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Pact-Making in Palo & Bakongo Religion

February18,2016

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WrittenbyLeonardo(http://vocesmagicae.com/author/leonardo/)

Over these past winter months I have

dug deep into my personal spirit work. My
focus has been on the ancestors and through
them Ive been led back to the Afro-Cuban
traditions that were sprinkled onto me as a
child. I have thus been exploring these
paths and, in particular, the tradition of Palo
Mayombe. However, let me be crystal clear.
I am writing this post purely as a research
piece and although I have been accepted into
a Palo house and am learning about the
tradition, I am neither initiated nor do I
have any experience working Palo.
I dont intend to give a detailed description of
the history and practices of Palo. For those
interested in learning more, I have attempted
to provide a good number of references in
the footnotes below. To highlight a few, I
highly suggest the webpage PaloMayombe.com (http://palo-mayombe.com)
run by Eric Colon and Christopher D.
Bradford together with Nicholaj de Mattos
1
Frisvolds Palo Mayombe: Garden of Blood and Bones. Todd Ramn Ochoas Society of the Dead is
also a fantastic read and ethnographic account despite it focusing more with how Palo society functions
in current post-revolution Cuba and within an extremely syncretized religious culture. 2 These are some
of the best resources I have come across written in English by initiated priests of the religion. Each of
the sources has its own merit and each also speaks to very different branches of the religion ranging
from the orthodox Palo Mayombe of the Pinar del Rio highlands of Cuba to the more
popular mpungo and Catholic saint oriented forms of Briyumba and Kimbiza. 3
Palo is a living initiatic tradition passed orally from teacher to initiate, and thus it can only be
understood within the context of a spiritual lineage or branch (rama) and the house (munanso ). Each
will have their own set of secret teachings, taboos and techniques through which they interact with the
spirit and natural world. It is thus impossible to provide a complete description of the tradition as the
beliefs and practices will vary between locations and the individual Tata or Yaya Nkisi (Father or
Mother of Spirits) we can at best only provide a broad overview of the shared foundation.
All manifestations of Palo hold a belief in a singular creator (Nzambi) and the ability to work with
spirits (Nkisi)4 in an animistic landscape. This core ideology originates with the traditional religions of
the Bakongo people of the central African coast and thus Palo is identified as Regla-Kongo. But despite
this Congolese foundation, Palo as we know it today was born in the highland wilderness of
Cuba when escaped Bakongo slaves came into contact with the indigenous Caribbean people. 5 Indeed,
the preference of using cauldrons (calderos) as the prenda, nganga, or fundamento over the traditional
Congolese fetishes was likely influenced by the native Caribbean practice of keeping the bones of
ancestors in baskets and pots. This funerary practice was at the heart of the local religion as

the primordial spirit-gourd of the

indigenous creation story. 6
Despite some later and highly syncretic
forms, Palo Mayombe has nothing to
do with the Yorubaland Lukumi
religion (Ifa, Ocha, Santeria). 7 Palo
stands on its own as a practical magical
religion centered on the ancestors
(bakulu) and making pacts and
working with the spirits of the
landscape (basimbi)8 and the dead
(nfumbe). 9 This animism of the
natural world is at the heart of the
tradition together with the ability of
the Palero to establish direct spirit
relationships, and it is through these
relationships that the authority and
license to work the tradition is granted.
This spirit-fueled approach to magic
and the focus on pact-making 10 is
shared with other African diasporic
religions as well as the magical
practices of the PGM 11 and traditional
folkloric forms of witchcraft and the
spirit
conjurations
of
western
12
13
14
grimoires.

Congolese Nkisi fetish, 19th C. DRC

There are many forms of pacts in Palo,

from the initial blood-pact of the ngueyo (new initiate) to those made by the Tata or Yaya with their
nganga and nfumbe and the various pacts made with the spirit of trees and plants to produce healing
and hexing medicine/workings (bilongo ). 15 16
To further examine the role of pact-making, we will explore an ethnographic account of the ritual
elements, evocation and process of making a pact with the mpungo (named force/spirit of nature)
known as Kadi a Mpemba (alt. Kadiampembe, Lukankazi, or Lugamb). Mpungo/u is a complicated
term in Palo as it has been mixed to mean saint or some other anthropomorphized spirit. Most of the
commonly known mpungos in Palo (i.e. Zarabanda, Siete Rayos, etc.) refer to the Nkisi of specific
locations in Cuba that developed into their own cult and took on a life of their own. 17The definition of
named force/spirit of nature is an attempt to provide a neutral definition and is in-line with the
original meaning of mpungu in Kikongo.

