Obeah (sometimes spelled "Obi") is a term used in the West Indies to refer to
folk magic, sorcery, and religious practices
derived from Central African and West African origins. As such, Obeah is similar to Palo, Voodoo, Santeria, rootwork, and
hoodoo. Obeah is practiced in Suriname, Jamaica, the Virgin Islands, Trinidad,
Tobago, Guyana, Belize,
the Bahamas, St. Vincent and the Grenadines, Barbados and
many other Caribbean countries.
Obeah is associated with both benign and malign magic, charms, luck, and with mysticism in general. In some Caribbean nations Obeah refers to
African diasporic folk religions with admixtures such as Hindu puja;
in other areas, Christians may include elements of Obeah in their religion—Obeah is associated
with the Spiritual Baptist church—and the word Obeah, although not the practice of
Obeah.
In Jamaica, slaves from different areas of Africa were brought into contact, creating some conflicts between those who
practiced varying African religions. Those of West African Ashanti descent, who called
their priests "Myal men" (also spelled Mial men), used the Ashanti term "Obi" or "Obeah" -- meaning "sorcery" -- to describe the
practices of slaves of Central African descent. Thus those who worked in a Congo form
of folk religion were called "Obeah men" or "sorcerers." Obeah also came to mean any physical object, such as a talisman or
charm, that was used for evil magical purposes. However, despite its fearsome reputation, Obeah, like any other form of folk
religion and folk magic, contains many traditions for healing, helping, and bringing about luck in love and money.
During the mid 19th century the appearance of a comet in the sky became the focal point of an outbreak of religious fanaticism and Christian
millennarianism among the Myal men of Jamaica. Spiritualism was at that time sweeping the English-speaking nations as well, and it readily appealed to
those in the Afro-Carbbean diaspora, as spirit contact, especially with the dead, is an essential part of many African
religions.
During the conflict between Myal and Obeah, the Myal men positioned themselves as the "good" opponents to "evil" Obeah. They
claimed that Obeah men stole people's shadows, and they set themselves up as the helpers of those who wished to have their
shadows restored. Myal men contacted spirits in order to expose the evil works they ascribed to the Obeah men, and led public
parades which resulted in crowd-hystreria that engendered violent antagonism against Obeah men. The public "discovery" of buried
Obeah charms, presumed to be of evil intent, led on more than one occasion to violence against the rival Obeah men.
Laws were passed that limited both Obeah and Myal traditions, but due to the outrages perpetrated by the mobs of Myalists, the
British government of Jamaica sent many Myal men to prison, and this, along with the failure of their millennialist Christian
prophesies, resulted in a lessening influence for Myalism, while Obeah remained a vital form of folk magic in Jamaica. By the
early 20th century, Myalism was considered a thing of the past, and Obeah dominated.
Obeah in the Virgin Islands
One aspect of Obeah with which many visitors to the Virgin Islands are familiar (although they may not fully comprehend it) is
the Mocko-Jumbie, or stilt dancer.
In the Virgin Islands Obeah tradition, a Jumbie is an evil or lost spirit, related to the
Kongo word Nzumbi, which led to the sensationalistic Zombies of Hollywood. Jumbie however, retains more of the word's original meaning. It is sometimes associated
with a child who has died before being baptized. Such a child is said to be
forced to forever walk the earth at night, and is easily identified by its backward-facing feet. The connection between the
Jumbie and death is extended into botany: Abrus precatorius, a species of tropical legume bears
deadly toxic red and black seeds called Jumbies in English-speaking regions of the Caribbean. By contrast, the Mocko-Jumbie of
the Virgin Islands is brightly colored, dances in the daylight, and is very much alive. The Mocko-Jumbie also represents the
flip-side of spiritual darkness, as stilt-dancing is most popular around holy days and Carnival.
Obeah in creative writing
Although 18th-century literature mentions Obeah often, one of the earliest references to Obeah in fiction can be found in 1800
in William Earle's novel Obi; or, The History of Three-Finger'd Jack, a narrative inspired by true events that was also
reinterpreted in several dramatic versions on the London stage in 1800 and following [1]. One of the next major books about
Obeah was Hamel, the Obeah Man (1827). Several early plantation novels also include Obeah plots.
The 20th century has seen less actual Obeah in practice, yet it still appears quite often in fiction. In the novels and
memoirs of Jamaica Kincaid there are several passages that mention Obeah. Furthermore,
Obeah is a healing power in Vampire The Masquerade, predominantly providing
healing powers, but it also provides martial power. Unburnable is a Caribbean novel that
offers an exploration of the influence of African religions and syncretic Catholicism, and a central character is reputed to be
an Obeah woman.
An Obeah woman is a sort of matchmaker in Earl
Lovelace's novel Salt.
Ma Kilman in Derek Walcott's epic poem Omeros is a
healer and uses Obeah.
The protagonist of the novel Brown Girl in the Ring by Nalo Hopkinson is an Obeah-woman in training, learning from her grandmother. She uses her abilities to
defeat an evil Obeah-man and his duppy.
African American singer, pianist and civil rights activist Nina Simone took on the role of "Obeah Woman" in the song of the same name which she performed live on
It is Finished (1974). She used this image of a powerful African witch, who "could hug the
sun, kiss the moon and eat thunder" to manifest her rage concerning the situation of African-Americans at the time.
The character of the former slave Christophine in Caribbean writer Jean Rhys's novel Wide
Sargasso Sea (1966) is a practitioner of Obeah.
See also
External links
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