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Traditional ritual "fetish" market in Togo.
The practice of folk magic,
known as 'Hudu' or Hoodoo by the enslaved Africans in the Diaspora, is
as old as Africa Herself.
The word "Hoodoo" is a term commonly used by the African diaspora to refer to various forms of African-based systems of magic, spiritual and medicinal healing, and "hexing," via the use of primarily roots and herbs.
It originally was one of several pejorative labels used by whites to refer to all African Traditional Religions originating out of Africa; particularly the ancient ancestral Vodoun traditions of the West Coastal Africans. It eventually came into popular usage in America to refer to a specific system of ethno-botanical "root" magic and folklore practiced largely by the African, Native American and Latino Diaspora.
The Ancient African Origins of "Hoodoo" is actually derived from a complete, highly developed, and very powerful system of magico-herbal knowledge and spiritual mastery, intimately connected with the Spirits (Vodou), and carved images used to represent them, and the human Se (soul) known as "Bochio".
West African Gbo “fetish priest” in Batakari jacket. Adorned with “gris-gris” amulets/talismans, known in “Hoodoo” and “mojos & hands.” Many Africans enslaved in America were Muslims. Known as “Awussa,” the Muslims until the present, are known to make the most powerful gris-gris. in Africa.
This knowledge was particularly mastered by most Africans who inhabited what has been commonly known as the Guinea Coast, all the way to Nigeria and the Bight of Benin (Ghana, Ivory Coast,Togo, Angola Senegal etc.) It is from these African populations in particular (Fon, Ewe, Yoruba, Kongo (Angola) based groups) who carried this knowledge and tradition with them during their forced migration to the New World.
From the Beninese perspective, if one were to substitute the word "Hunbonon" (familiar/mother) or Gbo/Gbokonan (medicine maker) for the popular New World term "Hoodoo", one would be placing this system of both magic, esoteric science, medicine and art, back in its historical milieu.
The term [Hunbonon"] itself refers to a body of powerfully consecrated priests whose title literally translates as "producers or activators." Producers in the sense that it is they who not only possess the knowledge of all of the most sacred herbs, animals, metals, and other products of nature, used in magic, "hexing" and medicine, but are also its activators.
These priest are derived from all aspects of West African traditional spiritual practices, from our Bokonons,(geomancers), Azondoto, Zokas, Garbara, Akpases (sorcerers), Botonons (priest) and Mamissis (Mami Wata priests) etc.,.
Indeed, folk magic that is known in America as Hoodoo, contrary to what has been assumed as being an exclusively Congo import, had also existed in this popular form all throughout West Africa. It was brought over to the America's on the slave ships. As the magic and beliefs of the common people, consider the quote below, extracted from an 1890 expedition by A.B. Ellis of the "Slave Coast". During his visit in Togo, Ellis observed and commented:
“Magic powders are very numerous. One kind when blown against a door or window, causes it to fly open, no matter how securely it may be fastened; another, when thrown upon the footprints of an enemy, makes him mad; a third, used in the same day, neutralizes the evil effects of the second; and a fourth destroys the sight of all who look upon it.”
A.B. Ellis. The Ewe-Speaking Peoples of The Slave Coast of West Africa(1965 pg. 99:94).
Since the name even of a person, should fall into bad hands,
may be used to the detriment of the bearer, of course anything that has belonged to a man, especially anything that has formed part of or has come out of his saliva, or the feces, can be used for a similar purpose. Some nail-parings that belonged to a man recall that man to the mind of the native; and the subjective connection, which was terminated when those parings were cut, is still also unbroken; and that anything that is done to them will be felt by the
body to which they belongs. Hence, it is usual for pieces of hair and nails to be carefully buried or burned, in order that they may not fall into the hands of sorcerers; and even the kings' saliva is carefully gathered-up and hidden or buried. "
In ancient Dahomean cosmology, it is taught that it was the ancient Forest Spirits known as "Azzizas" who taught Legba first the sacred use of herbs. He in-turn, along with the Vodou taught our most ancient ancestors, to assist in the delicate process of controlling and/or changing ones personal destiny.
When the Africans arrived in the New World as forced slaves, they arrived with an extensive, encyclopedic body of knowledge, and in-tact system on the use of roots,herbs, animals, natural elements, and their powerful spiritual, esoteric, medicinal (ahame) and alchemical properties.
They also carried with them an enormous body of folkloric beliefs, stories, and truths transmitted and passed down to them since the beginning of time, directly from our ancient ancestors.
A tragic combination of historical events i.e., slavery, discrimination, religious persecution, inability to pass the knowledge to successive generations, and the unavailability of some native African plants, forced many Africans to assimilate some Native American practices and traces of European folklore into their practices. But the actual techniques, and philosophy behind it, remained completely African.
