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The Tower of Hercules (Galician and Spanish: Torre de Hércules) is an ancient Roman lighthouse on a peninsula about 2.4 kilometers (1.5 miles) from the centre of A Coruña, Galicia, in north-western Spain. The name Corunna is said to be derived from the ancient columna, meaning column. The structure is 55 metres (180 ft) tall and overlooks the North Atlantic coast of Spain. The structure, almost 1900 years old and rehabilitated in 1791, is the oldest Roman lighthouse still used as a lighthouse.[1]
The Tower of Hercules is a National Monument of Spain, and since June, 27 2009 the Tower of Hercules is also considered an UNESCO World Heritage Site.[2] It is the second tallest lighthouse in Spain, after the Faro de Chipiona.
La Torre de Hércules es una torre y faro situado en la península de la ciudad de La Coruña, en Galicia. Su altura total es de 68 m y data del siglo I. Tiene el privilegio de ser el único faro romano y el más antiguo en funcionamiento del mundo. Es el segundo faro en altura de España, por detrás del Faro de Chipiona. El 27 de junio de 2009 fue declarado Patrimonio de la Humanidad.
La Torre de Hércules fue construida por los romanos como faro de navegación en el siglo I d. C., comprendida la construcción entre los reinados de Nerón y Vespasiano en función de los hallazgos de fragmentos de terra sigillata y vasos de paredes finas datables entre los años 40 y 80 de nuestra era[cita requerida]. La inscripción al pie de la torre y las referencias documentales sobre la ciudad de Brigantium (La Coruña) revelan la existencia de un faro de la época de Trajano. En su base se encontró una piedra votiva con la inscripción en latín MARTI AVG.SACR C.SEVIVS LVPVS ARCHTECTVS ÆMINIENSIS LVSITANVS.EX.VO, lo que ha permitido identificar al arquitecto autor de la misma como Cayo Sevio Lupo, originario de Aeminium, hoy Coímbra, en Portugal.
La mención más antigua a la Torre se encuentra en el Historiæ adversvm Paganos de Paulo Orosio, escrito hacia el 415–417 d. C., que dice: «Secvndvs angvlvs circivm intendit, ubi Brigantia Gallæciæ civitas sita altissimvm farvm et inter pavca memorandi operis ad specvlam Britanniæ erigit».
La torre perdió, posiblemente, su uso marítimo durante la Edad Media al convertirse en fortificación. Será en el siglo XVII (1682) cuando el Duque de Uceda encargue la restauración arquitectónica al arquitecto Amaro Antune, que construyó una escalera de madera que atravesaba las bóvedas hasta la parte superior, donde se sitúan dos pequeñas torres para soportar los fanales. En el reinado de Carlos III se realizó la reconstrucción completa. La obra neoclásica se terminó en 1791 bajo la dirección de Eustaquio Giannini.
La torre era, antes de comenzar la reforma, un cuerpo prismático con base cuadrada; en el exterior presentaba un muro de piedra con dos puertas en la parte baja y ventanas asimétricas que la recorrían hasta el piso superior, y una mordiente helicoidal que llegaba hasta la parte superior. En su interior conservaba la vieja estructura romana, pero con escaleras de madera que pertenecían a la restauración de edificio, armonizándola en su decoración con marcos superiores de puertas y ventanas.
La fachada actual de la torre es el fruto de la remodelación neoclásica efectuada en el siglo XVIII. En el año 2007, fue elegida candidata para engrosar la lista de bienes culturales Patrimonio de la Humanidad. El 9 de septiembre de 2008 se hermanó con la Estatua de la Libertad de Nueva York y el día 25 de ese mismo mes con el Faro del Morro de La Habana, el más antiguo de América y uno de los emblemas de Cuba.
FOTOGRAFÍAs hechas a "PULSO" desde el "Monte de San Pedro".
La Torre de Hércules fue construida por los romanos como faro de navegación en el siglo I d. C., comprendida la construcción entre los reinados de Nerón y Vespasiano en función de los hallazgos de fragmentos de terra sigillata y vasos de paredes finas datables entre los años 40 y 80 de nuestra era[cita requerida].
La inscripción al pie de la torre y las referencias documentales sobre la ciudad de Brigantium (La Coruña) revelan la existencia de un faro de la época de Trajano. En su base se encontró una piedra votiva con la inscripción en latín MARTI AVG.SACR C.SEVIVS LVPVS ARCHTECTVS ÆMINIENSIS LVSITANVS.EX.VO, lo que ha permitido identificar al arquitecto autor de la misma como Cayo Sevio Lupo, originario de Aeminium, hoy Coímbra, en Portugal.
Portre diye isimlendirilen fotoğraf çekimlerinde en önemli şey portrenin konusu olan model veya modellerinizin art alandan mümkün olduğunca soyutlanmasıdır. Bu konuda portre fotoğrafçılarınca genellikle seçilen objektifler prime yani sabit odak uzaklığına sahip objektiflerdir Burada önemli olan da portre konunuzun çıplak gözle gördüğünüz orijinal görüntüsüne en bire bir oranda uygun çekilebilme ve yansıtılabilmedir. 35mm fotoğrafçılığında portre çekimleri için en uygun lensler 50mm ve üzeri sabit odak uzaklıklı objektiflerdir. 85mm çok daha iyi 105mm iyidir. Burada kullandığım objektif Steve McCurry tarafından çekilmiş Afgan kız Şarbat Gula'nın 1984 yılında çekiminde kullanılan objektif olan Nikon Nikkor 105mm f:2,5. Full frame makinalar için üretilmiş bu objektifi çok uzun yıllar önce almama ve Nikon D300S te kullanmama rağmen şu alan derinliğini kırpık sensör yüzünden alamamıştım. Çünkü D300S objektifi 157,5mm olarak kullanıyordu ve alan derinliği sığ olmuyordu..
