from SAVALOU E,
or A WORD TO THE WISE
(IS ENOUGH)
Vodoun songs compiled by Rachel Beauvoir and Didier Dominique
Translated from Haitian by Boadiba and Jack Hirschman
INTRODUCTION
In November of 2007 I was invited to Haiti for the centennial celebration of the life of the great poet and founder of Haiti’s first Communist Party, Jacques Roumain. It was Franck Laraque, the brother of the late poet Paul, whose work I had translated from both Haitian and French, who suggested my name to the planned colloquy on Roumain. At the very first event I had a chance to meet Rachel Beauvoir who, with her husband Didier Dominque, wrote Savalou E, which was published in Haitian by Les Editions du CIDIHCA in Montreal in 2003.
I actually had met Rachel previously, though not in person, in Wade Davis’ book about zombification in Haiti, The Serpent and the Rainbow, in which she, a young student and daughter of a well-known houngan, Max Beauvoir, accompanies Davis on many of his encounters. Now she was some 20 years older, a mambo (vodoun priestess) herself, a graduate of both Tufts University and Oxford University, and very much respected as a Haitian intellectual.
Before I left Haiti, after witnessing a vodoun ceremony in her father’s temple, Rachel presented me with a copy of Savalou E. She knew by that time that I was interested in that dimension of vodoun known as “secret societies”, of which she is herself somewhat of an authority, and which is the basic concern of her and Didier’s book.
Once back in San Francisco I contacted my co-translator of Haitian texts, the Haitian American poet, Boadiba. Bo was an acquaintance of Rachel and knew of her book and had thought of translating it, but didn’t have a copy of it. Rachel has sent her one and she is immersed in translating the prose sections.
When I perused the book, I realized that the vodoun songs/exhortations/poems that are interspersed throughout the book form a rather enchanting sequence of poetry in themselves and I set about to translate them. When I was finished my notations I contacted Boadiba and she went over each song-poem text, providing the “real” setting for the poem and consigning me---as she always does---to the role of a scribe----with pleasure.
To questions that perplexed us both and about which it was necessary to write Rachel, she responded promptly and with thoroughness, and the footnotes to the poems will reflect her clarifications completely.
For example, with the title of the book, she writes that “in Vodoun langaj, Savalou E means in French “a bon entendeur, salut” which translates into English as “a word to the wise (is enough)”. Also, some background info on the term is that Savalou is a key town in the North of Dahomey, which historically stood in resistance to the slave trade and the big kingdoms that engaged in it. It was the gate to Mahi land, where the people were chased to be put into slavery. Conquering Savalou was always an element of key militant strategy.”
This bit of poetic project is intended solely to evoke vodoun at the level of the secret societies, a kind of night-writing that takes place in the mouth of song during the rituals of the drum and the dance. The particular historical contexts of these works will be illuminated when Rachel’s and Didier’s book is completed in its translation by Boadiba.
Jack Hirschman San Francisco, 2008
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I’M WORKING IN THE RAVINE OF MEN
SO IT’S POOR THAT I AM
BUT THEY STEAL MY SHOES MY SHOES MY SHOES MY SHOES
JUDGE JUDGES MY RIGHTS IN COURT
O LORD GOD
MAKE ME FIND MY SHOES
THESE PEOPLE SAY THEY’RE BOUJIES
O THEY SAY THEY’RE THE BIG GUYS
THEY’RE STEALING THE SHOES OF THE POOR
PLEASE PLEASE
MAKE ME GET MY JUSTICE
O MY FATHER I’M A GROWN-UP
I’VE ALREADY BEEN UP FRONT, O WHAT’LL THEY DO TO ME?
I TALK TO THEM, THEY DON’T LISTEN TO ME
I BUY MY DAGGER, I PAY FOR IT
I’M ALREADY FRONT UP, WHAT ARE THEY
I’M HITTING THE ROAD
WHEN THEY’RE TALKING, BAZOU MENEN*
THEY DON’T DARE SAY MY NAME THAT WAY, BAZOU MENEN
IT’S ME THEY CALL BREAK & PASS THROUGH, BAZOU MENEN
IT’S ME THEY CALL KING OF FETISHES, BAZOU MENEN
PAPA GAO**, O LORD, PAPA GAO
JATTIBWA***, HELP THE GANGA****
*Chief loa (spirit) of the Kongo escort. **Short for Figao, the founder of the clan.