More importantly, for the first time, it forced a complete separation of bochio and gbo ("juju" making), as a sacred and absolute intricate part of Vodoun, from its purely "religio-spiritual" function, and as practiced by the powerful Ewe/Fon Gbo/Gbokonans, giving birth to what is known in "popular folk magic" today as "Hoodoo":
the study, practice and utilization of chiefly roots, herbs, natural elements, and their magical, esoteric and medicinal use, by anyone who so chooses without the philosophic, initiatory or theological practices of any particular spiritual system or the intervention/consecration by its divinities/gods.
In this respect, "Hoodoo" becomes uniquely American for those who subscribe to the above. Initiation into the RELIGION of Vodoun (i.e. possession of and consecration by the Vodou Spirits) to learn and practice "HOODOO" is not required. One can learn via independent study, or either through "folk" knowledge passed down from family, or (the most common) through the use of popular books.
Bochio image skillfully constructed to provide protection.
In America, one will commonly hear the term"root woman", "jujuman/woman", "conjurer" or "root doctor" to refer to a person who works primarily
with roots and herbs. Though the term is now used to replace the ancient Hunbonon or "Azondoto" (herb maker and activator) its
practice, and mode of object presentation (withthe exception of sculpture making which was outlawed in the New World) remains largely unchanged as it did in ancient Africa. Its most popular names are the French and Portuguese
"Gris-Gris", "Fetish" and "Juju", terms that are still in popular use in West Africa today to actually refer to "bad magic." "Good magic" is commonly
known as "ebo" "gbo" and "bo." (mojo, amulets, talismans).
Also, contrary to popular belief, many Africans forced into slavery in the New World did not arrive here naked. One of the lessor revealed
historical secrets is not only of the Africans extensive knowledge of roots, herbs, folklore, and their magioreligious use, but the often
unknown fact that the Africans themselves introduced an impressive body of herbs and roots into America and the Islands themselves. These facts are carefully detailed in William Ed Grime's Ethno-Botany of the Black Americans. In his
book, he list an extensive and impressive body of herbs indigenous to Africa that were brought to the New World by the enslaved African themselves.
For example, Grimes cites their use of the Mimosa pudica (sensitive plant):
The Negroes use the leaves for masticatories or in hot packs against lumbago, and in the nephritis. They praise the anticonvulsant attributes. "The root of the plant is regarded as a strong aleiteric probably because it acts as a vomative. The Negroes grind a length of four thumbs, which they stir into warm wine. This remedy produces its effect in exciting vomiting or excessive sweating. Its root which provokes nausea and sometimes vomiting is administered by the Negroes for expelling a stomach poison which has intruded. (Descourtilz 2:206)
William Ed Grime's Ethno-Botany of the Black Americans, sites the use of the Hyptis suaveolens (spikenard) by an African "rootwoman" who introduced the plant from Africa as a cure for smallpox. Grime's states:
“The Negro healers carefully pick them for their medical preparations. I have never seen it used other than exteriorly (by mouth). [African] planters given a decoction of lemons, sugar, and a little spirit of vitriol, and then added an oily spirit made from this plant and give it to drink to the Negroes to drive out the small-pox.”
One of the most significant introduction by the African was the Ceiba pentandra, (silk cotton tree, wild cotton tree).
Grimes writes an extensive history on this most sacred tree, whose roots are considered in West African cosmology to contain the spirits of our "Nuseuwex" most ancient ancestors who taught us to survive before we had our gods/Vodou. Grimes recounts:
John Lee Curtis "Sonny Boy" Williamson (March 30, 1914 – June 1, 1948) was a famous African-American blues harmonica player and singer, and the first to use the name Sonny Boy Williamson.
A voluminous anthology of African folklore and song celebrating African spirits, culture and mores exists highlighting the African Diaspora’s means of communicating both their knowledge of "hoodoo", and its powerful effect on those who believe in its potency.
Later, these songs would become critical in preserving what was often a very hostile environment in which the enslaved Africans found themselves. One such song written by John Lee "Sonny Boy" Williamson. It was also a form of "remembering" the traditions of our ancient ancestors.
Williamson was a prolific and gifted blues man during his time. He was one of hundreds who songs inferred the traditional African spiritual cultural lore. This is actually nothing unusual.
Song and dance typically accompanied nearly all aspects of African cultural life, and referenced all phases of life, from birth, adolescence, marriage, illness, sorrow, joy etc., and death.
These traditions were carried over into the lives of both enslaved Africans and their descendants. Today, millions from all races, classes enjoy and have been heavily influenced by this music.