Şimdi hastane dönüşü ilaçlarımı almak için uğradığım Vatan eczanesindeki çalışan kardeşlerimin abi bizi çekermisin ricasıyla çekimlerini yaptım. Elbette Nikon D810 gerçekten çok üst seviye bir makine ve çok çok iyi bir sensör ve işlemciye sahip. Bir de üzerinde Nikkor 105mm f:2,5 gibi efsane bir objektif olunca portre tadından yenmez oldu. Fotoğrafla ilgili tek şikayetim ayaküstü belki manzara çekerim umuduyla makinaya takıverdiğim objektife polarize filtre takmayışım oldu. O nedenle modellerimin gözlüklerinden gelen yansımalar engellenemedi ve doğal haliyle çevreden gelen ışıkları yansıtmalarının kaydedilmesine sebep oldu. İç mekan çekimleri böyle ansızın yapılmamışsa,yani planlı çekim yapıyorsanız yansımaların en çok olacağı ve buna uygun ekipman, filtre vs. hesaplamalarınızın olacağı çekimlerdir.
Nikon D810 + Nikon Nikkor-P Auto 105mm f/2.5 Ai
Nikon'un FF makinalar için ürettiği en kullanışlı objektiflerden biri Af-D diye tabir edilen lenslerinden 28-105mm 3,5-4,5D. Modern makinaların orta ve üst seviye olanlarının bütün özelliklerini kullanabildiği tam bir tak-gez objektif. Şu günlerde Türkiye'de ikinci elinin bulunması oldukça azalmış durumda ama sahibinden ve ebay gibi sitelerden bulup alabilirsiniz. Nikon artık üretmiyor. Giriş seviyesi makinaların hepsinde tüm özellikleri kullanılamıyor maalesef. Hem manual focus, hem otomatik kullanımlarınız için imal edildiğinden manual olarak ta kullanabiliyorsunuz. Amatör fotoğrafçı için en kullanışlı özelliği 28-105mm arası odak uzaklıklarının tamamında kullanılabilmesi ve şehir içlerinde şahane neticeler elde edebilmeniz. Üzerindeki düğmeler vasıtasıyla makro için de kullanabiliyorsunuz. 1/2 makro özelliği var. Ben 5cm yakına kadar sokulabildim. Tabii o kadar yakından çekim yapınca art alandaki bokehler de değişiyor. Manual kullanımda işe bir de makro extension tüp yani uzatma tüpü kullandınız mı bokeh de, görüntü de değişiyor. Objektifin en keskin olduğu diyafram aslında f:7,1 ve 8 . Fotoğraf 8 de çekildi tek başına kullanılsaydı bokeh böyle olmazdı ama işin içine tüp girince objektif camlarında kırılan ışıkların sensör üzerinde düşme yerleri de değişiyor ve görüntü artistik bir şekilde bozuluyor art alanda. Objemiz dalından düşmüş bir Yasemin çiçeği
cam bir küçük vazo içinde. Çiçek objektife 10cm mesafede diyafram 8 de,art alan balkonumdaki sardunyalar.
Nikon D810 + AF Nikkor 28-105mm f/3.5-4.5 D
Cucaña, Palo ensebado, Greasy pole
Español:
es.wikipedia.org/wiki/Cuca%C3%B1a
sevilla.abc.es/sevilla/sevi-cucana-vela-remojon-y-30-euro...
English:
Zermatt, 31.10.16: Sechs Bergsteiger haben das Matterhorn mit speziellem Gepäck bestiegen: Sie platzierten zwei Atomfässer auf dem Gipfel des bekanntesten Schweizer Bergs. Dort enthüllten sie ein Transparent mit der Aufschrift «Traumgipfel statt Müllberge» um ihre Unterstützung zu zeigen für die Initiative für den geordneten Atomausstieg, über die am 27. November abgestimmt wird. Copyright: Severin Mösinger
Zermatt, 31.10.16: Sechs Bergsteiger haben das Matterhorn mit speziellem Gepäck bestiegen: Sie platzierten zwei Atomfässer auf dem Gipfel des bekanntesten Schweizer Bergs. Dort enthüllten sie ein Transparent mit der Aufschrift «Traumgipfel statt Müllberge» um ihre Unterstützung zu zeigen für die Initiative für den geordneten Atomausstieg, über die am 27. November abgestimmt wird. Copyright: Severin Mösinger
Panorámica de tres tomas horizontales.
La Torre de Hércules es una torre y faro situado en la península de la ciudad de La Coruña, en Galicia (España). Su altura total es de 68 m y data del siglo I. Tiene el privilegio de ser el único faro romano y el más antiguo en funcionamiento del mundo. Es el segundo faro en altura de España, por detrás del Faro de Chipiona. El 27 de junio de 2009 fue declarado Patrimonio de la Humanidad1 por la UNESCO.
Localización: 43º23´N 8º24´W.
Altura: 68 metros
Altura sobre el nivel del mar: 106 metros.
Escalones: 234.
Alcance: 24 millas.
Destellos: grupo de 4 cada 20 segundos.
La Torre de Hércules fue construida por los romanos como faro de navegación en el siglo II d. C., comprendida la construcción entre los reinados de Nerón y Vespasiano en función de los hallazgos de fragmentos de terra sigillata y vasos de paredes finas datables entre los años 40 y 80 de nuestra era[cita requerida]. La inscripción al pie de la torre y las referencias documentales sobre la ciudad de Brigantium (La Coruña) revelan la existencia de un faro de la época de Trajano. En su base se encontró una piedra votiva con la inscripción en latín MARTI AVG.SACR C.SEVIVS LVPVS ARCHTECTVS ÆMINIENSIS LVSITANVS.EX.VO, lo que ha permitido identificar al arquitecto autor de la misma como Cayo Sevio Lupo, originario de Aeminium, hoy Coímbra, en Portugal.
La mención más antigua a la Torre se encuentra en el Historiæ adversvm Paganos de Paulo Orosio, escrito hacia el 415–417 d. C., que dice: «Secvndvs angvlvs circivm intendit, ubi Brigantia Gallæciæ civitas sita altissimvm farvm et inter pavca memorandi operis ad specvlam Britanniæ erigit».
La torre perdió, posiblemente, su uso marítimo durante la Edad Media al convertirse en fortificación. Fue en el siglo XVII (1682) cuando el Duque de Uceda encargó la restauración arquitectónica al arquitecto Amaro Antune, que construyó una escalera de madera que atravesaba las bóvedas hasta la parte superior, donde se sitúan dos pequeñas torres para soportar los fanales. En el reinado de Carlos III se realizó la reconstrucción completa. La obra neoclásica se terminó en 1791 bajo la dirección de Eustaquio Giannini.
