African Continuum — A Changing Oakland - Documentary Series

In Search of African Continuum : Sacred Ceremonies and Rituals

Photography By Bryan C. Wiley

About In Search of African Continuum

The first time I saw a spirit-filled ceremony outside of an American Black church was in Nigeria in 1992. I went to see Fela Anikulapo-Kuti, the internationally renowned Afro-beat musician, who died in 1997. Before he performed, he sacrificed a chicken on stage, calling on the spirits of his ancestors. To this day, it is difficult to describe the power of the spirit that flowed through that auditorium. I've never seen anything quite like that before.

In many ways, it thrust me back to my childhood, to the days when I hugged my grandmother’s knee in a West Philadelphia church as she “caught the Holy Ghost,” danced for the Lord and spoke in foreign, unknown tongues. I suspect her dancing, channeling of the spirit, precisely duplicated what my ancestors had done in Guinea, West Africa, generations earlier. Having grown up in a home that believed in worship, I’ve always recognized the existence of spirits. But like many people throughout the world, I was largely ignorant about the connectivity.

It is my hope that my life-altering experiences conveyed in this book will shed some light about the African Continuum —both geographic and historic— of the sacred ceremonies, and help dissolve the superstitions that blind us of understanding.

View Select Images from the Book

YANSA by Nilo dos Santos

YANSA by Nilo dos Santos

Reflections of a Spiritual Land Sao Felix, Brazil

Spinning Skirts, at a Candomblé ceremony. Cachoeira, Brazil

Devotees carry food offerings to a sacred room for the Orisha Yemanja, goddess of the oceans. Cachoeira, Brazil

The Mae de Santo Noessa (mother of saints) starts the ceremony by lighting a candle and libations, pouring water to the earth. Sacred leaves called Ogbo cover the ground to attract the Orishas. Cachoeira, Brazil

African King – A man in tranced at Yemanja festival which takes place on February 2nd. Yemanja, the goddess of the water is honored by thousands of people in the seaport of Rio Vermelho. Her number is seven for the seven seas, and her color is ocean blue. She is also represented by the fish who are her children. Salvador da Bahia, Brazil

A Mae de Santo adorned in feathers at a Caboclo ceremony. The Caboclos are a pantheon of deities worshipped in the Candombles of Bahia and throughout Brazil. They are Brazilian cowboys and Indians feted at public parties and private ceremonies and invoked by devotees to work on earth. Senhor do Bonfim, Brazil

Mae de Santo Vaudetta is Yansa, a warrior Orisha who rules the winds, tornados, and whirlwinds accompanied by lightning are her element. She also rides along side of Shango during battle. Pau da Lima, Brazil

Young Bahianas dressed in traditional white dresses and head wraps wait for the start of Lavagem de Santo Amaro which ends with the cleaning of the church. Celebrated for over 200 years (originally by slaves) in the town of Santo Amaro, in the Recôncavo (73 km distant from Salvador), this festa is historically set on the first Sunday before the Festa de Nossa Senhora de Purificação.  Santo Amaro, Brazil

Rose Pedals are passed out to devotees to be later placed on Yansa in appreciation for her beauty. Pau da Lima, Brazil

Crossed Hands. Senhor do Bonfim, Brazil

As the women go into trance, they become the Orisha that possesses them. Salvador do Bahia, Brazil

SHANGO by Nilo dos Santos

SHANGO by Nilo dos Santos

Misty morning countryside landscape along the train route from Matanzas to Havana.  Matanzas, Cuba

A staircase spirals from the patio of a Babalawo’s multi-family home up to the second floor where more ceremonies take place. Its swirling stretch suggests the spiritual link–and actual DNA helix– that connect the New World with Africa. La Habana, Cuba

Figures molded of concrete and adorned with cowrie shells or carved from wood represent the deity Eleguá. Speaking through four pieces of coconut Eleguá has given permission for sacrifice to begin. La Habana, Cuba

A Babalawo recites the extended chant known as The Mojuba, in recognition of the ancestors, before beginning a ceremony. La Habana, Cuba

A praise for Shango. La Habana, Cuba

Sunlight splashes in, casting a rainbow over dancers from Cuba's Conjunto Folklorico Nacional (National Folkloric Dance Troupe), Founded in 1962 to represent aspects of Cuba's rich African music and dance traditions on stage. They perform movements for the Elegua (the Yoruba/ Lucumi deity of crossroads and children, all clad in red and black) and for Ochun (the riverine goddess of love and creativity). Elegua dances mischievously, brandishing his garabato like a wand, with which he opens up the possibilities of the crossroad. Ochun twirls and contemplates her Self in her hand, which represents a mirror, itself symbolic of the reflective surface of the river. La Habana, Cuba

Postcard images make a collage of saints anchored by stones, which themselves are symbolic locations of spiritual power associated with the African Orishas. A gourd rattle, adhere, is used to summon the spirit.

