This article unveils how Vodou and the iconography of the two main Ezilis, Ezili Danto and Ezili Freda, from a cultural standpoint informs audiences about the political position of Haitian women in the past and present. White aims not only to provide a literary analysis but also a gendered political examination. She analyses why the specific imagery of each Ezili demonstrates her ideals, given that the chromolithographs have come to represent Iwa everywhere, where chosen after the Vodou mythology had a chance to embed itself.