La torre era, antes de comenzar la reforma, un cuerpo prismático con base cuadrada; en el exterior presentaba un muro de piedra con dos puertas en la parte baja y ventanas asimétricas que la recorrían hasta el piso superior, y una mordiente helicoidal que llegaba hasta la parte superior. En su interior conservaba la vieja estructura romana, pero con escaleras de madera que pertenecían a la restauración de edificio, armonizándola en su decoración con marcos superiores de puertas y ventanas.
La fachada actual de la torre es el fruto de la remodelación neoclásica efectuada en el siglo XVIII. En el año 2007, fue elegida candidata para engrosar la lista de bienes culturales Patrimonio de la Humanidad. El 9 de septiembre de 2008 se hermanó con la Estatua de la Libertad de Nueva York y el día 25 de ese mismo mes con el Faro del Morro de La Habana, el más antiguo de América y uno de los emblemas de Cuba.
Desde el 15 de enero de 2012, la Torre de Hércules permanece cerrada de manera urgente, según la edil de Turismo Luisa Cid, para acometer unas obras. Lo cierto es que a día de hoy no hay obras de ninguna clase, y tampoco hay fecha prevista para su reapertura.2
{Fuente: Wikipedia}
Deutsch: de.wikipedia.org/wiki/Herkulesturm
English: en.wikipedia.org/wiki/Tower_of_Hercules
Español: es.wikipedia.org/wiki/Torre_de_H%C3%A9rcules
Français: fr.wikipedia.org/wiki/Tour_d%27Hercule
Italiano: it.wikipedia.org/wiki/Torre_di_H%C3%A9rcules
Polski: pl.wikipedia.org/wiki/Wie%C5%BCa_Herkulesa
Português: pt.wikipedia.org/wiki/Torre_de_H%C3%A9rcules
Suomi: fi.wikipedia.org/wiki/Herkuleen_torni
Panorama of three horizontal frames.
Le matin de ce lundi de Pâques, la "rejaneon" La terrible Lea Vicens tortureuse et massacreuse de taureaux et de chevaux, a encore sévi. D'autres bourreaux lui succèdent. Nous ne sommes plus que quarante mais nous ne baissons pas les bras.
In South France, bullfighting are still taking place in somme city as Arles. This is a true shame in France. We demand abolition of bullfighting. They should not be more here.
Stierkämpfe sind abscheulich, widerwidrig, sie sollten nicht mehr erlauben werden. Es ist nur Folterung und blutiger Tötung eines unschuldiger Stier.
Cucaña, Palo ensebado, Greasy pole
Español:
es.wikipedia.org/wiki/Cuca%C3%B1a
sevilla.abc.es/sevilla/sevi-cucana-vela-remojon-y-30-euro...
English:
Garibim Nikon neden o kadar küçücük kalmış ellerimin arasında. Fotoğrafa bakınca kendimi basçek tutuyormuş gibi hissettim. Nedeni kullandığım objektif aslında. Nikon E serisi 50mm f:1.8 var makinenin ucunda ve boyut olarak batılıların pancake yani yassı şekilli krep gibi diye tarif ettıkleri hacimce ve boyutça küçücük olmasından. Normalde bir 18-200mm tak-gez objektifi taşımak insanı düşündürürken bu pancake tabir edilen lenslerin iki tanesini pantolon cebinde taşımak mümkün. Mesela zaman zaman 50/1.8 ve 100/2.8 e serisi lenslerimi böyle taşırım. Ne kusurları var diyecek olursanız profesyonel seviye makineler az elemanlı bu objektiflerin kusurlarından biri olan,renk saçılmalarını, purple veya blue fringing işlemci marifeti sayesinde kaydedilen fotoğrafa yansımadan düzeltiyorlar ama orta ve giriş seviyesi dslr makineler için genellikle bu mümkün olmuyor ve çektiğiniz fotoğrafta diyafram ne kadar açık kullanılmışsa o kadar çok oranda izleyeceğiniz renk saçılmaları oluyor. Eh onu önlemek objektifi daha mükemmel hale getirmek içinde büyük objektif firmaları kullanılan cam sayısını artırarak bu kusurları düzelten objektifler yapıyorlar. Fakat kullandıklan bazı camlar o kadar maliyeti yükseltiyor o kadar boyutu büyütüyor ki. Ama keskinliği de bir o kadar azaltıyor. Keskinliği artırmak daha fazla yüksek teknolojili cam, daha fazla maliyet ve boyut demek. Nikondan örnek vermek gerekirse en üst sınıf tam kare yani full frame makineler için üretilmiş iki objektif hala efsane lensler arasında ilk üçteki yerlerini korurken uzun süreler sonunda dünya fotoğrafçıları arasında özel bir isimle de adlandırılmışlar ve onlara black pearl yani kara inci lakabı verilmiştir. Bunlar efsane AF-S Nikkor 24-70mm f:2.8 ve AF-S NIKKOR 70-200mm f/2.8 dir. Hadi tele-zoom objektif olarak 70-200 ü dev boyutlu kabul edebiliriz ama 24 70mm kara inci kırpık sensör için imal edilmiş büyük bir objektif olan AF-S DX NIKKOR 18-200mm f/3.5-5.6G ED VR II nin iki katı ağırlığında bir devdir. Filtre çapı bile 82mm olan bu dev objektif her diyafram açıklığındaki efsane keskinliği ve çok çok hızlı ve doğru odaklamasıyla ünlüdür. Yani Nikon tüm objektif üretim bilgisinin kaymağını bu objektifte satışa sunmuş desek yalan söylemiş olmayız. Elbette bu objektifi elde etmenin değeri de bir çok giriş ve orta seviye dslr makine fiyatının üzerinde..Pancake lensler ise bendeki d300s ve üzeri makinelerde bu kusurları makine tarafından yazılımla giderildiğinden küçük boyutlu fotoğraf yayıncılığı olan facebook gibi paylaşım siteleri için keskinlik te az eleman yüzünden yüksek olduğundan biçilmiş kaftandır. Peki baskı için bu geçerlimi hayır. Eğer sergilik, fotoğraf baskısı yapacaksanız ve bu A3 kağıt seviyesinde veya daha yüksekse o zaman yandınız demektir.büyük baskı büyük detay ortaya çıkarıcı olduğu için objektifinizin optik kusurları sergi baskınızın üzerinde sırıtacaktır. Photoshop gibi yazılımlarla düzeltilemez mi evet düzeltilebilir ama muhakkak kalite kaybına uğrarsınız orijinal fotoğraftan.
