Category Archives: Week 13: Mami Wati and African Mermaids

Week 13: Mother Nature and Mother Water

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In the penguin reading for this week, “African Mermaids and Other Water Spirits”, I was very intrigued with the description of the female water spirit, Yemoja—the mother of the river spirits and thunder gods. But her role is much larger, spanning the world beyond Africa, as her legend and story spread during the transatlantic slave trade. She is referred to as “Mother of Fish” and “Mother Water” and is often “associated with family, women, motherhood, and the arts.”

This made me think about something we talked about earlier this semester in my Gender, Science, and Technology class. When we gender natural forces or just the natural world, such as calling nature female, then we can view the feminine as nurturing, but also as violent or irrational. The term “Mother Nature” is often endearing and allows us to frame the globe we live on as a gentle provider, fertile and forgiving. The same can be said for the idea of a water goddess, or “Mother Water.” A deity of great power, beauty, and fluidity. Eventually, she was used as a symbol of hope and comfort to victims of an international slave trade. A God to worship on water when the sea becomes like a battlefield.

However, it is also common for Mother Nature/Water to be seen as violent and brutal. Exploding into storms and not holding back. I guess that a God remains a God whether they are worshiped or feared. It seems that the word “mother” brings both comfort and distress. No matter what, the power of the word “mother” is very telling to the way in which we interpret motherhood and the lifeforce that women hold.

What A Powerful Women!

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Ti Jeanne was a super interesting read, especially because Maman Dlo is woman who cares so much about the environment and about women. For instance she enchanted Ti Jeanne into living with her and serving her forever after with the benefit of “…a fishtail…was to become one of the most beautiful of the fairy maids, playing with the other river spirits and protecting the forest, its waters and pools for a long time to come.”(276) Very much like Maman Dlo, her purpose in life will be to protect the environment. That was the ultimate gift that she could receive, her grace towards the natural world was expressed in her newfound beauty as well. As Ti Jeanne’s “…chemise fell from her, her hair grew long, covering her round shoulders and her bare breasts…” She was left in her natural state, naked, only to be covered with her now long hair. Hair holds a lot of power on its own, especially long hair as it is can be seen as a form of dedication and divinity in spirituality. Maman Dlo has not only brought a new purpose of life for Ti Jeanne but she replicated it in her physical attributes as well. This shows the level of trust she has in Ti Jeanne to take her under her wing, truly an empowering moment.

In the end, we learn that being with her for the rest of her life is not always a gift. Considering, “Mortal men who commit crimes against the forest, like burning down trees or indiscriminately putting animals to death or fouling the rivers, could find themselves married to her for life, both this one and the one to follow.”(277) There is a mention of the after like as it states “both this one and the one to follow.” If I’m understanding correctly, that would mean that Maman Dlo will be apart of the after life with the human being. Very different from other mermaid stories that we have read where mermaids are not part of the after life and become one with the water. This is an example of the strength that comes from an angry woman, not in a “women’s emotions are hard to control” kind of way but a form of power. Especially coming from a non-human being that is surpassing the after life just to continue punishing the human being for their lack of compassion to anyone or anything else but their kind.

Week 13 reading response

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Regarding the short story of Aganju and Yemaja from The Penguin Book of Mermaids and how Yamaja death/life is a sacrifice for birthing life and multiple dieties, due to her spreading water on earth. This only occurred from being pushed to the extreme because her son raped her and was chasing her. Yemaja was overcome with fear for her life having to potentially face her son again ,“Then her body immediately began to swell in a fearful manner, two streams of water gushed from her breasts and her abdomen burst open”(169). It plays into a patriarchal role that Yemaja’s death had to occur for life to jumpstart and for the environment to thrive, given that she is “the goddess of brooks and streams, and presides over ordeals by water”(168), she seems to have had all-mighty powers that weren’t used to defend herself. Another factor that embraces a patriarchal side is that Orungan, a male, noticed a clear amount of power imbalance between the two, when alone he felt he had “liberty” of Yemaja’s body without her consent. Takeaway from this story is that when men see a far more powerful woman in their presence, their need to control and tame their uninhibited nature is strong, and make them their subject, which leads to women getting abused and reinforcing gender roles and harmful patriarchal ideas.

