Three

The number 3 has been significant in the language and iconography of Africa from the time of Kernet, being extensively represented in the rituals and general cultural life throughout the ages. It conveys the ancient Egyptian notion of plurality and often that of unity. In the mental universe of the Kemetyu, there was singular (1), dual (2), plural (3 and more), and, oftentimes, very many or an indeterminate number was expressed as 9, that is, “the plural of plurals,” which was also, but less often, represented as other multiples of 3.

In keeping with this status, the number 9 also represented everything in the Kemetyu universe. This much is conveyed in such terms as psdt: “Ennead,” literally, “group of nine.” This representation of indeterminate plurality was given rather concrete expression in the concept of the Nine Bows, the summation of Kemet's traditional enemies. The nine petitions made by the farmer in the ancient Egyptian story called The Eloquent Peasant in Egyptology also may have represented the notion of a considerable quantity and therefore indeterminate plurality.

The number 3 also represented a closed system of units that are simultaneously complete, interactive, and representational of the cyclical nature of some aspects of reality. The Kemetyu divinity Ptah-Sokar-Wsir illustrates this. Here is a trinity, a three-in-one divinity that represents Creation or Birth, Death or Decay, and Rebirth or Resurrection—an entire cycle.

It is therefore not surprising that the number 3 continues to be of great significance in many rituals in African communities on the continent and abroad.

One of the clearest contemporary expressions of this continuity from the ancient African past is seen in the pouring of Libations at the Libation and Orison (orientation of important persons and paraphernalia) during the opening ritual of a Vodu service. In fact, the significance of water as well as the number 3 may be observed here. At a certain point in the ceremony, water is poured three times before the center post or Potomitan, then three times at one entrance, and sometimes at three entrances to the peristyle (the building or part thereof in which the service is held). Next, lines are traced to the peristyle, which is then kissed three times. Water is then poured three times before each of the three drums, which together form the battere. At a certain point in the rites marking the initiation or introduction of someone into the followers of the divinity Erzulie Freda, the Houngan (Vodu priest) or the Mambo (Vodu priestess) recites the Ave Maria, the Credo, and the Confiteor, each three times—a total of nine recitations. Certain other things are done three times as well during other ceremonies.

The number 3 also resounds in the drums, which constitute a most important part of African sacred rituals and indeed in general African cultural expression. Three drums are played in most African spiritual ceremonies.

In Candomblé, there are three drums. These are collectively called atabaques and are believed to have been war drums in Africa. Each also has its own identity and its own name, hence rum, the largest and deepest-toned; rumpi, the middle drum in size as well as tone; and lé, the smallest drum [Page 662]and the one with the highest tone. These patterns are almost identical in other contemporary manifestations of the African spiritual system.

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