Bu fotoğraf vasıtasıyla bildiklerimden paylaşma fırsatını bana modellik ederek sağlayan Mustafa Dıramalı arkadaşıma teşekkür ediyor,selam ve sevgilerimi sunuyorum.
Nikon D300S + Nikon 50mm f:1.8 series E
This image shows a motor and trailer tramcar formation working toward Sibiu, crossing either the Râul Seviș river or the Ias Seviș canal. The camera is facing southwestward.
1979 July 9.
Zermatt, 31.10.16: Sechs Bergsteiger haben das Matterhorn mit speziellem Gepäck bestiegen: Sie platzierten zwei Atomfässer auf dem Gipfel des bekanntesten Schweizer Bergs. Dort enthüllten sie ein Transparent mit der Aufschrift «Traumgipfel statt Müllberge» um ihre Unterstützung zu zeigen für die Initiative für den geordneten Atomausstieg, über die am 27. November abgestimmt wird. Copyright: Severin Mösinger
Torre de Hécules, construida por los romanos (finales del siglo I y comienzos del II).
Obra de Gaio Sevio Lupo, arquitecto de la ciudad de Aeminium (la actual ciudad de Coimbra, en Portugal). Todavía en servicio, posiblemente sea la instalación de estas características más antigua del mundo.
Ver más en: www.coruna.es/servlet/Satellite?argIdioma=es&c=Page&a...
Asimismo: elqueviajalejos.wordpress.com/2013/11/05/jump/
También en: www.youtube.com/watch?v=HV5w2aSMMAQ
Cucaña, Palo ensebado, Greasy pole
Español:
es.wikipedia.org/wiki/Cuca%C3%B1a
sevilla.abc.es/sevilla/sevi-cucana-vela-remojon-y-30-euro...
English:
Computex etkinliğinin 2016 ayağında tanıtım anlamında büyük ses getiren Asus, Zenfone 3 ailesinin yeni serileri ile adından daha çok bahsettirecek gibi duruyor. Peki Tayvanlı teknoloji devinin iki modeli arasında ne gibi farklar bulunuyor?
Zenfone 3 tanıtımı yapıldı
Orta seviye kullanıcılar için ...
Hızlı, çok yönlü ve eksiksiz bağlantı özelliklerine sahip gelişmiş D7200 harika durağan görüntüler elde etmenizi sağlamakla birlikte ileri seviye video konusunda da iddialı.
Genel Bakış
İleri düzey D7200 ile mükemmelliğe adım atın. Bu hünerli DX biçimli D-SLR muhteşem durağan görüntüler elde etme... - gezgindergi.com/nikon-d7200-ile-mukemmellige-adim-atin/
La Torre de Hércules es el faro romano más antiguo del mundo y el único que se conserva en servicio. Construída con toda probabilidad en la segunda mitad del siglo I, por un arquitecto de Coimbra de nombre Gaio Sevio Lupo, su luz ha sido desde siempre un punto de referencia para los navegantes.
El revestimiento exterior actual es del siglo XVIII, obra de Eustaquio Giannini.
Zemessardzes 2. Vidzemes brigādes organizētajā ziemas izdzīvošanas kursā jaunie karavīri apliecina savas spējas un prasmes izdzīvot ziemas apstākļos – uzcelt nojumi, nodrošināt siltumu, veikt personīgās higiēnas pasākumus apgrūtinātos apstākļos, iegūt ūdeni un pagatavot ēdienu.
Tāpat tiek trenēta spēja izdzīvot ar minimālu ekipējumu pēc iegremdēšanās āliņģa ledainajā ūdenī.
Foto: seržants Ēriks Kukutis (Aizsardzības ministrija)
Zermatt, 31.10.16: Sechs Bergsteiger haben das Matterhorn mit speziellem Gepäck bestiegen: Sie platzierten zwei Atomfässer auf dem Gipfel des bekanntesten Schweizer Bergs. Dort enthüllten sie ein Transparent mit der Aufschrift «Traumgipfel statt Müllberge» um ihre Unterstützung zu zeigen für die Initiative für den geordneten Atomausstieg, über die am 27. November abgestimmt wird. Copyright: Severin Mösinger
Lástima no poder cogerlo entero, que se pierde por la curva pero el tiempo no me permitió otro lugar que no tuviera el sol a favor... Pasando por las curvas de Mercamadrid, el actual "lechero" de Sevilla a León....
Zermatt, 31.10.16: Sechs Bergsteiger haben das Matterhorn mit speziellem Gepäck bestiegen: Sie platzierten zwei Atomfässer auf dem Gipfel des bekanntesten Schweizer Bergs. Dort enthüllten sie ein Transparent mit der Aufschrift «Traumgipfel statt Müllberge» um ihre Unterstützung zu zeigen für die Initiative für den geordneten Atomausstieg, über die am 27. November abgestimmt wird. Copyright: Severin Mösinger
Samsung’un bir sonraki üst seviye telefonu hakkındaki söylentiler şimdiden başladı. Samsung, Galaxy S6 ve Galaxy S7 modellerini birbirine çok benzer tasarı Haz 20, 2016
www.mobilyasam.com/samsung-galaxy-s8-cift-kamerali-olabilir/
Her Gün Bir Yaş Akar Gözümden
Her gün bir yaş akar gözümden
Süzülür yanağımdan çeneme doğru
Karnım yok, gözüm pektir
Yoksulluk kırsa da belimi
Ümidim yeşerir baharla birlikte
Gözlerimde yaşatırım sevincimi
Sevincim çocukluğumdur
Çocukluğumsa dünyaya sesleniştir
Işıltı gibidir sevda ellerimde
Ellerimde, avcumda beslerim seviyi
Bir gün yıkılacak olsa da dünya
Ben yine de severim sevdiğimi
Şiir: Cem ARSLAN
Çekik Gözlü Model: Didem
Abla Model: Hatice
Mekan: Oltan Kasabası
Faaliyet: İş Gezisi
Düzenleme: Hodolomax
This fella is suppossed to help me keep calm. Does he have a job going on here. .