Water: Union of Humanity and Nature

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The story of Yemaja in “Aganju and Yemaja” explains the origin of the world through the female body. Her body functions not only as a physical form but also as a channel that creates the world and gives birth to gods. In other words, her body becomes a medium that connects the boundary between humans and nature. The physical violence toward Yemaja is described as, “The streams from Yemaja’s breasts joined and formed a lagoon, and from her gaping body came the following…” (p.169). Her body, though wounded, becomes another passage through which the natural order is born.

The phrase “streams from her breast” contains both maternal and natural images. The breast is not simply a part of the body but a means through which life is sustained. However, in this passage, the breast goes beyond its human function of nurturing to become the source of the natural ecosystem itself. The streams flowing from Yemaja’s breast represent the life force of nature, and water becomes a central image of creation. Water is essential not only for the survival of human beings but also for maintaining the balance and circulation of the natural world. Therefore, the water flowing from her body shows that human life and the ecosystem share the same origin. Through this, Yemaja’s body can be read as a medium that connects the worlds of humans and nature.

Moreover, the gods born from her body, such as “Dada (god of vegetables), Shango (god of lightning), Ogun (god of iron and war), and Olokun (god of the sea)”(p.169) symbolize the fundamental principles of nature. In this sense, her body is not merely a site of birth but functions as nature itself, organizing the order and life of the world. Especially as the ‘Mother of Fish’(p.168), Yemaja represents the circulation of water and the source of life. The water that flows from her body symbolizes the ongoing movement of nature and the continuous renewal of life.

Ultimately, Yemaja’s body bears traces of violence yet simultaneously embodies natural vitality and order. Her body becomes a sacred space where destruction and creation coexist that shows a symbol of origin in which the worlds of humans, nature, and the divine are united.

African Water Spirits – The Relationship with Humanity

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Within the Section of “African Mermaids and Other Water Spirits” we are told that the Water spirits of Africa are “far from being relics of the distant past…” and rather continue to be “strikingly relevant to those who believe in them.” Through this, the author dismantles the belief that myths and legends are not just history to be repeated, but that history is a concept that is continuing to be created. 

The stories regarding African Gods and Goddesses bear striking resemblance to the tale associated with the Greeks or Romans. The mythical beings responsible for overseeing different domains, the balance of everything that is and ever will be on Earth. In observance, as we see how the centuries have gone on and people have moved from plain to plain, the legends have become lost, unused, and lacking in relevance in modern times. And yet – the same can not be said for these spirits and Gods of African culture. The connection between “real life” and fantasy is a thin veil crossed in these regions. Natives report sightings of aquatic monsters, visions we have only dreamed or read about, appearing in the wild. They halt research and construction. They are responsible for the ill-doings of man. 

This relationship between the marine spirits of the domain and human kind continues to be explored by African communities. While we in the Western hemisphere have moved away from the unknown of myths and fantasy, the peoples of these nations have stable and strong connections with the Gods and Goddesses from the worlds of their long – ago ancestors. Their presence is not a sign of a new age, a revelation – but rather a sign of a faith remaining stable in a developing world away from legends. A fight to recognize what has always been in front of us, even if we choose to ignore what we do not wish to see. These communities do not run from these encounters, yet speak of them as if they were true. These spirits are integrated into their everyday lives and language, connected to an aquatic world many of us have forgotten.

