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Curtis Jacobs

was born Geraldine Molly Leotaud on 29 May 1933, in Port-of-Spain, Trinidad, into a mixed-race, middle-class, single-parent, devoutly Roman Catholic family. Her mother, however, was also a keeper of Shango religion, a legacy of the Yoruba peoples brought to Trinidad during the African slave trade.

She grew up in a hybrid cultural milieu of Christianity and Yoruba religious tradition (called “Ifa” today). She later recalled her early life as a Roman Catholic, with its elaborate ceremonies, and her love of participation in them, when she was allowed to carry the censer. Beginning in her teens, she was an avid student of dance, and met Beryl McBurnie, founder of the Little Carib Theatre, which first opened at Port-of-Spain in 1947. McBurnie, herself a dancer of some repute, was very interested in the traditional dances of the descendants of the formerly enslaved Africans. From 1952 to 1965 Molly ...

Article

Robert Fay

Aladura is a Yoruba word for “People of Prayer.” The name describes an informal religious movement that began during the first half of the twentieth century in West Africa, particularly Nigeria The movement has grown steadily since Aladura began mostly among members of mainline churches such as the Anglican Methodist or Baptist churches These members usually followed a charismatic man or woman or both who felt called to lead their members as prophets Some of the earliest such movements or churches were the Church of the Lord Aladura Christ Apostolic Church the Garrick Braide movement and the Cherubim and Seraphim The most popular and fastest growing of the Aladura churches in the 1990s included the Celestial Church of Christ and the Brotherhood of the Cross and Star which though established in Nigeria grew to include churches in Europe and the United States The members formed prayer groups thus the ...

Article

Because it is non-verbal, dance has often been perceived by Western observers as a relatively insignificant cultural medium, capable of communicating only abstract thought or emotion. In the African diaspora, however, bodily movement can be a form of prayer, or of protest. Sometimes it is both. In some cases, the brutal repression of verbal expressions of religious or political beliefs has necessitated this other, more discreet means of communication. Meaningful motion is an important and continuous aspect of diasporic culture, which assumes no necessary division between the mind and the body.

The worship of African deities in the Caribbean and Latin America continues to be performed through dance, and the choreographies of these religious ceremonies bear an uncanny resemblance to those of West African ceremonies. Vodou in Haiti, Santería in Cuba, and Candomblé in Brazil are all African diasporic religions in which dance is used to invoke ...