While we still waited, the doctor and two other colored men called me into the next chamber, and wanted to be assured that it was my own name I had written on the register, and that I had no unfriendly intentions in being present. Their doubts at rest, all was ready.
The doctor squatted on one side of the altar, and his wife, a stout woman of darker hue, on the other.
“Commençons,” said the woman, in a low voice. All the colored people spoke French, and French only, to each other and in the ceremony.
The doctor nodded, bent over, and gave three sharp raps on the floor with a bit of wood. (This is the usual opening of Voudoo rites.) All the others rapped three times on the floor with their knuckles. Anyone coming in to join the circle afterwards, stooped and rapped three times. After a moment’s silence, all kneeled and repeated together in French the Apostles’ Creed, and still on their knees, they said two prayers to the Virgin Mary.
The colored woman at the side of the altar began a chant in a low, melodious voice. It was the weird and strange “Dansé Calinda.” A tall negress, with a bright, good-natured face, entered the circle with the air of a chief performer, knelt, rapped the floor, laid an offering of candles before the altar, with a small bottle of brandy, seated herself beside the singer, and took up in a strong, sweet voice the bizarre rhythm of the song. Nearly all those who came in had laid some little offering before the altar. The chant grew, the single line was enunciated in stronger pulsations, and other voices joined in the wild refrain,
“Dansé Calinda, boudoum, boudoum
Dansé Calinda, boudoum, boudoum!”
bodies swayed, the hands kept time in soft patpatting, and the feet in muffled accentuation. The Voudoo arose, removed his slippers, seized a bottle of brandy, dashed some of the liquid on the floor on each side of the brown bowl as a libation, threw back his head and took a long pull at the bottle, and then began in the open space a slow measured dance, a rhythmical shuffle, with more movement of the hips than of the feet, backward and forward, round and round, but accelerating his movement as the time of the song quickened and the excitement rose in the room. The singing became wilder and more impassioned, a strange minor strain, full of savage pathos and longing, that made it almost impossible for the spectator not to join in the swing of its influence, while the dancer wrought himself up into the wild passion of a Cairene dervish. Without a moment ceasing his rhythmical steps and his extravagant gesticulation, he poured liquid into the basin, and dashing in brandy, ignited the fluid with a match. The liquid flamed up before the altar. He seized then a bunch of candles, plunged them into the bowl, held them up all flaming with the burning brandy, and, keeping his step to the maddening “Calinda,” distributed them lighted to the devotees. In the same way he snatched up dishes of apples, grapes, bananas, oranges, deluged them with burning brandy, and tossed them about the room to the eager and excited crowd. His hands were aflame, his clothes seemed to be on fire; he held the burning dishes close to his breast, apparently inhaling the flame, closing his eyes and swaying his head backward and forward in an ecstasy, the hips advancing and receding, the feet still shuffling to the barbaric measure.
Every moment his own excitement and that of the audience increased. The floor was covered with the débris of the sacrifice—broken candy, crushed sugarplums, scattered grapes—and all more or less in flame. The wild dancer was dancing in fire! In the height of his frenzy he grasped a large plate filled with lump-sugar. That was set on fire. He held the burning mass to his breast, he swung it round, and finally, with his hand extended under the bottom of the plate (the plate only adhering to his hand by the rapidity of his circular motion), he spun around like a dancing dervish, his eyes shut, the perspiration pouring in streams from his face, in a frenzy. The flaming sugar scattered about the floor, and the devotees scrambled for it. In intervals of the dance, though the singing went on, the various offerings which had been conjured were passed around—bits of sugar and fruit and orris powder. That which fell to my share I gave to the young girl next me, whose eyes were blazing with excitement, though she had remained perfectly tranquil, and joined neither by voice or hands or feet in the excitement. She put the conjured sugar and fruit in her pocket, and seemed grateful to me for relinquishing it to her.
Before this point had been reached the chant had been changed for the wild canga, more rapid in movement than the chanson africaine:
“Eh! eli! Bomba, hen! hen!
Canga bafio té
Canga moune dé lé
Canga do ki la
Canga li.”
At intervals during the performance, when the charm had begun to work, the believers came forward into the open space, and knelt for “treatment.” The singing, the dance, the wild incantation, went on uninterruptedly; but amid all his antics the dancer had an eye to business. The first group that knelt were four stalwart men, three of them white laborers. All of them, I presume, had some disease which they had faith the incantation would drive away. Each held a lighted candle in each hand. The doctor successively extinguished each candle by putting it in his mouth, and performed a number of antics of a saltatory sort. During his dancing and whirling he frequently filled his mouth with liquid, and discharged it in spray, exactly as a Chinese laundryman sprinkles his clothes, into the faces and on the heads of any man or woman within reach. Those so treated considered themselves specially favored. Having extinguished the candles of the suppliants, he scooped the liquid from the bowl, flaming or not as it might be, and with his hands vigorously scrubbed their faces and heads, as if he were shampooing them. While the victim was still sputtering and choking he seized him by the right hand, lifted him up, spun him round half a dozen times, and then sent him whirling.
This was substantially the treatment that all received who knelt in the circle, though sometimes it was more violent. Some of them were slapped smartly upon the back and the breast, and much knocked about. Occasionally a woman was whirled till she was dizzy, and perhaps swung about in his arms as if she had been a bundle of clothes. They all took it meekly and gratefully. One little girl of twelve, who had rickets, was banged about till it seemed as if every bone in her body would be broken. But the doctor had discrimination, even in his wildest moods. Some of the women were gently whirled, and the conjurer forbore either to spray them from his mouth or to shampoo them.
Nearly all those present knelt, and were whirled and shaken, and those who did not take this “cure” I suppose got the benefit of the incantation by carrying away some of the consecrated offerings. Occasionally a woman in the whirl would whisper something-in the doctor’s ear, and receive from him doubtless the counsel she needed. But generally the doctor made no inquiries of his patients, and they said nothing to him.
While the wild chanting, the rhythmic movement of hands and feet, the barbarous dance, and the fiery incantations were at their height, it was difficult to believe that we were in a civilized city of an enlightened republic. Nothing indecent occurred in word or gesture, but it was so wild and bizarre that one might easily imagine he was in Africa or in hell.
As I said, nearly all the participants were colored people; but in the height of the frenzy one white woman knelt and was sprayed and whirled with the others. She was a respectable married woman from the other side of Canal Street. I waited with some anxiety to see what my modest little neighbor would do. She had told me that she should look on and take no part. I hoped that the senseless antics, the mummery, the rough treatment, would disgust her. Towards the close of the séance, when the