Zombies are undead creatures, typically depicted as mindless, reanimated human corpses with a hunger for human flesh. Zombies are most commonly found in horror and fantasy genre works. The term comes fromHaitian folklore (Haitian French: zombi, Haitian Creole: zonbi) where a zombie is a dead body animated by magic. Modern depictions of zombies do not necessarily involve magic but invoke other methods such as a virus.
Zombies have a complex literary heritage, with antecedents ranging from Richard Matheson and H. P. Lovecraft to Mary Shelley's Frankenstein drawing on European folklore of the undead. George A. Romero's reinvention of the monster for his 1968 film Night of the Living Dead led to several zombie films in the 1980s and a resurgence of popularity in the 2000s. The "zombie apocalypse" concept, in which the civilized world is brought low by a global zombie infestation, became a staple of modern popular art.
The English word "zombie" is first recorded in 1819, in a history of Brazil by the poet Robert Southey, in the form of "zombi". The Oxford English Dictionary gives the origin of the word as West African, and compares it to theKongo words nzambi (god) and zumbi (fetish).
One of the first books to expose Western culture to the concept of the Vodou zombie was The Magic Island by W.B. Seabrook in 1929. This is the sensationalized account of a narrator who encounters voodoo cults in Haiti and their resurrected thralls. Time claimed that the book "introduced 'zombi' into U.S. speech".
In 1932, Victor Halperin directed White Zombie, a horror film starring Bela Lugosi. Here zombies are depicted as mindless, unthinking henchmen under the spell of an evil magician. Zombies, often still using this voodoo-inspired rationale, were initially uncommon in cinema, but their appearances continued sporadically through the 1930s to the 1960s, with notable films including I Walked with a Zombie (1943) and Plan 9 from Outer Space(1959).
How these creatures came to be called "zombies" is not fully clear. The film Night of the Living Dead made no spoken reference to its undead antagonists as "zombies", describing them instead as "ghouls", (though ghouls, which derive from Arabic folklore, are demons, not undead). Although George Romero used the term "ghoul" in his original scripts, in later interviews he used the term "zombie". The word "zombie" is used exclusively by Romero in his 1978 script for his sequel Dawn of the Dead, including once in dialog. According to George Romero, film critics were influential in associating the term "zombie" to his creatures, and especially the French magazine "Les Cahiers du Cinéma". He eventually accepted this linkage even though he remained convinced at the time that "zombies" corresponded to the undead slaves of Haitian Vodou as depicted in Bela Lugosi's White Zombie.
Monster info Edit
Haitian tradition Edit
Zombies featured widely in Haitian rural folklore as dead persons physically revived by the act of necromancy by a bokor sorcerer (the bokor is a witch-like figure to be distinguished from the houngan priests and mambo priestesses of the formal Vodou religion). Zombies remain under the control of the bokor as their personal slaves, since they have no will of their own.
There also exists within the Haitian tradition, an incorporeal type of zombie, the "zombie astral", which is a part of the human soul that is captured by a bokor and used to enhance the bokor's spiritual power. Bokors produce and sell specially-decorated bottles to clients with a zombie astral inside, for the purposes of luck, healing or business success. It is believed that, after a time, God will take the soul back and so the zombie is a temporary spiritual entity.
It has been suggested that the two types of zombie reflect soul dualism, a belief of Haitian Vodou. Each type of legendary zombie is therefore missing one half of its soul (the flesh or the spirit).
The zombie belief has its roots in traditions brought to Haiti by enslaved Africans, and their subsequent experiences in the New World. It was thought that the Vodou deity Baron Samedi would gather them from their grave to bring them to a heavenly afterlife in Africa ("Guinea"), unless they had offended him in some way, in which case they would be forever a slave after death, as a zombie. A zombie could also be saved by feeding them salt. A number of scholars have pointed out the significance of the zombie figure as a metaphor for the history of slavery in Haiti.
While most scholars have associated the Haitian zombie with African cultures, a connection has also been suggested to the island's indigenous Taíno people, partly based on an early account of native shamanist practices written by the Hieronymite monk Ramón Pané, a companion of Christopher Columbus.
The Haitian zombie phenomenon first attracted widespread international attention during the United States occupation of Haiti (1915 - 1934), when a number of case histories of purported "zombies" began to emerge. The first popular book covering the topics wasWilliam Seabrook's The Magic Island (1929).
Seabrooke cited the Haitian criminal code as what he considered official recognition of zombies - Article 246 (passed 1864), later to be used in promotional materials for the 1932 film White Zombie, reads in part:
In 1937, while researching folklore in Haiti, Zora Neale Hurston encountered the case of a woman who appeared in a village, where a family claimed she was Felicia Felix-Mentor, a relative who had died and been buried in 1907 at the age of 29. However, the woman had been examined by a doctor, who found on X-ray that she did not have the leg fracture that Felix-Mentor was known to have had. Hurston pursued rumors that the affected persons were given a powerful psychoactive drug, but she was unable to locate individuals willing to offer much information. She wrote: "What is more, if science ever gets to the bottom of Vodou in Haiti and Africa, it will be found that some important medical secrets, still unknown to medical science, give it its power, rather than gestures of ceremony."
A Central or West African origin for the Haitian zombie has been postulated based on two etymologies in the Kongo language, nzambi ("god") and zumbi ("fetish"). This root helps form the names of several deities, including the Kongo creator deity Nzambi a Mpunguand the Louisiana serpent deity Li Grand Zombi (a local version of the Haitian Damballa), but it is in fact a generic word for a divine spirit. The common African conception of beings under these names is more similar to the incorporeal "zombie astral", as in the Kongo Nkisi spirits.
A related, but also often incorporeal, undead being is the jumbee of the English-speaking Caribbean, considered to be of the same etymology; in the French West Indies also, local "zombies" are recognized, but these are of a more general spirit nature.
The idea of physical zombie-like creatures is present in some South African cultures, where they are called xidachane in Sotho/Tsonga and maduxwane in Venda. In some communities,it is believed that a dead person can be zombified by a small child. It is said that the spell can be broken by a powerful enough sangoma. It is also believed in some areas of South Africa that witches can zombify a person by killing and possessing the victim's body in order to force it into slave labor. After rail lines were built to transport migrant workers, stories emerged about "witch trains". These trains appeared ordinary, but were staffed by zombified workers controlled by a witch. The trains would abduct a person boarding at night, and the person would then either be turned into a zombified worker, or beaten and thrown from the train a distance away from the original location.