Kadi a Mpemba is often translated as and equated to the western Devil , particularly in more
christianized lineages of Palo where Nzambi is understood as the Abrahamic god. Thus from a
Christian perspective, this account is nothing less than a pactum diabolicum a core tenant of
traditional forms of witchcraft and western magic. However, such definitions are the result of Palo
viewed through the lens of external religious beliefs Palo Mayombe has nothing to do with these
definitions or the worldview in which they operate.

The rama of Palo Mayombe that arose in the Pinar del Rio highlands has maintained some continuity

with the Nkisi cults from the Mayombe region in the Cabinda province of modern day Angola. 18
This has been discussed in depth in the seminal Ta Makuende Yaya y Las Regla de Palo Monte 19 and
more recently by Ralph Alpizar in his Palo Mayombe. El Legado Vivo de Africa en Cuba. 20 His
ethnographic account of the practices of traditional Kikongo religious practitioners in both Angola and
the Democratic Republic of the Congo not only shed light on the role of Kadi a Mpemba, but further
highlight the importance of pact-making in congolese spirit work and its diasporic manifestation in
new-world Palo.
In a cosmological account from Cabinda, Kadi a Mpemba is the son of Mbi (Evil) and Luffa (Death),
the grandson of Ngonde (the Moon) and Tia (Fire), and the great-grandson of Muini (Sun) and Ntoto
(earth/ soil). He rapes Lufuanesu (harmony/balance) to generate Biawonsono (the primordial material
world) that is in turn destroyed by Nzambi to create the sensible world we live in today. As such Kadi a
Mpemba is a vital albeit volatile and antagonistic force in the cosmology. 21

Congolese Cosmogony from Cabinda

Kadi a Mpemba or Lukankazi as he is known in Haitian Palo is if not outright feared most
definitely highly respected and treated with extreme caution. 22 While he is lord over the Ndoki (raw
power) and the bringer of mbi (evil), we should be clear that this is not to be understood within the
moral dualism of Christianity or any other religious tradition outside of Palo. Ndoki has several
definitions that will vary according to the branch of Palo, and for some it is another name for Kadi a
Mpemba. For the more Catholic-influenced branches and in modern Kikongo, ndoki is a reference to
something dark and dangerous often simply meaning dark spirit. Mayombe and the practitioners of
traditional Bakongo religion; however, explain Ndoki as raw power and force, the possessor of which
is capable of commanding spirits and the ancestral dead. 23 The Kikongo word mbi describe the
negative force that accounts for unpredictable changes in nature and our daily lives. Thus, anything that
disturbs, restricts, or changes nature or inverts a pre-established order is an act of mbi attributed to
Kadi a Mpemba, from an unexpected storm to a prolonged drought. 24
This ability to effectively act against structure and order is fundamental as no other force or spirit is
endowed with this power not even the creator Nzambi as this would entail acting against ones own
nature. Yet, this ability to invert and counteract the natural progression and state of things is the very
power represented by Kadi a Mpemba. It is in many ways the epitome of sorcery and magic and is the
power by which both hexing and healing are made manifest. 25 This is what makes him so powerful,
dangerous, and alluring for those seeking supernatural power. In both Cuba and the Congo it is
attested that those who have made this pact successfully have gained the power of spirit-flight and
shapeshifting, two acts that like Kadi a Mpemba effectively break away from the physical laws of nature.
26

Such sorcerous abilities and the power that come with it are undoubtedly some of the principle reasons
that one would pact with Kadi a Mpemba, these are however not the only ones. According to Tata
Nfuku, one of Alpizars principle informants, For real protection, one needs to form a pact with Kadi a

