Post 7 – Coursework Example

Interpretation of the Introduction to Mama Lola In the introduction to Mama Lola, Karen Brown characterizes the manner with which she comprehends participant observation. As she states, she met Mama Lola during the summer of 1978. At that time, she was attached at the Brooklyn Museum and he was working on an ethnography survey with a focus on the local immigration community of Haitians. Given the nature of her activity, she had to participate actively. She indicates that she had to “[photograph]…the…altars in the homes of Vodou priests and priestesses” (Brown 1). Thus, Mama Lola was the first spiritual leaders to be visited. During the visits she had to participate in the same activities that the Haitians performed. She also shows conditions on how it should be used in the portrayal of the religion of Vodou. The uses of such kind of participation include taking part in many of the activities that make up the Vodou religion. Additionally, the roles of kinship, family and reciprocity are expressed in relation to Vodou. They include earlier acquaintances that make it possible for introductions. In addition, it aids in the development of the trust that brings other numerous possibilities. The relationships made it possible for kinship to visit Mama Lola a number of times. As such, she got more privileges that include photographing the altars and several other elements used in Vodou. It also applies in personified spirits where the lithography was made of several images. One of the lithography is the image of “Saint Patrick with snakes at his feet” (Brown 3). These have both catholic and African names and represent the voudou spirits.
Works Cited
Brown, Karen. Introduction. In Mama Lola. California; University of California Press, 1991. Print