Below is an excerpt from Wonderful Machine, who earlier this week posted an interview about my project within the Vodou religion. It is an effort to learn more about the Vodou Footprints project, the preparation and experiences had within this magical culture, future direction and goals, as well as help spread the news about the successful publication in GEO Magazin. Share the knowledge and enjoy!
Cameron Karsten : Vodou
Largely misunderstood in Western culture, Vodou has often been depicted as an evil or sinister type of black magic, with the all too familiar dolls and accompanying pins and needles created to punish or torture your enemies. For photographer Cameron Karsten, who views exploring a new culture, place, or people as a continuous source of inspiration, he admittedly felt that he too hugely misunderstood this ancient religion. It wasn’t till extensive research and a one way ticket to West Africa that he began to have a clearer picture and deeper appreciation for this ancient religion. What transpired was a multimedia project spanning across two countries Benin in West Africa and Haiti uncovering the untold stories on the origins and evolution of Vodou. Read more of the Q&A with Cameron below!
Zanzan the Witchdoctor of Ouidah pours a shot of venomous snake-infused gin. Take the shot, repeat, “Danji, Danji!” and you’ll be protected from your enemies.
How does this project fit into your photographic style? Were there any new approaches you took to capture it?
Having spent a ton of time out of the country around the world—traveling, writing and photographing—this project was a natural progression in the development of my career. The combination of both still and motion, along with audio components and writing, fit my skill set well. What I added to the stylistic approach is the option of lighting the individuals in an editorial style with strobes and modifiers. In the end, it’s a lot of gear, but with the amount of time I spent in-country and the amount of research, it was worthwhile and allowed for a unique form of storytelling.
A boy vendor sells a dried gorilla foot at the Akodessewa Market in Lome, Togo.
Were there any challenges involved with this project? If so, how did you overcome them?
The challenges were plentiful, though rewarding. Securing attendance into specific rare ceremonies and the related logistics around the timing of these events or celebrations was understandably tough. Additionally, West African Vodou is entirely different from Haitian Vodou. Although the religion traveled westward to the New World with the slave trade route, the metamorphosis was great, and this is exactly why it survived the brutality of slavery and the successive dictatorships that crippled the people. Keeping track of these differences, as well as making and maintaining key contacts across two opposing continents, required the creation of a new volume of research and planning to fully understand each real and true Vodou ceremony.
Djagli spirits, known to chase witches from villages, rest after a performance in Allada during the National Vodou Day in Benin, West Africa.
What was involved in planning/preproduction?
Before leaving home, I read and researched like mad. From books to blogs and personal tourist memoirs to anthropological university studies, I devoured as much as possible. Likewise, I reached out to locals via social media and email, asking for advice and on-the-ground knowledge. Finally, I organized, packed and carefully deliberated over gear—performing that rigorous judicial act of every seasoned traveler: what to bring.
Ketou Guelede dancing mask ceremonies last all night, from sunset to sunrise. The costumes are rare these days, made by artisans from the Yoruba tribes of Nigeria.
What has the reaction to the images been so far?
Reactions to the work from West Africa, specifically Benin and Togo, from the first trip have been phenomenal. The still and motion work, combined with the essays, have offered people exposure to a culture that has never before been documented with such visual impact and cultural appreciation. With the subsequent chapter in Haiti, the response has been likewise, as the images have carried a little more darkness and mystery behind Vodou’s changes from its place of origin across the waters in Africa. GEO Magazin picked up the West African piece, utilizing both stills and motion for their publication. National Geographic continues to show interest, encouraging the project to develop and progress.
Vodouisants pray in congregation at Montagne Noire outside Port-au-Prince, Haiti.
Any future plans for this project?
The Vodou Footprints project has only just begun. In 2016, I will return to Haiti in July/August and October/November in order to complete that chapter before moving north in 2017 to document Vodou throughout the American south. After this, I intend to trace the historical spread of Vodou across the Caribbean, Central and South America, as well as east from West Africa into the surrounding countries as far as Zanzibar. The final goal for this long-term multimedia project is a complete visual encyclopedia of modern day Vodou, from where it originated in the cradle of Vodou to its evolution through the wake of the European slave trade. This will include a volume of books, traveling exhibitions, presentations and a documentary film.
Two pilgrims bathe in the sacred falls of Saut d’Eau
Did you learn anything through the creation of this series?
As with every foreign culture, it’s offered me glimpses into the complexity yet simplicity of our world. Vodou’s sole purpose is to celebrate life and death while providing all participants access to every human right: health, happiness and prosperity. It is a beautiful, mysterious and unique tradition, which has nothing to do with a doll or pins and needles. And of course, the more I develop this project, the more I myself develop—both as a growing presence in this ever-changing technological industry and as a critical practitioner of compelling storytelling.
Cameron Karsten's Imaginarium 