Mpemba this is to ensure that his Ndoki recognize you and do not cross you with their nzalas. Other
Tatas state that great riches and political power can result for those who are willing to risk and make the
pact. 27 His other informant, Tata Nge states In order to form a pact with him you must speak with
him and he with you, everything must be agreed upon clearly and the pact is signed with blood, for he
does not understand anything else.
The following is translated from the chapter Bisambulu bia Kadi a Mpemba in Alpizars book and is
based on his own observations of pact-making rituals in Africa and in Cuba and from his conversations
with his primary African informants Tata Nge and Tata Nfuko. 28 To my knowledge this is the first
translation into English and I take full responsibility for any errors.
Note that Alpizar uses the term unganga to refer to the material object through which the practitioner
interacts with Nkisi rather than the terms nganga, prenda or fundamento commonly used in the
Americas. Additionally, the tern Tata Ngagna or simply Nganga refers to the practitioner himself. This
is the original meaning of nganga in Bantu Kikongo as sorcerer, healer, or one who poses the
knowledge and ability to interact with the spirit world; only later in Cuba was the term applied to
specifically mean the cauldron or vessel housing Nkisi. It is a testament to the core animism of the
religion that there is no distinction between the practitioner and the tools of his craft just as Nkisi refers
equally to the spirit and the physical object occupied by the spirit.
This is a fascinating account both from an anthropological and ritualistic perspective. Practitioners of

grimoire magic will undoubtedly find many similarities to the practices from the firmas (spirit
signatures, sigils) to the overall format and structure of the ritual. 29 30 In particular, there are some
interesting commonalities between this rite and the pacts of the Le Veritable Dragon Rouge and the

Grimorium Verum group of grimoires. 13 32 Not that we are to assume any direct relationship between
this rite and the grimoires, but instead highlight some common protocols used to interact and pact with
the spirits specifically those identified as of a more trickster and nefarious nature. The care and
importance placed on the spirit of the magical tools is to be noted as well as the treatment of the
sacrifices, the nuances of the stone circles and the demarcation of ritual space. These together with the
timing (lunar phase and night) and the polarizing of directionality (both cardinal and left/right)
structure the phenomenological experience through a symbolic language of rather familiar principles.
With no further ado, I leave you with the translated account and hope that you find it as fascinating as I
did.
It has to be at night during the waning crescent or new moon. The Tata Nganga must find a
virgin area in the forest one that has never been cultivated and it should practically
inaccessible so that it cant be stumbled upon, this is extremely important: if someone interrupts
the ritual once it has begun it could result in the death of the Tata Nganga, the intruder would
have to be sacrificed to salvage the situation.
The Tata Nganga approach this rite with utmost severity, for nothing must go astray.
Aside from the one making the pact, it is necessary to have another Tata Nganga as a helper, this
person should have already made the pact himself and should of course belong to the same
Nkanda tribe, Munanzo or religious lineage -, he will be the only active participant in the rite.
The other Tata Ngangas who attend will be spectators, unless the one making the pact decides that
there must be additional witnesses, incase Kadi a Mpemba does not uphold his end of the deal!
Exclaims Tata Nge.

33

However they should only be there to prepare the ritual and protect the Tata Nganga who is
making the pact, at the moment of truth, they must leave him alone with Kadi a Mpemba, if
things go well, great, if not, the helping Tatas wipe their hands clean; and, there should never be
more than seven in total. Adds Tata Nfuko.
The rite begins by choosing a location, a virgin forest, never or hardly trodden and well hidden;
crags and caves are also appropriate locations. Three large trees are chosen, they should be
somewhat dry or even decaying and be more or less in a straight line or a least as close as possible
to each other. In the case that the chosen venue is a cave, three large rocks are used instead to
delineate the altars.
It is best if the central one is an old Ceiba the African baobab notes Tata Nfuko.
The Ceiba tree is of particular importance in the African religions. Almost without exception
wherever this tree is found, it is bestowed with important magical and cultic qualities. They are
believed to be inhabited by the most esteemed ancestors of the community. The African species is
particularly large and beautiful, and also has the distinct ability to regenerate any part of its trunk
that has been worn and aged. We can assume that this ability to regenerate together with its
longevity add to the magical value of the Ceiba. There is no doubt that in Cuba, the Ceiba
together with the Royal Palm are of extreme importance in local folklore and beliefs.

