwa and be able to perform unusual feats such as touching a hot iron without it leaving scald marks. Possession may also occur outside of a Vodou ceremony, but only in times of emotional stress.[12]
A pilgrimage to the village ofSaut-d'Eau, in central Haiti, takes place every annum by followers of Haitian Vodou. On July 16, thousands gather at the waterfalls just outside the village to pay respects to the Virgin Mary and Ezili Freda Dahomey. Pilgrims bathe in the waters to ready themselves for spirit possession and healing.[9]Oungans make tiny temples in jungle clearings nearby the waterfall, where they dance with pilgrims holding blue and red ribbons, tying them around trees to rid themselves of ill health.[13]
Anti-slavery advocate, Dutty Boukman, was born inSenegambia (modern-day Senegal and The Gambia) and was brought to Jamaica during the slave trade. From there, he eventually ended up in Haiti, where he would be a missionary in starting the Haitian Revolution of 1791. Boukman was anoungan and therefore held significant influence over the slave population, making it possible to spark a slave revolt. Boukman was also known as "Zambo" to his followers.[2] On August 14, 1791, Boukman alongside Cécile Fatiman (amanbo), went to the woodland of Bois-Caïman in the Northern part of Haiti. Here, a Vodou ceremony took place. Legend obscures the details of the ceremony. As a diasporic religion, orality plays a large part in the history of Haitian Vodou, therefore there are many disagreements between historians as to the exact events which took place. The only written records were by the French occupation, therefore have questionable credibility. The largely accepted story is that Fatiman is believed to have contacted the West African deities involving animal sacrifice and an oath. Boukman is thought to have delivered a passionate speech calling the enslaved Africans to venerate their own original Supreme Being and to oppose the "false" Christian God. Boukman's speech concluded with "Route lalibete nan tout ké nou!" ("Listen to the voice of liberty which speaks in the hearts of all of us!"). The speech had not only religious purposes but also sparked a desire for liberty and freedom amongst the slaves.
Another notableoungan is artist Clotaire Bazile. He started his creative career making vèvè (sacred images drawn on the floor by scattering powders), but, alloungans undertake this ritual, so Bazile was not officially considered an artist at this time.[3] In 1973, lwa, in Bazile's dreams, instructed him to make flags for his temple in Port-au-Prince. In 1980 Bazile opened a workshop where family members and friends can contribute to his work. His designs are distinctive geometric forms and drawn from dream memories before being transferred on cloth. The process is similar to procedures undertaken byimams and marabouts to createdivination or amulet. In a 1993 interview in Brookline, Massachusetts, Bazile described the process of being chosen by lwa to undertake his artwork, “Since the Iwa chose me, I was obliged to do what they wanted. It’s an overwhelming experience to be pursued by the Iwa. There are two possibilities: either you do what they want or you die.” The flags made by Bazile have symbols that represent each group of Iwa, therefore having the power of the Iwa in them. The flags are baptised for ritual use to activate this power. Bazile also makesPaquet Congo (dressed bottles) which signal to the Petro Iwa.
Patrick Bellegarde-Smith is another notableoungan who is a professor emeritus of Africology at University of Wisconsin-Milwaukee.
Oungan Don Pedro (or Don Petwo) lived in the late 18th century and was an active participant in the struggle for Haiti's independence in 1804.[9] Pedro was gifted with clairvoyance and created a fast-paced dance to respect thePetro lwa, which are named after him.
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