- Titles: Master of the Cemetery, Lord of the Dead
- Also known as: Bawon, Samedi, Bawon Sanmdi, Baron Saturday, Baron Sandi
- Colors: Black, also red and purple
- Day: Saturday
- Numbers: 3, 7, 21
- Classification: Lwa
- Consort: Madame Brigitte (Maman Brigitte)
- Venerated in: Haitian Vodou, Louisiana Voodoo, Folk Catholicism
- Feast: November 2
- Patronage: Death, tombs, gravestones, cemeteries, dead relatives, obscenities, healing, smoking, drinking, disruption, spirits
Baron Samedi is one of the loa of Haitian Vodou. He is the leader of the Barons and possibly the Gedes. He presides over a sprawling, confusing, complex clan of spirits. When people speak of the Baron, they tend to mean Baron Samedi. Baron Samedi literally means Baron Saturday, which may sound innocuous compared to Baron Cemetery, or Krininel, but Saturday was the one day when Christ was really truly dead, the day between the crucifixion on Friday and resurrection on Sunday. On Saturday, even Jesus must answer to the Baron, Lord of the Dead.
Baron Samedi is Grand Master of the Celestial Masonic Lodge of Vodou Spirits, a thirty-second degree initiated Mason. He is invoked to contact and communicate with the dead. He determines whether they can come visit or not. He may be petitioned to remove bothersome ghosts and invoked to ward off death.
He is noted for disruption, obscenity, debauchery, and having a particular fondness for tobacco and rum. Additionally, he is the loa of resurrection, and in the latter capacity he is often called upon for healing by those near or approaching death, as it is the only Baron who can accept an individual into the realm of the dead.
Baron Samedi spends most of his time in the invisible realm of vodou spirits. He is notorious for his outrageous behavior, swearing continuously and making filthy jokes to the other spirits. He is married to another powerful spirit known as Maman Brigitte, but often chases after mortal women. He loves smoking and drinking and is rarely seen without a cigar in his mouth or a glass of rum in his bony fingers.
Baron Samedi can usually be found at the crossroads between the worlds of the living and the dead. When someone dies, he digs their grave and greets their soul after they have been buried, leading them to the underworld.
He is a powerful healer and is especially sympathetic to terminally ill children. Baron Samedi rules the cemetery: no one can die until he gives permission for their grave to be dug. Baron Samedi is lewd, obscene, and vulgar, but he can be just and kind. He prefers that children live full lives before joining him in the cemetery.
Baron Samedi is the crossroads where sex and death meet. Spirit of the undying life-force, he may be petitioned for fertility. He is the guardian of ancestral knowledge and the link to your ancestral spirits. If one lens keeps popping out of your dark glasses, the Baron may be seeking your attention or offering his patronage.
Baron Samedi is syncretized to Jesus Christ as they share the symbol of the cross. It is possible that Baron Samedi’s associations with the cross may pre-date christianity. In Congolese cosmology, the cross is the symbol of the life cycle: death – birth – rebirth. He may also be syncretized to Saint Expedite, and with Saint Martin de Porres.
Syncretized means to attempt to unite and harmonize especially without critical examination or logical unity.
Baron Samedi manifests as an older, dark-skinned man in formal attire, dressed completely in black. He wears a black top hat, black suit, and may be smoking one of his beloved cigars. He wears impenetrable black sunglasses.
- The glasses may be missing a lens because he possesses two kinds of vision: he simultaneously sees the realms of the living and the dead.
- Alternatively his glasses have but one lens because a penis has but one eye and the phallus is his attribute (and because he loves sexual humor and innuendo.)
He is usually depicted with a top hat, black tail coat, dark glasses, and cotton plugs in the nostrils, as if to resemble a corpse dressed and prepared for burial in the Haitian style. He has a white, frequently skull-like face (or actually has a skull for a face), and speaks in a nasally voice. The former President for Life of Haiti, François Duvalier, modeled his cult of personality on Baron Samedi; he was often seen speaking in a deep nasal tone and wearing dark glasses.
- Favored People
Children; women seeking to conceive; funeral workers; grave diggers; those whose work brings them into contact with death.