Kawo Kabiyesi Shango! Shango, the fourth Alafin or ruler of the Yoruba Kindom of Oyo in South Western Nigeria, became Orisha (was deified) for the greatness of his leadership and the well-being he brought to his people. His worship came to Cuba in the minds and hearts of enslaved Yoruba brought to work the Island's cane fields, and remains to this day a cornerstone of Yoruba/Lucumi religious practice there. Thunder and lightning, drum and dance, male potency and the charisma to lead people toward abundance are among the prime virtues of Shango. La Habana, Cuba

Four pieces of coconut are used to divine before the ceremonial sacrifice of a bird, the pouring out of strong alcohol-- aguardiente -- and honey over sacred objects. After sacrifice has been made, a candle is lit and other steps of the ceremony continue. La Habana, Cuba

OGUM by Nilo dos Santos

OGUM by Nilo dos Santos

Vodousant bows to the spirits in her small sanctuary. Gonaives, Haiti

A sacred tree is wrapped with bottles used as ceremonial offerings that can sometimes carry divine powers, acting as safeguards for the temple. Petit Goave, Haiti

An old bottle of rum is now a sacred Vodou bottle held in the hands of a Hougan. Sacred objects are often put into clear bottles to ward off evil spirits, or used as tools by priests. Gonaives, Haiti

A man possessed by the spirits of Gede dances at a Vodou ceremony. Gonaives, Haiti

As if deceased, Servants of Gede appear white-faced. Those possessed by the guardian of the Dead strut, thrust, dance, and laugh at the face of death throughout the temple, while drinking and smoking. Gede mitigates the world between life and death, and Bawon Samdi is his supreme incarnation. Gonaives, Haiti

At an outdoor ceremony, the purple dress, large collar, and face covered in white like a corpse, imply this woman is a servant of Gede. The Gede family are spirits of the dead representing the beginning and end of life. Gonaives, Haiti

An imitation concrete tomb with offerings for Gede outside a sanctuary. Gonaives, Haiti

A man prays outside the National Cathedral. Port-au-Prince, Haiti

In the ceremonial grounds outside a sanctuary, "without pity" is painted on a Vodou cross covered with ropes and sacred objects. Some objects are safeguards for the temple or used in magical acts. Petit Goave, Haiti

A young man prays at a Vodou cross adorned with offerings including a magic lamp. Depending on the favor needed from the Vodou spirits, each magic lamp has specific ingredients and procedures for success. The lamps must be placed on the altar dedicated to the guardian spirit. Along with prayer, the lamp must be taken care of, not allowing the flame to die until the desired results are achieved. Mirabalais, Haiti

CABOCLO by Nilo dos Santos

CABOCLO by Nilo dos Santos

Chief Sharon Caulder performing a Voodoo ceremony in her temple New Orleans, LA

Voodoo Priestess Miriam Chamani lights The Ceremonial Candles during her wedding at the Voodoo Spiritual Temple. New Orleans, LA

African dance at Congo Square In Praise of the Ancestors. New Orleans, LA

Elmer Glover's altar for the Haitian Petwo spirit Bawon Samdi, the most powerful magician of the Haitian pantheon of divinities. He rules death and sexuality and always needs sunglasses and a cigar. New Orleans, LA

Mardi Gras Indians and other mourners pay respect to their late Chief. New Orleans, LA

Elmer Glover preparing a mixture including blood from a rooster, used for magical work in the cemetery. New Orleans, LA

The Poteau Mitan, the central post in the peristyle, decorated with a painting of Damballa-Wedo as a blue and white snake, the chief lwa of the Haitian Rada spirits. Behind that is a painting of the black Madonna with child, a symbol of the lwa Ezili Danto. New Orleans, LA

OSSAIN by Nilo dos Santos

OSSAIN by Nilo dos Santos

The last of the Gullah women St. Helena Island, SC

Priest of Esu Agulu Mobolaji dances to the musician's hot rhythms in the Sango Courtyard. Oyotunji African Village, SC

Woven roses by the Gullah women. Charleston, SC

Babalawo Chief Ajamu prepares for divination. Oyotunji African Village, SC

Sunset on the island St. Helena Island, SC

Ogun Carving by Esu ti Ogun Priest Olupona Olumuyiwa Oyotunji African Village, SC

Sango paraded by his priests. Oyotunji African Village, SC

Egungun dancing as if floating in front of Olokun Temple. Oyotunji African Village, SC

Chapter Divider Artwork

Orixa wood cut paintings are used as chapter dividers for the book. Artist Nilo dos Santos has been producing woodcut prints depicting African Orixas for over 30 years. He lives and works in Salvador, Bahia Brazil. You can see his creative process here.>

Creating the African Diaspora Migration Map Exhibition Mural

The Diaspora Migration map illustration was a collaborative effort with East Bay graphic artist Miguel A. Osorio. It illustrates the migration and location of the African Diaspora along with the countries I photographed.

The composition was completed in various stages using Photoshop by taking initial pencil sketches of old maps and relevant subject iconography that was scanned and digitized. A sheet of textured paper was shot with a high-resolution digital camera comprised the base for the ancient look. We used an icon of a slave ship to show the beginning and end of the African slaves’ migration. Simulated burnt edges, tears and old ink saturation were created with various layers and masks to give the piece the look of a map that stood the test of time.

Miguel's final digital rendering

Miguel's final digital rendering

Exhibition entrance mural for the Museum of the African Diaspora, 2010

Exhibition entrance mural for the Museum of the African Diaspora, 2010

To view Miguel's artwork, Click Here >