***Another loa (spirit). ****Another spirit, called “the wild one”.
REMEMBER, FIGAO, REMEMBER
YOU WHO KNOW THE GAO CLAN
IT’S YOU WHO ARE THE FORMIDABLE ONE OF THE REGIME
POW!
SPIRIT OF THE MAKAYA* WE BEGIN
SPIRIT OF THE MAKAYA WE BEGIN
SPIRIT OF THE MAKAYA WE BEGIN
GO TELL THE BARON
YOU’LL TELL THEM WE BEGIN AT THE END OF GOD IN THE PETRO*
W
O
O
O
O
O
O
WE BEGIN AT THE END OF THE GOD IN THE PETRO!
*Generic term for secret society rituals, ie., night rites
**Dance rhythm; also category of vodoun deities
IT’S US
IT’S US
O IT’S US
WHAT WE SEE HERE
WE WON’T BE ABLE TO SPEAK OF
WHAT WE SEE HERE
WE WON’T BE ABLE TO SPEAK OF
O IT’S US
WE’RE GOING TO PASS ON THROUGH!
IT’S US NIGHTOWLS
O
IT’S US
WE’RE PASSING THROUGH TO SEE THEM!
IT’S US NIGHTOWLS
O
IT’S US
WE’RE PASSING THROUGH TO TAKE THEM!
IT’S US NIGHTOWLS
O
IT’S US
SOSO BENWA*
GRENADIER BENWA
SOSO BENWA
GRENADIER BENWA
THE BOY CALLED KAN
WHO DIED
IT’S US BIRDS IN THE WOODS
WE’LL PASS RIGHT ON THROUGH THEM MARINES AND FLY AWAY
IT’S US BIRDS IN THE WOODS
WE’LL PASS RIGHT ON THROUGH THEM MARINES AND FLY AWAY
IT’S US BIRDS IN THE WOODS
IT’S US BIRDS IN THE WOODS
WE’LL PASS RIGHT ON THROUGH THEM MARINES AND FLY AWAY
IT’S US BIRDS IN THE WOODS
WE’LL PASS RIGHT ON THROUGH THEM MARINES AND FLY AWAY
*Benwa Batravil reactivied Bizango secret societies in the midst of guerrilla
warefare he led against the American occupation in the 1920s
WHEN WHEN O LORD WHEN WHEN
LOVELY WOMAN SEE WHAT THEY’VE DONE TO US
MY WAY HAD THE PEACE OF TRUST
THEY CAME IN AND SHOOK IT UP
WHEN WHEN O LORD WHEN WHEN
I CAN’T SPEAK, CREOLE’S EATEN MY REASON ALL UP
SPIN WE’RE GONNA SPIN THEM AROUND
MY BEAUTIFUL DEAR FRIEND
IT’S GOOD THEY’LL SEE SOMETHING
A WOMAN WHO WEARS THE CHARM
SHE’S THE RELATIVE OF THE TWIN BOYS
THAT GUY WHO CARRIES THE FETISH
O HE’S RELATED TO SHANPWEL
I SAY LOA, WE’RE SUMMONING UP THE LOA
THE LAW OF SHANPWEL
I SPEAK TO THE FETISH WE CALL ON THE CHARM
O IT’S A MARTIAL TALISMAN
MARTIAL LAW IS A LAW THAT’S ALWAYS GOING ON
IN THE ARTIBONITE ALL WOMEN TURN INTO VLENBEDENG*
ON THE OTHER SIDE OF LES CAYES, SEE WE TURN INTO NIGHTOWLS
SPIN WE’RE GONNA SPIN THEM AROUND
TURN WE’RE GONNA TURN THEM
THE SHANPWEL CHARM KNOWS US…
*Another secret society
WHO GOES THERE?
