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Vodou drumming and ceremonies are inextricably linked in Haiti. While drumming does exist in other contexts in the country, by far the richest traditions come from this distinctly Haitian religion. As such, before one can come to play, appreciate, and understand this music one should view it in its religious context. Haitian Vodou is a henotheistic religion, although viewed by many Haitians as a cultural practice, widely practiced in the country of Haiti. Vodou as practiced in urban centres in Haiti and some cities in North America (especially New Orleans) is a ritualistic faith system that involves ceremonies that consist of singing, drumming and dancing. While certain aspects of this religion may share the same roots, it is completely contrary to the stereotype of black magic, witch doctors, pins in dolls, and zombies portrayed by New Orleans style ''Voodoo'' (a bastardization of the name). The many thousands of African slaves who were transported to Haiti in the 17th and 18th century were forbidden to practice their animistic religions and were forced to accept the Catholic Church. Over time, they disguised their belief in many gods or spirits by assigning Catholic saint names to each one of them, so they could tell their oppressors that they were worshiping saints. A similar process occurred with the slaves of Cuba who created the religion of Santeria. In fact, Candomble in Brazil, Obeayisne in Jamaica, and Shango in Trinidad were all examples of this religious transformation. Even though Haiti became independent during a slave uprising in 1804, (the only successful slave revolt in modern history), Vodou continued to be practiced in different ways by different communities around the country. It remains the most prominent religion in the country to this day. ==Loas and nanchons== Vodou rites are done to call upon spirits, called Loas (or Lwas), for their aid, instruction, special powers and strengths. Loas are ancestral spirits who have become abstracted through the generations to become embodiments of certain principles or characteristics. A great feast is often prepared to entice the Loas to attend. Practitioners of the religion wear white clothes and are assisted by Ougan and Manbo (male and female Vodou priests, respectively) to become “possessed” by the loas. Through singing, dancing, and particularly the music of the drums, spirits come to “ride” their mortal hosts. The analogy of someone riding, and thereby controlling, a horse is given as an explanation of this phenomenon. The word Chwal (from the French cheval) is used to describe one who is “being ridden”. Spirits impart wisdom and direction through their chwals for the servants of the faith. The loas are divided up into several nanchons (from the French ''nations''), families of spirits from the same ethnic group and/or serving a similar function. The most prominent nanchons are Rada, Nago, Djouba, Petwo (also written Petro), Kongo, Ibo, and Gède. Traditionally each one of these nanchons would have had particular rites, rhythms and adherents. They even would have had their own drums that were unique to that nanchon to call upon its loas. These drum sets are known as ''batterie'' (from the French for “set of drums”). Today, due to economic constrictions and social and geographic changes, the drums from the Rada batterie are the most common, with the Petwo drums also extant. Below is an overview of the several nanchons, the qualities and origins of their laws, and the rhythms and dances associated with their rites. Rada - 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Haitian Vodou drumming」の詳細全文を読む スポンサード リンク
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