Water as a Respected Entity

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In this week’s reading, there is an exploration of the history of water spirits along with modern day African culture and their beliefs in mermaids. In Caribbean culture Maman Dlo or “Mother of Water” is described as terrifying in her anaconda form, but equally bedazzling and enchanting in her human form. She also beholds the power to transform humans into water spirits, often times beautiful maidens to assist her in protecting the water. Maman Dlo’s existence is a personification of nature, her role as a guardian of nature is one that commands respect. She elicits fear in many with her serpent form, towering seven feet long and punishing men who damage and pollute the water with marriage instead of death. Through marriage I could imagine that the men must learn to respect nature and learn its way. Marriage is a way of combining two souls together, through this unity the men who have initially disrespected the environment must develop a deeper connection with it through their forceful marriage to the Mother of Water.

It’s interesting how Maman Dlo is portrayed as a figure that contains multitudes, she is fierce but kind to those who honor her. Beautiful and powerful. It is unlike the western mermaids that we have learned of so far that appears to be one dimensional in character (Christianity and their monsterification of mermaids and sirens being symbols of evil and temptation). Western mermaids inherently paint human connection to our environment to be dangerous. Maman Dlo is neither of those things, instead she serves as a protector of the waters, a reminder that it is to be respected.

Week 13: Maman Dlo’s Gift

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This story felt so much like an alternative version of Adam and Eve, where Eve chooses of her own volition to leave the garden, or forest, to join man. Wherein Eve in her story is secondary to Adam, here he is almost absent, and is an intruder upon her home, her forest, and is a spark of her curiosity.

As a response to her worship, Maman Dlo offers her a gift, a comb for her hair “made of shell and silver(p.279).” Maman Dlo’s gift is like a telephone, which opens communication between the young women and the Oriye. Her comb reminded me of Gabrielle Tesfaye’s seashell headphones that she plugged into the sand, in “The Water Will Carry Us Home.” This gift, the ability to listen and understand, is not one given lightly; her follower, the young woman who receives the gift, shows a deep appreciation for the forest and the spirits of the water.

Through the song of the comb, she learns Maman Dlo’s name, her sister’s name, and they share with her “the sirens’ song of the sailors who had dashed to death upon the rocks at Saut d’Eau, and learned not to dread the deafening silence of the forest.” This connection teaches her about the history of the water and builds upon her respect for it.

Maman Dlo’s treatment of her young follower is like that of a mother, not just because she is a female spirit/deity, but because she communicates with her followers directly and, in a sense, does not abandon them. Although she can no longer hear Maman Dlo, Maman Dlo can hear her prayers through the comb and answers them

Maman Dlo offers women a view of religion and nature that speaks to them, about love, connection to nature, and separation from the rules and laws of men. Maman Dlo offered her follower the greatest gift of all, a history and a community among women. Her fall from grace with Maman Dlo comes from her defiance, and her punishment, by rejoining the world of men, is no longer being connected with the siren song. However, what was beautiful about this story is that despite having been separated from the siren song, Maman Dlo still came to her aid. This story’s focus on water as a form of connection is important because it offers a feminine perspective of bodies of water and humans being connected for the better, when humans endeavor to treat it with respect

Water Spirits as History

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In the section titled “African Mermaids and Other Water Spirits” from The Penguin Book of Mermaids, the authors highlight the idea that these water spirits are part of a long history and become a way to learn more about African culture. By looking to water spirits as a way of gaining knowledge about a community, it de-centers the Eurocentric view of learning as something that has to be scientific and come from a traditional historical account.

What stood out to me specifically was the description of the Yoruba people of West Africa and that “When the Yoruba peoples were captured during the transatlantic slave trade, they brought their worship of Yemoja [the water deity] with them” (Penguin 166). Rather than simply seeing the water deity Yemoja as being “associated with family, women, motherhood, and the arts” (Penguin 166), she becomes interlaced within the pain and suffering that many of the Yoruba and West African peoples were subjected to by colonial powers. Her migration from West Africa across the Atlantic Ocean can then be seen as a testament to the forcible movement they faced as they kept the belief alive through the continuation of her memory for many generations. She essentially allowed them to keep their heritage and connection to the homeland during a time of increased stress and torment. Subsequently, Yemoja is a figure who provided comfort at a time when Yoruba people were being treated as if they were not human, and oftentimes did not have many ways to cope with the lack of humanity that they were given. By looking at Yemoja as not just a water spirit but as a chronicle and archive of the history of the Yoruba people, she becomes a historical figure that allows us to dive deeper into a narrative that is frequently silenced due to a lack of traditional historical knowledge.