GOES…
IT’S US
IT’S US
O IT’S US
WHAT I SEE THERE I CAN’T SPEAK OF
WHO GOES THERE?
GOES…
WHO GOES THERE?
GOES…
WHO GOES THERE?
IT’S US THE 6TH BATTALION THAT’S GOING TO CELEBRATE
WHO GOES THERE?
THE POOR INSULTING THE POOR
WHO GOES THERE?
IT’S IN THE WOODS IT’S IN THE WOODS IT’S IN THE WOODS WE EAT
WHO GOES THERE?
IN THE BIG WOODS IN THE BIG WOODS WE’RE GONNA HAVE DINNER
WHAT WOODS?
THE WOODS
HMMM! HERE’S WOOD!
WOODS
WOOD IN THEWOODS
WOOD
WOOD OF ALL WOODS!
WOOD
HMMM! HERE’S WOOD!
WOOD
IT’S THE BEAST
WOOD
HMMM! HERE’S WOOD!
WOOD
WHAT WOODS?
WOOD
WOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO!
THEY THREATEN ME
THE SPIRITS
THEY THREATEN ME
THE SPIRITS
THEY THREATEN ME, HEY OH
HEY OH
THE SHANPWEL SPIRITS CLIMBED ON MY BACK, HO-HO
SHAMPWEL CHARM*
A BLOODY GUY TOOK A DAGGER TO STAB US
HEY OH
THEY WON’T BE ABLE TO TOUCH ONE HAIR ON OUR BACKS
HEY OH
O THE SPIRITS THEY THREATEN
I’LL EAT THE CHILD IN MY HOUSE
LET ALONE THE NEIGHBOR’S
HA-HO
GOODSPIRIT
HA-HO
SPIRIT SPIRIT
CHAMBERLAIN CHANGO**
O IT’S SPIRIT
I’LL EAT THE CHILD IN MY HOUSE
LET ALONE THE NEIGHBOR’S
AND MILITON PANDJAPA***
MILITON PANDJAPA
I’M WAITING FOR YOU IN THE CEMETERY
*Pwen & Gad are two forns of charms. Pwen often is a small rock in a small satchel
amid other elements. Gad is often a marking on the body.**Name of a Bizango variant
of Shango, another charm.***Probably a spirit-name in the Kongo language.
MY GROUP’S OUT AND ABOUT, MY SOCIETY’S CIRCULATING
I DON’T KNOW MY OWN MOTHER WHO MADE ME
MY GROUP’S OUT AND ABOUT, MY SOCIETY’S CIRCULATING
MOTHER OF CHILDREN LET’S GIRD OUR LOINS
CROSSROADS THAT SAYS
IT’S EYES THAT SEE, BEWARE THE YAPPING MOUTH
CROSSROADS THAT SAYS
IT’S EYES THAT SEE, BEWARE THE YAPPING MOUTH
O I SAY ONE
O I SAY TWO
UP TO THREE O
THE GUYS ARE BENT ON KILLING ME
WHEN THEY GET TO THE OTHER SIDE THEY ASK FOR MY NAME
THEY SAY THEY DON’T KNOW MY NAME
THE SACRIFICE A LITTLE GUY HAS TO MAKE
TO BE LED TO THE MAGIC OF THEIR FATHER
O GAD LENGLESOU*, O I’M CALLING FOR THE BASIN OF BLOOD
THEY JUST SEE ME, THEY DON’T KNOW ME
*Lenglesou is the major spirit of the Dahomey nation. Gad Lenglesou refers to the
Petro/Bizango Lenglensou, the same spirit considered in its martial aspects.