It has been suggested that Christian-Voodoo relations be merged into this article or section. (Discuss)
(French pronunciation: [vodu], usually Voodoo in English) is a syncretic[1] religion that originates in the Caribbean country of Haiti. It is based upon a merging of the beliefs and practices of West African peoples (mainly the Fon and Ewe; see West African Vodun), with Arawakian religious beliefs, and Roman Catholic Christianity. Vodou was created by African
slaves who were brought to Haiti in the 16th century and still followed their traditional African beliefs, but were forced to convert to the religion of their slavers.[2] Practitioners are commonly described as Vodouisants.
[edit] Overview
The principal belief in Haitian Vodou is that deities called Lwa (or Loa) are subordinates to a god called Bondyè, This supreme being does not intercede in human affairs, and it is to the Lwa that Vodou worship is directed.[3] Other characteristics of Vodou include veneration of the dead and protection against evil witchcraft.[4]
Haitian Vodou shares many similarities with other faiths of the African diaspora, including the Louisiana Voodoo of New Orleans, Santería and Arará of Cuba, and Candomblé and Umbanda of Brazil. A Haitian Vodou temple is called an Hounfour.[5]
Vodou paraphernalia, Port-au-Prince, Haiti.In Haitian Vodou Sèvis Lwa in Creole ("Service to the Lwa"), there are strong elements from the Bakongo of Central Africa and the Igbo and Yoruba of Nigeria, although many other African nations have contributed to the liturgy of the Sèvis Lwa. A significant portion of Haitian Vodou often overlooked by scholars until recently is the input from the Kongo. The entire northern area of Haiti is heavily influenced by Kongo practices. In northern Haiti, it is often called the Kongo Rite or Lemba, from the Lemba rituals of the Loango area and Mayombe. In the south, Kongo influence is called Petwo (Petro). Many lwa (a Kikongo term) are of Kongo origin, such as Basimbi, Lemba, etc.
Haitian creole forms of Vodou exist in Haiti, the Dominican Republic, eastern Cuba,[1] some of the outer islands of the Bahamas, the United States, and anywhere that Haitians have emigrated to. However, it is important to note that the Vodun religion (separate from Haitian Vodou) already existed in the United States, having been brought by enslaved West Africans, specifically from the Ewe, Fon, Mina, Kabaye, and Nago groups. Some of the more enduring forms survive in the Gullah Islands. There has been a re-emergence of the Vodun traditions in the United States, maintaining the same ritual and cosmological elements as in West Africa. These and other African-diasporic religions such as Lukumi or Regla de Ocha (also known as Santería) in Cuba, Candomblé and Umbanda in Brazil, all religions that evolved among descendants of transplanted Africans in the Americas.
A large sequined Vodou "drapo" or flag by the artist George Valris, depicting the veve, or symbol, of the loa Loko Atison.Haitian Vodou or Vaudou (French pronunciation: [vodu], usually Voodoo in English) is a syncretic[1] religion that originates in the Caribbean country of Haiti. It is based upon a merging of the beliefs and practices of West African peoples (mainly the Fon and Ewe; see West African Vodun), with Arawakian religious beliefs, and Roman Catholic Christianity. Vodou was created by African slaves who were brought to Haiti in the 16th century and still followed their traditional African beliefs, but were forced to convert to the religion of their slavers.[2] Practitioners are commonly described as Vodouisants.
[edit] Overview
The principal belief in Haitian Vodou is that deities called Lwa (or Loa) are subordinates to a god called Bondyè, This supreme being does not intercede in human affairs, and it is to the Lwa that Vodou worship is directed.[3] Other characteristics of Vodou include veneration of the dead and protection against evil witchcraft.[4]
Haitian Vodou shares many similarities with other faiths of the African diaspora, including the Louisiana Voodoo of New Orleans, Santería and Arará of Cuba, and Candomblé and Umbanda of Brazil. A Haitian Vodou temple is called an Hounfour.[5]
Vodou paraphernalia, Port-au-Prince, Haiti.In Haitian Vodou Sèvis Lwa in Creole ("Service to the Lwa"), there are strong elements from the Bakongo of Central Africa and the Igbo and Yoruba of Nigeria, although many other African nations have contributed to the liturgy of the Sèvis Lwa. A significant portion of Haitian Vodou often overlooked by scholars until recently is the input from the Kongo. The entire northern area of Haiti is heavily influenced by Kongo practices. In northern Haiti, it is often called the Kongo Rite or Lemba, from the Lemba rituals of the Loango area and Mayombe. In the south, Kongo influence is called Petwo (Petro). Many lwa (a Kikongo term) are of Kongo origin, such as Basimbi, Lemba, etc.
Haitian creole forms of Vodou exist in Haiti, the Dominican Republic, eastern Cuba,[1] some of the outer islands of the Bahamas, the United States, and anywhere that Haitians have emigrated to. However, it is important to note that the Vodun religion (separate from Haitian Vodou) already existed in the United States, having been brought by enslaved West Africans, specifically from the Ewe, Fon, Mina, Kabaye, and Nago groups. Some of the more enduring forms survive in the Gullah Islands. There has been a re-emergence of the Vodun traditions in the United States, maintaining the same ritual and cosmological elements as in West Africa. These and other African-diasporic religions such as Lukumi or Regla de Ocha (also known as Santería) in Cuba, Candomblé and Umbanda in Brazil, all religions that evolved among descendants of transplanted Africans in the Americas.
Vodouisants believe in a supreme being called Bondye, but also worship many lesser spirits, as the loa. This belief is held in several West African religions, such as that of the Yoruba, Odinani, and Vodun. When it came in contact with Roman Catholicism, the supreme being was associated with the Judeo-Christian God, the loa becoming the saints.
Bondye
Bondye is the supreme god in Haitian Vodou. The word is derived from the French bon Dieu (good God).[3] Vodouisants regard Bondye as the creator of everything. Bondye is distant from its creation, being a pandeist deity. Because of this, he is aloof from every day affairs and Vodouisants don't believe they can contact Him for help.