Looking at water spirits as a method for learning about a culture is then significant because it moves away from a Eurocentric perspective that views history as something that is visible and concretely recorded. This moves mythologies away from a fictional realm and into a historical realm by acknowledging that these myths and beliefs are based in reality and come from lived experiences that are significant to a culture. We can then use these myths as a way to bridge the gap between a western account of history and those who are left out of those written and preserved accounts of events.

Respect for Nature

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“Ti Jeanne” presents a complete reversal of the roles typically painted of European water spirits. The Caribbean Water Spirit Maman Dlo chastises Ti Jeanne for her vanity, for admiring her reflection: “Whose that looking at herself?… vanity, vanity, my child.” Depicting the human as the one with vanity instead of the hybrid reiterates that this is a human trait. Not one that is learned from outside influences or from unnatural beings, but one that is inherent. When Ti Jeanne beholds the mother of water she is fearful. But she is not fearful of the “other”, Ti Jeanne is fearful of her possible offence to nature: “For the girl knew that punishment awaits the one who offends the forest creatures, the plants or the animals” Maman Dlo calls for the respect of nature, instead of a justification for conquering nature, like we have seen in other western mermaid stories. Maman Dlo punishes those who disrespect it. Not just the women, but the men too, “mortal men who commit crimes against the forest, like burning down trees or indiscriminately putting down animals… could find themselves married to her for life.” The Caribbean story still incorporates tales of intermarriage, like Western mermaid depictions, the men marrying the water spirit. But this intermarriage inflicts control upon men rather than the water spirit, opposed to what we have seen in traditional Western mermaid stories. The reversal of control in intermarriage reflects the reversal of the lesson from the story. Instead of asserting man’s dominion, Caribbean mermaid and water deities punish those who attempt to dominate nature. These deities reflect the value of an ecocentric society as well as the need for cultural exploration.

The Emotional Spirit of Water

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In African Mermaids and Other Water Spirits, the line that I thought that interesting was the description of Yemoja as “associated with family, women, motherhood, and the arts.” I thought that this sentence shows how deeply connected she is to the idea of care and creation. When I read this, I thought about how the author makes Yemoja more than just a goddess, she becomes a symbol of the emotional side of nature. The text also says her name means Mother of Fish, which makes the connection between life and water feel even stronger. Fish depend on water to live, and by calling Yemoja their mother, the story gives the river a sense of love and responsibility, as if nature itself were alive and caring for what it creates.

Also, I liked this text how it personifies water as something emotional and human. In many modern views, nature is treated as something to control or use, but here, water has feelings, it can protect, nurture, and even react. Yemoja’s image as a mother connects to this emotional side of water. She reflects comfort and creation, but also the unpredictability of emotions. Just as water can be calm or stormy, Yemoja represents the complexity of how humans feel. Through this line, the text makes me realize that water and emotion are not separate, they both move, change, and affect everything around them.

Another detail that stood out to me is that Yemoja continues to be honored in many places. I thought that this shows that her image travels beyond one culture or location, flowing like the water she represents. Even if people interpret her differently, the emotional meaning remains. It was interesting how a single symbol, water as a mother, can connect so many people across different parts of the world.

For me, Yemoja’s description reminded me that myths are not just old stories, they are ways to understand what it means to feel and to live in balance with nature. Yemoja’s gentle but powerful image that can help us to see water not only as a physical need but as something emotional that connects humans to the world around them.