O HELP HELP
O HELP HELP
O HELP HELP
O HELP HELP
O SEE HOW I CARRY THE COFFIN OF MY PAIN ON MY BACK
O SEE HOW I CARRY THE COFFIN ON MY HEAD
CROSSROAD OF THE FORMIDABLE ONE OF THE MASALA BAND**
I’M GONNA SEE MY MOTHER
MAKAYA
I’M GONNA SEE MY MOTHER
IT’S MY MOTHER WHO MADE ME
YES SPIRIT
SHE CAN’T BETRAY ME
O WHEN I’M WORKING
O DO I FEEL BEAT
O RED-EYED OGOUN
O THEY LEFT ME IN THE STREET
THE SPIRIT’S CALLED INNOCENCE
HURRY HURRY HURRY
THIS LIFE’S NOT THE SAME
AS LIFE LONG AGO
THE PEOPLE SAY THEY’RE WICKED
THEY’RE NOT AS WICKED AS ME
THE PEOPLE SAY THEY’RE MEAN
THEY’RE NOT AS MEAN AS ME
EVERYONE’S BAD IN TAKING CARE OF THEIR OWN BUSINESS
IF YOU’RE NOT THAT, DON’T SAY YOU ARE
IF YOU’RE NOT THAT, DON’T SAY YOU ARE
IF YOU’RE NOT THAT, DON’T SAY YOU ARE
DON’T COME BULLSHITTING
UNDER THE SPIRIT’S ARBOR
IT’S STUMBLING I’VE STUMBLED, I HAVEN’T FALLEN YET
STUMBLE I’VE STUMBLED, I HAVEN’T FALLEN YET
IF YOU DON’T SEE ME EATING PEOPLE, IT’S ‘CAUSE I DON’T WANT TO
CEMETERY, THE BARON TELLS ME HE WON’T MAKE THEM WELL AGAIN
O LORD
WHEN THEY’RE SICK THEY RUN TO THE BARON’S HOUSE
WHEN THEY’RE TREATED THE BARON ISN’T A HEALER ANYMORE
WOW, THE TALISMAN
CEMETERY, TH BARON SAYS HE WON’T EAT THE PEOPLE ANYMORE, WOW
THE SPIRIT,
WHEN THEY NEED ME THEY COME RUNNING TO FIND ME
WHEN THEY DON’T NEED ME
O THE BARON’S THE DEVIL
WOW, THE TALISMAN
IF I TAKE A CHILD I’LL LET HIM GO
BUT IF TAKE AN ADULT, POW-POW
KAWOULO, KAWOULO*
IF I TAKE AN ADULT…
* Name of the spirit Ezili Kawoulo, the fierce Ezili who headed the revolutionary Bwa Kayiman ceremony.
O JOHN ZOMBI, YES KING
LEAD ME AWAY
O JOHN ZOMBI, YES KING
LEAD ME AWAY
I DON’T DRINK ROTGUT, I DON’T DRINK ALCOHOL
THAT’LL MAKE ME DO SILLY THINGS IN THE TEMPLE OF THE LOAS
LEAD ME AWAY, O JOHN ZOMBI, YES KING
LEAD ME AWAY
COME SEE, FIRST QUEEN, COME SEE
COME SEE, FIRST QUEEN, COME SEE
COME SEE, FIRST QUEEN, COME SEE
WHAT WE’RE LIKE
O MAKAYA*, MAMBO ST, HELEN
O MAKAYA, MAMBO ST. HELEN
IT’S YOU WHO GIVES ME THE COFFIN OF MY PAIN
SO I CAN FIND MY BALANCE IN THE COURTYARD
O YAY
THE DAY I’M PISSED OFF
THE DAY I’M PISSED OFF
THE DAY I’M PISSED OFF
I’LL BARF UP MY BLOOD FOR THEM
*Here, night rites of the secret society.
IT’S MY TIME, IT’S MY TIME
IT’S MY TIME, IT’S MY TIME
CHAMELEONS LAY EGGS
LIZARDS HATCH
IT’S MY TIME, IT’S MY TIME
JOHNNY YOU GOT NO FEET
JOHNNY YOU GOT NO HANDS
HOW’D YOU CLIMB THE COCONUT TREE
CEMETERY
OPEN THE GATE LET ME PASS THROUGH
CEMETERY
OPEN THE GATE LET ME PASS THROUGH
CEMETERY
THE RAIN’S NOT FALLEN YET THE GROUND IS SLIPPERY
LET ME PASS THROUGH
PASSING TRAVELLER
WAIT FOR ME HERE, I WON’T TELL YOU ANYTHING
I WON’T RUN AFTER YOU
I WON’T TRY TO EAT YOU
BUT LATER ON
YOU’LL HAVE FORGOTTEN SOMETHING
YOU’LL TURN AROUND TO RETURN
THEY’LL TAKE YOU TO BIZANGO*
*Important secret society.
