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 CURIO | FETICHE | MILLINERY | VOODOO POPPETS |

Religious practices of contemporary Vodou are descended from, and closely related to, West African Vodun as practiced by the Fon and Ewe. Vodou also incorporates elements and symbolism from other African peoples including the Yoruba and Kongo; as well as Taíno religious beliefs, Roman Catholicism, and European spirituality including mysticism and other influences.

Vodou has often been associated in popular culture with Satanism, witchcraft, zombies and "voodoo dolls". Zombie creation has been referenced within rural Haitian culture, but is not a part of Vodou. Such manifestations fall under the auspices of the bokor or sorcerer, rather than the priest of the loa. The practice of sticking pins in voodoo dolls or poppets has history in folk magic and witchcraft, A doll is made to represent a person, for casting spells on that person or to aid that person through magic.

The zombie of Haitian Vodou is completely different from stories created in Hollywood and American pop culture. In Haiti, the term zonbi refers to a person who has lost his or her soul. This soul-less state has a particular horror because it harkens back to the condition of slavery in colonial Haiti.

In Haitian Vodou practice, dolls are never stuck with pins. And certainly, causing harm to another person is against Vodou ethics. This misunderstanding could stem from the Vodou practice of hanging dolls to tree branches to send messages to the spirits of deceased loved ones. Dolls are sometimes used as parts of religious statues, but they usually represent specific spirits (lwa) or attributes of spirits

The use of the term Voodoo implies that the practice has links to either the religion of Haitian Vodou or Louisiana Voodoo, in reality, it does not have a prominent place in either.

"Voodoo dolls" are often associated with New Orleans Voodoo and Hoodoo as well the magical devices of the poppet and the nkisi or bocio of West and Central Africa.

The form of the voodoo doll as it is most commonly understood, is based on a magical practice that historically derived from Europe rather than Africa or the Americas. Textual records attest to the fact that certain cunning folk in Britain made dolls of a witch out of rags and other materials and then pierced them with pins with the intention of inflicting physical harm on the witch and breaking their bewitchment.

The Hoodoo doll is a form of gris-gris and an example of sympathetic magic. Contrary to popular belief, Hoodoo dolls are usually used to bless and have no power to curse. The purpose of sticking pins in the doll is not to cause pain in the associated person, but rather to pin a picture of a person or a name to the doll, which traditionally represents a spirit. The gris-gris is performed from one of four categories: love; power and domination; luck and finance; and uncrossing.

The link between this magical practice and Voodoo was established through the presentation of the latter in Western popular culture during the first half of the 20th century. In this, the myth of this magical practice being closely linked to Voodoo and Vodou was promoted as part of the wider negative depictions of blacks and Afro-Caribbean religious practices in the United States.

Nuestra Señora de la Santa Muerte ˈNwestra Señora de la Santa Mweɾte (Spanish for Our Lady of the Holy Death), often shortened to Santa Muerte, is an idol, female deity or folk saint in Mexican and Mexican-American folk Catholicism. A personification of death, she is associated with healing, protection, and safe delivery to the afterlife.

Despite condemnation by leaders of the Catholic Church,and Evangelical movements as invalid, her following has become increasingly firmly entrenched in Mexican culture since the turn of the 21st century.

Also known as Lady of Shadows, Lady of Night, White Lady, Black Lady, Skinny Lady, Bony Lady, Mictecacihuatl (Lady of the Dead).

Santa Muerte posseses a wide variety of powers including love, prosperity, good health, fortune, healing, safe passage, protection against witchcraft, protection against assaults, protection against gun violence, protection against violent death.

Earliest temple is the Shrine of Most Holy Death founded by Enriqueta Romero in Mexico City.

Her attributes are the scythe, representing the moment of death, when it is said to cut a silver thread and reach anywhere, a globe (representing Death's vast power and dominion over the earth), scale of justice, hourglass (represents the time of life on earth and also the belief that death is not the end, as the hourglass can be inverted to start over), oil lamp (The hourglass denotes Santa Muerte's relationship with time as well as with the worlds above and below

. It also symbolizes patience. An owl symbolizes her ability to navigate the darkness and her wisdom. The owl is also said to act as a messenger. And an oil lamp, symbolizes intelligence and spirit, to light the way through the darkness of ignorance and doubt.

She is decorated in many styles, robes, crowns, hats, colours. Images of the figure vary widely from devotee to devotee and according to the rite being performed or the petition being made. Altar candle colors are representative of its purpose. Color symbolism central to devotion and ritual. There are three main colors associated with Santa Muerte: red, white, and black.