] Loa
Because Bondye is unreachable, Vodouisants aim their prayers to lesser entities, the spirits known as loa, or mistè. The most notable loa include Papa Legba (guardian of the crossroads), Erzulie Freda (the spirit of love), Simbi (the spirit of rain and magicians), Kouzin Zaka (the spirit of agriculture), and The Marasa, divine twins considered to be the first children of Bondye.[6]
These loa can be divided into 21 nations, which include the Petro, Rada, Congo and Nago [7] The Petro and the Rada contrast most with one another, because the Petro are hot or aggressive and restless, whereas the Rada are cool or calm and peaceful.[citation needed]
The loa also fall into family groups, who share a surname, such as Ogou, Ezili, Azaka or Ghede. For instance, "Ezili" is a family, Ezili Danto and Ezili Freda are two individual spirits in that family. Each family is associated with a specific aspect, for instance the Ogou family are soldiers, the Ezili govern the feminine spheres of life, the Azaka govern agriculture, the Ghede govern the sphere of death and fertility. Each of the loa is associated with a particular Roman Catholic saint.
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A large sequined Vodou "drapo" or flag by the artist George Valris, depicting the veve, or symbol, of the loa Loko Atison.Haitian Vodou or Vaudou (French pronunciation: [vodu], usually Voodoo in English) is a syncretic[1] religion that originates in the Caribbean country of Haiti. It is based upon a merging of the beliefs and practices of West African peoples (mainly the Fon and Ewe; see West African Vodun), with Arawakian religious beliefs, and Roman Catholic Christianity. Vodou was created by African slaves who were brought to Haiti in the 16th century and still followed their traditional African beliefs, but were forced to convert to the religion of their slavers.[2] Practitioners are commonly described as Vodouisants.
Contents [hide]
[edit] Overview
The principal belief in Haitian Vodou is that deities called Lwa (or Loa) are subordinates to a god called Bondyè, This supreme being does not intercede in human affairs, and it is to the Lwa that Vodou worship is directed.[3] Other characteristics of Vodou include veneration of the dead and protection against evil witchcraft.[4]
Haitian Vodou shares many similarities with other faiths of the African diaspora, including the Louisiana Voodoo of New Orleans, Santería and Arará of Cuba, and Candomblé and Umbanda of Brazil. A Haitian Vodou temple is called an Hounfour.[5]
Vodou paraphernalia, Port-au-Prince, Haiti.In Haitian Vodou Sèvis Lwa in Creole ("Service to the Lwa"), there are strong elements from the Bakongo of Central Africa and the Igbo and Yoruba of Nigeria, although many other African nations have contributed to the liturgy of the Sèvis Lwa. A significant portion of Haitian Vodou often overlooked by scholars until recently is the input from the Kongo. The entire northern area of Haiti is heavily influenced by Kongo practices. In northern Haiti, it is often called the Kongo Rite or Lemba, from the Lemba rituals of the Loango area and Mayombe. In the south, Kongo influence is called Petwo (Petro). Many lwa (a Kikongo term) are of Kongo origin, such as Basimbi, Lemba, etc.
Haitian creole forms of Vodou exist in Haiti, the Dominican Republic, eastern Cuba,[1] some of the outer islands of the Bahamas, the United States, and anywhere that Haitians have emigrated to. However, it is important to note that the Vodun religion (separate from Haitian Vodou) already existed in the United States, having been brought by enslaved West Africans, specifically from the Ewe, Fon, Mina, Kabaye, and Nago groups. Some of the more enduring forms survive in the Gullah Islands. There has been a re-emergence of the Vodun traditions in the United States, maintaining the same ritual and cosmological elements as in West Africa. These and other African-diasporic religions such as Lukumi or Regla de Ocha (also known as Santería) in Cuba, Candomblé and Umbanda in Brazil, all religions that evolved among descendants of transplanted Africans in the Americas.
[edit] Beliefs
[edit] Deities
Vodouisants believe in a supreme being called Bondye, but also worship many lesser spirits, as the loa. This belief is held in several West African religions, such as that of the Yoruba, Odinani, and Vodun. When it came in contact with Roman Catholicism, the supreme being was associated with the Judeo-Christian God, the loa becoming the saints.
[edit] Bondye
Bondye is the supreme god in Haitian Vodou. The word is derived from the French bon Dieu (good God).[3] Vodouisants regard Bondye as the creator of everything. Bondye is distant from its creation, being a pandeist deity. Because of this, he is aloof from every day affairs and Vodouisants don't believe they can contact Him for help.
[edit] Loa
Because Bondye is unreachable, Vodouisants aim their prayers to lesser entities, the spirits known as loa, or mistè. The most notable loa include Papa Legba (guardian of the crossroads), Erzulie Freda (the spirit of love), Simbi (the spirit of rain and magicians), Kouzin Zaka (the spirit of agriculture), and The Marasa, divine twins considered to be the first children of Bondye.[6]
These loa can be divided into 21 nations, which include the Petro, Rada, Congo and Nago [7] The Petro and the Rada contrast most with one another, because the Petro are hot or aggressive and restless, whereas the Rada are cool or calm and peaceful.[citation needed]
The loa also fall into family groups, who share a surname, such as Ogou, Ezili, Azaka or Ghede. For instance, "Ezili" is a family, Ezili Danto and Ezili Freda are two individual spirits in that family. Each family is associated with a specific aspect, for instance the Ogou family are soldiers, the Ezili govern the feminine spheres of life, the Azaka govern agriculture, the Ghede govern the sphere of death and fertility. Each of the loa is associated with a particular Roman Catholic saint.
Vodou's moral code focuses on the vices of dishonour and greed. There is also a notion of relative propriety—and what is appropriate to someone with Dambala Wedo as their head may be different from someone with Ogou Feray as their head. For example, one spirit is very cool and the other is very hot. Coolness overall is valued, and so is the ability and inclination to protect oneself and one's own if necessary. Love and support within the family of the Vodou society seem to be the most important considerations. Generosity in giving to the community and to the poor is also an important value. One's blessings come through the community, and one should be willing to give back. There are no "solitaries" in Vodou—only people separated geographically from their elders and house. A person without a relationship of some kind with elders does not practice Vodou as it is understood in Haiti and among Haitians.
Vodou is an ecstatic rather than a fertility based religion
[edit] Orthodoxy and diversity
There is a diversity of practice in Vodou across the country of Haiti and the Haitian diaspora. For instance in the north of Haiti the lave tèt ("head washing") or kanzwe may be the only initiation, as it is in the Dominican Republic and Cuba, whereas in Port-au-Prince and the south they practice the kanzo rites with three grades of initiation – kanzo senp, si pwen, and asogwe – and the latter is the most familiar mode of practice outside of Haiti. Some lineages combine both, as Manbo Katherine Dunham reports from her personal experience in her book Island Possessed.
