Divine horsemen : the living gods of Haiti

When Maya Deren decided to make an ethnographic film in Haiti, she was criticized for abandoning avant-garde film where she had made her name, but she was ready to expand to a new level as an artist.[31][32] She had studied ethnographic footage by Gregory Bateson in Bali in 1947, and was interested in including it in her next film.[2] In September, she divorced Hammid and left for a nine-month stay in Haiti. The Guggenheim Fellowship grant in 1947 enabled Deren to finance her travel and complete her film Meditation on Violence. She went on three additional trips through 1954 to document and record the rituals of Haitian Vodou. A source of inspiration for ritual dance was Katherine Dunham who wrote her master's thesis on Haitian dances in 1939, which Deren edited. While working as Dunham's assistant, Deren was given access to Dunham's archive which included 16mm documents on the dances in Trinidad and Haiti. Exposure to these documents led her to write her 1942 essay titled, "Delicious Possession in Dancing."[33] Afterwards, Deren wrote several articles on religious possession in dancing before her first trip to Haiti.[34] Deren filmed, recorded and photographed many hours of Vodou ritual, but she also participated in the ceremonies. She documented her knowledge and experience of Vodou in Divine Horsemen: The Living Gods of Haiti (New York: Vanguard Press, 1953), edited by Joseph Campbell, which is considered a definitive source on the subject. She described her attraction to Vodou possession ceremonies, transformation, dance, play, games and especially ritual came from her strong feeling on the need to decenter our thoughts of self, ego and personality.[7] In her book An Anagram of Ideas on Art, Form, and Film she wrote: The ritualistic form treats the human being not as the source of the dramatic action, but as a somewhat depersonalized element in a dramatic whole. The intent of such depersonalization is not the destruction of the individual; on the contrary, it enlarges him beyond the personal dimension and frees him from the specializations and confines of personality. He becomes part of a dynamic whole which, like all such creative relationships, in turn, endow its parts with a measure of its larger meaning.[1] Deren filmed 18,000 feet of Vodou rituals and people she met in Haiti on her Bolex camera.[35] The footage was incorporated into a posthumous documentary film Divine Horsemen: The Living Gods of Haiti, edited and produced in 1977 (with funding from Deren's friend James Merrill) by her ex-husband, Teiji Itō (1935-1982), and his wife Cherel Winett Itō (1947–1999).[36][37][38] All of the original wire recordings, photographs and notes are held in the Maya Deren Collection at the Howard Gotlieb Archival Research Center at Boston University. The film footage is housed at Anthology Film Archives in New York City. An LP of some of Deren's wire recordings was published by the newly formed Elektra Records in 1953 entitled Voices of Haiti. The cover art for the album was by Teiji Itō.[39] Anthropologists Melville Herkovitz and Harold Courlander acknowledged the importance of Divine Horsemen, and in contemporary studies it is often cited as an authoritative voice, where Deren's methodology has been especially praised because "Vodou has resisted all orthodoxies, never mistaking surface representations for inner realities."[40] In her book of the same name[41] Deren uses the spelling Voudoun, explaining: "Voudoun terminology, titles and ceremonies still make use of the original African words and in this book they have been spelled out according to usual English phonetics and so as to render, as closely as possible, the Haitian pronunciation. Most of the songs, sayings and even some of the religious terms, however, are in Creole, which is primarily French in derivation (although it also contains African, Spanish and Indian words). Where the Creole word retains its French meaning, it has been written out so as to indicate both the original French word and the distinctive Creole pronunciation." In her Glossary of Creole Words, Deren includes 'Voudoun' while the Shorter Oxford English Dictionary[42] draws attention to the similar French word, Vaudoux. (Source: https://en.wikipedia.org/wiki/Maya\_Deren) Divine Horsemen Contents List of Illustrations Editors Foreword Author's Preface Introductory Note CHAPTER I. The Trinity: Les Morts, Les Mysteres, et les Marassa 1. The Point of Departure 2. The Mortal Me: The Immortal Myself 3. The Birth of a Divinity 4. The Cosmic Mirror and the Corpse on the Cross Roads 5. The Marassa — Two and Two Equals Five 6. The Rituals of Death 7. The Rites of Reclamation — The Ceremony of 'Retirer ‘en Bas de l’Eau' CHAPTER II. Les Serviteurs 1. The Christian Influence 2. The African Heritage 3. The New World Answer to New World Needs 4. Tradition as Contemporary Function 5. The Serviteur as Contemporary Citizen CHAPTER III. The Divine Horsemen The Nature of the Loa 1. Legba — The Old Man at the Gate ... and Carrefour — The Young Man at the Cross-Roads 2. Ghede — Corpse and Phallus; King and Clown 3. Damballah — The Good Serpent of the Sky ... ... Simbi — The Snake in the River ... ...and the Petro Riddle up a Tree 4. Agwé — Sovereign of the Seas 5. Ogoun — Warrior Hero; Statesman and Diplomat; Politician and Gangster; Magician 6. Erzulie — Goddess; The Tragic Mistress 7. Loco and Ayizan—The Priestly Parents CHAPTER IV. Houngan, Hierarchy and Hounfor 1. The Beginnings of a Houngan page 2. The Levels of Hierarchy 3. The Houngan as Communal Father 4. The Houngan as Healer 5. In Balance Between Worlds 6. The Hounfor 7. The Doors to the Divine World CHAPTER V. The Rites 1. The Rites as Collective Discipline 2. The Rites as Individual Development 3. The Initial Ritual Acts 4. Feeding the Loa 5. Transfusing Life to the Loa 6. Ceremonies for the Serviteur 7. Initiation: The Birth of a Man CHAPTER VI. Drums and Dance 1. The Sacred Forms 2. The Collective as Creative Artist 3. The Divine Virtuosi 4. The Anonymous Inventors 5. The Sacred Oratory of the Drum 6. Dance as the Meditation of the Body 7. The Drummer as Mechanism CHAPTER VII. The White Darkness Appendix A Notes on Two Marriages with Voudoun Loa Appendix B Some Elements of Arawakan, Carib and Other Indian Cultures in Haitian Voudoun Notes Glossary of Creole Terms Referring to Voudoun References Index Includes photographs and drawings. Foreword by Joseph Campbell This is the classic, intimate study, movingly written with the special insight of direct encounter, which was first published in 1953 by the fledgling Thames & Hudson firm in a series edited by Joseph Campbell. Maya Deren's Divine Horsemen is recognized throughout the world as a primary source book on the culture and spirituality of Haitian Voudoun. The work includes all the original photographs and illustrations, glossary, appendices and index. It includes the original Campbell foreword along with the foreword Campbell added to a later edition. This is the classic, intimate study, movingly written with the special insight of direct encounter, which was first published in 1953 by the fledgling Thames & Hudson firm in a series edited by Joseph Campbell. Maya Deren's Divine Horsemen is recognized throughout the world as a primary source book on the culture and spirituality of Haitian Voudoun. -- Publisher description By Maya Deren ; [foreword By Joseph Campbell]. Reprint. Originally Published: London ; New York : Thames And Hudson, C1953. Documentext. Includes Index. Bibliography: P. 339-340.