Lord, I wonder what's the matter this time,
it seems like everything has changed
It seems like this woman that I've been lovin'
have found some other man
I hold up my hand, I'm just trying to get my baby to understand
See, my baby don't love me no more,
all because somebody hoodoo'd the hoodoo man
One night I'm goin' down into Louisiana and buy me another mojo hand
All because I got to break up my baby from lovin' this other man
I hold up my hand, I'm just trying to make my baby to understand
Aw, my baby don't love me no more, she says somebody hoodoo'd the hoodoo man
I use to have a way with women,make plenty of money, and everything
But my woman don't love me no more, she says somebody hoodoo'd the hoodoo man
Now I just hold up my hand, I'm just trying to get my baby to understand
Aw, my baby don't love me no more, she says somebody hoodoo'd the hoodoo man
Well now, goodbye, baby, someday I will see you soon
I got something to tell you, baby, somebody else can have your room
And I just hold up my hand, I'm just trying to get my baby to understand
Well, my baby don't love me no more, she says somebody hoodoo'd the hoodoo man
By the mid 1900s, the debasement of African religious systems by Hollywood, Christianity, and popular culture, was rendered so complete, that many African-Americans could no longer make the distinction between what is commonly known as "hoodoo", "conjuring" or "rootwork", and African traditional religious practices that survived in the New World. The earlier laws outlawing African religious practices, forced the tradition in America underground, further enhancing its undeserved "mysterious, dark and malevolent" image.
In the post-antebellum South, most Africans referred to those practitioners who incorporated ancient African methods of bochio making, which include all elements of nature i.e., wood, metal, feather, bones, animal parts, human waste, hair, etc, with herbs as "mojo makers," or "conjurers," "hoodoo" (man/woman). They also referred to those who used mainly roots & herbs incorporating folkloric remedies as "doctoring", or "root doctors." Afro-southern history is replete with accounts of the knowledge and power of those who worked "good" and "bad" juju, such as the personal account from Conjureman, Ricky Flowers in his book: My Lies are True Lies: I Am a Conjureman, and a personal account in the book "Clara and the Hoodoo Man", a book illustrated for children by African American Artist Tyrone Gete.
Harold Courlander, a renowned novelist, folklorist, anthropologist, and expert in the study of Haitian life, offers a matter-of-fact oral account of Richard Creeks, a Southern "conjurer." Creeks offers the most commonly held distinction between what many southern African Americans referred to as "doctoring", and "conjure:" Courlander, in quoting Creeks writes:
“There are a good many folks carrying mojos around in Alabama and Louisiana, and Arkansas. You could fill the hole of a cotton boat with them.\ Some folks call them "gree-grees. The conjur [sic] men who make them up put all kinds of things inside--dried blood, dirt from a graveyard, frizzled chicken feathers, dried-up bird feet, and things like that.”
Courlander continues . . .
“There is a difference between conjuring and doctoring, and it ain't everybody knows the difference. For one thing, if a man gets a snake bite, you take a black chicken, cut it in half with the feathers still on, and put it in the bite to draw the poison out. That ain't conjuring no more than what some white folks does. Mr. Russel has his man tie a green cow manure poultice over it. So you ask me how come that chicken has to be black, and I'll ask you how come that cow manure poultice has to be green. All that is conjuring-- not conjuring or signs”.
Richard Creek's description of the subtle differences between a "conjurer" (hoodoo), and a healer or "doctoring" was not as widely understood by even the Vodou practitioners by the turn of the century. However, one of the greatest folklorists of the 20th century was Zora Neale Hurston. Her book Mules & Men, is acclaimed by celebrated folklorist Alan Lomax as "the most engaging, genuine and skillfully written book in the filed of folklore." This is Hurston's first great collection of African American tales, songs and sayings. For the student of cultural history -- or anyone who loves a good story well told -- this treasury captures the imagination as only great literature can. . . ." .
In Zora's book Mules & Men, in which she crisscrossed the rural south, starting in the coastal village of Eau Gallie, Florida, in 1951 and ending in New Orleans collecting folklore, and tales, as told to her by "hoodoo folks," "root doctors" and common folk. She dedicates the entire book to offer a glimpse into the underground world of Hoodoo (conjuring), and "root work" (doctoring). What is most important to note is the distinction made by the African Diaspora that she interviews between, "Root Doctors" (medicine folk) and "Conjurers."
