Mama Lola

Choose one of the main lwa discussed by Karen McCarthy Brown and discuss its Vodou theology – that is, its sacred persona, mythic biography, special powers, specific characteristics, ritual practice, and so forth. Situate this lwa in relation to his or her Black Atlantic history in Haiti and beyond. In what ways does the imagery associated with this lwa reflect the confluence of both history and mythology – in other words, what is this law’s mythistory? Then examine the place of this lwa within Mama Lola’s religious practice: what role does it play in her life? How does she relate to and serve this lwa? Has the role of the lwa changed in her experience over time, and if so, how? The lwa Ezili is a complex figure, many female sprits are grouped under the term Ezili. However in “Mama Lola” Karen McCarthy Brown discusses three of these female sprits as being the most significant, they are Lasyreen, Ezili Danto and Ezili Freda. Each of these sprits, represents a different understanding of womanhood. Therefore each of these embodiments, of Ezili, have their own unique theology and thus each uniquely influence and participate in the lives of their devotees; Brown expresses this best when she writes “These female sprits are both mirrors and maps, making the present comprehensible and offering direction for the future”. Lasyrenn is most recognized as a mermaid. She is described as both black and white, that is that she can appear as either; she is has very long shiny hair that is always accompanied by a comb. Lasyreen lives beneath the water and has the ability to connect devotees with lost sprit knowledge. She connects Haitians to their African roots, if she pulls you beneath the water to Ginen (and you survive) you will return empowered with ancient knowledge. Lasyreen’s origins can be traced to the Mammy Water sprit of Africa, whose shrines can be found throughout West Africa. Notably Mammy Water’s mermaid persona has been connected the carved figures