The Garland Handbook Of Latin American Music Part Three: Nations and Musical Traditions, Caribbean Latin America, Haiti

Cultural Heritage  Indigenous Ciboney Ciboney Taíno Taíno  European French (1697) French (1697)  African Like Cuba, contemporary Haitian culture greatly informed by African heritage Like Cuba, contemporary Haitian culture greatly informed by African heritage Long history of black resistance Long history of black resistance Ideological and political dimension to negritude (“blackness”) movement Ideological and political dimension to negritude (“blackness”) movement

Genres  Vodou Neo-African religion Neo-African religion Similar to Afro-Cuban Santeria Similar to Afro-Cuban Santeria Shares roots in West African beliefs and musical traditionsShares roots in West African beliefs and musical traditions Incorporates elements of ChristianityIncorporates elements of Christianity i.e., juxtaposition of loas and Catholic saints i.e., juxtaposition of loas and Catholic saints Involves possession of devoteesInvolves possession of devotees Structures and induces possession through music and danceStructures and induces possession through music and dance Incorporates similar instrumentsIncorporates similar instruments Organizes music and ensemble around similar principlesOrganizes music and ensemble around similar principles Historically linked with social and political ideologies/movements Historically linked with social and political ideologies/movements Negritude and black resistance Negritude and black resistance

Genres (cont.)  Secular and folkloric genres of African derivation Konbit Konbit Refers to collective-labor association and to event it organizesRefers to collective-labor association and to event it organizes Emphasizes music as “propelling force”Emphasizes music as “propelling force” Involves collaboration of work force in music-makingInvolves collaboration of work force in music-making (Or of musicians in work effort?) (Or of musicians in work effort?) Origins (parallels) in West AfricaOrigins (parallels) in West Africa Rara Rara Seasonal rural ritualSeasonal rural ritual Both secular and sacredBoth secular and sacred Connected to issues of life and death Connected to issues of life and death Context for processional bands (Bann Rara)Context for processional bands (Bann Rara) Instrumentation, musical structure, relation of parts, and structure and organization of ensembles reflect African influences Instrumentation, musical structure, relation of parts, and structure and organization of ensembles reflect African influences

Genres (cont.)  Urban popular music Development Development Circumscribed by social and economic issuesCircumscribed by social and economic issues Commercial genres Commercial genres Draw on Haitian traditionsDraw on Haitian traditions i.e., mereng-vodou, or vodou-jazz, i.e., mereng-vodou, or vodou-jazz, Incorporate influences from popular music outside Haiti (i.e., jazz, rock and roll, other Caribbean genres)Incorporate influences from popular music outside Haiti (i.e., jazz, rock and roll, other Caribbean genres) May engage social and political issuesMay engage social and political issues Mizik Angaje Mizik Angaje (note: compare with nueva trova in Cuba) (note: compare with nueva trova in Cuba)

Music and Social Dynamics in Haiti  Music and identity Music plays significant role in mobilizing social identity, including ethnic (see Anthony Seeger, pp ) Music plays significant role in mobilizing social identity, including ethnic (see Anthony Seeger, pp ) Consider significance of Haitian Vodou and other secular traditional and popular genres of African derivation to black ethnic identity, national identity, and the ideology of negritude in Haiti Consider significance of Haitian Vodou and other secular traditional and popular genres of African derivation to black ethnic identity, national identity, and the ideology of negritude in Haiti  Possible questions for discussion How might Haitian Vodou be considered a symbol for black ethnic identity and the ideologies of negritude? How might Haitian Vodou be considered a symbol for black ethnic identity and the ideologies of negritude? How has the ideology of negritude influenced contemporary popular music in Haiti? How has the ideology of negritude influenced contemporary popular music in Haiti? How might the conscious use and appropriation of such symbols by both politicians and musicians be potentially advantageous? How might the conscious use and appropriation of such symbols by both politicians and musicians be potentially advantageous?