As with Richard Creek in the previous passage, those who practiced "rootwork" were viewed as "medical doctors", because roots were used primarily as chief ingredients in making medicines for physical as oppose to spiritual illnesses. Whereas a "conjurer" (Hoodoo man/woman) used the above and certain ritual practices for both "good" and "bad" magic or "spirit work.". Zora describes it best when she notes:
"[Rootwork"] Folk medicine is practiced by a great number of persons. on the "jobs," that is, in the sawmill camps, the turpentine stills, and among the lowly. Generally doctors are not called to prescribe for illnesses, nor for the social diseases (SIDs). Nearly all of the conjure [hoodoo] doctors practice "roots" but some of the root doctors are not hoodoo doctors. . . they make medicine only, and white and colored swarm about them claiming cures. Clearly a "root doctor" was viewed as someone who could prescribe for physical illnesses in the form of root-based prescriptions.
Zora offers some examples of these such as in a case of someone who has contracted Rheumatism:
Take mullein leaves (five or six) and steep in one quart of water. Drink three to four wine glasses per day. Live Things in the Stomach: Take a silver quarter with a woman's head on it. Stand her on her head and file it in one-half cup of sweet milk. Add nine parts of garlic. Boil and give to drink after straining.
What is most important to note is that it is from this area of folk remedy that the assimilation of both Native American, and some traces of European folklore, and roots were integrated into the African Diaspora already extensive knowledge of medicinal root use.
However the art and practice of "conjuring" remained exclusively African in its philosophy, purpose techniques, and lore. One will note also its distinct characteristic from "root medicine/doctoring" as practiced and understood by the African Diaspora. All throughout the South, Africans used conjuring for everything from personal protection, gaining luck in love, to killing ones rival or enemy. For example of a formula for someone who wants to "Kill and Harm" a person:
Get bad vinegar, beef gall, filet gumbo with red pepper, and put names written across each other in bottles. shake the bottle for nine mornings and talk and tell it what you want it to do. To kill the victim, turn it upside down and bury it breast deep, and he will die.
Now, the above description is what is called "hoodoo" (conjuring). And it was the above practices that for years Hollywood glamorized and mislabeled as the Religion of Vodoun.
Zora Neale Hurston (January 7, 1891– January 28, 1960) was an African-American folklorist, anthropologist, and author. Hurston has written four novels and more than 50 published short stories, plays, and essays. Her definitive work exploring the African traditional Vodou and Hoodoo and folklore culture of Haiti is the theme of her novel Mules & Men.
Rudolph Fisher (1897-1934), was a brilliant African-American physician, radiologist, novelist, short story writer, dramatist, musician, and orator. Fisher was part of the famous Harlem Renaissance writers, where he wrote one of his most popular novels (below) The Conjure-Man Dies.
Finally, last but by no means the least, one of the most prolific and important cultural-anthropological undertakings in an effort to document and preserve Afro-medicinal-spiritual folklore and practices, was performed by the Alma Egan Hyatt Foundation of New York, during a research project conducted in Adams County, Illinois. Memoirs of the Foundation were published in 1935 under the auspices of Harry Middleton Hyatt.
This monumental work Hoodoo, Conjuration, Witchcraft, Rootwork have been the chief source of not only the traditions that still remained and practiced by the African Diaspora, but also a shrewd validation of just how incredibly knowledgeable the African slave descendants were in the use of roots, herbs, alchemy, and the natural environment, as well as the extensive body of folklore continued within these outcasts and segregated communities.
According to the UCLA Folklore Archives - Special Projects, there are "over 5,000 typed pages of transcribed research interviews and a number of rare audio field recordings from the 1930s make the Hyatt Collection an unparalleled resource in 19th and 20th century African American culture. Renowned scholar Richard Dorson described it as "the single most impressive collection in American folklore."
An avocational folklorist, Harry Middleton Hyatt carried out a monumental field research project, interviewing more than 1,600 mainly rural African-Americans. The resulting archival materials are especially rich in data on folk speech, spiritual beliefs and healing traditions. Samples of this remarkable data are made available at the links below.
As stated earlier, Africans arrived to the New World with an intact system of magioherbal knowledge and folklore beliefs that were indigenous to their particular culture. Adverse social,and environmental circumstances forced many to adapt and to integrate aspects of Native American practices with some traces of European folklore into their already extensive body of knowledge. It is this body of beliefs that many know and practice today as "hoodoo".
Currently, Hoodoo has become mainstream and popular across the nation and in the world. Many too are learning the important distinction between its uninitiated, apprentice/practice and the Ancestral Religion of Vodoun, and are educating others. Due to the massive lists of resources available on the Internet, it is necessary to provide additional links. One key’ search word under “hoodoo,” will yield many resources for further study. The few links below are currently working and might also help those seeking to learn the African and Diaspora roots of this popular folk magic tradition:
