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Since 1994 Carole Demesmin, a renowned Haitian singer, has been living
in the Miami area. As is true with many of her artistic talents, her skill
in making pakèts kongo (magical charms) stems from her appreciation
of the creative expressions of Haitian folklore and the religion of Vodou.
Born in Leogane, Haiti, she early developed an interest in drawing and
designing. After being sent to Boston on a student visa, she began singing
and designing sets for a local Haitian theatrical organization. Her vocal
talents led her to the prestigious Berkeley School of Music, while subsequent
recordings and musical tours established her as one of Haiti’s premier
vocalists. She briefly attended the Massachusetts College of Art, but
was unhappy with the cultural discrimination toward her work. In the early
1980s she decided to return to Haiti to learn more about Vodou and other
folk traditions.
For the next ten years Demesmin studied the religion and its songs in
various temples. She became a manbo (priestess) and received her ason
(the rattle symbolic of her spiritual leadership) in her hometown of Leogane.
It was as a Vodou initiate that she learned the art of making pakèts
kongo. Pakèts serve largely as protection against negative forces
and are made by manbos and oungans (priests) for their clients. The name
evokes its connection to the Kongo people of central Africa. Demesmin
describes this connection as central: “If you look back, you can
see in many small ways that it was the Kongo tribe that tried to unite
all the different African tribes in Haiti.”
The exteriors of pakèts are decorated with cloth, satin, lace,
feathers and sequins, while the interiors are usually filled with sweet-smelling
herbs and medicinal leaves. The predominant colors used for a particular
pakèt depend on the lwa (spirit) being represented and the kind of protection
desired. Pakèts always retain the same round bottom shape, with arms akimbo
and feathers protruding from their heads. But individual creativity in
the dressing of pakèts leads to an endless variety.
In reference to an extra-large pakèt that she designed for the
lwa Ayizan (one of the oldest female divinities), Demesmin states: “She
is the mother of all the lwas, of the universe, and the protector of children.”
Her universality is captured by a rainbow of colored feathers attached
to a stick neck. A white cloth is wrapped around the body and the arms,
which are kept in their akimbo position with copper wire. After completing
the body, Demesmin dresses the pakèt with white chiffon, lace and cloth
flowers. Since songs and magical incantations always accompany the making
of pakèts, she sings and addresses her creation as a person. Demesmin
constructs pakèts as gifts for friends when requested and for her
own private use. “It’s our job to pass on life,” she states
“That’s why we make pakèts.”
— Joanne Hyppolite
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