1942-08-10: (Vodou Songs and Dances in the Play — The Vocality That the Audience Collectively Experienced in August 1942 Being Not Just the Dramatized Battle…

1942-08-10: (Vodou Songs and Dances in the Play — The Vocality That the Audience Collectively Experienced in August 1942 Being Not Just the Dramatized Battle Cries of Sanité Bélair, Perez Also Scripting Haitian Vodou Songs and Dances into the Play — While Audience Members May Have Been Riveted by the Portrayal of Sanité Perez Using the Character of Sanité’s Goddaughter Marie to Carry the Spiritual and Revolutionary Inheritance Forward): The vocality that the audience collectively experienced in August 1942 was not just the dramatized battle cries of Sanité Bélair. Perez also scripted Haitian Vodou songs and dances into the play. While audience members may have been riveted by the portrayal of Sanité, Perez used the character of Sanité’s goddaughter, Marie, to carry the spiritual and revolutionary inheritance forward — the goddaughter character mirrored Perez’s own relationship with Marie-Madeleine, the play’s structure encoding the same intergenerational transfer of revolutionary care that the letter to the Citadelle had prophesied six years earlier.