The earth around the roots of the trees are exposed by sweeping away the leaf-litter and foliage
under the chosen trees. The altars are set up on the western bases of the trees, according to Tata
Nge , they take on the following forms:
Seven paces from the central tree a nine foot circle is made with twentyone stones. The circle should be as round as possible and the earth
flattened and cleaned so that it is smooth and level. Within the circle the
symbol pertaining to this altar is drawn in white clay (Fig. 12); this is
done after the stones have been washed in an ablution of herb-infused
water, and carefully placed around the circle. The stones are then covered
with a mixture of white clay, ashes from a dried hornets nest, and of
Fig. 12

course vunji a powder made from the inner covering of the bamboo.
A large stake is hammered into the center of the circle and a goat is tied
to this stake with the rope around his neck.

The goat should be bearded and have large horns, he should be

black very black Tata Nge emphasizes. Beneath the left-most
tree, and at the same distance as the central circle, another circle is
made but this one only with seven stones (these are also bathed in
the herb-infused water and covered by clay), the inner diameter of
this circle is six feet, within it the corresponding sign is drawn with
powdered red ocher (Fig. 13). Here a large bonfire is lit with piles of
dried wood collected beforehand. One must ensure that the bonfire
will last throughout the night, it cannot go out for even the
slightest moment during the ritual.

Fig. 13

Fire is the only thing that can dominate the power of Kadi a
Mpemba when he manifests, if the fire goes out, he can leave the
central circle and eat you alive, you wouldnt be the first, nor the last, who doesnt conclude this
rite alive warns Tata Nfuko.
Before lighting the bonfire, a black hen and rooster are sacrificed to the stone circle as the sun sets
behind the horizon. The heads must remain slightly attached to the bodies and the bodies are cut
open down the center and placed atop the wood so that when the fire is lit the meat will cook and
eventually burn, for the smell of charred meat attacks Kadi a Mpemba.
The altar beneath the tree to the right is composed of the same circle as
that of the left, but in its center the magical symbol is drawn in powdered
coal (Fig. 14). At its base a large stone is placed atop which all the
offerings for the pact will be placed together with the elements of the
unganga of the Tata Nganga that will act as the witness and those of the
Tata Nganga who will be making the pact, this is to empower and give
faith to the ancestors of what will transpire.
The pact-offerings to Kadi a Mpemba will vary according to the Tata
Fig. 14

Nganga who makes the pact. Basically, it is an animal with whose blood
the pact with Kadi a Mpemba will be sealed; however, as I have been
told, the animal chosen is a secret very closely guarded that nobody
reveals. The animal is kept in a sack so that it cannot be identified by any

of the other human witnesses. It can be any of a number of animals such as a rat, toad, serpent,
owl, vulture, dog, cat, etc. There is no restriction as to what animal is chose to form the pact since
it is to be an offering of particular meaning to the Tata Nganga making the pact. In Cuba, the
common practice was to use a black cat for this rite, perhaps it is from these rites that this animal
became associated unfoundedly so with diabolical rites and black magic. Im aware of one
unganga juda [not containing a cross] in the area of Pina del Ro in which a jutia conga (Cuban
hutia) was used for its creation, and it is rumored to have been used for extremely effective hexes
up until the death of its owner.
Once the preparations for the Uatala ceremonial altars are concluded, another ablution is
prepared with twenty-one herbs gathered from the surrounding forest, these are dried and used to
bathe all the stones of the three altars and all the participants in the ritual. Afterwards, a small goat
and three cocks are sacrificed to the elements of the unganga belonging to the Tata Nganga who
is making the pact, these are located on the right-most altar. One by one the animals are held
against the central stone of the altar and while reciting the pledge to Kadi a Mpemba their heads
are cut in one clean stroke with a machete dedicated solely for this rite. After their blood is drained
over the magical implements, their bodies without their heads are thrown outside the circle so that
the helping Tata Nganga can prepare them for the summoning. The magical tools are propitiated
for long periods with songs, ceremonial drums, libations, candles and other ritual items.
The objects and items that formulate the connection to the ancestors are also fortified and purified
so that they can in turn empower the Tata Nganga during the ceremony. It is at this time that the
ancestors are acknowledged and asked for their support and approval. Needless to say, their
approval is an indispensable requirement for the efficacy of the ritual. After the sacrifice, all the
magical elements are completely covered by the feathers of the roosters and white clay so that they
cannot be seen. Here, the logical magic of the Mayombero intervenes, if Kadi a Mpemba sees any
of the magical implements of the Tata Nganga while he is materialized, he can annihilate them or
influence them with his own energy. Among the magical implements that can be included as
witnesses to the rite are the Nkisi that symbolize the magical hierarchy and lineage of the Tata
Nganga (among other things containing the tibia bone of some important tribal dignitary), the
Npaka, Matadi and other Mpungo that represent the rank and power of the Tata Nganga, even his
entire Unganga may be present.
Three long paces from the central circle, a cross is drawn in white clay.
In the two top quadrants two of Kadi a Mpembas sigils (Fig. 15 & 16)
are drawn in red-ochre and next to each of them are placed clay
cauldrons. The cauldron to the right contains the organs and feet of all
the sacrificed animals cooked in the bonfire, and the one to the left
contains the remains of the herbal ablution mixed with the remaining
blood of the sacrificed animals.
The remains of these animals are dismembered, dressed in palm oil,
Fig. 15