Connection to other loas:
Baron Samedi is the leader of the Guédé, loa with particular links to magic, ancestor worship and death. Samedi is a loa of the dead, along with Baron’s numerous other incarnations Baron Cimetière, Baron La Croix, and Baron Kriminel. These lesser spirits, all dressed like the Baron, are all as rude and crude, but not nearly as charming as their master. They help carry the dead to the underworld.
Working with Baron Samedi
- Iconography: Baron Samedi’s throne is a chair chained to a cross. Images of Darth Vader are supposed to represent him (or just to decorate his altar; he likes toys)
- Attributes: Coffin; phallus, skull and crossbones; shovel; grave; black sunglasses; cross
As well as being master of the dead, Baron Samedi is also a giver of life. He can cure any mortal of any disease or wound, if he thinks it is worthwhile. His powers are especially great when it comes to vodou curses and black magic. Even if somebody has been afflicted by a hex that brings them to the verge of death, they will not die if the Baron refuses to dig their grave. So long as this mighty spirit keeps them out of the ground, they are safe.
He also ensures that all corpses rot in the ground to stop any soul from being brought back as a brainless zombie. What he demands in return depends on his mood. Sometimes he is content with his followers wearing black, white or purple clothes or using sacred objects; he may simply ask for a small gift of cigars, rum, black coffee, grilled peanuts, or bread. But sometimes the Baron requires a vodou ceremony to help him cross over into this world.
Black coffee, plain bread, dry toast, roasted peanuts. He drinks rum in which twenty-one very hot peppers have been steeped. Cigars, cigarettes, dark sun glasses, Day of the Dead toys, the sexier and more macabre the better; raise a skull and crossbones pirate flag for him, beautiful wrought-iron crosses are crafted in his honor.
The veve or symbol for Baron Samedi is as follows:
Sources: Wikipedia and Encyclopedia of Spirits
Bona Dea (“The Good Goddess”) was a divinity in ancient Roman religion. She was associated with chastity and fertility in women, healing, and the protection of the Roman state and people. According to Roman literary sources, she was brought from Magna Graecia at some time during the early or middle Republic, and was given her own state cult on the Aventine Hill.
Bona Dea was worshipped only by women. In fact, the presence of a man at rites in her honor were a sacrilige. May 1 was the annual, state-sponsored festival to Bona Dea at her temple. In early December, there was another private festival as well.
Her rites allowed women the use of strong wine and blood-sacrifice, things otherwise forbidden them by Roman tradition. Men were barred from her mysteries and the possession of her true name. Given that male authors had limited knowledge of her rites and attributes, ancient speculations about her identity abound, among them that she was an aspect of Terra, Ops, the Magna Mater, or Ceres, or a Latin form of Damia. Most often, she was identified as the wife, sister or daughter of the god Faunus, thus an equivalent or aspect of the nature-goddess Fauna, who could prophesy the fates of women.
The Good Goddess was a patron of the good of the earth and of chastity and fertility in women, she was invoked for healing and for freedom from slavery. Many of her worshippers were freed slaves and plebians, and many were women seeking aid in sickness or for fertility. She was also considered a protector from earthquakes.
Bona Dea was sometimes depicted with a scepter, vine leaves, wine, and a serpent, usually curled around her arm. Sometimes she was depicted seated, holding a cornucopia. Her image appeared on many coins.
The temple to Bona Dea in Rome stood over an overhanging rock, or cave, and both serpents and healing herbs are associated with the cave. The temple contained many kinds of healing herbs and snakes (both associated with medicine). Men were not allowed in her temple or at her festivals, nor were male animals.
The temple was decorated with vine-branches, and other plants and flowers (although myrtle was not permitted). Wine was served, but it was referred to as “milk” and the jar in which it was served, a “honey-pot.” A sow was sacrificed to her at the ritual.
Another ceremony was held in December in honor of the Bona Dea. The rites were conducted annually by the wife of the senior magistrate present in Rome in his home. She was assisted by the Vestal Virgins. The December rite was interesting because unlike the festival in May, it was not held in the goddess’ temple, not paid for by the state and the night of its celebration was not fixed. Unlike the May celebration, the December ceremony was an invitation only affair and pretty exclusive.