While the overall tendency in Vodou is very conservative in accord with its African roots, there is no singular, definitive form, only what is right in a particular house or lineage. Small details of service and the spirits served vary from house to house, and information in books or on the internet therefore may seem contradictory. There is no central authority or "pope" in Haitian Vodou, since "every manbo and houngan is the head of their own house," as a popular saying in Haiti goes. Another consideration in terms of Haitian diversity are the many sects besides the Sèvi Gine in Haiti such as the Makaya, Rara, and other secret societies, each of which has its own distinct pantheon of spirits
Liturgy and practice
Vodou ceremony, Jacmel, Haiti.After a day or two of preparation setting up altars, ritually preparing and cooking fowl and other foods, etc., a Haitian Vodou service begins with a series of Catholic prayers and songs in French, then a litany in Kreyòl and African "langaj" that goes through all the European and African saints and lwa honored by the house, and then a series of verses for all the main spirits of the house. This is called the "Priyè Gine" or the African Prayer. After more introductory songs, beginning with saluting Hounto, the spirit of the drums, the songs for all the individual spirits are sung, starting with the Legba family through all the Rada spirits, then there is a break and the Petwo part of the service begins, which ends with the songs for the Gede family.
As the songs are sung, participants believe that spirits come to visit the ceremony, by taking possession of individuals and speaking and acting through them. When a ceremony is made, only the family of those possessed is benefited. At this time it is believed that devious mambo or houngan can take away the luck of the worshippers through particular actions. For instance, if a priest asks for a drink of champagne, a wise participant refuses. Sometimes these ceremonies may include dispute among the singers as to how a hymn is to be sung. In Haiti, these Vodou ceremonies, depending on the Priest or Priestess, may be more organized. But in the United States, many Vodou practitioners and clergy take it as a sort of non-serious party or "folly".
In a serious rite, each spirit is saluted and greeted by the initiates present and gives readings, advice, and cures to those who ask for help. Many hours later, as morning dawns, the last song is sung, the guests leave, and the exhausted hounsis, houngans, and manbos can go to sleep.
On the individual's household level, a Vodouisant or "sèvitè"/"serviteur" may have one or more tables set out for their ancestors and the spirit or spirits that they serve with pictures or statues of the spirits, perfumes, foods, and other things favored by their spirits. The most basic set up is just a white candle and a clear glass of water and perhaps flowers. On a particular spirit's day, one lights a candle and says an Our Father and Hail Mary, salutes Papa Legba and asks him to open the gate, and then one salutes and speaks to the particular spirit as an elder family member. Ancestors are approached directly, without the mediating of Papa Legba, since they are said to be "in the blood".
[edit] Priests
Houngans (Male Voodoo Priest) or Mambos (Female Voodoo Priest) are usually people who were chosen by the dead ancestors (loas) and received the divination from the deities while he or she was possessed. His or her tendency is to do good by helping and protecting others from spells, however they sometimes use their supernatural power to hurt or kill people. They also conduct ceremonies that usually take place "Amba Peristil" (under a Voodoo Temple). However, non-Houngan or non-Mambo as Vodouisants are not initiated, and are referred to as being "bossale"; it is not a requirement to be an initiate to serve one's spirits. There are clergy in Haitian Vodou whose responsibility it is to preserve the rituals and songs and maintain the relationship between the spirits and the community as a whole (though some of this is the responsibility of the whole community as well). They are entrusted with leading the service of all of the spirits of their lineage. Sometimes they are "called" to serve in a process called "being reclaimed," which they may resist at first.[8] Below the houngans and mambos are the hounsis, who are initiates who act as assistants during ceremonies and who are dedicated to their own personal mysteries.
[edit] History
[edit] African origins
Vodou original areaThe word vodou derives from vodũ, which in Fon, Ewe, and related language (distributed from contemporary Ghana to Benin) means spirit or divine creature (in the sense of divine creation).
The cultural area of the Fon, Ewe, and Yoruba peoples share common metaphysical conceptions around a dual cosmological divine principle Nana Buluku, the God-Creator, and the vodou(s) or God-Actor(s), daughters and sons of the Creator's twin children Mawu (goddess of the moon) and Lisa (god of the sun). The God-Creator is the cosmogonical principle and does not trifle with the mundane; the vodou(s) are the God-Actor(s) who actually govern earthly issues.
The pantheon of vodoun is quite large and complex. In one version, there are seven male and female twins of Mawu, interethnic and related to natural phenomena or historical or mythical individuals, and dozens of ethnic vodous, defenders of a certain clan or tribe.[citation needed]
West African Vodun has its primary emphasis on ancestors, with each family of spirits having its own specialized priest and priestess, which are often hereditary. In many African clans, deities might include Mami Wata, who are gods and goddesses of the waters; Legba, who in some clans is virile and young in contrast to the old man form he takes in Haiti and in many parts of Togo; Gu (or Ogoun), ruling iron and smithcraft; Sakpata, who rules diseases; and many other spirits distinct in their own way to West Africa.
European colonialism, followed by totalitarian regimes in West Africa, suppressed Vodun as well as other forms of the religion. However, because the Vodou deities are born to each African clan-group, and its clergy is central to maintaining the moral, social, and political order and ancestral foundation of its villagers, it proved to be impossible to eradicate the religion. Though permitted by Haiti's 1987 constitution, which recognizes religious equality, many books and films have sensationalized voodoo as black magic based on animal and human sacrifices to summon zombies and evil spirits.
[edit] Haitian Revolution
The majority of the Africans who were brought as slaves to Haiti were from Western and Central Africa. The Vodun practitioners brought over and enslaved in the United States primarily descend from the Ewe, Anlo-Ewe, and other West African groups.[citation needed] The survival of the belief systems in the New World is remarkable, although the traditions have changed with time and have even taken on some Catholic forms of worship.[1] Two important factors, however, characterize the uniqueness of Haitian Vodou as compared to African Vodun; the transplanted Africans of Haiti, similar to those of Cuba and Brazil, were obliged to disguise their loa (sometimes spelled lwa) or spirits as Roman Catholic saints, an element of a process called syncretism.