seasoned, prayed over and staked around the bonfire to be barbecued and
later eaten by the participants. Any leftovers will be burnt in the bonfire.
In the back-left quadrant of the cross the libations, candles, cigars and

other offerings used throughout the ritual are placed so that the Tata Nganga has them at hand
when necessary. Lastly, the Tata Nganga making the pact sits in the back-right quadrant to call

forth Kadi a Mpemba. The other Tatas who have come as witnesses
sit behind him further to his right where they act as a chorus to his
songs and prayers and play the ritual instruments.
It is at this time that the one making the pact must demonstrate his
knowledge and ability, as Kadi a Mpemba must be called with
authority to appear without delay. There are times when he will
indicate that he is not interested in making the pact, but the wise
Tata knows that this a strategy he uses to gain advantages in the
negotiations. While the Tata Nganga is singing and praying, he
take pieces of the viscera of the sacrificed animals from the right

Fig. 16

cauldron and dips them in the fluids of the left cauldron. These are
thrown at the goat in the central circle while invoking Kadi a Mpemba to manifest. One can also
go towards the goat and hit it and even mutilate it by cutting one of its horns, eyes, tongue, or
ears and throw these parts into the fire while praying. However, one must be very careful to not
kill the goat as the pain-ridden bellows of the animal attract Kadi a Mpembe as nectar does bees.
Upon manifesting, one is to interact with Kadi a Mpemba as equals and the pact is to be made as if
it where negotiations between two mortals.
The songs must not stop, each of the Tata Nganga will take turns keeping the chants rotating
from eldest to youngest until Kadi a Mpemba manifests. If he does not appear prior to dawn, it is
best to leave the invocations for the following night. The pact process may take several days, and
once begun it cannot end until the pact is made.
Kadi a Mpemba will manifest inside the central circle. More than likely he will assume a form that
is quite unpleasant for the Tata Nganga in order to intimidate him. The Tata Nganga must
convince him that he does not fear him and make the pact proposition clearly and concisely. It is at
this time that the pact-animal that has been kept hidden inside the sack is sacrificed. Prior to the
sacrifice, all the assistants must leave the ritual area and go far enough away to where they cannot
hear anything that is being spoken, they will only return once the Tata Nganga making the pact
calls them back with a predetermined drum beat. After the pact is sealed and Kadi a Mpemba has
left, the assistants are called back, the goat is burned atop the pyre while all the attendants dance
around the ritual altars in a serpentine path zig-zagging between them while reciting the prayer to
Kadi a Mpemba one last time.
At sunrise following the night of the pact, the ritual area must be disassembled. The clay cauldrons
are broken into pieces and these together with all the stones used in the altars and the ashes from
the bonfire are scattered around the forest floor in places where the mid-day sun will shine its light
onto them. The rays of the noon sun effectively neutralize the lingering negative energy.
Immediately after this, the participants are bathed and purified with a white rooster and another
ablution of potent herbs collected by one of the assistants. After the purifications, the white rooster
after beings passed over the bodies of all the participants, is buried in the same place where the Tata
Nganga was seated during the ceremony. Never again do any of the participants return to this site,
at very least they will wait several years before returning to ensure that all of Kadi a Mpembas
influences have been neutralized.