Santa Muerte is a multifaceted saint, with various symbolic meanings and her devotees can call upon her a wide range of reasons.

The candles are placed on altars and devotees turn to specific colored candles depending on their circumstance. Some keep the full range of colored candles while others focus on one aspect of Santa Muerte's spirit. Santa Muerte is called upon for matters of the heart, health, money, wisdom, and justice. There is the brown candle of wisdom, the white candle of gratitude and consecration, the black candle for protection and vengeance, the red candle of love and passion, the gold candle for monetary affairs, the green candle for crime and justice, the purple candle for healing.

The black votive candle is lit for prayer in order to implore La Flaca's protection and vengeance. It is associated with "black magic" and witchcraft. It is not regularly seen at devotional sites, and is usually kept and lit in the privacy of one's home.

One of Santa Muerte's more popular uses is in matters of the heart. The red candle that symbolizes love is helpful in various situations having to do with love. Her initial main purpose was in that of love magic during the colonial era in Mexico, which may have been derived from the love magic being brought over from Europe. Her origins are still unclear but it is possible that the image of the European Grim Reaper combined with the indigenous celebrations of death are at the root of La Flaca's existence, in so that the use of love magic in Europe and that of pre-Columbian times that was also merging during colonization may have established the saint as manipulator of love.

The majority of anthropological writings on Santa Muerte discuss her significance as provider of love magic and miracles

She is celebrated November 2, August 15, on dia de los muertos Day of the Dead.

ISESE the Root of the Roots

Yemayá, Yemònja or Yemòja is the queen of the water and her body are all the rivers, lakes and sea flow from her.

Ye-mo-ja origins from the name Yeye–Omo-Eja, mother of the fish. The word Omo is used in a generic sense. Currently it is associated with the Ògún River and a cult pays in those areas where the river runs, particularly in Abeokut

Yemoja has no caminos, only aspects or traits. She is the mother of waters and is found in the rivers. Therefore, she is considered a water orisa.

Yemayá, Yemònja or Yemòja was born in the Takua land which is where the Ògún River begins in Nigeria. It is for this reason that this zone has turn to a place of pilgrimage for countless devotees.

Yemayá, Yemònja or Yemòja is a deity who is associated with dolls, she is carved in precious wood or molded in white clay just like the one I have in my shrine decorated with cowries and she carries secret loads depending on the path she is meant for.

When she is on earth she enjoys living in the entrance of the bushes and she is a hard worker, she also trades food, dyed fabrics and makes oil out of melon seeds.

The children of Yemayá, Yemònja or Yemòja are not allowed to eat watercress or a plant called quimbombo because they are the most powerful herbs of Yemayá.

LUKUMI

Yemayá (also spelled Yemoja, Iemoja, or Yemaya), is one of the most powerful orishas in Santeria. Queen of Abeokutá, who's name comes from the Yorùbá Yemòjá (Yeyé: mother - Omo: son - Eyá: Fish) literally mother of the fish. She is the mother of all creation and rules over motherhood and all the waters of the earth. She gave birth to the stars, the moon, the sun and most of the orishas. Daughter of Olokun, for that reason she is related to the sea.

Yemayá Asesu is Olokun's messenger. She was wife of Obbatala, Orunla, Aggayu, Babalu ayé, Orisha Oko and in one of her ways of Oggun. Sister of Oshún.

Yemayá resides in the life-giving portion of the ocean, although some of her caminos can be found in lagoons or lakes in the forest. She is a loving, nurturing, protective orisha, and a fierce warrior that kills anyone who threatens her children.Each road has a slightly different temperament and is found in a different place in nature. All roads of Yemaya are called “Ibú” and each takes a slightly different shade of blue in her eleke. Her number is the 7 and its multiples. Her color is blue and its tonalities. She is greeted Omío Yemaya Omoloddé! Yemaya Ataramawa!

Olokun is revered as as the ruler of all bodies of water and one of the most commanding Orishas in the Yoruba religion. An androgynous Orisha that can take on any form. The guardian of the deepest depths of the sea, Olokun is the owner of the oceans and all of the riches that they possess. In the Candomblé religion of Brazil, Olokun is venerated as the mother of Yemoja and the owner of the sea.

When someone dies in the sea, rather than immediately beginning to join with their ancestors, they may stay with Olokun until she/he decides to release them. Sailors will give offerings of shells to Olokun and the ancestors in the sea before departing on their voyages.