Roman Catholicism was mixed into the religion to hide their "pagan" religion from their masters, who had forbidden them to practice it. Thus, Haitian Vodou has roots in several West African religions, and incorporates some Roman Catholic and Arawak Amerindian influences. It is common for Haitians followers of the Vodou religion to integrate Roman Catholic practices by including Catholic prayers in Vodou worship. Thus Vodou incorporated some formal elements of Roman Catholicism, while remaining totally unChristian in its essence. Throughout the history of the island from independence in 1804 to the present, missionaries repeatedly came to the island to convert the Haitians back to the Christian religion previously forced on them. This missionary influence—as well as experience with abusive practitioners—has made many Haitians regard Voudu as evil.
Vodou, as it is known in Haiti and the Haitian diaspora, is the result of the pressures of many different cultures and ethnicities of people who were uprooted from Africa and imported to Hispaniola during the African slave trade. Under slavery, African culture and religion was suppressed, lineages were fragmented, and people pooled their religious knowledge and from this fragmentation became culturally unified. In addition to combining the spirits of many different African and Amerindian nations, Vodou has incorporated pieces of Roman Catholic liturgy to replace lost prayers or elements. Images of Catholic saints are used to represent various spirits or "mistè" ("mysteries", actually the preferred term in Haiti), and many saints themselves are honored in Vodou in their own right. This syncretism allows Vodou to encompass the African, the Indian, and the European ancestors in a whole and complete way. It is truly a Kreyòl religion.
The most historically important Vodou ceremony in Haitian history was the Bwa Kayiman or Bois Caïman ceremony of August 1791 that began the Haitian Revolution, in which the spirit Ezili Dantor possessed a priestess and received a black pig as an offering, and all those present pledged themselves to the fight for freedom.[9] This ceremony ultimately resulted in the liberation of the Haitian people from French colonial rule in 1804, and the establishment of the first black people's republic in the history of the world and the second independent nation in the Americas.
[edit] Contemporary
Today Vodou is practiced not only by Haitians but by Americans and people of many other nations who have been exposed to Haitian culture. However (as may occur within other religions), because of the loyalty and demand many have imposed on vodou, some high priests and priestesses have taken the opportunity to exploit their followers, asking large sums of money for work that brings no result. It has been asserted that Vodou as a religion is dying because of the greed of many who practice it.
Many Haitians involved in the practice of Vodou have been initiated as Houngans or Mambos. In Haiti, a houngan or mambo is considered a person of possible high power and status who acquire much money; it now is a growing occupation in Haiti, attracting many an impoverished citizen to its practice, not only to gain power but to gain money as well. Some Vodou practitioners with a hunger to live a life of wealth and power became practitioners so they could exploit foreigners and Haitians who are uneducated about vodou, bringing them into a web of deceptions to collect large incomes in exchange for poor quality work.
In January 2010, after the Haiti earthquake there was an outburst of solidarity prayers in Benin with the victims. Traditional ceremonies were organized to appease the spirits and seek the blessing of ancestors for the Haitians. Also a "purification ceremony" was planned for Haiti.[10]
[edit] Myths and misconceptions
Vodou has come to be associated in popular culture with the lore of Satanism, zombies and "voodoo dolls". While there is evidence of zombie creation,[11] it is a minor phenomenon within rural Haitian culture and not a part of the Vodou religion proper. Such manifestations fall under the auspices of the bokor or sorcerer rather than the priest of the Loa.
The practice of sticking pins in dolls has history in folk magic, but its exact origins are unclear. How it became known as a method of cursing an individual by some followers of what has come to be called New Orleans Voodoo, but more appropriately Hoodoo (folk magic), is unknown. This practice is not unique to Vodou or Hoodoo, however, and has as much basis in magical devices such as the poppet and the nkisi or bocio of West and Central Africa. These are in fact power objects, what in Haiti is called pwen, rather than magical surrogates for an intended target of sorcery whether for boon or for bane. Such Vodou dolls are not a feature of Haitian religion, although dolls intended for tourists may be found in the Iron Market in Port au Prince. The practice became closely associated with the Vodou religions in the public mind through the vehicle of horror movies and popular novels.
There is a practice in Haiti of nailing crude poppets with a discarded shoe on trees near the cemetery to act as messengers to the otherworld, which is very different in function from how poppets are portrayed as being used by Vodou worshippers in popular media and imagination, i.e. for purposes of sympathetic magic towards another person. Another use of dolls in authentic Vodou practice is the incorporation of plastic doll babies in altars and objects used to represent or honor the spirits, or in pwen, which recalls the aforementioned use of bocio and nkisi figures in Africa.[citation needed]
Although Vodou is often associated with Satanism, Satan is rarely incorporated in Vodou tradition. Mississippi Delta folksongs mix references to Vodou and to Satan.[citation needed]
Further adding to the dark reputation of Vodou were films such as The Serpent and the Rainbow and Live and Let Die (part of Ian Fleming's widely successful James Bond series). Fleming's depiction of the schemings of a fiendish Soviet agent (see Mr. Big, Baron Samedi) using Vodou to intimidate and control a vast network of submissive black followers reached an incomparably greater audience than any careful scholarly work on the subject of Vodou.[citation needed]
To address the myths and misconceptions that have historically maligned the practice and present a more constructive view of the religion, in April 1997, fifteen scholars gathered at UCSB for a colloquium on Haitian Vodou, The Spirit and The Reality: Vodou and Haiti created a new association under the name, the Congress of Santa Barbara also known as KOSANBA.[12]
[edit] Organizations
In the aftermath of the Duvalier dictatorship, a number of individuals, including many houngan, sought to organize means of defense for Haitian Vodou from defamation by evangelical Christian missionaries and congregations. One of the first leading houngan to formally organize other houngan in solidarity was Wesner Morency (1959-2007), who established the Vodou Church of Haiti in 1998 (registered in 2001 by the Ministry of Justice) and the Commission Nationale de Structuration du Vodou (CONAVO). Another individual who has pursued the organization of houngan is Max Beauvoir, who established and heads the National Confederation of Haitian Vodou.
However, the ability to organize and speak on behalf of most, if not all Vodouisants is hampered by the spirituality's historically-decentralized nature.
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This car is parked in front of the Skyliner Diner in Pigeon Forge, TN. This is a touristy restaurant in a touristy city which resembles a 1950's steel diner.