Notes

1. Nicholaj de Mattos Frisvold. Palo Mayombe: The Garden of Blood and Bones. (Scarlet Imprint
(http://scarletimprint.com/), 2010)
2. Todd Ramn Ochoa. Society of the Dead: Quita Manaquita and Palo Praise in Cuba (Berkeley, CA
: University of California Press, 2010)
3. See the discussion of Palo lineages in Frisvold pp 115-125
4. The Kikongo word Nkisi means both spirit and fetish, or object inhabited by a spirit. See
https://en.wikipedia.org/wiki/Nkisi (https://en.wikipedia.org/wiki/Nkisi) and references.
5. Eric Colon. ATR / DTR Why am I bringing this to the forefront (http://www.palo6.

7.

8.

9.
10.

11.
12.

13.
14.
15.
16.

mayombe.com/2015/02/13/atr-dtr-why-am-i-bringing-this-to-the-forefront).
Eric Colon. Palo Mayombe creating the creole consciousness within the land of the Antilles, South
America, Caribbean Islands, and the United States through its own native cultures
(http://www.palo-mayombe.com/2013/07/22/palo-mayombe-creating-the-creole-consciousnesswithin-the-land-of-the-antilles-south-america-caribbean-islands-and-the-united-states-throughits-own-native-cultures).
While we find many Paleros who may also be practicing Santeros and Babalawo; the two religions
function independently of each other. The linking of the religion of Palo to Santeria is a huge
misconception perpetrated by such misinformed writings as Gonzalez-Wipplers book on Santeria
that portrayed Palo as the dark side of Santeria. See Nicholaj de Frisvold Mattos. The Light of
Palo Mayombe (http://www.starrycave.com/2010/11/light-of-palo-mayombe.html). See also
http://www.palomayombe.com/articles/palo-mayombe-the-dark-side-of-santeria/
(http://www.palomayombe.com/articles/palo-mayombe-the-dark-side-of-santeria/).
Christopher D. Bradford. Basimbi Part 1 (http://www.palo-mayombe.com/2015/03/16/basimbipart-1/). And, Christopher D. Bradford. Basimbi Part 2 (http://www.palomayombe.com/2015/05/21/basimbi-part-2).
Christopher D. Bradford. Nigromantic Putrefaction of Western Alchemy and Palo Mayombe in At
the Crossroads. (Scarlet Imprint (http://scarletimprint.com/), 2012). pp. 144 -151.
Pacts form a binding agreement between two or more parties; in our case, the ritualist and the
spirit(s). They can be as formal as a document to work together sealed in blood and by the spirits
signature or simply a verbal agreement and an offering or sacrifice in exchange for a task. Nothing
is given for free. All of nature functions in this manner. If we want the land to produce crops,
we exchange labor and water for its harvestthis a pact a covenant- that our ancestors made ages
ago with the spirits of the land. Spirit work is no different, be it Palo or some other
tradition, something must always be given in exchange.
See Why the PGM? (http://voces-magicae.com/2015/10/16/why-the-pgm/)
It is interesting to note that the etymology of the word conjure contains the meaning of pactmaking. From Latin con(together) and jurare (swear), it literally means to swear together. Thus,
when you read through the grimoires you will often find the words summoning and conjuring
in the same passagemost read these as synonymous, but they are in fact two separate processes
one calls forth the spirit, the other forms a working pact.
Jake Stratton-Kent. The True Grimoire. (Scarlet Imprint (http://scarletimprint.com/), 2009)
Aaron Leitch. Folk Traditions and the Solomonic Revival in At the Crossroads(Scarlet Imprint
(http://scarletimprint.com/), 2012). pp. 1-10.
Nicholaj de Mattos Frisvold. pp 155-158.
Christopher D. Bradford. Nigromantic Putrefaction of Western Alchemy and Palo Mayombe in At
the Crossroads. (Scarlet Imprint (http://scarletimprint.com/), 2012). pp. 154.