The celebrations for the Bona Dea seem to have been in the nature of a mystery cult. Men were strictly forbidden and the details that we have of the ceremony are from a late source, Macrobius. The worship seems to have been agricultural in origin and the careful exclusion of myrtle (associated with flagellation) may actually suggest origins as a purification ceremony.
In the year 62 BCE, the celebration was held in the home of Julius Caesar, then praetor and Pontifex Maximus, on December 3rd. His wife Pompeia and his mother, Aurelia, were in charge. A notorious Roman politician, Publius Clodius, dressed up as a woman and sneaked into the house. He was eventually caught by Caesar’s mother and kicked out. The ceremony had to be performed anew.
Caesar divorced his wife over it (claiming even she had to be above suspicion). Publius Clodius was sued and at his trial Cicero blew his alibi. The two became mortal enemies over the affair. The rites seemed to have fallen into disrepute over the events, and by the early empire, Juvenal suggested that it was nothing but a drunken orgy for girls.
Dagda is the most prominent God of Celtic Mythology, leader of the Tuatha De Danann (Irish race of Gods of Mythology). He is identified with the Weish Gwydon and the Gallic Sucellos.
His titles and attributes:
- Mighty Red One
- Groat Knwdelle
- Ruler over Life and Death
- God of Time and Protector of Crops
- The Good God and Ollathir (All Father)
- God of Earth and Treaties
- Master of Magic
- Fearsome Warrior
Chief of the Tuatha Dé Daan, oldest of the Celtic deities, Dagda literally means “the good god.” What was his real name? That information may be reserved for initiates or he may be so old, no one knows any longer.
The Dagda is a spirit of magic and abundance. He is the tribal All Father, deity of the Druids, Lord of Regeneration, provider of plenty, Captain of Abundance. He is the Lord of New Grange. His children, Brigid and Angus Mac Og, are among the most powerful and beloved Irish deities. He plays the role of ideal father for his devotees.
The Dagda’s barrow (sidhe) features an inexhaustible supply of drink, three trees that always bear fruit, and a pig that is always alive, even though it’s slaughtered and consumed daily. He may be the prototype of the Grail King. The Romans identified him with Hercules.
The Dagda is the master of paradox. Incredibly wise and powerful, he’s uncouth and bumbling too. He’s an old, bald, fat, sloppy guy, but he’s a sex master too, a fertility spirit renowned for virility and sexual prowess. The Dagda engages in the Great Rite with great goddesses like the Morrigan and Boann.
- Mount: A black stallion named Ocean
- Sacred Day: On Samhain, the Dagda performs the Great Rite. On a day otherwise associated with death, the Dagda creates new life.
- Offerings: Oatmeal, porridge, mead, Irish whiskey, poteen
A big, bald, bumbler with a beer belly; the Dagda wears a rustic tunic that no longer fits him. It’s too short for him, barely covering his buttocks and periodically exposing them. Don’t be fooled by his appearance. The Dagda only plays the fool; he’s brilliant, wise, and powerful. Furthermore, although it’s his posterior that’s mockingly discussed in myth, at least in the surviving ones recorded by Christian priests, tunics don’t only ride up in the back.
He was traditionally portrayed wearing a brown tunic that reached his hips, letting his huge penis drag while walking, a hooded cape that covered his shoulders and horse boots.
Dagda was commonly believed to be a crude and comical God. Some characteristics of The Good God, were his super strength, his insatiable need for women and food. He is a phallic deity, master of fertility and abundance. He was also a skilled artisan.
This God had various precious possessions:
- A cauldron with unlimited food supply called Undry.
- A living oak harp named Uaithne that he used to summon the seasons.
- An iron cub that could kill nine men with one side and bring them back to life with the other side.
- Three trees that always bear fruit.
- A pig that is always alive, even though it’s slaughtered and consumed daily.
The Dagda, a master harper, has a repertoire of magical songs:
- Those that make him invisible on the battlefield.
- Songs to seduce people into sex or foolish behavior, against their better judgment.
- And music of Sorrow, of Joy and Dreaming.
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