BIZANGO WHICH SENT TO SUMMON ME
THE SOCIETY WHICH SENT TO SUMMON ME
O QUEEN OF SHANPWEL
THE DEVIL WANTS TO EAT ME
NOTHING NOTHING CAN DO US IN
IN FRONT OF OUR PRESIDENT
NOTHING CAN DO US IN
IF WE’RE HUNGRY, WE’RE HUNGRY AT HOME
IF WE’RE NAKED, WE’RE NAKED AT HOME
IN FRONT OF OUR PRESIDENT, NOTHING CAN DO US IN
O PRESIDENT THEY SAY YOU’RE SOLID
BUT THERE’S MAGIC WITHIN THE COURTYARD
WHEN THEY RECEIVE THE CHARM IN ORDER TO SERVE OUTSIDE
WHEN THEY’RE FACING THE CHARM TO USE IT TO SERVE OUTSIDE
WHEN WE’RE DROWNING, WHOM TO CALL? TO WHAT BRANCH
CLING?
WHEN WE’RE DROWNING, WHOM TO CALL? TO WHAT BRANCH
CLING
THE GAD* IS MY GUARD
I BUY IT WITH MY OWN MONEY IN FRONT OF
GOD
I GO TO MARKET, THE GUARD’S BEHIND ME
I GO TO THE INTERSECTION, THE GUARD’S BEHIND ME
THE GAD IS MY GUARD
I BUY IT WITH MY OWN MONEY IN FRONT OF
GOD
*The word comes garde-corps, and colonial literature is replete with references
to these “body preservers” that the African slaves possessed to protect themselves.
THE MAKANDA*, THE BIZANGO
WHEN THE SPIRIT LEAVES, WHAT WILL KEEP THE HOUSE TOGETHER
TI KLIS**FREES SENDONE***INTO THEIR HANDS
INTO THE CHARM OF A HOUNGAN FROM SOMEWHERE ELSE
IN ORDER TO KEEP THE HOUSE TOGETHER
O PRESIDENT OF SHANPWEL, SAVE THE CILD
SAVE THE CHILD’S LIFE
WE’RE ASKING FOR THE LIFE OF THE CHILD
O WE’RE ASKING FOR THE LIFE OF THE CHILD
O ORESIDEBT OF SHANPWEL SAVE THE LIFE OF THE CHILD
YAWEH YAWEH****
*One of the names of Societies. **The major protective spirit (gad or pwen)
of ***Sendone, who was a powerful Bizango leader in the Leogane region.
****Pronounced as the Hebrew Yaweh.
GOD DIED AND ROSE ON SATURDAY
IT’S WE WHO ROT IN THE EARTH
THE KING OF THE LOAS SAYS
THE KING OF THE LOAS SAYS
WHAT GOD’S ASKING FOR
IS RARA*
IS RARA
WHAT GOD’S ASKING FOR
IS RARA
THE ONE REGRET I HAVE
I DON’T KNOW WHERE I BURIED MY MOTHER
YALANDE YALANDE**
IT’S ME OF THE ZANTRAY***
YALANDE YALANDE
IT’S ME OF THE ZANTRAY
O BIG RED UNCLE
TAKE IT EASY TAKE IT EASY
I’M LITTLE GORIY O
TAKE IT EASY TAKE IT EASY
HA!
SINCE I CAME FROM BIZANGO
KIDS DON’T UTTER MY NAME
KELE KEL BANBI AY MINAN
LOOK AT ME COME FROM BIZANGO
KIDS WON’T UTTER MY NAME
KELE KELE BANBI AY MINAN
DAWI WAY MINAN BLENG
DAWI WAY MINAN BLENG
*A rural Mardi Gras **Probably a spirit (unknown)***A secret society.
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