17. Eric Colon & Christopher Bradford. The Mpungo(u) dispelling the Myth (http://www.palo-

mayombe.com/nsambi/mpungo/).
18. Nicholaj de Mattos Frisvold. Palo Mayombe: The Garden of Blood and Bones. (Scarlet Imprint,
2010). pp. 49.
19. Natalia Bolvar Arstegui, Carmen Gonzlez Daz de Villegas, Natalia del Ro Bolvar. Ta
Makuende Yaya y Las Regla de Palo Monte : Mayombe, Brillumba, Kimbisa y Shamalongo. (La
Habana, Cuba : Editorial Jos Mart, 2013)
20. Ralph Alpizar. El Legado Vivo de Africa en Cuba 1. (Madrid, Espaa: Visionnet Ediciones, 2012)
21. Alpizar. pp. 96-98
22. Frisvold. pp. 121-123.
23. Natalia Bolvar Arstegui, Carmen Gonzlez Daz de Villegas, Natalia del Ro Bolvar. Ta
Makuende Yaya y Las Regla de Palo Monte : Mayombe, Brillumba, Kimbisa y Shamalongo. (La
Habana, Cuba : Editorial Jos Mart, 2013) pp. 38-39
24. No es la magia africana malfica, ni consideran al Diablo, en el sentido dogmtico del catolicismo,
como algo vlido. Cuando hacen referencia al mal, lo que quieren significar es la accin negativa
de un hecho que trastorne su vida cotidiana, como lo puede ser, la sequa, la enfermedad, el hambre
etc (Alpizar, pp. 118)
25. As an interesting side note, this concept of a volatile force linked to the magical process can also be
seen in the Greek Magical Papyri and in particular with invocations regarding Typhon or TyphonSet. See PGM IV. 154-285: Invocation of Typhon (http://voces-magicae.com/2015/02/25/pgm-iv154-285-invocation-of-typhon/)
26. Alpizar pp. 125
27. Alpizar. pp. 118
28. Alpizar. pp 127-135
29. Aaron Leitch has written extensively about the similarities between Palo and the Solomonic
Grimoires. See Aaron Leitch. Secrets of Magickal Grimoires. (Woodbury, MN: Llewellyn, 2005)
30. Aaron Leitch. Modern Grimoire Magick: Folk Magick and The Solomonic Path in Journal of the

Western Mystery Tradition. No. 10, Vol. 1, Vernal Equinox 2006.

(http://jwmt.org/v1n10/modern.html (http://jwmt.org/v1n10/modern.html))
31. Jake Stratton-Kent. The True Grimoire. (Scarlet Imprint (http://scarletimprint.com/), 2009)
32. Peter Grey. Lucifer Rising talk in Summer of Love Conference ( https://www.youtube.com/watch?
v=sqaWSgkComU (https://www.youtube.com/watch?v=sqaWSgkComU) )
33. This is an interesting concept. The idea that a Tata who has already pacted with Kadi a Mpemba is
somehow capable of enforcing the pact made by another Tata.

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About Me

Leonardo (http://gravatar.com/cdcruz)
I walk a path of visceral and raw magic, fueled by my ancestors and the rhythms of nature. I march
to the beat of my own ritual calendar and personal cosmology. The Graeco-Egyptian magical papyri
is the backbone of my practice enfleshed by the techniques of the traditional craft. This path is one
forged by magic. On it everything is sacred and Spirit is my guide and teacher.

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Good Reads
A Journey Into Ceremonial Magick (http://omega-magick.blogspot.com/)
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Recent Comments
Pact-Making in Palo & Bakongo Religion Voces Magicae (http://vocesmagicae.com/2016/02/18/pact-making-in-palo-bakongo-religion/) on PGM IV. 154-285:
Invocation of Typhon (http://voces-magicae.com/2015/02/25/pgm-iv-154-285-invocation-oftyphon/#comment-3816)
Pact-Making in Palo & Bakongo Religion Voces Magicae (http://vocesmagicae.com/2016/02/18/pact-making-in-palo-bakongo-religion/) on Why the PGM?
(http://voces-magicae.com/2015/10/16/why-the-pgm/#comment-3815)
Leonardo on Venus: The Divine Feminine (http://voces-magicae.com/2009/10/14/venus-thedivine-feminine/#comment-3762)
Siska on Venus: The Divine Feminine (http://voces-magicae.com/2009/10/14/venus-the-divine-

feminine/#comment-3753)
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